Detailed Schedule | Introduction to the Study of English Literature

* Pink asterisk in front of a session indicates in-person class in rooms MCS 401/18 (Mondays), MCS 401/5 (Wednesdays) or BRK 414 (November 18)

Week 1	Aug. 10	Ways of Reading 1: Introduction: Texts, Tools, Tastes and Conventions Reading Christina Rossetti, "What is pink? a rose is pink," Sing-Song: A Nursery Rhyme Book* (1872; study guide) "Manuscript of Sing-Song, a Collection of Nursery Rhymes by Christina Rossetti," British Library Discussion: Different ways of reading and how they affect the meaning of the text; reflecting on one's approach to a text and its effectiveness for a particular text; close reading; structure of a poem; meter; rhyme scheme; rhyme; imagery Classcast What Is Here? Questionnaire Riddle Blurb
Week 1	Aug. 12	No class (Mother's Day)
Week 2	Aug. 17	2: Ideas of Poetry Reading William Blake, "My Pretty Rose Tree," Songs of Experience* (1794; study guide) William Blake, "My Pretty Rose Tree," The William Blake Archive G. H. Durrant, "Blake's 'My Pretty Rose-Tree,'" Theoria: A Journal of Social and Political Theory, no. 30 (1968) Robert Burns, "A Red, Red Rose," The Complete Works of Robert Burns* (1858; study guide) James C. Dick, "My Luve Is Like a Red, Red Rose," The Songs of Robert Burns (1903) "Manuscript of 'A Red, Red Rose' by Robert Burns," British Library Colin Will, "About This Poem," Scottish Poetry Library The King's Singers, "My Love Is Like a Red, Red Rose," Watching the White Wheat: Folk Songs of the British Isles, EMI (1985; audio clip, 3:26 min.) Discussion: Allegory; imagery; hyperbole Quest Questions Classcast Class Comment
Week 2	Aug. 19	3: Construction of Poetry Reading Emily Brontë, "How still, how happy! These are words," 1838, The Complete Poems of Emily Brontë* (1908) Sarah Fermi, "What Do We Know about Emily Jane? Some Well-Known 'Facts' Reconsidered," Brontë Studies, vol. 44, no. 2 (2019; Chula access) Linda M. Austin, "Emily Brontë's Homesickness," Victorian Studies, vol. 44, no., 4 (2002; Chula access) "Emily Brontë's Poetry Notebook," British Library Discussion: Repetition; contrast; diction; connotation; imagery Quest Questions Classcast Practice Writing (Prompt: Emily Brontë proposes a seemingly impossible idea for her who “loved the plashing of the surge, / the changing heaven,” that stillness can evoke happiness. Explain how she employs literary devices in showing the possibility of “happy” in things “still.”) Class Comment
Week 3	Aug. 24	4: Expectations: Form Reading William Shakespeare, Sonnet 116 ("Let me not to the marriage of true minds"), Shakespeare's Sonnets* (1609; study guide) Helen Vendler, "116," The Art of Shakespeare's Sonnets (1997; Chula access) Jane Roessner, "The Coherence and Context of Shakespeare's Sonnet 116," The Journal of English and Germanic Philology, vol. 81, no. 3 (1982; Chula access) "Discovering Literature: Shakespeare and Renaissance," British Library Hannah Crawforth, "An Introduction to Shakespeare's Sonnets" (2017) "First Edition of Shakespeare's Sonnets, 1609)" Aviva Dautch, "Shakespeare, Sexuality and the Sonnets" (2017) The Sonnet "Sonnet," Academy of American Poets Nelson Miller, "Basic Sonnet Forms," Sonnet Central Mike Alexander, "Simon Armitage Interview," Sonnet Central (2002) Scansion "Sound and Meter," Purdue Online Writing Lab "Meter and Scansion," "Poetic Feet, Line Length" Susan Tichy, "The Basics of Scansion," George Mason University Prose Paraphrase Jason Rhody, "The Value of Paraphrasing," EDSITEment! (2009) Matthew Zapruder, "Don't Paraphrase," Poets on Teaching: A Sourcebook (2010) Stefán Snaevarr, "The Heresy of Paraphrase Revisited," Contemporary Aesthetics "Prose Paraphrase") Ted Nellen, "Poetry Analysis Fact Sheet" Discussion: The sonnet form; meter; stress; rhyme scheme; theme; imagery Quest Questions Classcast Class Comment
Week 3	Aug. 26	5: Expectations: Content Reading Christina Rossetti, "Remember," Poems of Christina Rossetti* (1904; study guide) Discussion: Meter; rhyme; diction; imagery; theme; memory; death; loss Quest Questions Classcast Class Comment
Week 4	Aug. 31	6: Poetic Stories Reading "The Old Ballad of Little Musgrave and the Lady Barnard," English and Scottish Ballads, vol. 2 (1860) "The Nobleman's Generous Kindness," Ancient Poems, Ballads and Songs of the Peasantry of England (1857) "The Noble Mans Generous Kindness, or, The Country-Mans Unexpected Happiness," English Broadside Ballad Archive, University of California at Santa Barbara (includes ballad sheet facsimile, facsimile transcription, text transcription) "The Nobe Mans Generous Kindness, or, The Country-Mans Unexpected Happiness," Broadside Ballads Online, Bodleian Libraries, University of Oxford (c. 1672) The Ballad Susan Tichy and Margaret Yocom, "Traditional Ballads," George Mason University Ted Nellen, "Ballad" (description of the folk and literary ballad) Discussion: The ballad form; repetition; plot; voice; meter; rhyme; stanza; theme Quest Questions Classcast Class Comment and Continued Discussion
Week 4	Sep. 2	7: Making Connections Reading Emily Dickinson, "Hope is the thing with feathers," Poems of Emily Dickinson* (1930; study guide) "Hope is the thing with feathers," manuscript, Emily Dickinson Archive (1891) Edward Field, "Icarus" (1989) "Question 1," English Literature and Composition, 2009 AP Free-Response Form B, College Board* (essay prompt and poem text) "Question 1," Scoring Guidelines, 2009 AP Free-Response Form B, College Board (scoring range and guideline, sample student responses, scoring commentary) "Brueghel’s Painting and Modern Poems on the Icarus Myth," University of North Carolina at Greensboro W. H. Auden, "Lullaby," Another Time* (1937, 1940) Roz Kaveney, "An Introduction to W. H. Auden's 'Lullaby,'" British Library (2016) Hannah Arendt, "Remembering W. H. Auden," The New Yorker (1975) Discussion: Allusion; symbol, symbolism; imagery; diction; metaphor; enjambment; theme Practice Writing (Type your answer on a Word document then copy and paste it at the link to submit. Time yourself for 40 minutes responding to the question 1 prompt: The following poem, written by Edward Field, makes use of the Greek myth of Daedalus and Icarus. Read the poem carefully. Then write an essay in which you analyze how Field employs literary devices in adapting the Icarus myth to a contemporary setting.) Quest Questions Classcast Class Comment and Continued Discussion
Week 5	Sep. 7	No class (Songkran holiday observed)
Week 5	Sep. 9	8: Reading Small and Reading Big: Scenes and Structure Reading *Flannery O'Connor, "A Good Man Is Hard to Find" (1953) Flannery O'Connor, "Some Aspects of the Grotesque in Southern Fiction" (1960) Discussion: The short story genre; narrative structure; plot; rising action; denouement; conflict; plausibility; symbols, symbolism; styles of fiction Quest Questions Classcast Reading Response 1 (You can upload your file in the response box.) Class Comment and Continued Discussion Reading response 1 due (4 p.m.; 1 page, double-spaced; MLA format; prompt: The Ride of Literature: Billy Collins's idea that a good poem should take you somewhere "that's perhaps disorienting, manipulative, or a little off-balancing" ("The Art of Poetry No. 83") can apply to other literature as well. His essay "The Ride of Poetry" suggests that "the poem can act as an imaginative vehicle, a form of transportation to a place unknown." "To view a poem as a trip," he says, "means taking into account the methods that give a poem vehicular capability. It means looking into the way a poet manages to become the poem's first driver and thus the first to know its secret destination." Among the poems and short story that we have read thus far, which especially "spirits [you] away to a new conceptual zone"? Write about the ride that the work has given you, its movements, trajectory, and speed, paying close attention to how it begins (spatially, temporally, syntactically, ideologically, emotionally, visually, aurally, intellectually, etc.), where it goes next, and next. How does it move into that "somewhere," what transformation happens? Where does the poem or short story take you? Where does it leave off at the end?) Post your study to our response 1 discussion for further exchange. Passage Close Reading: Each student chooses a passage from O'Connor's "A Good Man Is Hard to Find" and gives a two-minute close reading of it to class. Notice the order in which information is given in the passage. What information is given (status, age, time, place, thought, action, mood, name, nickname, history, etc.)? About what (a person/people, culture, place, time, behavior, relationships, the future, etc.)? How is it given (through diction, sound, syntax, sentence structure, style, imagery, simile, typography, pace, etc.)? How usual or unusual is the word choice for the type of information it conveys? Why is the order in which information is revealed significant? What connections does the passage make between disparate things? What do these connections anticipate, criticize, redefine, or confirm? How does the passage fit into the larger story? What role does it play/what function does it have?
Week 6	Sep. 14	9: Patterns and Particulars* Reading *Flannery O'Connor, "A Good Man Is Hard to Find" (1953) Discussion: Characterization; character; dialogue; point of view; irony; imagery Fiction Challenge: Students analyze classmates' selected unseen short fiction.
Week 6	Sep. 16	10: Text and Context Reading Flannery O'Connor, "A Good Man Is Hard to Find" (1953) Flannery O'Connor, "Fiction Is a Subject with a History—It Should Be Taught That Way" (1963) Robert Giroux, Introduction, The Complete Stories, by Flannery O'Connor (1971) Bessie Smith, "A Good Man Is Hard to Find," Columbia* (1927 song recording; audio clip, 3:08 min.) Edwin Curley, "A Good Man Is Hard to Find," Proceedings and Addresses of the American Philosophical Association, vol. 65, no. 3 (1991; song lyrics) Patti Page, "The Tennessee Waltz" (1950; video clip, 2:21 min.) Discussion: Coherence, unity in structure and ideas; plot (conflict, revelation, pace); character (dimension, motivation) Quest Questions Classcast Class Comment and Continued Discussion Fiction Challenge: Students analyze classmates' selected unseen short fiction.
Week 7	Sep. 21	11: Ideas and Execution Reading Sarah Gailey, "A Lady's Maid," Barnes and Noble Sci-Fi and Fantasy Blog* (2017) Discussion: Characterization; plausibility; dialogue; plot; irony Quest Questions Classcast Class Comment and Continued Discussion
Week 7	Sep. 23	12: Plot and Genre Reading Brad Aiken, "Done That, Never Been There," Small Doses of the Future: A Collection of Medical Science Fiction Stories* (2014; Chula access) Discussion: Plot; conflict; character; motivation Quest Questions Classcast Class Comment and Continued Discussion Reading response 2 due (4 p.m.; 1 page; double-spaced; MLA format; prompt: What is the difference?: Read this student response investigating what is different within one work, Sarah Gailey's "A Lady's Maid." Now it's your turn. Look at the same word, idea, technique or feature in two works we have read and examine the difference between them. How differently are they used? How unlike are their meanings and associations, and their role or function in the works?) As usual, post your examination to our section forum for further discussion.
Week 8	Sep. 28	13: Themes Reading Brad Aiken, "Done That, Never Been There," Small Doses of the Future: A Collection of Medical Science Fiction Stories (2014; Chula access) Discussion: Themes Quest Questions Class Comment and Continued Discussion Writing Practice: In groups of three students, discuss the practice test questions and answer part 1 together as a group, answer part 2 individually. Time yourself for the suggested minutes to best simulate actual test pace. Submit your group and individual responses at our discussion forum. Practice test questions Practice unseen poem sample student responses Groups 1: Chulalak, Kawinthip and Romravin 2: Charukit, Pantila and Thamonwan 3: Amalina, Chonnanart and Phonphatcharin 4: Manussanun, Phirunphat and Titaya
Week 8	Sep. 30	14: Life and Art Reading Brad Aiken, "Done That, Never Been There," Small Doses of the Future: A Collection of Medical Science Fiction Stories (2014; Chula access) Discussion: Fiction Challenge: Students analyze classmates' selected unseen short fiction.
Week 9	Oct. 5	Test 1 (Midterm week: October 5–9, 2020) (Online, open-book, 80 minutes, 20 points) Test 1 asks you to respond to questions about an unseen poem and to an essay-type prompt on the syllabus poems. It is helpful to take a few minutes to plan an outline before writing your essays. Formulate a thoughtful thesis/point in responding to the question that allows you to address effectively the requirements of the prompt. The most coherent and logical organization of your response may not be to answer every single question in the prompt cluster in order and separately; structure your essay to most suitably set up, develop and support your argument/idea/points in response to the prompt. Bullet points are not proper paragraph or essay form. Cite specific lines or words to illustrate and support your points and claims. You will want to show us your critical and analytical skills: demonstrate that you have read closely and understood the material, that you can critically engage with that material, with discussion in class and outside of class, and with the test question, that you can synthesize material and knowledge gained, and that you can write clear and effective prose. Give your essay a title if you like. The test paper in PDF form is posted on the course webpage at 9:35 a.m. A safe way to work is to type out your answers in a Microsoft Word document, saving frequently, and attach the file to e-mail to me when you are done. Responses should reach my e-mail inbox when the 80 minutes are up (plus five minutes grace period). This means that your mail should arrive in my account no later than 11:00 a.m. Room MCS 401/18 is reserved as usual for your use on designated pink asterisked on-campus Mondays, and I will be there as well as online to answer any e-mailed questions you may have, but if you prefer to be working from elsewhere and send in your work, that's fine too. Test 1 Questions Discussion Practice test Practice test questions Practice unseen poem sample student responses Essay Exam Tips "Preparing for Exams," University of Reading "Essay Writing in the Exam Context," University of Essex "Essay Exams," University of North Carolina at Chapel Hill Sample Essay Exam Questions and Responses Mary Oliver, "Crossing the Swamp," American Primitive* (1978) 2004 AP English Literature and Composition Free-Response Questions Form B 2004 AP English Literature and Composition Scoring Guidelines Form B Sample Student Responses Question 2 AP English Literature Scoring Commentary Form B "Examples of Strong Responses," Purdue University Reminders Follow instructions. If the prompt asks you to discuss two works, do not discuss only one. If you are asked to select from one set of texts provided, do not write on works from two different sets. Have a clear point to make in each of your paragraphs, and in the essay as a whole. Support your ideas with textual evidence. Cite specific features, lines, or words to illustrate and substantiate your observations. Avoid plot summary. Order your discussion around the point you are making, not according to the the plot of the poem or story. Elaborate on aspects of the poems, scenes or characters to develop and support your points about the text, not to tell the story. Proofread. Emily Dickenson is not the author of "Remembrance," nor is Benette the name of the protagonist of Aiken's "Done That, Never Been Their." Follow academic conventions in writing about literature such as using the literary present tense and referring to authors by their last names. Avoid non-close reading tendencies in your discussion.
Week 9	Oct. 7	*Test 2 (Midterm week: October 5–9, 2020) (Online, 8:00–9:30 a.m., 20 points) Test 2 has one page with three prompt choices for you to choose one to respond to in an essay on the three syllabus short stories. See below for more detailed instructions. Answer sheet: Download the answer sheet and enter your information in the header. You can do this in advance to save test taking time. Rename your answer sheet file according to the indicated format, i.e., 20234 - Test 2 - your name here please.docx Replace "your name here please" with your name. Ex. 20234 - Test 2 - somsri.docx Type your answer on this sheet and send it as an attachment (.docx) to reach tapanat.k@chula.ac.th by 9:30 a.m. In addition, you may attach a PDF file of the completed answer sheet as a fixed record of your work, against grader comments and any accidental changes in the official file. Only the word-processing sheet will be graded. Links to your answer (ex. on OneDrive, Google Drive, Google Doc, or online Word) are not acceptable and will not be graded. Test paper: If you cannot download the test file at 8:00 a.m., notify me at puckpan.t@chula.ac.th immediately (and CC your message to tapanat.k@chula.ac.th). Be sure to refresh your screen to view the most current page and not the cached information on your device. Time: The test begins at 8:00 a.m. E-mail of your answer sheet file reaches acharn Tapanat at tapanat.k@chula.ac.th no later than 9:30 a.m. If your file is undeliverable within five minutes of sending it, take a screenshot of the notification message and of your answer sheet and send it to inform me immediately (CC: tapanat.k@chula.ac.th). Proofreading: Double check not only your work (Did your response match the prompt number you indicate? etc.) but also the send to e-mail address. A typo from haste can result in the test file not being delivered, as some of you have learned the hard way. To be safe, you can copy and paste acharn Tapanat's e-mail to your message. Test venue: If you are at Chula, room MCS 401/5 is reserved as usual for your use on designated pink asterisked on-campus Mondays, and I will be there throughout the period as well as online to answer any e-mailed questions you may have, but if you prefer to be working from elsewhere and send in your work, that's fine too. Another quiet air-conditioned space reserved for your use is the thesis room on the third floor of Arts Library, Maha Vajiravudh Building.
Week 10	Oct. 12	15: Theatrical Travel Reading Tennessee Williams, The Glass Menagerie* (1944; study guide; section 3 access) beginning–scene 4 (pp. xvii–37) The Glass Menagerie, directed by Paul Newman, performed by Joanne Woodward, John Malkovich, Karen Allen and James Naughton (1987 film, 2 hr. 8:48 min.) "The 1940s," America in Color, Smithsonian (2017; video clip, 45:55 min.) E. E. Cummings, "somewhere i have never travelled,gladly beyond" (1931) Discussion: The structure of theater; how elements of theater convey meaning Quest Questions Classcast Class Comment and Continued Discussion
Week 10	Oct. 14	16: Tennessee Williams's Plastic Theater and Truth Reading Tennessee Williams, The Glass Menagerie* (1944; study guide; section 3 access) scene 5 (pp. 38–49) Tennessee Williams, "The Catastrophe of Success," The New York Times (1947; section 3 access) Kristine Somerville, "Stage Pictures: Jo Mielziner and the Art of Set Design," The Missouri Review, vol. 42, no. 3 (2019; Chula access) Discussion: Non-realistic theater style; setting; performance; script; diction; metaphor; symbolism Quest Questions Classcast Class Comment and Continued Discussion
Week 11	Oct. 19	17: Elements and Ideas Reading Tennessee Williams, The Glass Menagerie* (1944; study guide; section 3 access) scene 6 (pp. 50–66) The Glass Menagerie, directed by Michael Elliott, performed by Shirley Booth, Hal Holbrook, Barbara Loden, and Pat Hingle, CBS Playhouse (1966 TV film, 1 hr. 44:00 min.) Anna Miles, ed., "Study Guide," Sacramento Theatre Company (2016) Discussion: Elements of theater and the small and big picture Quest Questions Classcast Class Comment and Continued Discussion
Week 11	Oct. 21	18: Symbolic Adventure Reading Tennessee Williams, The Glass Menagerie* (1944; study guide; section 3 access) scene 7 (pp. 67–97) "An Inside Look at The Glass Menagerie at Triad Stage," Triad Stage (2010; video clip, 4:56 min.) Discussion: Symbols; allegory; metaphor; imagery Quest Questions Classcast Symbol Analysis: Each student chooses a recurring element in The Glass Menagerie and tracks its development to scene 7. Give a three-minute analysis to class on Wednesday, October 21 and discuss how it changes or not in that last scene. Class Comment and Continued Discussion
Week 12	Oct. 26	19: Form and Content 1: Design and Performance Reading Stephen Karam, Sons of the Prophet (2011; study guide; section 3 access or Chula access) "Behind the Scenes of Sons of the Prophet at the Huntington," Huntington Theatre Company (2011; video clip, 3:55 min.) "About the Show," Roundabout Theatre Company (2011; video clip, 4:07 min.) "Sons of the Prophet at the Blank Theatre," The Blank Theatre (2015; video clip, 1:58 min.) "Sons of the Prophet Trailer," New Conservatory Theatre Center (2016; video clip, 1:09 min.) Discussion: Stage directions; character, characterization; body language; voice; tone; irony; dialogue; pace Theater Study Run: Students sign-up for roles in scenes from Sons of the Prophet to be performed in class (room MCS 401/18). Think about our "what makes meaning in live theater" discussion and work with each other to put on a performance that makes creative and meaningful use of the tools of drama. Notice that some actors play multiple roles and work with two troupes. Practice Writing: Developing an argument: Each student completes the argument formulating exercise handout and brings his/her results to October 28 class.
Week 12	Oct. 28	20: Form and Content 2: Mediated Life Reading Stephen Karam, Sons of the Prophet* (2011; study guide; section 3 access or Chula access) Discussion: Quest Questions Classcast Group Developing an Argument Exercise (post your group discussion results in the response boxes) Class Comment and Continued Discussion
Week 13	Nov. 2	21: Form and Content 3: The Literary Long Form Reading Ali Smith, Girl Meets Boy* (2007; study guide) part I (beginning to p. 45) Discussion: The structure of a novel Quest Questions Classcast Class Comment and Continued Discussion
Week 13	Nov. 4	22: Form and Content 4: Framing and Focus Reading Ali Smith, Girl Meets Boy* (2007; study guide) part You (pp. 49–77) Begley, Adam, "Ali Smith," The Art of Fiction, no. 236, The Paris Review, no. 221 (2017 interview) Discussion: Imagery; diction; word play; typography; scene; characterization Quest Questions Classcast (Meeting ID: 918 2344 3654) Class Comment and Continued Discussion Reading response 3 due (Prompt: Analyze the framing and focus of the Paul phone call scene on page 64. E-mail your response to me at the end of class.)
Week 14	Nov. 9	23: Novel: Old and New Stories Reading Ali Smith, Girl Meets Boy* (2007; study guide) part Us (pp. 81–105) Freya Wooding, "'I Don't Know Anything about Art': An Interview with Ali Smith," The Cambridge Quarterly, vol. 49, no. 2 (2020; chula access) Ovid, Metamorphoses (c. 8 C.E.) "The Fable of Iphis and Ianthe," translated by Samuel Garth, John Dryden, et al., MIT "The Birth of Iphis," translated by Anthony S. Kline, University of Virginia Library "Iphis and Ianthe," translated by Brookes More, Theoi Discussion: Plot structure and chapter divisions; character dynamics and development Quest Questions Classcast (Meeting ID: 971 0131 2251) Session Comment and Continued Discussion Practice Writing: Revision: Revisit your November 4 response on the prompt: Analyze the framing and focus of the Paul phone call scene on page 64. Reconsider the questions you have asked about the text, the assumptions you have had about the characters, the situation, the language and ideas in light of further reading and unpacking, and our discussion about stories, storytelling, narrative choice, craft, purpose and impact. Edit that first draft to reflect your reformulated questions about the scene's reframing and focus, and to improve your introduction, argument, substantiation, conclusion, coherence, style and mechanics. Consult the MLA Style Center (and Handbook), Writing Prose, and The Elements of Style for guidelines on format, citation, academic conventions, English usage, and effective style. Bring your new proofread draft to classcast on November 11.
Week 14	Nov. 11	24: Genre Conventions and Author Originality Reading Ali Smith, Girl Meets Boy* (2007; study guide) part Them (pp. 109–46) Terry Eagleton, "What Is a Novel?," The English Novel: An Introduction (2005) Discussion: Themes and genres; symbolism; local color Quest Questions Classcast (Meeting ID: 933 1298 7146) Session Comment and Continued Discussion Writing Workshop: Peer Critique: Have a Word file of your new proofread November 4 response ready to distribute for peer critique in classcast. (To produce this new draft, revisit your November 4 response on the prompt: Analyze the framing and focus of the Paul phone call scene on page 64. Reconsider the questions you have asked about the text (cf. Developing an Argument exercise handout numbers 4, 5 and 6), the assumptions you have had about the characters, the situation, the language and ideas in light of further reading and unpacking, and our discussion about stories, storytelling, narrative choice, craft, purpose and impact. Edit that first draft to reflect your reformulated questions about the scene's reframing and focus, and to improve your introduction, argument, substantiation, conclusion, coherence, style and mechanics. Consult the MLA Style Center (and Handbook), Writing Prose, and The Elements of Style for guidelines on format, citation, academic conventions, English usage, and effective style.)
Week 15	Nov. 16	25: Synthesis Reading Ali Smith, Girl Meets Boy* (2007; study guide) part All Together Now (pp. 149–61) Discussion: The novel form; setting; allusion; symbols; imagery; diction; irony; sound Quest Questions Quiz (3 minutes) Classcast Session Comment and Continued Discussion Novel Challenge: Each student brings a novel excerpt for the class to analyze as an unseen text. You should prepare your excerpt so that it can be shared easily on our Zoom classcast. Writing Workshop: Peer Critique: Students in each group critique the revised response of your group members, making proofreading marks and giving comments on the response paper, and fill out the workshop sheet for each peer paper. Groups 1: Kawinthip, Thamonwan and Pantila 2: Amalina, Charukit and Phonphatcharin 3: Chulalak, Titaya and Manussanun 4: Chonnanart, Phirunphat and Romravin Workshop sheet Common proofreading marks "Copy Editing Marks," California State University Kip Wheeler, "Common Proofreading Marks," Carson-Newman University Etta C. Abrahams, "Proofreading Symbols," Michigan State University "Proofreading and Editing Symbols," Western University (with extensive exercises and explanations) College writing guides and handbooks "Editing and Proofreading," University of North Carolina at Chapel Hill Laurie G. Kirszner and Stephen R. Mandell, Lit The Norton Introduction to Literature MLA Handbook for Writers of Research Papers Kate L. Turabian, A Manual for Writers of Research Papers, Theses, and Dissertations Floyd C. Watkins and William B. Dillingham, Practical English Handbook Writing Prose, Yale University Mechanics Ann Raimes, "Sentence Problems: Top Ten Problems," Keys for Writers, Cengage Learning "Agreement Errors," Swarthmore College
Week 15	Nov. 18	26: Review Reading Course packet Tennessee Williams, The Glass Menagerie (1944; study guide) Stephen Karam, Sons of the Prophet* (2011; section 3 access or Chula access; study guide) Ali Smith, Girl Meets Boy* (2007; study guide) Discussion: Theme; functions of images and imagery; allegory; irony; characterization; ambiguity; doubleness; multiplicity Quest Questions Session Comments and Continued Discussion
Week 16	Nov. 23	27: Investigating Literature If you are planning to use PowerPoint, make sure it is compatible with Microsoft PowerPoint 2013 version. Also embed or include files of any nonstandard fonts that are in your presentation. About 5 minutes per speaker (15 minutes per panel) followed by a 15-minute question and answer session Schedule 1. The Action of Names 9:30–10:00 a.m. Presiding: Charukit Ubolsaard Speakers: 1. “How Names Evince Agony,” Kawinthip Tatiyawarodom 2. “Different Names, Shared Meanings: Characters in Girl Meets Boy and Continuation of Roles,” Romravin Pantarak 3. “Names and Perceptions in The Glass Menagerie,” Thamonwan Phuklek Respondents: 1. Phonphatcharin Simmathan 2. Pantila Sothisophon 3. Titaya Hongngern 2. Three Variations in Repetition in Tennessee Williams's The Glass Menagerie 10:10–10:40 a.m. Presiding: Amalina Waha Speakers: 1. “Amanda: A Selfless Mother or a Selfish Mother?,” Chonnanart Chayametanon 2. “Tom’s Recurring Illusion of Escape,” Chulalak Thongrakkhao 3. “Laura Handling Life with Repetitions,” Titaya Hongngern Respondents: 1. Kawinthip Tatiyawarodom 2. Phirunphat Leelarthapin 3. Romravin Pantarak
Week 16	Nov. 25	28: Investigating Literature Schedule 7:30–9:20 a.m. Themed potluck breakfast hosted by section 3. Currently on the menu: Eau Thailandia, not offensive half-black fudge cake, Mr. Hicks's wings, What is pink? The Oreo is pink, A Good Pizza Is Not Hard to Find, breads of the Prophet, Teenie boy (Girl Meets Boy), blue potato chips, the potato menagerie, Homey Nori Seaweed by Icarus (after he survived from the sea), a Daintie from the Noblemans Table. 3. The Dynamics of Setting 8:00–8:30 a.m. Presiding: Phirunphat Leelarthapin Speakers: 1. “Setting and Character in Sons of the Prophet,” Phonphatcharin Simmathan 2. “The Journey of Place and Time in Gailey's ‘A Lady’s Maid,’” Charukit Ubolsaard 3. “Setting Shifts in ‘A Good Man Is Hard to Find,’” Amalina Waha Respondents: 1. Chulalak Thongrakkhao 2. Manussanun Rienjaroensuk 3. Chonnanart Chayametanon 4. Where Are We? and What It Means 8:40–9:10 a.m. Presiding: Chulalak Thongrakkhao Speakers: 1. “Setting and Characterization in Flannery O’Connor’s ‘A Good Man Is Hard to Find,’” Phirunphat Leelarthapin 2. “Up, Down and In: Setting in Sarah Gailey’s ‘A Lady’s Maid,’” Pantila Sothisophon 3. “The Service of Setting in The Glass Menagerie,” Manussanun Rienjaroensuk Respondents: 1. Thamonwan Phuklek 2. Amalina Waha 3. Charukit Ubolsaard Reading response 4 due
Week 17	Nov. 30	Final Exam (online, Monday, November 30, 1:00–4:00 p.m., 60 points) The final exam consists of three essay-type questions, one on each of the works we have read in the latter half of the semester: The Glass Menagerie, Sons of the Prophet and Girl Meets Boy. See below for instructions. Review: The study guide pages for The Glass Menagerie, Sons of the Prophet and Girl Meets Boy is up on our detailed schedule and linked to here. Downloadable test 1 discussion is there as well along with material for Oct. 5. Answer sheet: Download the answer sheet and enter your information in the header. You can do this in advance to save test taking time. Rename your answer sheet file according to the indicated format, i.e., 234 Final - your name here please.docx Replace "your name here please" with your name. Ex. 234 Final - somsak.docx Type your answer on this sheet and send the (.docx) file to reach me at puckpan.t@chula.ac.th by 4:05 p.m. (five-minute grace period included). In addition, you may attach a PDF file of the completed answer sheet as a fixed record of your work, against grader comments and any accidental changes in the official file. Only the word-processing sheet will be graded. Links to your answer (ex. on OneDrive, Google Drive, Google Doc, or online Word) are not acceptable and will not be graded. Final exam paper: The exam paper will be given in both Word and PDF (to check against in case your different Microsoft Word versions affect the content display). If you cannot download the exam files on this page at 1:00 p.m., notify me immediately (and CC your message to tapanat.k@chula.ac.th). Be sure to refresh your screen to view the most current page and not the cached information on your device. Troubleshooting: If you experience delays and/or crashes during the exam period, record a short video clip of your work screen that shows your writing, the frozen or broken connection, and the date and time in the same shot. When your device and/or the internet connection recovers, record a short video clip of your work screen again, showing your writing, the returned function/connection, and the date and time to account for the time lapse. Send these along with your answer sheet at the end of the exam period. If file size limit is exceeded, make sure you send your answer sheet on time, and attach the video evidence in a separate later message. If your answer file is undeliverable within five minutes of sending it, take a screenshot of the notification message and of your answer sheet and send it to inform me immediately (CC: tapanat.k@chula.ac.th). Problems with responses and delivery can be avoided with proofreading. Double check not only your work (Did your answer match the prompt number you indicate? etc.), but also the send to e-mail address. A typo from haste can result in the exam file not being delivered, as some of you have learned the hard way. To be safe, you can copy and paste e-mail addresses to your message.