Assignments and Due Dates
April 9, 2011
English 214: Introduction to Fiction
Professor PearsonEmail: firstname.lastname@example.orgRM 301 (816) 418-1078Office Hours: A-Day (10:50-1:00) B-Day (7:30-9:10) After School: 2:30-3:30 or by appointment| | |
Tentative Schedule of Assignments/Cognitive Reflections/Essays: April 4-April 8| April 6: Reading Poetry pp. 743-750 a. Read Robert Frances, “Catch” pp. 750-751 b. A Sample Student Analysis pp. 751-754. c. Read Elizabeth Bishop, “The Fish” pp. 755-756.BCR: Which lines in this poem provide especially vivid details of the fish? What makes these descriptions effective?Homework: Poetry in Popular Forms pp. 774-777. a. Read S. Pearl Sharp, “It’s the Law: A Rap Poem” pp. 778-779. b. Answer questions 1, 2, and 3 p. 779 Due April 8, 2011.April 8: Writing about Poetry: From Inquiry to Final Paper pp. 790-797. a. Read William Blake, “The Lamb” p. 961 b. Read William Blake, “The Tyger” p. 961BCR: The poem “The Tyger” from Blake’s Song of Experience is often paired with “The Lamb.” Describe the poem’s tone. Is the speaker’s voice the same here as in “The Lamb”? Which words are repeated, and how do they contribute to the tone?Homework: Read Robert Frost’s “Design” p. 1116 and William Hathaway’s “Oh, Oh” p. 748. Write a 100 word response to the following: Compare the ironic tone of “Design” with the tone of William Hathaway’s “Oh, Oh”. What would you have to change in Hathaway’s poem to make it more like Frost’s? (Assignment must be submitted via email to email@example.com by April 10, 2011, 12:00 midnight).Complete cognitive reflection on (http://quizstar.4teachers.org/indexs.jsp). Access to cognitive reflection will close April 12, 2011, 12:00 midnight. Will be completed in class April 12, 2011.| April 11-15| April 12: Word Choice, Word Order, and Tone pp. 799-804. a. Read Katharyn Howd Machan, “Hazel Tells LaVerne” p. 807. b. A Sample Student Response pp. 808-809. c. Read Gwendolyn Brooks, “We Real Cool” p. 827. d. Read Joan Murray, “We Old Dudes” pp. 827-828.BCR: Compare the themes of “We Old Dudes” and Brooks’s “We Real Cool.” How do the two poems speak to each other?Homework: Write a poem similar in style that characterizes your life as a student. Due April 14, 2011.April 14: Reading Drama pp. 1363-1365; 1381-1384; 1393-1394 a. Read Susan Glaspell, “Trifles” pp. 1365-1375. b. A Sample Close Reading pp. 1376-1378. c. Read Susan Glaspell, “from the Short Story Version of Trifles” pp. 1378-1380. d. Writing about Drama, pp. 1407-1409 e. A Sample Student Paper, pp. 1410-1412BCR: Which version brings the reader into more intimate contact with the character? How is this achieved?Homework: “Seinfield” pp. 1394-1396Read Larry David “Seinfield: The Pitch” pp. 1396-1405. Write a 100 word response to the following: Write a response that explains whether or not you think David Ives’s play Moby-Dude, Or: The Three-Minute Whale, pp. 1801-1803, fills George’s prescription that a story should be about “nothing”? (Assignment must be submitted via email to firstname.lastname@example.org by April 17, 2011, 12:00 midnight).| April 18-22| April 18: Images pp. 837-838 a. Read Mary Robinson, “London’s Summer Morning” pp. 848-849. b. Read William Blake, “London” pp. 850 c. A Sample Student Response, pp. 851-852Homework: Read Patricia Smith, “What It’s Like to Be a Black Girl (for Those of You Who Aren’t) pp. 854-855. BCR: Describe the speaker’s tone. What images in particular contribute to the tone? How do you account for the selected tone? Due April 20, 2011.Complete cognitive reflection on (http://quizstar.4teachers.org/indexs.jsp). Access to cognitive reflection will close April 22, 2011, 12:00 midnight.April 20: Figure of Speech, pp. 864-874 a. A Sample Student Response, pp. 875. b. Read John R. Searle, “Figuring Out Metaphors” pp. 886-887Homework: Read Linda Pastan, “Marks” p.883.BCR: Explain...