English 345 Shakespeare Spring 2010

English 345.02 Shakespeare                                                                        Spring 2011
Dr. Stephan Flores (sflores@uidaho.edu)                                                       www.uidaho.edu/~sflores
1:30pm-2:20 pm MWF TLC 045
http://www.webpages.uidaho.edu/~sflores/                                                    885-6156; 885-6147
MW 2:30pm-3:30 p.m. & by appt.                                                                      315 Commons

Prerequisite: English 102 or equivalent; English majors must have completed English 210 or 310, or 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. Note: this Norton edition is required--do not plan to use other editions.

Additional essays/articles and related resources online via the class Blackboard site and also via links further below.

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 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 commentary on each play (from the Norton edition’s introductory headnotes, or from Shakespeare: The Basics, or an article that I've made available in Blackboard resource folders on each play, or a direct citation/response to a sample or peer DS entry on a Blackboard threaded discussion). Discussion Starters present a means for you and the class to share enthusiasms and questions as you delve into the text’s significance, methods, and effects, in the context of others' comments (a version of Graff's "They Say, I Say" exchange). No late entries —Discussion Starters are due/posted on Blackboard before class (by 12:30 p.m. that day). Come to class prepared to share/exchange your DSs/ideas first in an assigned group, and then we’ll rotate responsibility for putting a spotlight on individual DSs, using the projector introduce the DSs viv Blackboard to facilitate discussion. Missing or late discussion-starter entries will be counted against your semester grade (see below).

3. Critical Essay on Richard III , or The Merchant of Venice, or Henry the Fifth, or Twelfth Night, or Measure for Measure; 1600 words for main body of essay, double-spaced, with reference to at least one piece of “instructor-specified” secondary criticism beyond our assigned reading in the Norton edition and in McEvoy, according to selections 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, for instance, link to MLA format guidelines further below, and the Norton Shakespeare's online resources/example of developing a research essay.

4. Term Essay on play or plays (excluding topic of prior Critical Essay, 2200 words for main body of essay, double-spaced (12 pt, Times New Roman, 1-inch margins, MLA format, approximately 6-8 pages for main body of essay), with significant reference to at least two “instructor-specified” secondary works of criticism (from folders on Blackboard), which include 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. See also general advice for critical essays similar to prior advice on the Critical Essay that pertains as well to this term essay.

5. 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).

6. 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.

7. Attendance: If you have no absences by the semester's end (excused or not), you will receive three bonus points; with only one absence you will receive two bonus points. Three absences will not affect your semester grade; a fourth absence will lower your semester total by three points, with a three-point reduction for each additional absence (six absences=minus 9 points, seven absences = minus 12 points); nine or more absences is sufficient cause for you to receive a failing grade for the course, regardless of your semester point total. All absences will be counted—excused or not—if something extraordinary occurs, talk to me.

8. Grades: Midterm Exam (50 pts); Critical Essay (100 pts); Term Essay (130 pts). These required assignments add up to a maximum of 280 points. Thus 252-280 points equals an A, 224-251 equals a B, 196-223 equals a C, 168-195 equals a D, and anything below 168 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 missing discussion-starter entries will be counted against your semester grade, with the loss of five points for each missing or incomplete entry, to a maximum loss of 45 points.

9. 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).

10. 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.

11. 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 Spring 2011 (subject to some tweaking/revision as we go along): See/review online study questions further below, resources/critical essays on each play on Blackboard, and read the The Norton Shakespeare introductions to each play and to each genre, and McEvoy Shakespeare: The Basics chapter sections. Film excerpts for each 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.

Dates	Monday	Wednesday	Friday
1/12-14		Introduction(s); Richard III	Sean McEvoy, Shakespeare: The Basics:-Introduction/(1) Understanding the Text: Shakespeare’s Language (1-30); Richard III
1/17-21	UI closed for Martin Luther King/Human Rights Day	Discussion Starter 1 due, on Richard III; McEvoy-(2) Shakespeare’s Language (31-54)	Richard III--recommended via Blackboard folder: Garber, Berger, Moulton, or Maus's essays
1/24-28	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)	The Merchant of Venice ; Katharine Eisaman Maus, “Shakespearean Comedy” (in Norton ed.); Discussion Starter 2 due, on The Merchant of Venice
1/31-2/4	The Merchant of Venice ; Greenblatt, “General Introduction: Shakespeare’s World” (Norton ed.); recommended: Ryan, Garber articles and resource folder (on Blackboard)	Henry the Fifth	Greenblatt, “The Playing Field”; McEvoy-(3) Types of Stage Action (55-70)
2/7-11	Discussion Starter 3 due, on Henry the Fifth ; McEvoy-(8) Understanding history: King Richard II, King Henry IV Part I and King Henry V (175-209)	Henry the Fifth; Jean E. Howard, “Shakespearean History” (Norton);	Henry the Fifth; McEvoy-(4) The Plays in Performance (71-104); rec.: Sinfield & Dollimore's essay, in Blackboard folder
2/14-18	As You Like It	As You Like It	As You Like It; Discussion Starter 4 due on As You Like It
2/23-25	UI closed for President's Day	As You Like It; rec.: Traub's and Rackin's essays on gender and sexuality and historical difference, on Blackboard	Hamlet; recommended: Gurr, “The Shakespearean Stage” (Norton ed.)
2/28-3/4	Hamlet; Discussion Starter 5 due on Hamlet; rec.: Thompson and Taylor chapter and resource file in Blackboard folder	Hamlet	McEvoy-(9) Understanding Tragedy: Hamlet, King Lear, Macbeth, and Othello (208-240); Hamlet
3/7-11	Hamlet	Twelfth Night	In-Class Midterm Exam
3/21-25	Twelfth Night; Greenblatt, “Shakespeare’s Life and Art” (Norton)	Twelfth Night	Discussion Starter 6 due on Twelfth Night ; rec.: Rixon's chapter and other essays on Blackboard
3/28-4/1	Twelfth Night (likely that we will start Measure for Measure today)	Measure for Measure	rec.: Walder, Baines, Ryan, and Piesse's essays in folder on Blackboard
4/4-8	Measure for Measure; Discussion Starter 7 due on Measure for Measure	Othello	Critical Essay due; Stephen Greenblatt, “Shakespearean Tragedy” (Norton)
4/11-15	Othello	Othello	Discussion Starter 8 due on Othello ; rec.: resource file as well as Newman, Callaghan, and Loomba's essays on Blackboard
4/18-22	Othello	Macbeth	Macbeth
4/25-29	Macbeth; Discussion Starter 9 due on Macbeth	Macbeth; Regan's chapter on Blackboard	Macbeth
5/2-6	McEvoy-(10) Understanding Romance: The Winter’s Tale and The Tempest (241-263); Walter Cohen, “Shakespearean Romance” (Norton)		Term Essay due
5/10	Tuesday, Final meeting: 12:30pm-2:30pm

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):