English 345 Shakespeare Fall 2009

English 345.01 Shakespeare                                                                        Fall 2009
Dr. Stephan Flores (sflores@uidaho.edu)                                                       www.uidaho.edu/~sflores
2:00-3:15 pm TR TLC 149
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, Engl 215, or English 175, or enroll by permission of instructor. Nonmajors are encouraged to have completed a prior college level literature or theater course, but this is not required.

The Norton Shakespeare: Essential Plays / The Sonnets. Second edition. Ed. Stephen Greenblatt. Norton, 2008. Or an alternative: you may select the four-volume set of The Norton Shakespeare, second edition, but if you have or buy the full hardback one-volume version, it will lack the introductions to the four genres. Also see your text's access code to Norton's online resources, which include special workshop/topics on The Merchant of Venice, Hamlet, and Othello, as well as guides to writing about literature and use of MLA citation format.

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 (enjoyment!) of selected plays in the genres of comedy, history, "problem play," and tragedy. Through assigned readings, class and group discussions, 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. Written work includes Discussion-Starter questions/comments, a Critical Analysis, a Midterm Exam, a Critical Essay, and a Term Essay.

The Comical History of the Merchant of Venice, Or Otherwise Called the Jew of Venice (1596-97)

1. Nine written Discussion Starters: a thesis/problem-driven, question-posing response (approximately 150 words each) to some aspect of the text/performance of each play, and/or related critical commentary on each play (from the Norton edition’s introductory headnotes and from Shakespeare: The Basics). Discussion Starters present a means for you and the class to share enthusiasms and doubts as you delve into the text’s significance, methods, and effects. No late entries —Discussion Starters are due in class (hard copy), with copies also posted on Blackboard following class (by 11:00 p.m. that day). Usually, you will share/exchange your DSs first in a small, assigned groups, and then we’ll rotate responsibility for putting a spotlight on individual DSs, with groups using the document cam to introduce the DSs to facilitate discussion. Incomplete or insufficient discussion-starter entries will be counted against your semester grade (see below).

2. The Critical Analysis assignment on your choice of The Merchant of Venice, or Much Ado About Nothing, or Henry the Fifth (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. 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.

4. Critical Essay on Much Ado About Nothing, or The Merchant of Venice, or Henry the Fifth, or Twelfth Night, or Measure for Measure (do not write about the play that was the subject of your prior Critical Analysis); 1600 words for main body of essay, double-spaced, with reference to at least one piece of “instructor-approved” secondary criticism beyond our assigned reading in the Norton edition and in McEvoy, such as a recent (since 1980) substantial article from a professional journal (e.g., Shakespeare Quarterly), or book chapter, (e.g., from books on library reserve), as suggested in the Norton edition, McEvoy, or recommendations posted on our class website 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. Use/learn Modern Language Association format for any notes or works cited.See also Overview of Evaluation Guidelines, Criteria, and also Resources for Critical Essays and also review advice for prior Critical Analysis assignment.

5. Term Essay on play or plays (excluding topic of prior Critical Essay and Critical Analysis, 2100-2200 words for main body of essay, double-spaced (12 pt, Times New Roman, 1-inch margins, MLA format), with significant reference to at least two “instructor-approved” secondary works of criticism, such as recent articles or 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: Please take advantage of opportunities to share your insights and to listen and reply to others' ideas. I hope that questions and discussions 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 among the class. I’ll form small groups, primarily for sharing Discussion-Starters (as noted above).

7. All required work is due at the beginning of class on the due date—work turned in late will be graded accordingly. 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: 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; a third absence will lower your semester total by five points, with a six-point reduction for each additional absence (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 Analysis (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 seven bonus points based on my perceptions of the strength of your participation and efforts over the semester; in addition, incomplete or insufficient discussion-starter entries will be counted against your semester grade, with the loss of five points for each missing or insufficient entry, to a maximum loss of 45 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. Use of laptops and cell phones during class is prohibited; occasional use of laptops—typically for group work and to access the online components of the class—may be permitted with instructor’s approval.

12. Do not submit work for this class 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. See highlighted link on the class website to a useful guide to avoiding plagiarism, and a link to information on the university's policies regarding plagiarism.

Additional reference sources for further study/research: I have placed over 40 works on UI Library Reserve, under English 345 Shakespeare (collections of essays etc.). Do not rely upon or incorporate research from non-refereed, non-“scholarly” sources or publications. As noted above, seek secondary sources from the bibliographies in our texts.

English 345.01 Semester Schedule Fall 2009 (subject to some tweaking/revision as we go along): See online study questions and other resources as well as the Norton introductions to each play and to each genre, related McEvoy chapter sections, and selected bibliographies in The Norton Shakespeare and Shakespeare: The Basics. Film excerpts for many of the plays will be shown. Plan to complete your initial reading of each play by the second day of class discussion for that play.

Week	Tuesday	Thursday
1	8/25 Introductions; The Merchant of Venice	8/27 The Merchant of Venice; Sean McEvoy, Shakespeare: The Basics:-Introduction/(1) Understanding the Text: Shakespeare’s Language (1-30)
2	9/1 The Merchant of Venice; McEvoy-(7) Understanding Comedy: The Taming of the Shrew, A Midsummer Night’s Dream, Measure for Measure, The Merchant of Venice, and Twelfth Night (139-174); Discussion Starter 1 due	9/3 The Merchant of Venice; McEvoy-(2) Shakespeare’s Language (31-54)
3	9/8 Much Ado About Nothing; Katharine Eisaman Maus, “Shakespearean Comedy” (in Norton ed.); Discussion Starter 2 due	9/10 Much Ado About Nothing; Greenblatt, “General Introduction: Shakespeare’s World” (Norton ed.)
4	9/15 Henry the Fifth; Greenblatt, “The Playing Field”; McEvoy-(3) Types of Stage Action (55-70)	9/17 Discussion Starter 3 due; Henry the Fifth; McEvoy-(8) Understanding history: King Richard II, King Henry IV Part I and King Henry V (175-209
5	9/22 Henry the Fifth; Jean E. Howard, “Shakespearean History” (Norton); McEvoy-(4) The Plays in Performance (71-104)	9/24 Critical Analysis (850 words) due on The Merchant of Venice, or Much Ado About Nothing, or Henry the Fifth; begin discussion of As You Like It
6	9/29 As You Like It; Discussion Starter 4 due	10/1 As You Like It
7	10/6 Hamlet; recommended: Gurr, “The Shakespearean Stage” (Norton ed.)	10/8 Hamlet; Discussion Starter 5 due
8	10/13 McEvoy-(9) Understanding Tragedy: Hamlet, King Lear, Macbeth, and Othello (208-240); Hamlet	10/15 In-Class Midterm Exam
9	10/20 Hamlet; Twelfth Night	10/22 Twelfth Night; Greenblatt, “Shakespeare’s Life and Art” (Norton)
10	10/27 Twelfth Night; Discussion Starter 6 due	10/29 Twelfth Night
11	11/3 Measure for Measure	11/5 Measure for Measure; Discussion Starter 7 due
12	11/10 Othello; Stephen Greenblatt, “Shakespearean Tragedy” (Norton)	11/12 Othello; Critical Essay due
13	11/17 Othello; Discussion Starter 8 due	11/19 Othello
14	11/24 Fall Recess	11/26 Fall Recess
15	12/1 Macbeth	12/3 Macbeth; Discussion Starter 9 due
16	12/8 Macbeth	12/10 Term Essay due; McEvoy-(10) Understanding Romance: The Winter’s Tale and The Tempest (241-263); Walter Cohen, “Shakespearean Romance” (Norton)
17		12/18 final class meeting, Friday, 12:30pm-2:30pm (perhaps to discuss some sonnets!)

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

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