English 345.01, Shakespeare                                                           Fall 2007                             
Dr. Stephan Flores (sflores@uidaho.edu)                                        www.uidaho.edu/~sflores
12:30-1:45 pm TR Admin 317                                                                       
http://www.webpages.uidaho.edu/~sflores/                                     885-6156; 885-6147
MW 1:00-2:00 p.m. & by appt.                                                        315 Commons

Prerequisite: English 102 or equivalent; English majors must have completed or be currently enrolled in English 210 or English 175, or enroll by permission of instructor.

Syllabus/Course Schedule

Required Texts:
               The Norton Shakespeare.  Ed. Stephen Greenblatt.  Norton, 1997.
               McEvoy, Sean.  Shakespeare: The Basics.  Second edition.  Routledge, 2006.
               Criticism and other historical texts available on library reserve.

Course Description: We will study Shakespeare's drama through primary and secondary texts and films, and exchange points of view as we work together to develop our understanding of selected plays in the genres of comedy, history, tragedy, and romance.  Through assigned readings, class and group discussion, and written analyses, the class shall explore the social, sexual, political, performative, and formal issues that these texts represent, and consider Shakespeare's development as a playwright.  Enrollment limit of 38.

Requirements:

1.  Nine Journal/Discussion entries (preferably typed): a thesis or problem-driven and also often question-posing paragraph (or more) response, to some aspect of the assigned reading.  One of the entries (#3, #4, or #5) must include a paraphrase and explicating commentary of a short passage (fifteen lines or so) from one of the plays.  A paraphrase restates and translates to provide the gist of the original (even as the paraphrase both explains and necessarily alters meaning).  An explication presents a meticulous line-by-line close reading (annotation) to provide a questioning sense of the text’s meanings, methods, and implications.  The explication is both explanatory and implicitly argumentative: an occasion for you to clarify and advance your understanding and interpretation of the passage and its function.  This also is a chance to share your enthusiasms and your doubts as you delve into the text’s significance and purpose.  Note: no late entries accepted—these assignments are due in class.

2.  The Critical Response assignment on Richard II or 1 Henry IV (850 words, single-spaced, titled) directs you to explore a significant issue and rhetorical strategy that you identify in relation to cultural, historical, or theoretical contexts and concerns. Your topic may be prompted in part by our discussions, by published scholarship/criticism, and of course by your reactions and understanding. You might think of the response as a scaled down, sharply focused critical essay, one that contains the kernel of a hypothesis and topic that might serve as the cornerstone or shaping idea for a longer essay. Your analysis can be quite "thesis-driven"—that is, you may find it effective to compose a thesis for your response that maps out for readers the engaging, important points that you want to develop—or you may prefer a more reflective, question and problem-posing approach. Your observations and analysis should be succinct and sharply focused, with potential for substantial development. 

3.  In-class midterm exam on Macbeth and Twelfth Night.

4.  Critical Essay on The Merchant of Venice and/or Othello (1500 words for main body of essay, double-spaced, with reference to at least one piece of secondary criticism beyond our assigned reading in McEvoy, such as a relatively recent and substantial article or book chapter, as suggested in online recommendations for criticism on each play).  The primary aims of this thesis-seeking/problem-posing exploratory essay assignment is to engage with the play and its critical interpretation/reception by identifying problems, developing claims and arguments, and enriching your literary understanding, interests, and commitments.

5.  Term Essay on play or plays (excluding topic of prior Critical Essay, 2100-2200 words for main body of essay, double-spaced, with significant reference to at least two secondary works of criticism, such as fairly recent articles, book chapters): this critical essay develops ideas prompted by our study, discussion, and viewing of the plays, by recent scholarship, and by your perspectives.  I shall attend to the ways that you select, define, and engage questions and contradictions, and to the clarity, imagination, and grace that you demonstrate in presenting your topic, (hypo)thesis, and argument, and the extent to which your work engages with, explains, and contributes to the larger "conversation" of scholarship on the topic and drama under analysis.  I do not always expect essays to conclude by "solving" such problems or by "proving" your thesis; I hope that you address interesting topics (questions for debate, interpretation, and analysis) in thoughtful and useful ways.  Please feel invited to confer with me during the writing process.

6.  Participation in class and group discussion (including informal writing and performance exercises).  Please take advantage of opportunities to discuss your reactions, share your insights and study, and to listen and reply to others' ideas.  I shall call regularly upon groups to facilitate class discussion.  Groups shall also prepare in advance to lead off discussion once each during the semester.  On these days the group shall lead off our discussion by presenting their positions on the material (with some brief summary, focus on key points in the reading, perhaps some incorporation of secondary criticism or historical research or interpretation through direction and performance), and by suggesting further issues the class might consider.  I hope these strategies will enable you to move the class in directions you find most helpful, give you opportunities to develop critical skills through collaboration, and provide for a productive, interesting exchange of perspectives and participation among the class.

7.  Due dates: All required work is due at the beginning of class on the due date--work turned in later will be marked late and graded accordingly.  All required graded written work will be downgraded one notch (for example, B+ to B, converted to points for each assignment) for each weekday late (not just days classes meet but counting just one day for a weekend).  Work submitted more than a week late will not be accepted.  I will grant short extensions for medical and family emergencies--but talk with me as soon as possible to request an extension.  Always keep copies of your work.

8.  Attendance is required.  Excellent attendance is rewarded; poor attendance is penalized.  If you have no absences by the semester's end (excused or not), you will receive four bonus points; with only one absence you will receive three bonus points.  Two absences will not affect your semester grade, but a third absence will lower your semester total by five points, with a six point reduction for each additional absence (for example: four absences=minus 11 points, five absences = minus 17 points); six or more absences will cause you to fail the class, regardless of your semester point total.  Almost all absences will be counted--excused or not--if something extraordinary occurs, talk to me.

9.  Grades: Critical Response (40 pts); Midterm Exam (50 pts); Critical Essay (100 pts); Term Essay (130 pts).  These required assignments add up to a maximum of 320 points.  Thus 288-320 points equals an A, 256-287 equals a B, 224-255 equals a C, 192-223 equals a D, and anything below 192 merits an F.  I shall also reserve a potential five bonus points based on my perceptions of the strength of your participation and efforts over the semester; in addition, incomplete or insufficient journal entries will be counted against your semester grade, with the loss of up to three points for each missing or incomplete entry, to a maximum loss of 27 points.

10.  Office hours.  I encourage you to confer with me--especially before assignments are due--to talk about your interests, intentions, and writing strategies.  If you cannot make my regular hours (in 315 Commons), we’ll arrange another time.  I also welcome communicating with you by E-mail (sflores@uidaho.edu).

11.  Laptop and cell phone policy: use of laptops and cell phones during class is prohibited; occasional use of laptops, typically for group work and presentations, may be permitted with instructor’s approval.

12. Also please note that you should not submit work for this class--particularly the essays--that you have submitted or intend to submit for a grade in another course; as always, be careful to cite anyone else's work that you draw upon. Here is a useful guide to avoiding plagiarism, and information on the university's policies.

Additional reference sources for further study, for research for essays and class group presentations: I have placed over 40 works on UI Library Reserve, under English 345 Shakespeare (collections of essays etc.)

Questions on A Midsummer Night's Dream

Examples of some Journal Entries on MND [pdf]

Questions on Richard II

Prof. Teo Sipahigil's essay "God, Earthly Might, and Politics in Richard II" [pdf]

Prof. Sipahigil's Synopsis of Richard II [pdf]

Synopses of 1 & 2 HIV [pdf]

Examples of some Journal Entries on Richard II [pdf]

Study Questions on 1 Henry IV [pdf]

Examples of some Journal Entries on 1 HIV [pdf]

 Sites on 1 Henry IV:

http://english.sxu.edu/boyer/304_rdg_qst/h41_nor_qst.htm [study questions/guide]

http://www.mala.bc.ca/~johnstoi/eng366/lectures/henry4.htm [essay/guide]

Flores's Questions on Macbeth

Examples of some Journal Entries on Macbeth [pdf]

Prof. Boyer's Study Questions on Macbeth

Ian Johnston's Lecture on Macbeth

Flores's essay on Macbeth, for the Shakesperience program (1991) [pdf]

Lessons on Style (general advice/quited dated handout but perhaps worth looking over) [pdf]

Quick Advice on Punctuation (also dated) [pdf]

Example Student Essay on Politics and Authority in A Midsummer Night's Dream (not a recent essay, dates back quite a few years) [pdf]

Example Student Essay on Cymbeline (not a recent essay, dates back quite a few years) [pdf]

Flores's Questions on Twelfth Night

Examples of some Journal Entries on Twelfth Night [pdf]

Flores's essay on Twelfth Night for Shakesperience program (1991) [pdf]

Questions on The Merchant of Venice

Examples of some Journal Entries on The Merchant of Venice [pdf]

Interview with Trevor Nunn about PBS film production of The Merchant of Venice

Example of Midterm Explication Exams on TN and Macbeth [pdf1]

Examples of Midterm Explication Exams on TN and Macbeth [pdf2]

Examples of Midterm Explication Exams on TN and Macbeth [pdf3]

Questions on Othello

Examples of some Journal Entries on Othello [pdf]

Questions on King Lear [Prof. Boyer]

Examples of some Journal Entries on King Lear [pdf]

Ian Johnston's Lecture on King Lear

Summary of McCoy on King Lear

Questions on The Tempest

M.Hallen's Student Essay on The Tempest [pdf]

Selected Criticism on Shakespeare

Online Writing Center Resources (from writing essays to grammar and usage advice):

http://web.mit.edu/writing/Resources/Writers/index.html

http://writingcenter.gmu.edu/resources/handouts.html

Review Guide to Using MLA Style for Citing Sources