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West Chester University

Spring 2006 and Fall 2005

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Fall 2004and
Spring 2005

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Fall 2002

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Course Syllabi and Announcements
  LIT 165 Syllabus
  LIT 165 Announcements and Assignments
  WRT 120 Syllabus
  WRT 120 Announcements and Assignments

Notebook for Topics in Literature: Imaginary Worlds (Spring 2008)
  A Reading of THE TEMPEST

Notebook for Topics in Literature: Rites of Passage (Spring 2006)
  Goals of the Course
  Fundamental Questions about Literature
  Valuing Literature
  Critical Thinking and Reading Literature
  Critical Approaches to Literature
  Literature as ART
  Ambiguity
  Approaching the Art of Fiction
  Defining the Short Story
  Evaluating Short Fiction
  Craft of Fiction: PLOT
  Craft of Fiction: CHARACTER
  Small Group Exercise
  ARABY by James Joyce
  WHERE ARE YOU GOING, WHERE HAVE YOU BEEN? by Joyce Carol Oates
  Our RITES OF PASSAGE Theme
  A note about GIRL
  POE and the art of STORY OF A HOUR
  THE YELLOW WALLPAPER
  YOUNG MAN ON SIXTH AVENUE
  Notes on Innovative Fiction
  Assignment Sheet for Paper #1
  Fiction and Ambiguity - Your Questions
  Writing Workshop - Short Fiction
  Poetry Journal Project Assignment Sheet
  LITERARY SYNTHESIS PROJECT
  Defining Poetry
  Reading Poetry
  The Craft of Poetry
  Drama and Tragedy
  Study Questions: DEATH OF A SALESMAN

Notebook for Effective Writing I (Spring 2006)
  Paper #4 Assignment Sheet
  Critical Thinking and Commentary
  Casebook: Evaluating Sources Worksheet
  Selecting Information
  Evaluating Arguments
  CASEBOOK PROJECT Assignment Sheet
  Approaching Persuasive Writing
  Topic Development - Profile Essay
  Generating Ideas for the Profile Essay
  Paper #2 Assignment Sheet
  Profile Exercise
  Analyzing THE FIVE BEDROOM, SIX FIGURE ROOTLESS LIFE
  Objective Writing: Selected Readings
  Writing Workshop: Paper #1
  Expressive Writing in the NYTimes
  Writing Effective Introductions and Conclusions
  Paper #1: IDENTITY
  Expressive Writing
  Open Letter Exercise and Examples
  EMERSON on Individuality vs. Conformity
  Literature related to IDENTITY
  Understanding the 'Rhetorical Situation'

Go Exploring
  Weblog for WRT 120
  Writing Assistance on the Web
  Blackboard at WCU
  WCU Homepage
  WCU's Francis Harvey Green Library

Notebook for Topics in Literature: Imaginary Worlds (Fall 2005)
  One Last Look at Imaginary Worlds
  Franz Kafka's BEFORE THE LAW
  Analyzing WAITING FOR GODOT
  Approaching WAITING FOR GODOT
  Paper #3: Assignment Sheet
  Paper #4: Independent Project
  The Problem of Stability in BRAVE NEW WORLD
  UTOPIA/DYSTOPIA Links
  Analyzing Huxley's BRAVE NEW WORLD
  Defining Utopia
  Embarking on Huxley's BRAVE NEW WORLD
  A Reading of Shakespeare's THE TEMPEST
  From today's news (11/3/05)
  Assignment Sheet for Paper #2
  Goodbye to Dante's Imaginary World
  Stepping Through Dante's Inferno: Cantos 10-34
  Stepping Through Dante's Inferno: Cantos 1-10
  INFERNO: Questions/Analysis: Cantos 32-34
  INFERNO: Questions/Analysis: Cantos 18-31
  INFERNO: Questions for Analysis: Cantos 12-17
  INFERNO: Structure
  INFERNO: Questions for Analysis: Cantos 1-5
  INFERNO: Analyzing Canto 1
  Relating to Dante's Inferno
  Approaching Dante's DIVINE COMEDY
  A Little Help with Dante's INFERNO
  Assignment Sheet for Paper #1
  Notes on LEAF BY NIGGLE
  Responses to LEAF BY NIGGLE
  ON FAIRY STORIES: An Essay by Tolkien
  Notes on Axolotl
  Reading Ovid's Tales
  From Myth to Literature: Approaching Ovid's Tales
  Notes on THE EYE OF THE GIANT
  Functions of the Genesis Tales
  Analyzing Mythic Tales
  Defining Mythology
  Filtering the Introduction to FANTASTIC WORLDS
  Commentary on LA BELLE DAME SANS MERCI by Keats
  Commentary on DARKNESS by Byron
  Handout: Imagination Poems Set
  What is Imagination?
  Our Course Theme: Imaginary Worlds
  LIT 165 Assignments: Fall 2005
  LIT 165 Announcements: Fall 2005
  Imaginary Worlds: Course Syllabus

Notebook for Effective Writing I (Fall 2005)
  Paper #4: Independent Thinking/Reading/Writing
  Casebook Preparation Checklist
  Casebook Assignment Schedule
  Evaluating Sources for the Casebook
  Casebook Project Assignment Sheet
  Notes on Rational Argument
  Argument
  Assignment Sheet: Objective Writing
  Reviewing Elements of the Profile Essay
  Writing the Profile Essay
  Readings: Objective Writing
  Assignment Sheet: Expressive Writing
  Rubric for Evaluation of Writing
  About SKIN DEEP
  Emerson on Individuality vs. Conformity
  Mind-map: Identity
  Understanding the 'Rhetorical Situation'
  Assignments Page
  Announcements Page
  WRT 120 Course Syllabus for Fall 2005

ENG Q20: Basic Writing

Go Exploring
  Weblog for WRT 120
  Writing Assistance on the Web
  Blackboard at WCU
  WCU Homepage
  WCU's Francis Harvey Green Library

 
SMALL GROUP DISCUSSION
“ The Story of an Hour” (p. 15)
“A Sorrowful Woman” (p. 38)
“A & P” (p. 553)
“Eveline” (432)
“Love in L.A.” (256)
“Araby” (handout)

PRINTER FRIENDLY


Directions:  Choose several of these questions to respond to together in class today.  The questions prompt you to apply concepts we’ve discussed so far (ambiguity, plot, character).  Wherever it’s possible to use specific illustrations from the stories to support your conclusions, try to do so.  Your work will be collected at the end of class today.  [If you missed this assignment in class and are making it up for homework, choose any three questions and write out your response.]

AMBIGUITY
  1. The concept of “freedom” is already very abstract and ambiguous; it seems to mean something slightly different in light of each of the stories we’ve read so far.  Freedom is even hard to classify: is it an idea, an emotion, a state of being?   What is freedom?   Think about the different ways this word could be defined in light of several stories you’ve read so far.
  2. Zero in on the character of Jake in “Love in L.A.”  What are at least two or three different ways you could interpret his character?  Begin by brainstorming a list of adjectives which you think describe him.  See if any of these adjectives contradict one another.  Are some positive and some negative?  Can you use these impressions to help you develop alternative ways of thinking about Jake?
  3. “Maturity” is another ambiguous concept.  Maybe you’ve already noticed that each of these stories have characters who are in the process of growing up.  Is there a common thread that unites their various experiences, or does each story seem to interpret this process slightly differently?  How would you rate each character on the “maturity scale,” with a “1” being least mature and a “5” being most mature?

PLOT
  1. How would you describe the conflict in each of the stories you’ve read so far?  How are these conflicts resolved by the story’s end?  
  2. We said that plot helps us determine why things are happening, that a carefully constructed plot helps us see the causes behind the actions characters take.  Towards the end of “Love in L.A.” Jake lies to Mariana, even though he likes her; he gives her a fake name and fake insurance information.  Why?
  3. The writer James Joyce defined “epiphany” as the moment in the story when the reality or the essence of something or someone is sharply, sometimes painfully, revealed.  (The events of the story are designed to bring about this epiphany.) This moment is a kind of insight, but it may be the reader and not the character who gains this insight.  What moments of epiphany are there in several of the  stories you’ve read so far?

CHARACTER
  • A short story often highlights one main character, the protagonist.  One decision we make as we try to “relate to” or “identify with” these protagonists is whether or not they seem believable to us.  Consider the believability of each of the protagonists you’ve encountered in the stories so far by considering whether it’s realistic that:
  • Mrs. Mallard in “The Story of an Hour” feels liberated by the death of her husband?
  • The wife in “A Sorrowful Woman” is so depressed for seemingly no reason?
  • Sammy quits his job for three girls who don’t notice him?
  • Eveline stays with her family in Dublin rather than sail away with Frank?
  • Mariana falls for Jake and gives him her phone number?  Is it realistic that Jake lies to her?
  • That the boy in “Araby” feels so extremely foolish at the end of the story?
  • The main character of a short story can be described as “dynamic” or “static.”  How would you describe each of the main characters in the stories you’ve read so far, and why?  

 

 

 

     

 


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