Bellevue Community College
English 268A: American Literature:
Civil War to End of World War 1 (5 credits)
Instructor: Pauline Christiansen

Course Description | List of Books | Grade Sheet | Criteria for Finding Themes |
| Outside Paper assignment | Grading Procedues | Video Tapes |
Guide to Documentation | Division Policies |
Pauline Christiansen's Home Page

DESCRIPTION OF COURSE:
An informally presented reading-discussion course on American writers showing
the philosophies behind the works and their impact on the American conscience.

EVALUATION TECHNIQUE:

1. Series of announced quizzes (plot level and identification of
   characters on works read.)
2. Equally weighted mid-term (identification and discussion of
   ideas and style in selected reading excerpts) and optional final.
3. Short outside paper (3-5 pages) on American writers of your
   choice from this time period.
   

Sample List of BOOKS USED:

• Emily Dickenson, FINAL HARVEST
• Stephen Crane, THE BLUE HOTEL AND OTHER STORIES
• Kate Chopin, THE AWAKENING
• Frank Norris, McTEAGUE
• Edith Wharton, THE AGE OF INNOCENCE
• Theodore Dreiser, SISTER CARRIE
• Henry James, THE AMERICAN
• Elizabeth Stuart Phelps, THE STORY OF AVIS
• Mark Twain, HUCKLEBERRY FINN
  

Christiansen GRADE SHEET English 268

Click here to see Grading Procedures

 CRITERIA FOR FINDING THEMES

Throughout our analysis, we must be guided by a clear idea of what we
are looking for--a theme that fits the story, in that it gives meaning to every part
and is suggested by every part. More specifically, the theme should meet some
such criteria as the following: ¹

1. An adequate interpretation should account for every prominent detail in the
   story. This is the most important criterion. Perhaps the commonest error in
   analysis is fixing upon a theme which ignores a number of conspicuous events.
   And perhaps the second most common error is giving these events a strained
   or farfetched meaning so as to make them fit.
2. An adequate interpretation should not be contradicted by any details of the
   story. The author is trying to communicate something; he will not willingly defeat
   his own purpose. Rather like a good scientist, a reader should be sensitive to
   contradictory evidence and be ready to change his interpretation if necessary.
3. An interpretation should not rest upon evidence not clearly stated or implied
   by the story. Some readers of Conrad's "The Secret Sharer" account for the
   strange resemblance of Legatt to the captain by assuming the two to be long-lost
   twins; others account for the captain's sympathy for this murderer by assuming a
   secret murder in the captain's past. Unfortunately, there is no evidence in the story
   for either idea. One reason for this sort of error is the unhappily common phrase
   "the hidden meaning," suggesting that the author is a human pack rat, forever
   hiding things away.
4. Finally, the interpretation should be directly suggested by the story. In other
   words, if the theme is courage, we may expect to see some explicit appearance
   of or reference to courage. Some persons, having read a poem describing a
   day from sunrise to sunset, immediately assume that it symbolizes man's life
   from birth to death. But, if the author means this, why hasn't he referred to
   man's life, if only in the title or an incidental metaphor? Similarly, we must not
   assume that every story that contains a bear is an allegorical comment upon
   the Russian situation.
5. Unfortunately, these lists of approaches and criteria may seem to imply that
   interpreting a story is a mechanical process. We should remember that to look
   for the theme is, after, all, simply to ask ourselves, "Why did the author write
   this story? What made it seem worth writing?" We should remember, too, that
   we gain nothing from having the instructor or a friend tell us what the story
   "mean"--unless, that is, we apply the knowledge. The profit comes only in
   our ability to see how the theme suffuses the details of the story, how it gives
   the described experience the focus and depth of reality.
   
   ¹"The student and the 'Hidden meaning': A list of Criteria,"
   College English, XVII (May, 1956), 478-479 DR. Stanton

OUTSIDE PAPER ASSIGNMENTS FOR LITERATURE CLASSES

Purpose of the Assignment
To show that you can take a fairly complex piece of literature (not covered in
class and new to you) and apply the techniques of analysis used in class to write
a paper demonstrating how all parts of the work (characters, incidents, style)
unite to create an artistic whole around given ideas or themes or attitudes the
author is trying to present.

Suggested Choices:

1. A single novel or short story (play, if a drama lit. class; poem if a poetry
literature class) of the period covered in class. Check with me if you're not
sure if your choice is appropriate or adequate or acceptable.

2. A combination of two or more stories (or plays or poems according to the
class taken) used for contrast or comparison of an idea or ideas presented.
You may use works covered in class as part of your contrast and comparison
material as long as the major focus of your paper is on some new work not
covered in class.

3. A comparison and contrast within different media (e.g., short story to a
film or play) as long as the major focus is on the genre (fiction drama, or
poetry) of the course at hand. In a course (such as American Lit. or
European Lit.) where a country or time period rather than a specific genre
is stressed, any genre may be chosen as long as the major focus is on a
written work (rather than a film or live play production) since the course
is on literature in its written form.

4. If a particular writer's themes and styles particularly intrigue you, you
may attempt to write an original short story, parable, or chapter for a novel
(play or poem if applicable) copying his style and idea content. Your original
story must be accompanied by an analysis of how your work is a parody
or serious copy of the writer you are dealing with. This analysis must be
included if you make this choice since it will enable me to give you maximum
credit for your analytical awareness (which is the major focus of this course
since this is not a creative writing course) even if you do not have a great
deal of writing talent.

Suggested Length:
Five-seven typewritten pages. If you have less or more pages, don't worry,
but don't pad. However, if you're on the short side, be sure you have been
as specific as possible and have included adequate examples to have covered
all relevant parts of the work at hand.

Points to Remember:

1. Write the paper with a person in mind who has supposedly read the work,
   but who doesn't understand it. You are attempting to clarify for him or her
   what the idea of the story is and how the parts support it. Give plenty of
   examples explaining why they are relevant. Don't assume information is
   obvious; point out how and why your examples back up the points you
   are presenting.
   
2. Be idea oriented. Don't waste time summarizing or retelling the story.
   Begin with themes within the story (e.g., In (Name of Story) .
   (Name of Author) is dealing with the themes of________ , ________,
   and _____________. )
   Then show how all parts of the story relate to these themes (characters,
   incidents, style).
   
3. Choose a work of some merit that is a challenge to you so you will
   grow by attempting it.
   
4. Get started NOW.

Grading Procedures

Grading Procedure and Requirements for Literature Classes

1. Quiz grades: This is largely a discussion class. To enable discussion to be
   active and meaningful, however, it is necessary that everyone read a book
   before we begin to examine it. One of the course procedures, therefore, is
   to give a short quiz prior to the discussion of a book, play, group of short
   stories, or essays. These quizzes require a close reading of the book to have
   all characters and incidents firmly in mind, but they do not require interpretation
   of an event's or character's significance or meaning. The quizzes are corrected
   n class and are used as a take-off for later discussions on significance since
   items are chosen for their relevance to a writer's important themes and ideas.
   A quiz thus becomes an instant study guide for rereading a book with increased
   awareness. A student is allowed to drop the lowest quiz grade. Because one
   quiz grade may be dropped, no make-ups are allowed for quizzes missed.
   Quizzes usually begin around the second week of the course to allow time for
   presentation of introductory material and/or a sample run-through of some
   shorter pieces of literature to show the procedure we will follow. If you are
   not prepared to take a quiz, attend the class anyway and simply copy quiz
   answers and questions without turning them in, since using them as a guide
   will speed up your reading and understanding of the material.
   
2. Mid-Term format: The mid-term roughly covers the first half of the course.
   
   The Mid-Term is an identification-significance type of exam. An excerpt from
   each book discussed in class is given to the student, and he/she is asked to:
   
   A. Identify which book or short story, or play it is from by author
   and title.
   B. Identify what incident the excerpt describes, identifying all
   characters by name and function in the story and giving
   generally the who,
   what, when, and where pertaining to the incident.
   C. Discuss the excerpt in terms of relevant themes or ideas it
   presents in the story.
   D. Discuss the stylistic qualities that help identify the excerpt as
   being the identified writer's product.
   
   The mid-term is graded (6 points possible for each excerpt) on a competitive
   scale based on total class performance.
   
   Note: The test format will be further explained in class prior to the exam.
   (The mid-term counts as 3 grades.)
   
3. An outside paper: The paper must be in analytical form and cover an
   author from the time period studied. See handouts on paper assignment
   choices and format. The book choice must relate to the class focus and
   should be somewhat challenging to you. Ask if you are not sure if a choice
   is appropriate or acceptable. (The outside paper counts as 3 grades.)
   
4. Optional final: It is the same format as the mid-term but covers only the
   last half of the course. The optional final will count as 3 grades. If a student
   has a borderline grade and would like to try for a higher grade, he/she may
   elect to take the final. Don't elect to take the final unless you are well prepared.
   
5. Attendance: The single factor that correlates most closely with grades in
   this class is attendance. ATTENDANCE WILL BE GRADED. Anyone
   missing more than 10 class sessions will no longer be eligible for a grade
   in the class.
   
   Any student who misses the first week of orientation for this class will not
   be eligible fora grade in the class and will be advised to drop it and retake
   it another quarter. (Note: A student can arrange to have the class taped in
   emergencies to retain his/her attendance. All arrangements are solely the
   responsibility of the student. The student must and notify the instructor
   prior to the absence covered.)
   
   The format of the mid-term and final gives a decided advantage to the
   student who has attended all classes. If a good student entering the class
   with a high level of critical awareness does not attend class, he will find
   that he cannot compete with the equally accomplished students who have
   attended. Attendance can make as much as an entire grade's difference in
   the final analysis. Attend class even for the quiz that you drop, since you
   will never be penalized for being present, and will always miss something
   if you aren't. If you do not like to attend classes regularly or have difficulty
   doing so, it is strongly recommended that you drop this class and take
   another where attendance is not as important.
   
6. Minimal grade requirements: A student must take the mid-term and
   turn in an outside paper to receive a grade in the course. If any of the
   above are missing, he/she will receive an NC in the class. If only one is
   missing, he/she is eligible for an Incomplete if he contracts for one before
   he final week of the class. A student cannot expect private tutoring from
   the teacher to make up an Incomplete. If he cannot do the missing work
   on his own, it is recommended that he drop the class before the drop
   deadline and receive a "W". Since a teacher normally does not teach the
   same literature course more than once a year, it is not possible for a student
   to sit in on the class the following quarter. We discourage incompletes except
   in emergency situations since most transfer institutions require that they be
   removed, and it is difficult to come back to material after a lapse of time
   and when new classes are demanding one's attention. Incompletes must
   be made up the quarter after they are given.

VIDEO TAPES


TAPES

Video tapes on basic review areas are available in the Audio-visual Center of the library. You may request them at the audio-visual desk.
Please use the VT number in ordering or looking for the appropriate tape or tapes on the shelves.

---

SPELLING

Christiansen Spelling - Tape #1 (38 minutes)

VT 362 - Suggests six specific ways to attack a spelling problem giving concrete examples
of how to make each way work.

Christiansen Spelling - Tape #2 (60 minutes)

VT 363 - Presents a master list of problem words (collected from composition papers
over the last six years). Groups the words around patterns they have in common. Presents
aids to increase spelling retention.

PUNCTUATION

Christiansen Basic Punctuation Review - Tape #1 (50 minutes)

VT 278 - Covers use of semicolon, colon, commas, dash, and paragraphing

Christiansen Fragments - Tape #2 (20 minutes)

VT 279 - Presents the word patterns that commonly produce incomplete sentences and
how to correct them.

VT 280 - Clarifies Christiansen Run-Ons - Tape #3 (15 minutes)
what punctuation marks can be used to separate complete sentences without producing
run-ons.

Christiansen - Punctuating a Paragraph - Tape #4 (15 minutes)

VT 281 - Reviews the principles taught in the first 3 tapes by correctly punctuating
an entire paragraph.

STYLE

Christiansen Style and Mechanics Tape (60 minutes)

VT 361 - Presents a check list of stylistic points to increase a paper's clarity and
effectiveness. Covers wordiness, awkward phrasing, poor word choice, improved word placement, colorful verbs, ambiguous pronouns, formal style format, correct pronoun
agreement, sentences variety, apostrophes, title choice, cliches, paragraphing, ordering
of ideas, and tone.

The Writing Lab Guide to Documentation, MLA Style

This is the new standard of documentation adopted by the Modern Language Association.
It replaces the practice of using footnotes to mark citations of sources. Instead, the writer
briefly identifies sources in the text itself or by author and page in parentheses. At the end
of the paper, an alphabetically arranged list titled Works Cited replaces the endnotes page
and in most cases the bibliography as well. If there are works that the writer consulted but
did not cite, they are listed alphabetically on a separate Works Consulted page.

Use the following as a guide when citing sources.

Wherever possible, include the reference as part of the text in your paper. For example,
if you were writing a paper about Seattle and its climate and you wanted to quote a
famous author who grew up in Seattle, you would cite the reference in the text this way:

In her autobiography, Memoirs of a Seattle Girlhood, Elspeth Wetly describes growing
up in Seattle as "a damp experience" (219)
Note that the punctuation (the period) follows the parentheses.

When it's awkward to include the source as part of the text, enclose the citation in
parentheses following the relevant material. For example, if you wanted to make a
general statement about reactions to Seattle's climate, you might say:

People who grew up there complain that Seattle is a damp city to live in (Wetly 219).

Note that the author's last name is included within the parentheses when the author is
not mentioned in the text. It is not necessary to include the title within the parentheses
unless more than one work by the same author (or works by authors with the same
name) is cited in your paper.

If consecutive citations are made from the same source, only the page number is
required in the citations following the initial citation. If another work is cited between
citations from a single work, the author's name must be repeated as well.

The following passage shows examples of the preceding guidelines.

People who grew up there complain that Seattle is a damp city to live in
(Wetly, Memoirs 219). This dampness, in fact, leads to frequent minor illnesses
among the population in general (Wetly, Dripping 204). Often, these illnesses can
last through the winter, and in at least one case, a common cold "dragged on for an
entire hanky-soaked year" (274). The dark, damp autumns, winters and springs can
also lead to serious depression. In some people, the depression abates only in July and
early August, when Seattleites celebrate the presence of the usn by staging the annual
Seafair festival (Wetly, Memoirs 156).

The sources cited in your text are listed alphabetically on the Works Cited page. This
list is where detailed information such as the date and place of publication is included.
The Works Cited list should be double spaced with no extra spaces between sources.
All but the first line of each entry are indented five spaces.

SAMPLE CITATIONS OF THE MOST COMMON SOURCES

A BOOK BY A SINGLE AUTHOR

List the author's name (last name first), the title of the book (underlined), the city where
it was published (if several cities are listed, use the one in this country or the first one if
they are all in this country), and the year it was published (use the most recent year if the
work has been published more than once).

If you list more than one source by the same author, the second one begins with three
hyphens for each name of the author.

Wetly, Elspeth. Dripping Forests and Running Noses. Seattle: Evergreen Publications,
1965.
---, ---, Memoirs of a Seattle Girlhood. Portland: Pristine Press, 1970.

A BOOK BY MULTIPLE AUTHORS

If there are two authors, the second is listed by first name then last name. For more
than two authors, you need only list the first one. The Latin term "et al" refers to the
subsequent authors.
Strunk, William and E.B. White. The Elements of Style. 3rd ed. New York:
Macmillan, 1979.

Jolley, Janina M. et al. How to Write Psychology Papers. Sarasota, Florida:
Professional Resource Exchange. 1984.

A WORK IN ANTHOLOGY

List the author of the work, the title of the work (in quotes), the title of the book,
the editor of the book, place of publication, publisher, date and the page(s) on
which the work appears.

Faulkner, William. "Dry September." Modern Stories in English. Ed. W.H. New
and H.J. Rosengarten. New York: Crowell, 1975.

AN ARTICLE IN A MAGAZINE

List the author, the title of the article, the name of the magazine, the date of the
magazine (for weekly periodicals, list the day, month abbreviation, and year) and
the pages on which the article appears.

Beedy, Kevin J., PH.D. "The Politics of Animal Rights." The Animals' Agenda
March 1990: 17-21.

Stewart, William. "A War on Poverty." Time 30 Apr. 1990: 23-25.

AN ARTICLE WITH NO AUTHOR IS LISTED BY THE TITLE
OF THE ARTICLE.

"Some Help for Working Mom." Time 9 Apr. 1990: 39.

If you are using a source not covered in this handout (a government publication,
an interview, a film or a videotape, for example), consult MLA Style Manual,
which lists just about every conceivable source. This book is available in the
Writing Lab.

Arts and Humanities Division Policies

Students in all Arts and Humanities courses should be aware of the following:

1. Attendance:
   
   Attendance for all of our classes is mandatory. The Arts and Humanities faculty
   feel strongly that Bellevue Community College is not a correspondence school.
   This policy is intended 1) to prevent instructors from having to adjudicate individual
   excuses, and 2) to recognize that excuses are ultimately irrelevant both here at
   BCC and in the workplace.
   
   While specific attendance policies are up to individual faculty members, the Arts
   and Humanities Division recognizes that attending class is perhaps the most important
   way in which students can set themselves up for success. Conversely, not attending
   class almost certainly leads to failure.
   
   Students in performance courses (Drama, Music, etc.) are reminded that attendance
   builds the professional relationship necessary between partners or working groups.
   
   In order for students to be eligible for a grade in a course, they must not miss more
   than ten classes for any reason. When absences go beyond ten, instructors may a)
   give a grade of "F" for the course, b) give a grade of "Z" for the course, or c) lower
   the final grade as much as they see fit. This does not imply that you may be absent
   fewer than ten times without seeing an effect on your grade; indeed, we wish to
   emphasize that any absence undermines your progress and will result in your having
   to work harder to catch up. Ten absences is merely the figure beyond which you
   cannot go without risking your eligibility for a course grade.
   
   In summary, when you are absent from a class more than ten times in any given
   quarter, you may receive a failing grade. Whatever written policy an instructor
   has in the syllabus will be upheld by the Arts and Humanities Division in any
   grievance process.
   
2. Dropping A Course:
   
   If you decide to drop a course, you are responsible for doing the required paperwork.
   Should you fail to do so, your name will appear on the final roster and your instructor
   may elect to give you a "Z" or "F." The instructor is under no obligation to use the "Z"
   grade under these circumstances. Many instructors, in fact, feel strongly that students
   who take up seats in this unproductive way are keeping more serious students from
   getting an education, so they elect to use "F" grades for "phantoms."
   
3. Classroom Environment:
   
   The college's "Affirmation of Inclusion, is posted in each classroom and sets forth the
   expectation that we will all treat one another with respect and dignity regardless of
   whether or not we agree philosophically. this expectation is in line with the principle
   of free speech in a free society: we have the right to express unpopular ideas as long
   as we don't show disrespect for reasonable people who might believe otherwise.
   
   Part of this respect involves professional behavior toward the instructor, colleagues,
   and the class itself. Disruptive behavior is disrespectful behavior. The Arts and
   Humanities Division honors the right of its faculty to define "disruptive behavior,"
   which often involves such things as arriving late, leaving early, leaving class and then returning, talking while others are trying to hear the instructor or their group members,
   doing other homework in class, wearing earphones in class, bringing activated beepers, alarm watches, or cellular phones into class, inappropriate comments or gestures, etc.
   Such behavior interrupts the educational process. When you are in doubt about any behavior, consult your instructor during office hours: we recognize the judgment of
   the instructor as the final authority in these matters.
   
   When disruptive behavior occurs, instructors will speak to the students concerned.
   Those students are then responsible for ending the disruptions at once. Failure to
   do so may result in removal of the students from class.
   
4. Academic Honesty:
   
   The principle of academic honesty underlies all that we do and applies to all courses
   at Bellevue Community College. One kind of academic dishonesty is plagiarism, which
   may take many forms, including, but not limited to, using a paper written by someone
   else, using printed sources word-for-word without proper documentation, and
   paraphrasing or summarizing the ideas of others without acknowledging the source.
   In short, plagiarism is passing off someone else's ideas or words as your own; it
   amounts to intellectual theft--whether or not it was your intention to steal.
   
   Participating in academic dishonesty in any way, including writing a paper or taking
   a test for someone else, may result in severe penalties. Dishonestly produced papers automatically receive a grade of "F." The Dean will also be notified of such conduct,
   and repetition of the behavior may result in suspension from BCC.
   
   Students in English 102 should note that documentation is a major objective of that
   course, so failure to scrupulously document supporting material in your papers may
   result in a failing grade for that entire course. Students in all courses requiring research papers should also note that matters of documentation form go beyond editing; they
   are closely related to the content of the paper. Improper form in research papers is
   grounds for failing the paper. Individual instructors will clarify documentation
   requirements for specific assignments. If you have any doubts as to whether you
   are documenting properly, do not hesitate to consult your instructor.
   
5. Reading Level:
   
   Reading skills are absolutely essential for your success in any college program.
   The following reading levels are recommended for our courses.
   
   ENGL 094 or 095 - 081, 085, 087 reading level
   ENGL 096 or 097 - 085, 087, 089 reading level
   ENGL 098 or 099 - 087, 089, 106 reading level
   most 100 level courses - high 089, 106, or college level
   200 level courses - 106 or college level
   
   Our experience shows that students reading three levels below the level of a course
   text can expect to fail the course.
   
6. The First Week of Classes:
   
   It is important to attend classes from the very beginning. If you cannot do so, you
   are responsible for notifying your instructor. Your instructor is in no way responsible
   for re-teaching material that you missed because of your failure to attend the first
   classes. Indeed, missing crucial introductory material may affect your performance
   during the remainder of the course.
   
7. Classroom Materials:
   
   Students are responsible for consulting their syllabus daily and bringing to class
   the appropriate texts and writing materials. Failure to do so does not constitute
   an excuse from the daily work.
   
8. Late Work:
   
   Individual instructors make their own policies on accepting or grading late work.
   The Arts and Humanities Division believes strongly that honoring deadlines is essential
   for student success. Consulting your instructor for policies regarding late work. In
   general, late work may be a) downgraded--as severely as the instructor chooses,
   b) given no credit, but still be required for passing the course, or c) not accepted
   at all. The extent to which late work affects grades is up to the instructor. Instructors
   may also elect not to give feedback to works in progress if required drafts or plans
   are not turned in on time.
   
   Failure to attend class on the day a paper is due does not constitute an excuse
   for lateness. Similarly, your missing an exam does not oblige the instructor to give
   a make-up. Your instructors will give you their individual policies on late papers
   and missed exams.
   
   All lateness or absence on due days or exam days should be arranged with the
   instructor well in advance.
   
9. Auditing:
   
   Auditing a course does not excuse students from doing the work of the course.
   All auditors need to meet with the instructor during the first week to sign a
   contract specifying the level of participation that is expected.
   
   
10. Waiting Lists:
    
    Generally speaking, instructors cannot keep waiting lists, since the first three days
    of classes are open enrollment--first come, first served. After that, instructors may
    sign students in as they see fit. Certain English classes have waiting lists maintained
    by Registration.
    
11. Retaining Student Work:
    
    Your instructor is free to destroy any student work not picked up during the first
    week of the quarter immediately after your course was offered. If you want work
    held longer for pick up, you must make arrangements in advance with your instructor.
    
12. Student Responsibility:
    
    It is the student's responsibility, not the instructor's, to initiate communication about
    progress or concerns with the course. Instructors are under no obligation to inform
    students that work is overdue, to nag students to complete assignments, to call
    students who fail to attend class. Similarly, students need to keep themselves
    informed about syllabus changes that may have been made in class. We suggest
    finding a partner the first week of classes and keeping each other up to date if
    one is absent.
    
13. Students With Special Needs:
    
    Students requiring special accommodations are invited to discuss their needs
    with their instructor, who may need to consult Disabled Student Services. We
    are committed to making every effort to meet special needs.
    

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