Tuesday, April 29, 2008
Sunday, April 27, 2008
Final exam questions. Answer 2 in your blue book. This will be due during the scheduled final exam slot which I will post later. (Either May 6th or 7th).
1). Unnatural Behavior. The Tempest is concerned with a conflict brought about by the "unnatural" behavior of a villainous protagonist (in this case Prospero's younger brother Antonio) who plots against and overthrows the rightful ruler of the land, usurping the throne. In ususurping the throne he has acted against God (since a monarch was thought to rule through divine will) and violated the bonds of brotherly love (and of human decency, exposing his banished brother's innocent daughter to a life of hardship or death). Antonio's "unnatural" behavior also recalls that of the traitors/usurpers in Richard II: in order to usurp his cousin’s throne Bolingbroke must gain the support of the noblemen and the people of the state. In the end he successfully disposes Richard II. But in The Tempest, what goes around comes around: shipwrecked on Prospero's island, Antonio is at the mercy of the brother he deposed, while Alonso's younger brother Sebastian plots to kill him and usurp his throne. (The presence of two sets of "unnatural" brothers is present. Look for passages that illustrate these parallels as you read. Note references to "natural" and "unnatural" behavior, to divine justice or Providence, and to "nature" in the text. Be sure that you have the various characters straight!
2) Comic Relief? The "unnatural" behavior of the brothers Antonio and Sebastian is mirrored by the comic subplot of the drunken butler Stephano, the jester Trinculo (whose name also implies drinking), and Caliban (more on him below), who enlists their aid to help him kill Prospero. Here the themes of treachery, plotting, and fitness to rule are treated. But as was true in A Midsummer Night's Dream (the "Rude Mechanicals or actors”) , these characters also serve as foils to the protagonists. Note ways in which the comical subplot mirrors darker, more serious events in the play as a whole. Do they get what they deserve? Is Caliban's punishment at the end of the play fitting?
3). And what about this Caliban? He is native to the island and claims to be its rightful ruler. He welcomed the shipwrecked Prospero and the infant Miranda to his island, found them food and drinking water, taught them to survive. He is sensitive to the beauty of Ariel's songs, and his own speeches can be surprisingly poetic. Note the passages in which this side of Caliban is expressed. Yet he is also presented as a monster, a "thing of darkness," the offspring of the witch Sycorax and the Devil. He is said to be "ungrateful" to Prospero and Miranda, who have done "everything" for him -- after all, they brought him civilization and language -- and he responded by trying to rape Miranda! From Prospero's perspective (as well as Miranda's), this barbaric ingratitude is sufficient justification for enslaving Caliban, causing him to be tormented by invisible spirits which pinch him to keep him in line (note passages which express their point of view). But from Caliban's perspective, Prospero is the ungrateful one, and a tyrant to boot. It was Caliban's island before Prospero arrived there; it was Caliban who did "everything" for the newcomers -- after all, without him, they would have perished. What then could be more "natural" than the union of Caliban, the island's only eligible bachelor, with Miranda, the only human female? (Who else is she supposed to marry -- her own father??) Consider the relative merits of these two positions and perspectives and pay attention to the passages in which they are expressed.
4.) Please elaborate on the two main characters in Shakespeare’s Richard II. Examine Bolingbroke's last speech. How does this speech reveal his thoughts on the death of Richard and his future as England's new monarch? Also examine Richard's final speeches as he awaits death. What do these speeches reveal about Richard the man and Richard the king?
5.) What is the point of the low-class characters in Much Ado About Nothing and Measure for Measure?
Why do they commit such drastic errors in word usage and word choice?
What does it mean that they are able to understand each other despite the egregious verbal mistakes?
How do we compare them to the upper-class characters?
6. Much Ado about Nothing is a play about both the strength of family bonds and the importance of reputation in forming new family alliances.
Note the prince's (Don Pedro's) embarrassment at thinking he may have matched Claudio with a slut and Leonato's desire to die when his daughter is publicly humiliated.
What codes does this set of social values place upon women in this society?
How do Beatrice's exuberant speech and Hero's alleged infidelity relate to each other in this code?
Good luck!
1). Unnatural Behavior. The Tempest is concerned with a conflict brought about by the "unnatural" behavior of a villainous protagonist (in this case Prospero's younger brother Antonio) who plots against and overthrows the rightful ruler of the land, usurping the throne. In ususurping the throne he has acted against God (since a monarch was thought to rule through divine will) and violated the bonds of brotherly love (and of human decency, exposing his banished brother's innocent daughter to a life of hardship or death). Antonio's "unnatural" behavior also recalls that of the traitors/usurpers in Richard II: in order to usurp his cousin’s throne Bolingbroke must gain the support of the noblemen and the people of the state. In the end he successfully disposes Richard II. But in The Tempest, what goes around comes around: shipwrecked on Prospero's island, Antonio is at the mercy of the brother he deposed, while Alonso's younger brother Sebastian plots to kill him and usurp his throne. (The presence of two sets of "unnatural" brothers is present. Look for passages that illustrate these parallels as you read. Note references to "natural" and "unnatural" behavior, to divine justice or Providence, and to "nature" in the text. Be sure that you have the various characters straight!
2) Comic Relief? The "unnatural" behavior of the brothers Antonio and Sebastian is mirrored by the comic subplot of the drunken butler Stephano, the jester Trinculo (whose name also implies drinking), and Caliban (more on him below), who enlists their aid to help him kill Prospero. Here the themes of treachery, plotting, and fitness to rule are treated. But as was true in A Midsummer Night's Dream (the "Rude Mechanicals or actors”) , these characters also serve as foils to the protagonists. Note ways in which the comical subplot mirrors darker, more serious events in the play as a whole. Do they get what they deserve? Is Caliban's punishment at the end of the play fitting?
3). And what about this Caliban? He is native to the island and claims to be its rightful ruler. He welcomed the shipwrecked Prospero and the infant Miranda to his island, found them food and drinking water, taught them to survive. He is sensitive to the beauty of Ariel's songs, and his own speeches can be surprisingly poetic. Note the passages in which this side of Caliban is expressed. Yet he is also presented as a monster, a "thing of darkness," the offspring of the witch Sycorax and the Devil. He is said to be "ungrateful" to Prospero and Miranda, who have done "everything" for him -- after all, they brought him civilization and language -- and he responded by trying to rape Miranda! From Prospero's perspective (as well as Miranda's), this barbaric ingratitude is sufficient justification for enslaving Caliban, causing him to be tormented by invisible spirits which pinch him to keep him in line (note passages which express their point of view). But from Caliban's perspective, Prospero is the ungrateful one, and a tyrant to boot. It was Caliban's island before Prospero arrived there; it was Caliban who did "everything" for the newcomers -- after all, without him, they would have perished. What then could be more "natural" than the union of Caliban, the island's only eligible bachelor, with Miranda, the only human female? (Who else is she supposed to marry -- her own father??) Consider the relative merits of these two positions and perspectives and pay attention to the passages in which they are expressed.
4.) Please elaborate on the two main characters in Shakespeare’s Richard II. Examine Bolingbroke's last speech. How does this speech reveal his thoughts on the death of Richard and his future as England's new monarch? Also examine Richard's final speeches as he awaits death. What do these speeches reveal about Richard the man and Richard the king?
5.) What is the point of the low-class characters in Much Ado About Nothing and Measure for Measure?
Why do they commit such drastic errors in word usage and word choice?
What does it mean that they are able to understand each other despite the egregious verbal mistakes?
How do we compare them to the upper-class characters?
6. Much Ado about Nothing is a play about both the strength of family bonds and the importance of reputation in forming new family alliances.
Note the prince's (Don Pedro's) embarrassment at thinking he may have matched Claudio with a slut and Leonato's desire to die when his daughter is publicly humiliated.
What codes does this set of social values place upon women in this society?
How do Beatrice's exuberant speech and Hero's alleged infidelity relate to each other in this code?
Good luck!
Thursday, April 17, 2008
Question about Caliban
Caliban is a character in THE TEMPEST who can be seen as representative of larger issues relevant in Shakespeare's day. Columbus has discovered the New World and colonization begins. In your opinion, how does Caliban represent what is going on in the world at that time or not? Elaborate. Feel free to use quotes or passages from the text. Also, feel free to bounce ideas off of one another. You can also respond to comments made by classmates. Examine how Caliban is depicted in the video below as well and feel free to comment about it as well.
Monday, April 14, 2008
Q- Ariel (more questions forthcoming)
And what about Ariel? A spirit in the service of the magician Prospero, he is similar to the fairy Puck who serves the Fairy King Oberon in A Midsummer Night's Dream. Note passages which make clear these parallels. But there are essential differences. Consider e.g. the bonds that tie them to their respective lords. Is their service offered willingly? Is it equally justifiable in each case? (Service to one's king or rightful lord is considered to be part of the "natural order" in Shakespeare’s time. But is Prospero Ariel's rightful king?) On the other hand, Prospero seems to feel genuine affection for Ariel, who for the most part serves him cheerfully enough. What do we make of that relationship? Finally, in A Midsummer Night's Dream we noted that in addition to being forces of Nature, the Fairies represented something concerning the power of dreams -- or of poetry, or of art -- to change "reality." Is anything analogous going on in The Tempest? Look for passages that emphasize the link between education (books, poetry, art), magic and power. Recall that TheTempest, Sheakepeare’s last complete work before retiring to Stratford, has commonly been considered Shakespeare’s "farewell to poetry" (Prospero breaking his staff, source of his magic, equals Shakespeare breaking his "pen," source of his magical artistry). To what extend can we equate Prospero’s magic with Shakespeare’s literary artistry or, more generally, with the magic of the theater?
Wednesday, April 2, 2008
Richard II- Act 3 Scene 3
Here Bolingbroke and Northcumberland catch up with Richard. Richard is on the balcony with Aumerle (The Duke of York's Son) and The Duke of Carlisle. Note that York is below with Bolingbroke. Also note that at the end of the play below The Duke of Carlisle is pardoned by Bolingbroke. Also later Aumerle is part of a plot to kill Bolingbroke, but the plot is discovered by his father the Duke of York. York convinces Aumerle to confess the plot to Bolingbroke thus saving his son's life.
Tuesday, April 1, 2008
Thursday, March 20, 2008
Friday, March 7, 2008
Wednesday, March 5, 2008
Okay, I finally got onto the CU webpage. The following information is from Cathy about the show:
It is not free, but read the good news below. If you can't attend, don't worry, just come to class instead.
*
I called the Dairy and here is the info for the show tomorrow night. First, it's free only for Boulder Valley School District, not University students. But, Thursday night is name your own price, so she said if you just make some kind of donation, that's all they require. I put 30 tickets on hold under your name, Sheryl Luna, since they have sold approx. 20 and the seating there is for 80. The show starts at 7:30 and they recommend going about a half hour early for seating. There is no dress code for this particular show.
The address is 2590 Walnut St. The entrance is located on 26th St between Walnut and Canyon. The telephone number is 303-440-7826 for anyone that has questions, and the hours that the box office are open are 10 am to 6 pm.
Let me know if you have any other questions
It is not free, but read the good news below. If you can't attend, don't worry, just come to class instead.
*
I called the Dairy and here is the info for the show tomorrow night. First, it's free only for Boulder Valley School District, not University students. But, Thursday night is name your own price, so she said if you just make some kind of donation, that's all they require. I put 30 tickets on hold under your name, Sheryl Luna, since they have sold approx. 20 and the seating there is for 80. The show starts at 7:30 and they recommend going about a half hour early for seating. There is no dress code for this particular show.
The address is 2590 Walnut St. The entrance is located on 26th St between Walnut and Canyon. The telephone number is 303-440-7826 for anyone that has questions, and the hours that the box office are open are 10 am to 6 pm.
Let me know if you have any other questions
Tuesday, March 4, 2008
DAIRY CENTER FOR THE ARTS INFO FOR THURS
This is all I have for now. I'll have to call tommorow re: students being free.
Address: 2590 Walnut Street; Boulder, CO 80302
phone: 303.440.7826 fax: 303.440.7104
email: info@thedairy.org
For
William Shakespeare's Much Ado About Nothing
Presented by: Boulder's Upstart Crow Theatre Company
Feb 22-Mar 8 at 7:30 p.m. Mar 2 at 2 p.m.
We'd be looking for the 7:30 showing on March 6th.
Address: 2590 Walnut Street; Boulder, CO 80302
phone: 303.440.7826 fax: 303.440.7104
email: info@thedairy.org
For
William Shakespeare's Much Ado About Nothing
Presented by: Boulder's Upstart Crow Theatre Company
Feb 22-Mar 8 at 7:30 p.m. Mar 2 at 2 p.m.
We'd be looking for the 7:30 showing on March 6th.
Friday, February 15, 2008
Monday, February 11, 2008
MLA links- you need to initially start on the CU server
I've found the MLA Bib. online from CU's websites. Here's the link:
http://libraries.colorado.edu/search/j?SEARCH=Literature,%20English%20and%20American--Most%20Useful
It's the 6th one down. You'll need to be on a campus computer or be using the "VPN Client" to get there though.
Here's that link:
http://www.colorado.edu/CNS/vpn/clients.html
Just download it and follow the directions. You start that program, log in and then you should be able to access CU stuff (like JSTOR and MLA) from an off-campus computer.
http://libraries.colorado.edu/search/j?SEARCH=Literature,%20English%20and%20American--Most%20Useful
It's the 6th one down. You'll need to be on a campus computer or be using the "VPN Client" to get there though.
Here's that link:
http://www.colorado.edu/CNS/vpn/clients.html
Just download it and follow the directions. You start that program, log in and then you should be able to access CU stuff (like JSTOR and MLA) from an off-campus computer.
Tuesday, February 5, 2008
Paper guidelines
Eng 3000 Shakespeare for non-majors 016, 017
Guidelines for papers
Length 5-7 pages double-spaced, not counting the Works Cited page, stapled
Modern Language Format (MLA)
Use two secondary sources, along with the play(s), poems you are writing about
The paper should have a clear thesis statement. It often helps to state the thesis in one sentence as an argument. Theme X is evident in William Shakespeare’s “Measure for Measure.” I would like you to find a theme that exists in the works that you find compelling. Your paper in essence is an answer to the word “because.” You want to show evidence from the text and outside sources that a particular theme exists. If you prefer you can also compare and contrast two characters or themes that are similar, but occur in two different plays. One thing I am particular about is that I want you to present details from the text to support your argument that a particular theme exists. It’s a good idea to try to complicate the thesis a bit too. For example, perhaps you are interested in the theme of Madonna/Whore depictions of women. Beyond merely stating that the theme exists in the play or plays, you can argue that such depictions of women challenged the partriarchchy of the day or you can argue that they reinforced it. However, you want to make sure that you don’t go too broad with a thesis. An example of this might be if you choose to write about a general theme such as suffering. You would want to narrow your focus. Who suffers in the plays and why specifically they are suffering and what effect does this have on an audience of readers. Be careful about making generalized arguments without offering specific support or evidence. Also, make sure you clarify why the specific passages or plot events do support your argument. One thing you want to avoid is merely listing passages or events and assuming the reader will understand your point of view. Avoid quoting lengthy passages.
Evaluation criteria:
Thesis statement
Organized and tightly unified paragraphs
Detailed specifics that support your claim, avoid sweeping generalizations and logical fallacies
Proper use of Modern Language Association format/Works Cited pages and in-text citations
Grammar, mechanics, overall organization
Thoughtfulness and originality (don’t merely repeat what’s been said in class)
12 pt. font, New Times Roman
Do not email me your paper unless I have specifically said it is okay to do so!
Staple your paper before coming to class.
Late papers will be deducted one letter grade a day. suggest utilizing the MLA Bibliography and other online databases offered by the university library to find articles that relate to your theme/argument. There is a writing center on campus that can help you with MLA formatting for a research paper.
Guidelines for papers
Length 5-7 pages double-spaced, not counting the Works Cited page, stapled
Modern Language Format (MLA)
Use two secondary sources, along with the play(s), poems you are writing about
The paper should have a clear thesis statement. It often helps to state the thesis in one sentence as an argument. Theme X is evident in William Shakespeare’s “Measure for Measure.” I would like you to find a theme that exists in the works that you find compelling. Your paper in essence is an answer to the word “because.” You want to show evidence from the text and outside sources that a particular theme exists. If you prefer you can also compare and contrast two characters or themes that are similar, but occur in two different plays. One thing I am particular about is that I want you to present details from the text to support your argument that a particular theme exists. It’s a good idea to try to complicate the thesis a bit too. For example, perhaps you are interested in the theme of Madonna/Whore depictions of women. Beyond merely stating that the theme exists in the play or plays, you can argue that such depictions of women challenged the partriarchchy of the day or you can argue that they reinforced it. However, you want to make sure that you don’t go too broad with a thesis. An example of this might be if you choose to write about a general theme such as suffering. You would want to narrow your focus. Who suffers in the plays and why specifically they are suffering and what effect does this have on an audience of readers. Be careful about making generalized arguments without offering specific support or evidence. Also, make sure you clarify why the specific passages or plot events do support your argument. One thing you want to avoid is merely listing passages or events and assuming the reader will understand your point of view. Avoid quoting lengthy passages.
Evaluation criteria:
Thesis statement
Organized and tightly unified paragraphs
Detailed specifics that support your claim, avoid sweeping generalizations and logical fallacies
Proper use of Modern Language Association format/Works Cited pages and in-text citations
Grammar, mechanics, overall organization
Thoughtfulness and originality (don’t merely repeat what’s been said in class)
12 pt. font, New Times Roman
Do not email me your paper unless I have specifically said it is okay to do so!
Staple your paper before coming to class.
Late papers will be deducted one letter grade a day. suggest utilizing the MLA Bibliography and other online databases offered by the university library to find articles that relate to your theme/argument. There is a writing center on campus that can help you with MLA formatting for a research paper.
Friday, February 1, 2008
Thursday, January 17, 2008
Monday, January 14, 2008
SYLLABUS ENG 3000.116 and 3000.117
Engl 3000 SHAKESPEARE FOR NON-MAJORS
016 TR 5pm-6:15 pm, HLMS 137, final exam Tues May 6th, 7:30pm-10 pm
017TR 8:00-9:15 pm, GUGG 205, final exam 10:30 am-1pm
Instructor: Dr. Sheryl Luna
Office: HLMS 103
Office hours: TR 4-5 pm
Email: Sheryl.Luna@colorado.edu
Textbook: THE NORTON SHAKESPEARE. Ed. Greensblatt
Description of Course: In this course we will read and discuss a number of Shakespeare’s plays and poems. We will also discuss the times Shakespeare lived and the role of women, the other, power and the theme of “acting” or “pretending” and how Shakespeare uses it to elaborate on our humanity and human nature.
Requirements: You will be required to write 3 five-seven page papers, double-spaced, stapled, 12 pt. font, MLA format, utilizing at least 2 secondary sources and the main text. Papers will be expected to have a clear thesis, be well organized and address some theme you find compelling. The thesis will need to be supported by details from the text, and the two secondary sources. The information in your textbook will be invaluable in helping you decide on themes present in the plays/poems.
We will have a comprehensive final exam, which will be a take-home essay exam, open book. Please write your essay responses in a blue book. It will be due the day the final exam is scheduled.
You will be required to do one group presentation utilizing visual and/or aural aides. Each group will present on a particular play. We will read 7-8 plays and a number of his poems in this class and the class will be largely discussion based, so you must attend and participate. You will be informed of who your group members are mid-way through the semester. Despite the fact that these are group presentations, grades will be given on an individual basis. So you are responsible for actively presenting the day the presentation occurs. Every member of the group must actively participate in the presentation. This way if someone is a no-show your grade will not be penalized. Presentations should be 20 minutes long.
Participation: Participation in class is crucial and more than 4 absences will negatively impact your grade in the course. Basically if you miss more than two weeks of class you will be penalized.
Disability Statement: If you have a disability that requires accommodations, please inform me the first two weeks of class. You must provide documentation from the campus office of disabilities in order to receive accommodations.
Grade determination: Each of the components above will be equally weighed and averaged in determining your grade. However more than 4 absences will negatively affect your grade in this course as stated above.
Behavior: Please be kind, courteous and generous with one another and with your instructor. Any disruption of the class activities will be dealt with according to University of Colorado, Boulder policies.
TENTATIVE CLASS SCHEDULE (SUBJECT TO CHANGE).
For now, begin Measure for Measure p. 2021, I will provide more specific pg. numbers for reading and add these to the blog/syllabus schedule. I may assign further reading from the early sections in the book such as Shakespeare’s World (Women in Print, Haves and Have-Nots etc, The Playing Field (Comic Spectacles) and so forth if time permits.
Week 1- Jan. 15th, 17th introductions, syllabus
Week 2- Jan 22nd --- Measure for Measure p. 2021
24th Continue reading Measure for Measure
Week 3- Jan 29th, Jan 31st No class
Week 4-
Feb 5- Finish reading Measure for Measure.
Feb 7- Begin The Tragedy of Othello: The Moor of Venice p. 2091
Week 5
Feb 12 Continue Othello
Feb 14 Continue Othello
Week 6
Feb 19th Paper I is Due
Feb 21 Begin A Midsummer Night’s Dream p. 805
Week 7
Feb. 26th Continue A Midsummer Night’s Dream
Feb. 28th Continue A Midsummer Night’s Dream
Week 7
March 4 Begin Much Ado About Nothing p. 1381
March 6 Continue Much Ado about Nothing
Week 8
March 11 Continue Much Ado about Nothing
March 13 Begin The Tragedy of King Richard the Second p. 943
Week 9
March 18 Continue Richard the Second
March 20 Paper 2 is Due- Continue Richard II
Week 10 SPRING BREAK
March 25 Continue Richard the Second
March 27 Continue Richard the Second
Week 11
April 1st Begin The Tempest p.
April 3rd Continue The Tempest
Week 12 Continue The Tempest
April 8 Continue The Tempest
April 10 Paper 3 is Due, To Be Announced
Week 13
April 15th Group work for group presentations
April 17th Group work for group presentations
Week 14
April 22 Group work for group presentations
April 24th Groups present to the class
Week 15
April 29 Groups begin presenting for the class
May 1st Groups present to the class; final exam questions handed out or posted on the class blog.
May 5th-May 10th finals week, see top of syllabus for when your final is scheduled. Final exam will be due at the time your final exam is slotted. It will be a take home essay exam. You will be provided the essay questions On May 1st. Please write your response in a blue book, double spaced.
016 TR 5pm-6:15 pm, HLMS 137, final exam Tues May 6th, 7:30pm-10 pm
017TR 8:00-9:15 pm, GUGG 205, final exam 10:30 am-1pm
Instructor: Dr. Sheryl Luna
Office: HLMS 103
Office hours: TR 4-5 pm
Email: Sheryl.Luna@colorado.edu
Textbook: THE NORTON SHAKESPEARE. Ed. Greensblatt
Description of Course: In this course we will read and discuss a number of Shakespeare’s plays and poems. We will also discuss the times Shakespeare lived and the role of women, the other, power and the theme of “acting” or “pretending” and how Shakespeare uses it to elaborate on our humanity and human nature.
Requirements: You will be required to write 3 five-seven page papers, double-spaced, stapled, 12 pt. font, MLA format, utilizing at least 2 secondary sources and the main text. Papers will be expected to have a clear thesis, be well organized and address some theme you find compelling. The thesis will need to be supported by details from the text, and the two secondary sources. The information in your textbook will be invaluable in helping you decide on themes present in the plays/poems.
We will have a comprehensive final exam, which will be a take-home essay exam, open book. Please write your essay responses in a blue book. It will be due the day the final exam is scheduled.
You will be required to do one group presentation utilizing visual and/or aural aides. Each group will present on a particular play. We will read 7-8 plays and a number of his poems in this class and the class will be largely discussion based, so you must attend and participate. You will be informed of who your group members are mid-way through the semester. Despite the fact that these are group presentations, grades will be given on an individual basis. So you are responsible for actively presenting the day the presentation occurs. Every member of the group must actively participate in the presentation. This way if someone is a no-show your grade will not be penalized. Presentations should be 20 minutes long.
Participation: Participation in class is crucial and more than 4 absences will negatively impact your grade in the course. Basically if you miss more than two weeks of class you will be penalized.
Disability Statement: If you have a disability that requires accommodations, please inform me the first two weeks of class. You must provide documentation from the campus office of disabilities in order to receive accommodations.
Grade determination: Each of the components above will be equally weighed and averaged in determining your grade. However more than 4 absences will negatively affect your grade in this course as stated above.
Behavior: Please be kind, courteous and generous with one another and with your instructor. Any disruption of the class activities will be dealt with according to University of Colorado, Boulder policies.
TENTATIVE CLASS SCHEDULE (SUBJECT TO CHANGE).
For now, begin Measure for Measure p. 2021, I will provide more specific pg. numbers for reading and add these to the blog/syllabus schedule. I may assign further reading from the early sections in the book such as Shakespeare’s World (Women in Print, Haves and Have-Nots etc, The Playing Field (Comic Spectacles) and so forth if time permits.
Week 1- Jan. 15th, 17th introductions, syllabus
Week 2- Jan 22nd --- Measure for Measure p. 2021
24th Continue reading Measure for Measure
Week 3- Jan 29th, Jan 31st No class
Week 4-
Feb 5- Finish reading Measure for Measure.
Feb 7- Begin The Tragedy of Othello: The Moor of Venice p. 2091
Week 5
Feb 12 Continue Othello
Feb 14 Continue Othello
Week 6
Feb 19th Paper I is Due
Feb 21 Begin A Midsummer Night’s Dream p. 805
Week 7
Feb. 26th Continue A Midsummer Night’s Dream
Feb. 28th Continue A Midsummer Night’s Dream
Week 7
March 4 Begin Much Ado About Nothing p. 1381
March 6 Continue Much Ado about Nothing
Week 8
March 11 Continue Much Ado about Nothing
March 13 Begin The Tragedy of King Richard the Second p. 943
Week 9
March 18 Continue Richard the Second
March 20 Paper 2 is Due- Continue Richard II
Week 10 SPRING BREAK
March 25 Continue Richard the Second
March 27 Continue Richard the Second
Week 11
April 1st Begin The Tempest p.
April 3rd Continue The Tempest
Week 12 Continue The Tempest
April 8 Continue The Tempest
April 10 Paper 3 is Due, To Be Announced
Week 13
April 15th Group work for group presentations
April 17th Group work for group presentations
Week 14
April 22 Group work for group presentations
April 24th Groups present to the class
Week 15
April 29 Groups begin presenting for the class
May 1st Groups present to the class; final exam questions handed out or posted on the class blog.
May 5th-May 10th finals week, see top of syllabus for when your final is scheduled. Final exam will be due at the time your final exam is slotted. It will be a take home essay exam. You will be provided the essay questions On May 1st. Please write your response in a blue book, double spaced.
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