Dual Enrollment – Mr. Murray email@example.com
DUAL ENROLLMENT SUMMER READING ASSIGNMENTS – 2014
Welcome to Dual Enrollment ENC 1101 or LIT 2120! These are college-level writing and literature courses, and as such, include a heavy workload, especially outside reading. Be prepared to schedule reading into your nightly study time and to receive frequent writing assignments. Please be aware that the college-level literature we are reading may contain mature situations—research the titles. If at any time you feel uncomfortable with a text we are studying in class, please contact me for an alternative title.
The three required titles* are:
How to Read Literature Like a Professor by Thomas C. Foster
by Susan Glaspell
Jane Eyre by Charlotte Bronte OR Great Expectations by Charles Dickens
*All titles can be found free online!
DUE TUESDAY, SEPTEMBER 2nd
How to Read Literature Like a Professor Chapter Reflections (75 points)
Trifles Analysis Essay (50 points)
Jane Eyre OR Charles Dickens Dialectical Journal (75 points)
How to Read Literature Like a Professor by Thomas C. Foster
(Adapted from Donna Anglin) Directions: It is important that you begin to read literature like a true literary scholar. Thomas Foster’s guide is a staple in the college literature classroom. This “How-to” book will better prepare you to read carefully and analytically as you begin your year in Dual Enrollment. Having knowledge of the subjects covered in this text will give you an advantage throughout the school year. I do not expect essay responses for each question. As long as you satisfactorily answer the questions, length will not be an issue. These writings will be somewhat informal and you can use outside books and films for your examples. Please make sure your chapter reflections are thoroughly edited.
Introduction: How'd He Do That?
How do memory, symbol, and pattern affect the reading of literature? How does the recognition of patterns make it easier to read complicated literature? Discuss a time when your appreciation of a literary work was enhanced by understanding symbol or pattern.
Chapter 1 -- Every Trip Is a Quest (Except When It's Not)
List the five aspects of the QUEST and then apply them to something you have read (or viewed) in the form used on pages 3-5.
Chapter 2 -- Nice to Eat with You: Acts of Communion
Choose a meal from a literary work and apply the ideas of Chapter 2 to this literary depiction.
Chapter 3: --Nice to Eat You: Acts of Vampires
What are the essentials of the Vampire story? Apply this to a literary work you have read or viewed.
Chapter 4 -- If It's Square, It's a Sonnet
Select three sonnets and show which form they are. Discuss how their content reflects the form. (Submit copies of the sonnets, marked to show your analysis. You may scan them or use your phone to take clear pictures. Please email me if you have trouble submitting your analysis).
Chapter 5 --Now, Where Have I Seen Her Before?
Define intertextuality. Discuss three examples that have helped you in reading specific works.
Chapter 6 -- When in Doubt, It's from Shakespeare...
Discuss a work that you are familiar with that alludes to or reflects Shakespeare. Show how the author uses this connection thematically. Read pages 44-46 carefully. In these pages, Foster shows how Fugard reflects Shakespeare through both plot and theme. In your discussion, focus on theme.
Chapter 7 -- ...Or the Bible
Read "Araby" (available online: http://www.gutenberg.org/files/2814/2814-h/2814-h.htm). Discuss Biblical allusions that Foster does not mention. Look at the example of the "two great jars." Be creative and imaginative in these connections. (The PDF file is also available on Edmodo if you would like a print copy.)
Chapter 8 -- Hanseldee and Greteldum
Think of a work of literature that reflects a fairy tale. Discuss the parallels. Does it create irony or deepen appreciation?
Chapter 9 -- It's Greek to Me
Write a free verse poem derived or inspired by characters or situations from Greek mythology. Be prepared to share your poem with the class. Be creative!
Discuss the importance of weather in a specific literary work, not in terms of plot.
Interlude -- Does He Mean That
Chapter 11 --...More Than It's Gonna Hurt You: Concerning Violence
Present examples of the two kinds of violence found in literature. Show how the effects are different.
Chapter 12 -- Is That a Symbol?
Use the process described on page 106 and investigate the symbolism of the fence in "Araby." (Mangan's sister stands behind it.)
Chapter 13 -- It's All Political
Assume that Foster is right and "it is all political." Use his criteria to show that one of the major works assigned to you as a freshman is political.
Chapter 14 -- Yes, She's a Christ Figure, Too
Apply the criteria on page 119 to a major character in a significant literary work. Try to choose a character that will have many matches. This is a particularly apt tool for analyzing film -- for example, Star Wars, Cool Hand Luke, Excalibur, Malcolm X, Braveheart, Spartacus, Gladiator and Ben-Hur.
Select a literary work in which flight signifies escape or freedom. Explain in detail.
Chapter 16 -- It's All About Sex... (optional chapters)
Chapter 17 -- ...Except the Sex
OK...the sex chapters. The key idea from this chapter is that "scenes in which sex is coded rather than explicit can work at multiple levels and sometimes be more intense that literal depictions" (141). In other words, sex is often suggested with much more art and effort than it is described, and, if the author is doing his job, it reflects and creates theme or character. Choose a novel or movie in which sex is suggested, but not described, and discuss how the relationship is suggested and how this implication affects the theme or develops characterization.
Chapter 18 -- If She Comes Up, It's Baptism
Think of a "baptism scene" from a significant literary work. How was the character different after the experience? Discuss.
Chapter 19 -- Geography Matters…
Discuss at least four different aspects of a specific literary work that Foster would classify under "geography."
Chapter 20 -- ...So Does Season
Find a poem that mentions a specific season. Then discuss how the poet uses the season in a meaningful, traditional, or unusual way. (Submit a copy of the poem with your analysis.)
Interlude -- One Story
Write your own definition for archetype. Then identify an archetypal story and apply it to a literary work with which you are familiar.
Chapter 21 -- Marked for Greatness
Figure out Harry Potter's scar. If you aren't familiar with Harry Potter, select another character with a physical imperfection and analyze its implications for characterization.
Recall two characters who died of a disease in a literary work. Consider how these deaths reflect the "principles governing the use of disease in literature" (215-217). Discuss the effectiveness of the death as related to plot, theme, or symbolism.
Chapter 25 -- Don't Read with Your Eyes
After reading Chapter 25, choose a scene or episode from a novel, play or epic written before the twentieth century. Contrast how a reader from the twenty-first century could view it. Focus on specific assumptions that the author makes, assumptions that would not make it in this century.
Chapter 26 -- Is He Serious? And Other Ironies
Select an ironic literary work and explain the nature of the irony in the work.
Chapter 27 -- A Test Case
Read “The Garden Party” by Katherine Mansfield, the short story starting on page 245. Complete the exercise on pages 265-266, following the directions exactly. Then, compare your writing with the three examples. How did you do? What does the essay that follows comparing Laura with Persephone add to your appreciation of Mansfield's story?
Let me have it. What is your final opinion of this book? Did you have any meaningful insights or did it help you remember some of the great works you have read or viewed? Did you find any of the chapters especially interesting or unneeded? Be honest.
Trifles Essay Assignment
After reading Susan Glaspell’s Trifles, please answer the following essay prompt. This prompt was given on the 2000 AP Literature exam for the open essay question. Your response should be at least three pages typed in MLA format. (For help, visit: http://owl.english. purdue.edu/owl/resource.)
Make sure to use plenty of textual evidence to support your arguments. If you use an eReader, like an iPad or a Kindle, this play can be read on the website below. Printing out the play will make it easier to take notes!
Many works of literature not readily identified with the mystery or detective story genre nonetheless involve the investigation of a mystery. In these works, the solution to the mystery may be less important than the knowledge gained in the process of its investigation. Choose a novel or play in which one or more of the characters confront a mystery. Then write an essay in which you identify the mystery and explain how the investigation illuminates the meaning of the work as a whole. Do not merely summarize the plot.
Warning: Any form of plagiarism will result in a 0 on the assignment and disciplinary repercussions.
For Assistance: Contact me at firstname.lastname@example.org.
DIALECTICAL JOURNALS Jane Eyre OR Great Expectations
Dialectical journaling simply means “dialoguing with or talking to your text!” Make dialectical journal pages by drawing a line down your notebook page 1/3 the width of the paper. On the left side of the line, record important lines from the text. On the right side of the line, react to those lines: why are they significant, striking, confusing? What do they remind you of? What connections can you make between these lines and the overall work or works you have read before?
Eyre Chapter 1
Dialectical Journal Page Example:
In the right column, copy down quotes from the text that you find surprising, intriguing or otherwise significant.