ENGL 425/525: Shakespeare (Spring 2004)
NEW: Suggestions for writing about Shakespeare.
| Instructor: | Dr. Shawn Smith |
| Office: | Grainger G06 |
| Phone: | 395-2797 |
| E-Mail: |
(This is the best way to contact me.) |
| Web page: |
http://www.longwood.edu/staff/ssmith Consult this page for a version of this syllabus that contains links to study and research resources. See my handouts for suggestions on writing about literature. |
| Office hours: | MW 10:00-11:30 and by appointment. |
| Class meets: |
MWF at 1:00 in Grainger G16. |
COURSE DESCRIPTION AND OBJECTIVES
This course introduces students to a number of plays by Shakespeare. In addition to discussing the themes and ideas that arise in these plays, we will spend a great deal of time exploring Shakespeare's linguistic and dramatic achievement by balancing close readings of the text with an awareness that Shakespeare's works are plays meant to be performed on a stage.
TEXTS (Pelican editions of the plays, available at the Longwood University Bookstore)
Richard III [ISBN: 0140714839]
A Midsummer Night's Dream [ISBN: 0140714553]
1 Henry IV [ISBN: 0140714561]
Henry V [ISBN: 0140714588]
The Merchant of Venice [ISBN: 0140714626]
Measure for Measure [ISBN: 0140714790]
Macbeth [ISBN: 0140714782]
Othello [ISBN: 0140714634]
The Tempest [ISBN: 0140714855]
The Sonnets [ISBN: 0140714537].
If you already have a good, annotated edition of Shakespeare's complete works (or feel that this is the time to buy one), feel free to use it instead. I'd be happy to provide suggestions on an appropriate text.
Optional: Shakespeare A to Z, ed. Charles Boyce. [ISBN: 0385313616]
You should also have a good collegiate dictionary, and please acquaint yourself with the location of the Oxford English Dictionary (second edition) in the library at your earliest convenience.
INTERNET RESOURCES
The Oxford English Dictionary (Second Edition). Use the "browse" function.
Luminarium (medieval and Renaissance texts)
Perseus Project (classical texts)
COURSE REQUIREMENTS
A 4-5 page paraphrase and analysis of a sonnet. Go here for instructions (15%).
A group performance project, which will be presented to the class (15%).
Class preparation and participation (10%). Note that this portion of your grade will be adversely affected by frequent late arrivals or early departures, sleeping or chatting during class, and clock gazing. (See also the attendance policy, below.) I reserve the right to begin administering quizzes and assigning daily response papers if it appears that students are not prepared for class discussion.
Final paper of 5-7 pages (20%). Go here for instructions.
Midterm and final exams (20% each).
(ENGL 525 students will make an oral presentation and write an 10-12 page final paper.)
Other information on papers: Go here to learn about MLA format (but note that this style sheet is not comprehensive--you may need to consult the MLA Handbook on some formatting issues). Papers that do not quote and cite verse (and prose, for that matter) properly will be returned for reformatting. Please include your e-mail address on your paper. See my handouts for information on writing about literature. See the Longwood University Style Manual for other formatting issues.
POLICY MATTERS
Please arrive on time, and be prepared to listen, think, and contribute. Please turn off wireless phones, pagers, headphones, and other electronic devices that might disrupt class. Please treat other students and your instructor in a civil and respectful manner. Note that classroom disruption is a violation of Longwood University's honor code.
The Longwood University attendance policy in the 2003-2004 Undergraduate Catalog will be the attendance policy for this course. You will receive an F on work missed because of unexcused absences. Your grade will be lowered by one letter grade if you miss 10 percent of the scheduled class meeting times for unexcused absences. You will receive an F if you miss a total (excused and unexcused) of 25 percent of the scheduled class meeting times. If you are absent, it is your responsibility to obtain notes from a classmate (as well as announcements about syllabus changes or other matters). Exams can be made up only under the most grave circumstances, and with documentation from an MD or a Longwood University official. If you foresee a conflict, I expect you to discuss it with me beforehand. Written assignments handed in late will lose one letter grade for each class day late. Plagiarism, cheating, and other forms of intellectual dishonesty will result in an F for the course and referral to the Longwood University Judicial system. For details on Longwood University's honor code and judicial system, direct your web browser to: http://www.longwood.edu/judicial.
Please submit all written work for this course to me in hard copy--e-mail attachments will not be accepted. You should keep electronic versions of any work you submit for this class, and the graded work I hand back to you, until after you have received your final grade. In case of inclement weather, continue to read the daily assignments, and check the course web page for announcements.
Note: the syllabus may be changed at any time if necessary, though I'll try to give you as much advance notice as possible. Please check the web page regularly for updates.
CALENDAR
Please read each play in its entirety before we begin discussing it in class. As we discuss it in class, carefully read it a second time. Consult the study questions on my web page to prepare yourself for class discussion.
| 12 January | Course introduction. |
| 14 January | Sonnets. Choose a sonnet you would like to spend a few days working on. In preparation for class discussion, do the following: (1) write a 3-5 sentence paraphrase of your sonnet, and (2) in a paragraph, discuss what the poem does that your paraphrase is unable to capture. Except for the online version of the OED, and the links above, do not use the Internet or secondary literature to find information on your sonnet. Instead, print out a copy of my Poetry Explication Checklist and use it as a guide for developing your own reading of the sonnet. Take this work seriously--it will be the basis for your first writing assignment, the Paraphrase and Analysis Exercise (go here for instructions). |
| 16 January | Sonnets. In preparation for class discussion, look up all the nouns and adjectives in your sonnet in the OED and be prepared to discuss with the class anything interesting that you find. Use my OED Handout as a guide. |
| 19 January | Sonnets. Repeat the exercise from the previous day, but this time look up all the verbs and adverbs in the OED. Again, be prepared to discuss your findings. |
| 21 January | How to read Shakespearean drama, and some thoughts on Elizabethan and Jacobean stage conditions. |
| 23 January | Richard III. A comparison of the Olivier and Loncraine/McKellen versions of the opening soliloquy. |
| 26 January | Richard III. Class cancelled because of snow. Continue to read Richard III, and continue to work on your Paraphrase and Analysis Exercise, which will still be due on 2 February. |
| 28 January | Richard III. |
| 30 January | Richard III. |
| 2 February | Al Pacino's Looking for Richard. First essay (Paraphrase and Analysis Exercise) due. |
| 4 February | Richard III. A discussion of the Loncraine/McKellen staging of Act 5. |
| 6 February | A Midsummer Night's Dream. Film versions of 1.2: A silent version, Max Reinhardt (Jimmy Cagney as Bottom), and Michael Hoffman (Kevin Kline as Bottom). |
| 9 February | A Midsummer Night's Dream. |
| 11 February | A Midsummer Night's Dream. |
| 13 February | A Midsummer Night's Dream. Group performance project by Amber Mader, Jennifer Higgins, and Lorie Keener. |
| 16 February | Class canceled because of snow: see below for syllabus changes. |
| 18 February | 1 Henry IV. |
| 20 February | Class canceled. |
| 23 February | 1 Henry IV. Film versions of 2.4 (Chimes at Midnight and My Own Private Idaho). |
| 25 February | 1 Henry IV. Group performance project by Jim Shifflett, Nate Spencer, and Sallie Smith. |
| 27 February | Henry V. |
| 1 March | Henry V. Olivier vs. Branagh. |
| 3 March | Finish Henry V. Group performance project by Nicole Toney, Christine Mann, and Jessica Watkins. Review for midterm exam. |
| 5 March | MIDTERM EXAM. |
| 8-12 March | Spring Break |
| 15 March | The Merchant of Venice. |
| 17 March | The Merchant of Venice. |
| 19 March | The Merchant of Venice. Group performance project by Anne Sheldon, Josh Howell, and Kelly Brown. |
| 22 March | Measure for Measure. |
| 24 March | Measure for Measure. |
| 26 March | Measure for Measure. Bob Dylan, "Seven Curses." Group performance project by Wendy Gray, Melissa Ousdahl, and Sharon Blythe.. |
| 29 March | Macbeth. Stagings of "we fail" (1.7.60) and "oh, oh, oh" (5.1.52). Judy Dench, Roman Polanski, Orson Welles. |
| 31 March | Macbeth. |
| 2 April | Macbeth. Group performance project by Gina Allen, Kristine Lynch, and Jennifer Wille. Nate Spencer's presentation on Akira Kurosawa's Throne of Blood. |
| 5 April | Othello. |
| 7 April | Othello. |
| 9 April | Othello. |
| 12 April | Othello. Group performance project by Brent Fleisher, Laura Soulsby, and Kathryn King. |
| 14 April | The Tempest. |
| 16 April | The Tempest. |
| 19 April | The Tempest. Some thoughts on the Derek Jarman film version. |
| 21 April | Forbidden Planet. |
| 23 April | Forbidden Planet. Second essay due. |
| 26 April (3-5:30) | FINAL EXAM |