Narrative Theory: Film & Literature

Narrative Theory: Film & Literature CMLIT 453 / COMM 453 Class Meets: T R 3:35-4:50 pm // Alexa Huang Course Description Our time is characterized by a crisis of representational practice, fuelled by unprecedented technological and economic changes on a global level. Narrative, therefore, takes a wide variety of forms. This course examines the aesthetics and techniques of film and literature from around the world, and analyses the masters of each art form. Through short stories and plays, we will study different ways a story can be told and the many exciting ways embedded "narratives" (or discourses) can be framed. Similarly, through films and film adaptations of great literary masterpieces, we will study how visual elements challenge the reader's imagination. Specifically, we examine the relationship between meaning and narrative structure. The course considers the tensions between claims for originality and poetic license, between producers and audiences, between fiction and reality, narrative and history, memory and representation. We will study representative theorists of narratology, such as J. Hillis Miller, Wolfgang Iser and Hayden White. Cutting-edge scholarship on film and the new media will also be introduced, such as Seymour Chatman, Rey Chow, as well as Jay David Bolter and Richard Grusin's Remediation. In addition to becoming familiar with major issues in film studies and East-West comparative studies, students will acquire a working knowledge of narrative theory. ALEXA HUANG Course Goals 1. To study and discuss short stories and film in comparative, global contexts. 2. To precipitate what we think into writing, and thereby discover what we think. 3. To be grateful to others – living or dead – for confronting what we think we think. 4. To distinguish between truth and validity. Truth, however desirable, is not achievable. Validity is. 5. To achieve excellence and have fun while doing it! "1 Schedule of Readings & Assignments NOTE: I reserve the option of making changes to the readings and the schedule. Date Tue. 1/10 In Class Introduction: Narrative & Narratology For Class Go to turnitin.com, click on “create a user profile” and log in using: Class ID: 1431378 Class password: CMLIT453 Thu. 1/12 J. Hillis Miller. “Narrative” Kate Chopin. “Story of an Hour” 1st Response due on turnitin.com by 8 pm Wed. 1/11 Tue 1/17 Dramatic Narrative “Reading Drama.” Experience, 9th Ed. Shakespeare’s Hamlet Thu 1/19 Tue 1/24 Thu 1/26 Literature: The Human Wolfgang Iser. “Interaction between Text & Reader.” Shakespeare’s Hamlet Shakespeare’s Hamlet Carolyn Heilbrun. “The Character of Hamlet’s Mother” Shakespeare’s Hamlet 2nd Response due on turnitin.com by 8 pm Mon. 1/16 Team Project: Extreme…” “The Most Extra-credit Presentation 1: Team Project: Debate Nation & Narration Tue 1/31 Edward Said: On Orientalism Thu 2/2 Rudyard Kipling. “White Man’s Burden” and “The Ballad of East and West” David Henry Hwang’s M. Butterfly Tue 2/7 David Henry Hwang’s M. Butterfly 3rd Response due on turnitin.com by 8 pm Mon. 2/6 Thu 2/9 David Henry Hwang’s M. Butterfly Team Project: LiterariTV Tue 2/14 Dorinne K. Kondo. “M. Butterfly: Orientalism, Gender, and a Critique of Essentialist Identity” Team Project: Mock Trial Thu 2/16 Tue 2/21 Thu 2/23 Narrative, Memory & History “Reading Fiction.” Literature: The Human Experience, 9th Ed. Su Tong. Wives & Concubines, pp. 11-55 Seymour Chatman. "What Novels Can Do That Films Can't (and Vice Versa)" Su Tong. Wives & Concubines, pp. 56-99 Raise the Red Lantern dir. Zhang Yimou Extra-credit Presentation 2 Extra-credit Presentation 3 CMLIT 453 Date Tue 2/28 In Class Raise the Red Lantern dir. Zhang Yimou For Class Thu 3/2 Raise the Red Lantern dir. Zhang Yimou Two-page alternate ending due on turnitin.com by 8 pm Wed. 3/1 (or skip this one and do the one due on Mon. 4/24) Extra-credit three-page short paper due on turnitin.com by 5 pm Fri. 3/3 Spring Break No Class Narrative & the Representation of Reality Franz Kafka. “Metamorphosis” Extra-credit presentation 4 Fri 3/3 Tue 3/7 Thu 3/9 Tue 3/14 Thu 3/16 Tue 3/21 Thu 3/23 Tue 3/28 Thu 3/30 Hayden White. “The Value of Narrativity in the Representation of Reality.” Franz Kafka. “Metamorphosis” Franz Kafka. “Metamorphosis” Hero, Villain, & the Plots Tomorrow Never Dies dir. Spottiswoode Tomorrow Never Dies dir. Spottiswoode Jeremy Black. “The Films Reviewed-Villains & Plots” Tomorrow Never Dies dir. Spottiswoode Robert Warshow. “The Gangster as Tragic Hero” Tue 4/18 Closure – The Art of Ending Shiri dir. Kang Jegyu Shiri dir. Kang Jegyu Shiri dir. Kang Jegyu Thomas Leitch. “Twelve Fallacies Contemporary Adaptation Theory” Romeo + Juliet dir. Baz Luhrman Romeo + Juliet dir. Baz Luhrman Thu 4/20 Shakespeare’s Romeo and Juliet Tue 4/25 Shakespeare’s Romeo and Juliet Jay David Bolter and Richard Grusin. “Introduction: The Double Logic of Remediation” Thu 4/27 Conclusion Tue 4/4 Thu 4/6 Tue 4/11 Thu 4/13 Extra Credit: Trivia Champion Team Project: Film Design Contest Extra-credit Presentation 5 in 4th Response due on turnitin.com by 8 pm Mon. 4/17 Extra-credit Presentation 6 Team Project: Film Design Contest Two-page alternate ending due on turnitin.com by 8 pm Mon. 4/24 (or skip this one and do the Red Lantern one due on Wed. 3/1) Final Paper due on turnitin.com 2 CMLIT 453 3 by 5 pm Friday 4/28 By beginning this course, you certify that you are familiar with the policies outlined on this syllabus. Characteristics of students who did well in CMLIT 453: 1. Organized: They worked well with deadlines, came to meetings on time, and responded to course-related emails in a timely manner. 2. Effective Learners: They paid attention to and followed instructions; they participate actively in in-class and online course activities; they were not averse to using computers and technology. 3. Team Players: They were not afraid of performing in front of others or losing their anonymity. They cooperated and contributed in a positive manner. They worked well with other students in class and were team players. 4. Responsible: They did not overextend themselves with other activities and courses. They understood that how well they did in the class depended on how much they put into their own work. Grading Policy Attendance and Participation Four one-page response papers submitted to Turnitin.com One two-page alternate ending submitted to Turnitin.com One five-page final paper submitted to Turnitin.com Two collaborative team projects 10 % 40 % (10 % each) 5% 25 % 20 % (10% each) Grading Scale A BF 95 and above 80-82 59 and below AC+ 90-94 76-79 B+ C 87-89 70-75 B D 83-86 60-69 Course Requirements Overview Note that there are many assignments. You will constantly be submitting something in one format or another. All assignments MUST be submitted by the deadlines. There are a couple of reasons for this. One is to make learning literature more like learning math or a foreign language, through steady and constant practice and correction. Another is that giving many assignments allows the instructor to count each one for just a bit of your grade, avoiding the high-stakes, high-stress situation of any single assignment that counts 50% or, god forbid, 100% of your grade. You can screw up once or twice and still get a good grade. The down side, of course, is that there is a lot to keep track of and your engagement with the course must be constant in order to win. 1. Attendance and participation 2. Writing assignments 2.1. Four one-page response papers – to be submitted to Turnitin.com 2.2. One two-page alternate ending, “Write It One Page Further” exercise – to be submitted to Turnitin.com 2.3. One five-page final paper – to be submitted to Turnitin.com 3. Two collaborative team projects that are creative and performative in nature, to be presented in class (choose two from five different types of projects) 4. An extensive array of extra-credit options available, including winning a debate, winning a film design contest, winning a LiterariTV show contest, winning one of the team project contests, staging a short performance of a key scene from a story, doing a ten-minute oral presentation (need to sign up), writing a three-page short paper (due on turnitin.com by 5 pm Friday 3/3) or two-page film reviews, coming to office hours, completing one or all of the iStudy Modules on the ANGEL course website (“Academic Integrity, Plagiarism & Copyright,” “Written Reports,” “Active Reading” and “Oral Presentation”), and writing multiple-choice quiz questions. See details in the “extra credit” section below. Course Requirements First Things First: Sign up on Turnitin.com CMLIT 453 4 Go to: http://www.turnitin.com, click on “Create a User Profile” on the upper right hand corner, select “Student” as the user type, and login using the following information: Class ID: 1431378 Class password: CMLIT453 Then, enter your Penn State email address, which will also become your Turnitin user name. All writing assignments are to be submitted to the course folder on Turnitin.com No emailed, hardcopy, or late papers will be accepted. In this course we will be using a tool, Turnitin.com, to confirm that you have used sources accurately in your papers. If you have any questions about how to cite your sources, please review the materials available at http://tlt.its.psu.edu/suggestions/cyberplag/cyberplagstudent.html or http://istudy.psu.edu/modules.html#Integrity. Students are responsible for ensuring that their work is consistent with Penn State's expectations about academic integrity (see the Academic Integrity section on this syllabus). Additional information about the Turnitin.com plagiarism prevention tool is available at http://turnitin.com and at http://its.psu.edu/turnitin/Students.html The Turnitin plagiarism prevention tool is used as a teaching and learning tool to help students recognize citation errors and "unintentional" plagiarism -- and fix their mistakes before submitting the final version of their work. Students have access to the “originality reports” on the papers they submitted. As a detection tool, it allows instructors to view possible cases of plagiarism, thoroughly investigate the cases, and make informed evaluations. Please note that the instructor does not rely solely on the Turnitin reports. The results from Turnitin will be referenced when papers are graded, and other means will be used to confirm the originality of the papers. To see how Turnitin can help you check your paper and how to submit assignments, go to: http://www.turnitin.com/static/training_support/student_training.html Follow the instructions in the step-by-step video. 1. Attendance and Participation Attendance is mandatory at all classes, and credit is granted to all those who come to class, participate actively in activities and refrain from: text messaging; using their cell phones; doing crossword puzzles; doing homework for other classes; taking naps; reading newspapers, etc. Your attendance grade is based on your timely completion of the assigned reading, attendance and active participation in activities in class. Your attendance grade will be reduced by one point (up to the total of 10 points for participation) for each unexcused absence (i.e. without documented excuses such as a medical situation). You are allowed two absences without penalty. Use them wisely. 2. W riting Assignments The writing assignments are designed to help you understand some of the assumptions and promises of East/West comparative studies and develop an international base in the humanities through comparative research. All writing assignments—typed, double-spaced, in 12-point Times New Roman font—should be submitted as WORD (.doc or .rtf) files on Turnitin.com on the due dates. Be sure to use the MLA documentation style to document sources you are citing. Emailed or late assignments will not be accepted. 2.1. The one-page response papers should address, question, or complicate issues raised by the assigned readings. Your response paper should open with a restatement of the question to be answered followed by three explanations for your answer or the position you take. These response papers will sharpen our focus and tailor the discussion suit your interests and needs. The response papers are always due the night before class. You should bring a hardcopy of your response paper to class to read aloud. You are expected to play a big part in the class discussion. The response papers and your participation in class discussion constitute CMLIT 453 5 a major part of your attendance grade. 2.2. The two-page alternate ending “Write It One Page Further” exercise should be a thoughtful continuation or sequel that disambiguates the ambiguous, problematic or, God forbid, undesirable endings of some stories or dramas. You should devote one page to your sequel, and use the second page to analyze the original story, explain your rationale and persuade your readers that your alternate ending makes more sense. Cite passages (with page numbers) from the original story to support your arguments. You should bring a hardcopy of your response paper to class to read aloud. You should choose between two opportunities to write alternate endings: one on Raise the Red Lantern (due on Wed. 3/1) and the other on The Taming of the Shrew (due on Mon. 4/24). 2.3. The five-page final paper should follow the student writing guide at: http://www.personal.psu.edu/ach13/Lit-Film/. Also available through this website are sample student papers. Your paper should be a critical analysis (not a plot summary) of the works and their social contexts. Paper topics to be announced. 3. Collaborative Team Projects Groups of three to four students will perform skits, courtroom scenes, simulated TV shows interviewing the characters we are studying, or debate another team on a controversial issue related to one of the texts or films we are studying. 3.1. The Most Extreme What Is It? No doubt you or some of your team members would have seen “The Most Extreme” series on the Animal Channel. Your team will present a similar TV show of 15 minutes (not longer) with equal amount of time allocated to each team member who will comment on characters or episodes of your choice. What Should We Do? Prepare a stack of cards. On each card, write a descriptive sentence beginning with “The most …,” such as “The most misunderstood character in the work we are studying this week is X,” “The most mean-spirited character in this story is X,” or “The most important episode in this play is X.” Then prepare your rationale for selecting the particular character or event. Be ready to cite passages from the work (with page numbers) to support your arguments. Do not just look for the major characters. Consider characters who may seem to be marginal but play important roles, or characters whose decisions influence the outcome of the story. You may also select a moment in the story that has begotten a wide range of interpretations and is a crux, a swing moment. How we read the moment will influence how we read the text as a whole. Grading Criteria Depth of knowledge and accuracy in portraying characters or events (40 %), ability to focus on the main themes and conflicts present in the work (40 %), justification for your choice of characters or events (10 %), organization, smooth transitions, clarity of script (5 %) and time management (5 %). Always adhere to the time limit. 3.2. Debate What Is It? Your team will debate another team on a controversial issue related to one of the texts we have read. For example, is Othello guilty? Has Petruchio really tamed Katharine by the end of The Taming of the Shrew? Your team will be graded on the overall quality of its argument, including research, "expert opinion," etc. you present to back up your case. Beyond this, the winning team (as determined by the swaying of class opinion) will receive one extra-credit point. CMLIT 453 6 Grading Criteria Research, citation of authorities and the literary work (20 %), using specific, concrete examples from the work (30 %), argumentation (30 %) and overall organization and effectiveness (20 %). 5 % bonus if you win or one-half if you tie the debate. There are two sides: affirmative and negative. There are two phases to the debate: constructive; and rebuttal. In the constructive phase, each team lays out the evidence and arguments for or against the proposition under debate. In the rebuttal phase, no new evidence or arguments are introduced. Instead, each team tries to tear apart the arguments presented by the other team, and rebuild their own case if it is being torn apart. Division of Labor If your team has four members, that works out to one member for the first constructive and the first rebuttal, one for the second constructive and the second rebuttal, and two cross-examiners. All of you are also researchers. One of you will double as team captain / coordinator who makes sure the different arguments match up. You should do the research and write concise yet effective speeches. Some teams like to give collective rebuttals, where each member says a sentence or two. Tips First of all, knowing well the texts about which you are debating is crucial. You need to parry arguments with counter-examples and details from your text, often at short notice. The debate is judged like a boxing match: leaving your opponents' arguments without response may lose you points. Your constructives (in particular) should provide detail for every argument you put forward. You should have more than one argument; otherwise, you will end up repeating a single point over and over. In the past, research has sometimes been an issue. Some teams have done the work (so they claim) but not been able to find a place for it in the actual text of their speeches. Diligence and creativity are needed to make that part work. Finally, organization is crucial. Perhaps one team member should do nothing other than assign tasks and check up on them, tell other members when to ask their questions, etc. You will lose points if you look at each other blankly waiting for someone to ask a cross-ex question or get up to deliver a speech. Rules and Format Before the debate, the class (minus the teams debating) is polled concerning their agreement or disagreement with the proposition. The vote is recorded. After the debate, the class (minus the teams) is polled again concerning their agreement or disagreement with the proposition. The vote is compared with the previous one. Movement in one or another direction indicates victory for one of the teams. If the numbers remain the same, the debate is a tie and both teams receive extra credit. The numbers in the table below give the sequence of events in the debate: CMLIT 453 Affirmative Team 7 Negative Team CONSTRUCTIVE PHASE (16 minutes) 1. Give first constructive argument (3 minutes) 2. Cross-examine the affirmative speaker on first constructive (1 minute) 4. Cross-examine the negative speaker on first 3. Give first negative argument (3 minutes) constructive (1 minute) 5. Give second constructive argument (3 6. Cross-examine the affirmative speaker on minutes) second constructive (1 minute) 8. Cross-examine the negative speaker on second 7. Give second negative argument (3 minutes) constructive (1 minute) REBUTTAL PHASE (8 minutes) 10. Affirmative team gives 1st rebuttal (2 9. Negative team gives 1st rebuttal (2 minutes) minutes) 12. Affirmative team gives 2nd rebuttal (2 11. Negative team gives 2nd rebuttal (2 minutes) minutes) 3.3. LiterariTV What Is It? A 15-minute Literature Talk Show. The concept is broad. It refers both to a host of "shock talk" shows, where the host (Jerry Springer, Jenny Jones, etc.) brings on two or more people in conflict, and has them work out their conflicts in front of a live audience, to a group of dating shows, such as Blind Date, Elimidate, Bachelerette, Bachelor, and Meet the Folks, to "work" shows like "The Apprentice," and to "family" shows like "The Osbornes." You are free to choose from these or other shows that you consider to fall under this category. What Should We Do? With your team, stage a live 15-minute LiterariTV show. The choice of show should be explained and justified before you begin. The basic idea of the assignment is to reveal a similarity between the motives of people for watching these shows and for reading literature where people do nasty things to each other. Rules and Format You will present your show as a short 15-minute skit. All team members should be assigned a speaking role to play: Jerry Springer (or Jenny Jones, etc.); characters from the work who are in conflict or dating each other; experts; audience members; and introducer/analyzer who justifies choice of format. Some teams like to assign one member to hold up signs or otherwise cue the audience how to react. A number of teams will present their shows during a single class period, and the winner will be determined by class vote. Grading Criteria Research, citation of authorities and the literary work (20 %), using specific, concrete examples from the work (30 %), argumentation (30 %), justification for the choice of TV show format (10 %), overall organization and effectiveness (5 %) and time management (5 %). Tips CMLIT 453 8 The chief way that teams have lost points in the past has been by not getting deep enough into the characters and conflicts of the texts they are treating, but rather replacing them with characters from the TV shows. Teams tend to get carried away with the presentational aspect of the skit and with their own imaginations, and to forget that this assignment is the equivalent of writing an analytic paper on the text. Your job is not to rewrite the text, but to use the LiterariTV format to bring out what is already there. Choice of the right show is of course crucial; when it is done right, it reproduces the structure and characters of the story perfectly, gaining points for the team and also winning the contest. Make sure you take the time to explain the show you have chosen, either before or after your presentation, or both. Many teams provide brief and superficial explanations that gain them 0 points. 3.4. Mock Trial What Is It? A mock trial modeling on the prime-time courtroom drama, Law & Order. Obviously, two teams are needed: the defendant and the prosecutor. The other students would play at being the jury. By putting on a mock trial, we can get at some of the issues and themes raised in these texts. Rules & Format First, the prosecution puts forward its argument, including opening accusation, witness statements, and closing arguments. Then, the defense does the same, including refutations of prosecution witness statements. This is followed by the prosecution’s refutations of witness statements for the defense. The jury then renders its judgment. The jury’s task is to carefully consider the arguments of both prosecution and defense, and to render a guilty or innocent verdict. Each side's presentation consists of four parts: OPENING ARGUMENT, WITNESS STATEMENTS, CLOSING ARGUMENT, and REFUTATIONS of opposing witnesses. The first speech should be the opening argument of the prosecution to the judges, explaining the facts of the case and the charges, and laying out what is to follow. Witness statements may either be monologues, or may be in question and answer format as at a real trial. After the witnesses are finished, a closing statement summarizing the evidence and exhorting the judges should be made. The fourth part is presented as a reply to the opposing team's witness statements. The final step for each team is to consider the witness statements of the opposition, and to state their refutations. This procedure will seem less complicated if you realize that it follows the order of a regular courtroom trial, with refutations substituting for cross-examination, which is not practicable in a message-board format. Whom May We Call as Witnesses? The general categories are: characters, authors and experts. Whoever is charged in the case is assumed to invoke the Fifth Amendment and may only be called as a witness by the defense. Characters must be at least mentioned in the text, or in another text by the same author: in other words, you are not allowed to make up new characters, but you may greatly expand the role they play. An important criterion for the awarding of points is the logic and consistency of witness statements. Characters should not deviate greatly from their beliefs and actions in the original text, be made to see things they could not have seen etc.; if an author is called to explain his intentions, evidence should be provided. An “expert witness” is a real person (a scholar, a critic, a specialist) who has published something on the work or author in question, or on the topic of the charge. You may use reference works, books, journal articles, or Internet sources to locate your expert witness(es). You may summarize their opinion, or reproduce their text verbatim. Name and source should be given. Grading Criteria Opening statement (10 %), witness statements (20 %), closing statement (20 %), refutations (20 %), research (20 %) and timeliness (10 %). 5 % bonus for winning the case, as determined by the CMLIT 453 9 jury. 3.5. Film Design Project What Is It? Your team is bidding to become the producer of a film based of one of the classic we studied. To win the bid, you must place a sample of your ideas for the film on the web or on a PowerPoint file (to be presented) so that various film studios can vote on the best design. The members in your team are to pretend that you are the producers and directors for an American filming of this text. You are competing in this design against other teams, and will receive 5 % bonus for winning the competition as determined by class vote. (Members of teams entered in the competition are NOT allowed to vote.) You are asked to provide five elements of production design (each is worth 20 %): 1. An explanation of your general approach to the production, including decisions about contemporizing (as in the film Romeo + Juliet) vs. historical (as in the film Shakespeare in Love)); realistic vs. stylized, etc., soundtrack and music -- along with whatever else comes to mind -- are additional considerations. 2. A complete cast list (for speaking parts) with justifications for your choices. You are to cast well-known, real-life actors in the various parts. Cost is no object! 3. A set design for at least one scene of the film, done either as bird's-eye or frontal design, OR a storyboard for part of the film. 4. A poster or newspaper ad for your film. For full points, the poster or ad must be consistent with other elements of your design, and reveal something of the theme or mood of your production. Just the title with faces of actors will get less than full credit. 5. Drawings or reproductions of costumes for at least three of the characters. You may draw these yourselves, scan them from books or magazines, or find images from the Internet. Sample Film Designs Examples of production designs (PowerPoint format) are available through the ANGEL course website. For an example in the format of a website, go to: http://www.personal.psu.edu/bms269/Movie/ Division of Labor Obviously, there are five aspects to the production, and some can be further subdivided or doubled. For example, some teams provide both descriptions and pictures of actors. (People who watch a lot of movies and television should be adept at this task.) It is a good bet that at least one member of your team will be a good artist (either with a pencil or virtual)and can do costumes or sets. Those interested in clothing and fashion might be interested in looking through books and magazines for ideas, etc. It is a good idea to have one or more "project managers" who will look over everything and make sure it is complete and consistent, and take care of putting everything into a single Powerpoint or Word file, or creating the webpage. Tips You will gain points through boldness and consistency of design. Your philosophy should match your cast list and set design. It is best to begin with a global decision on whether you want to put the film in a modern or historical setting, make it dark or light comedy, etc., and then fill in the details accordingly. Secondly, remember that this assignment is to show your knowledge of the play: your explanation of your overall approach should clearly derive from the play itself; the more clearly you link your actor choices to specific details of the characters of the play, the better. Generalities get you nowhere. 4. Extra Credit CMLIT 453 10 4.1. Come to office hours 0.25 points per visit, maximum five points per semester. You must come with a substantial question, concern, or a suggestion related to the course TEXTS or ASSIGNMENTS. Going over your corrected paper to learn how to improve, getting more in-depth explanation of a text for a paper or team project, or chatting about your overall well-being at PSU are some things that will gain this credit. Popping your head in and asking what the next due date is, or picking up your paper, will NOT get you credit. 4.2. Complete the iStudy Modules Complete one or all of the iStudy Modules on the ANGEL course website (“Academic Integrity, Plagiarism & Copyright,” “Written Reports,” “Active Reading” and “Oral Presentation”), points earned depend on activities completed and quality of responses. Maximum 2 points. 4.3. Win one of the team projects (as determined by class vote) As described in the team project section 4.4. Perform a scene from a work Stage a 10-minute in-class performance of a scene from a play or a short story. One student from the team will do a short presentation on your interpretation of the scene and the rationale for choosing the particular scene. On the day of performance, your team should hand in a list outlining the division of labor which typically includes “presenter,” “actress,” “actor,” and “director.” Each team member’s responsibility and contribution should be clearly marked. Your performance will reflect your interpretation of the scene. Maximum 2 points. 4.5. Write a quiz question 0.25 points per question, maximum 1 point per semester. To gain extra credit the question must be MULTIPLE CHOICE with at least three wrong answers in addition to the correct one. The wrong answers must all be reasonable alternatives, not ridiculous ones. Wrong answers must be accompanied by FEEDBACK explaining why the choice is wrong and giving the right answer. 4.6. Write a two-page film review Analyze a film we watched in class. Be sure to present a clear theme and thesis. Follow the writing guide at: http://www.personal.psu.edu/ach13/Lit-Film/ Maximum 2 points; once per semester. 4.7. Do a ten-minute oral presentation Sign up now. Do a 10-minute oral presentation (to be followed by discussion) based on one of the assigned readings or topics covered in the week. Topics may include cultural, political, and historical issues but should clearly relate to the focus of this course: race, gender and cultural identities in world literature. You must also turn in a brief outline and bibliography of your presentation. Be informative and creative. Do not simply read an essay. To see presentations by previous students, go to http://www.personal.psu.edu/ach13/Asia/Diaspora/DiasporaAssignProjects.htm. Maximum 2 points; once per semester. 4.8. Write a three-page short paper, due by 5 pm Friday 3/3 Write a three-page short paper on one of the topics announced. Evaluation Guidelines for Attendance & Participation I value our time together in the classroom. Do come prepared. Your regular attendance and active participation in class is critical to your success. Therefore, your attendance grade is based on your timely completion of the assigned reading, response papers, attendance and active participation in activities in class. CMLIT 453 11 90-100 % Student is well prepared, as demonstrated by her/his critical response posted to ANGEL and comments made in class; is interested in and respects others’ opinions; asks and responds to questions; demonstrates knowledge of course materials; fosters a vibrant intellectual community. 80-89 % Student is generally prepared, makes an effort to refer to readings and course topics; is willing to participate in discussions online and in class. 70-79 % Student reluctantly participates in class activities and is often unprepared; rarely practices critical thinking; does not demonstrate sufficient knowledge of course materials. 60-69 % Student is unwilling to participate in class activities and unable to ask or answer questions; is generally unprepared; demonstrates little knowledge of course materials. 0-59 % Student is absent (physically or mentally), unprepared, or disruptive in class. Evaluation Guidelines for Seminar Papers The Superior Paper (A/A-) The A paper has not only fulfilled the assignment, but has done so in a fresh and mature manner. It has effectively answered the question. The paper is literately composed, with minimal errors of spelling and grammar, in a scholarly tone and appropriate level of diction, has a meaningful title that is connected to its strong and easily identifiable, insightful, sophisticated thesis, which is supported by a sound argument and well-chosen primary and secondary sources and examples. It makes a substantial contribution to the topic. The paper explores a topic that is manageable within the prescribed length and demonstrates its author’s thorough understanding of the primary materials and ability to analyze them from a fresh and exciting perspective. The author anticipates and defuses counter-arguments in a persuasive manner. Further, a superior paper defines key terms in its argument and avoids jargon; its paragraphs have excellent transitions and well-connected mini-thesis. The organization is effective, and the conclusion is suitable in tone and answers the “so-what” question. The Good Paper (B+/B) The assignment has not just been followed but fulfilled. The paper contains occasional lapses in spelling, grammar, and diction, has a slightly unclear thesis, but it has an effective introduction and conclusion. Secondary sources and evidence cited do not support all points made. The author acknowledges but does not address counter-arguments. The paper explores a topic that is not well defined and unmanageable, but it does demonstrate its author’s understanding of the primary materials and ability to analyze them. The author’s interpretation of the material in question is hindered by a regurgitation of other critics’ interpretations. A paper in the B+/B category defines key terms, but its argument is clouded by jargon. The paper has a few unclear transitions, or a structure that does not always move the argument forward. The B- / C+ Paper The paper has problematic sentence structures and frequent problems in diction and spelling. It does not have a well-defined topic and a strong thesis. The argument is not supported by CMLIT 453 12 appropriate evidence, and quotes appear without critical analysis or evident connections to the argument. The paper has unclear transitions, and does not anticipate or address counter-arguments. The C / C- Paper The thesis is difficult to identify. The paper suffers from major problems in sentence structure, grammar, spelling, and diction. It uses very few and weak examples, and does not demonstrate a clear understanding of the primary and secondary materials. Transitions are confusing, and the structure does not move the argument forward. The paper contains unnecessary plot summaries or character sketches, and restates obvious points or other critics’ interpretations. The D+ / D Paper The paper suffers from more serious problems in thesis, structure, argument and use of evidence, and diction. It makes no attempt to follow the assignment; the choice of topic or thesis is poor (too broad, too narrow, or inappropriate). The Failing Paper The paper is difficult to understand owing to major problems with diction, structure, format, argument and use of evidence. It does not have an identifiable thesis and does not follow guidelines for the assignment. Above all, the paper is off the assignment, even if it is correctly and coherently written. It may be plagiarized; either it is someone else’s paper or it has used sources improperly or without documentation. Tips for Writing a Good Essay 1. Resources iStudy Academic Integrity Module It has been incorporated into the ANGEL course website (go to: http://cms.psu.edu/ and click on “Lessons” and then “Important iStudy Modules”). It can help you understand and avoid plagiarism. MLA style documentation guide http://www.dianahacker.com/resdoc/humanities/english.html Writing Tips – Grammar Guides http://www.colorado.edu/English/ENGL2012Klages/grammar.html How to Do a Close Reading, Sophia McClennen, Penn State University http://www.personal.psu.edu/users/s/a/sam50/closeread.htm Common Errors in English http://www.wsu.edu/~brians/errors/ Useful Links Related to Plagiarism Common excuses for plagiarism: http://tlt.its.psu.edu/suggestions/cyberplag/cyberplagstudent.html University Undergraduate Advising Handbook: http://www.psu.edu/dus/handbook/integrity.html College of Liberal Arts Academic Integrity Resources for Students: http://www.la.psu.edu/undergrad/integrity/studentpolicy/studentres.htm CMLIT 453 13 Statement by the Council of Academic Deans: http://www.psu.edu/provost/integrity.htm Undergraduate W riting Center The UWC is a center that provides undergraduate peer tutors (trained in a three-credit course) for Penn State students. Discuss writing in progress with the tutors during appointment or drop-in hours. There are also specialists in English as a second language, offering tutorials by appointment. Most successful writers discuss and revise their papers before handing them in. Contact Jon Olson, Director, at [email protected] and 1-814-865-6383 or July Story, Associate Director, at [email protected] and 865-0259 (http://www.psu.edu/dept/cew/) Students wishing to schedule morning appointments or simply ask questions may speak with a student receptionist at 863-3240. Afternoon and Evening Drop-In Hours: • 219 Boucke: Monday through Thursday, 1:30-9:30 p.m.; Sunday, 6:00-9:30 p.m. • 206 Johnston Commons (East Halls): Monday through Thursday, 2:30-4:30 p.m. and 7:00-10:00 p.m.; Sunday, 7:00-10:00 p.m. Morning Appointment Hours (863-3240): • 219 Boucke: Monday through Thursday, 9:00 a.m.-1:00 p.m. Electronic Tutoring: Online tutorials may be scheduled at http://www.psu.edu/dept/cew/writingcenter/UWC/e-tutoring.htm. This e-tutoring is on the ANGEL course management system and uses both asynchronous and synchronous interaction. 2. Step-by-step Guide YOUR INTRODUCTION: -Give background information needed to talk about your topic. Example: Who is Freud? What theory of his will you be using? -Thesis: What are you going to prove in the essay? What is the point of it? If it helps you can even say “In this essay I will prove…” (and then perhaps take it out in editing). BODY PARAGRAPHS: -Always start with a transition sentence that moves the reader from the last paragraph to this one! -Concrete Detail: As a rule of thumb, every general statement you make relevant to your thesis should have an example to back it up -- and vice versa, details should not be given at random, but only for summarizing in the argument. State a fact. -Back-up sentence: Usually 1-2 sentences giving your own argument supporting the fact. **Important. Do not assume that your reader knows what you are talking about. If you use technical terminology from the reading (which you should) either quote or define it in your OWN words -- or both. CONCLUSION: -Wrap up your argument in the first sentence of your conclusion by re-stating your major points. To do this, think “In this essay I have proved…” -Tie together any loose ends you may have in the essay. Make sure that you have made ALL the connections for the reader. Your argument is weakened when the reader is asked to "connect the dots" for you. CMLIT 453 14 NOTE: -Short essays are fundamentally about the quality of your sentences, not the quantity. You must learn to argue succinctly because the majority of written work you will do in the “Real World” will be short (i.e. memos, abstracts, e-mails, proposals, grants, presentations). THESIS: Finding an appropriate thesis requires a combination of sharp analysis of what is being asked in the question, excellent knowledge of the course, and imagination.