SPRING 2025: LIT 230/Classical Traditions

LIT 230 – 01 1 course unit no prerequisites Term: Spring 2025 Time: 5:30-6:50pm MW Room: Bliss Annex 228

Prof. Glenn Steinberg Office: Bliss Hall 216 Office Phone: 771-2106 Office Hours: 2-4:50pm on Mondays or by appointment E-mail: gsteinbe@tcnj.edu

TEXTBOOKS:

• • Homer, The Odyssey, trans. Robert Fagles (Penguin, 1999), ISBN 9780140268867
  • Virgil, The Aeneid, trans. Robert Fagles (Penguin, 2008), ISBN 9780143106296
  • Ovid, The Metamorphoses, trans. David Raeburn (Penguin, 2004), ISBN 9780140447897
  • The Song of Roland, trans. and ed. Glyn Burgess (Penguin, 1990), ISBN 9780140445329
  • Dante, The Divine Comedy Vol. I:  Inferno, trans. Mark Musa (Penguin, 1984), ISBN 9780142437223
  • Ludovico Ariosto, Orlando Furioso, Part One, trans. Barbara Reynolds (Penguin, 1975), ISBN 9780140443110
  • Luïs Vaz de Camões, The Lusíads, trans. Landeg White (Oxford, 2008), ISBN 9780199539963

COURSE DESCRIPTION.  This course introduces students to a literary tradition that originates in the classical period.  The course will put readings into literary and historical context by focusing on a pivotal literary moment or text.  The course will explore literary and historical relations – the textual “ancestors” and “progeny” that make up the particular classical tradition under consideration, as well as the surrounding philological, social, and political contexts of the selected pivotal moment in that tradition.  The course will also draw upon at least two distinct cultures, at least one of which must be classical.  For English majors, this course meets LHR and World.

When the College went through a curriculum revision several years ago, the vast majority of undergraduate courses were “transformed” from 3-credit to 4-credit (1-unit) learning experiences.  While most of the classes continued to meet for only 3 academic hours per week, it was understood that the “transformed” courses offered a depth of learning with additional learning tasks unfolding in the equivalent of a fourth hour, including, sometimes, an actual additional hour of class interaction.  As the equivalent of the fourth hour in this course,

F) students are assigned additional learning tasks that make the semester’s learning experience more deeply engaged and rigorous, and no other additional classroom space is needed.

LEARNING ACTIVITIES AND EXPECTATIONS.  The principal learning activities in this course are reading, writing, and discussion.  The readings that I have chosen to assign to you are the foundation of your learning.  If you do not do the readings, you miss out on that foundation, so keeping up with the readings is absolutely essential.  Upon the foundation of the readings, you build by writing response papers, which are more about writing-to-learn than writing-as-assessment.  Response papers are a safe, low-stress space for you to try out ideas, increase your understanding of concepts, and improve your retention of what you’re learning.  By writing, you reinforce and expand the learning that you’re gaining from your reading.

Building on your reading and writing, discussion is also very important for your learning in this class.  In general, my approach to class discussion is to begin by posing a question or topic, then to have us brainstorm lots of ideas together in response to the opening question/topic, then to move to evaluating the ideas that we’ve brainstormed, and finally to come to a consensus, as a class, about the best answers/conclusions to the opening question/topic.  Your input to the discussion is absolutely critical.  Even though I may have taught the materials in this class many, many times before, no two classes have ever had exactly the same discussion about them.  Different classes come up with different ideas, different conclusions, different answers.  As the professor, I’m not looking for one idea or one conclusion or one answer in particular.  I want us to think things through together – to throw out as many ideas as possible, to test and evaluate those ideas against the evidence of the material in front of us, and to draw the best conclusions that we can.  We all learn so much by working together in a free and open discussion to answer a question or explore a topic.  I learn so much from your fresh perspectives, and you learn so much from each other.  But this means that our class discussions always depend on your preparedness (how thoroughly and thoughtfully you’ve done your assigned homework) and on your participation (how willing you are to take risks, to brainstorm, and to share ideas – even when your ideas are only half-baked).  I can’t make a good discussion happen.  Only you all can do that.  I can work to create a classroom space that feels safe and pose provocative questions for us to discuss, but a good discussion – along with the incredible learning that comes from a good discussion – only happens if you all come to class prepared and willing to join in.

GOALS.  The assignments and activities in this course are designed to help students

1. 1. to grow ever more responsible for and independent in their own learning,
   2. to improve cognitive endurance in order to be better able to complete readings of considerable length and complexity,
   3. to appreciate the literary achievements of the ancient Greeks and Romans, as well as of their heirs,
   4. to acquire perceptual habits and conceptual lenses conducive to the appreciation of specific media, genres, and styles of literature,
   5. to engage in the analysis and interpretation of texts in their concrete historicity – that is, in their diverse philological, historical, aesthetic, cultural, and theoretical contexts,
   6. to practice comparative literary and historical analysis,
   7. to read critically, interpret responsibly, write and speak with clarity and grace, reason intelligently, and argue thoughtfully and persuasively, and
   8. to enlarge the body of literature that you have read by becoming familiar with texts from other times and cultures, written in languages other than your own, texts within – and on the margins of – a variety of literary traditions.

More officially, this course contributes to the following goals for the School of Humanities & Social Sciences and the English Department:

#1 Written Communication
#5 Critical Analysis and Reasoning:  Ability to critique the arguments of others in the discipline and the construction of one’s own arguments in the discipline, using data/evidence are a focus of instruction and/or the ability to analyze linguistic and cultural patterns
#7 Interpret Language and Symbol
#8 Intercultural Competence:  The development of understanding of other cultures and/or subcultures (practices, perspectives, behavior patterns, etc.)
#12 Students will be able to demonstrate familiarity with a range of critical, generic, and literary traditions (including recent theoretical approaches) that shape – and are shaped by – literary discourses and texts of particular periods or movements
#14 Students will be able to identify historically specific elements relevant to a particular text
#15 Students will be able to read a literary work and characterize its main aesthetic, structural, and rhetorical strategies in an argumentative, thesis-driven essay or in a writing workshop

REQUIREMENTS.  For this course, you must complete the following graded assignments:

1. 1. eight two-page response papers (together worth 20% of your final grade),
   2. a midterm exam (worth 15%),
   3. a cumulative, comprehensive final exam (25%),
   4. one academic essay (25%), and
   5. a group social media campaign (15%).

Your final grade will be based on the following scale:  A = 93%-100%, A- = 90%-92%, B+ = 87%-89%, B = 83%-86%, B- = 80%-82%, C+ = 77%-79%, C = 73%-76%, C- = 70%-72%, D+ = 67%-69%, D = 60%-66%, and F = below 60%.  This scale is absolute.  Because the response papers are in a sense a form of extra credit built into this course from the start, I do not give extra credit at the end of the semester to help students raise their grade even a whisker.  So, even if, at the end of the semester, you are just .0001 points away from an A-, your final grade will be a B+.

RESPONSE PAPERS.  In the course of the term, you are required to submit eight short, informal papers (about 2 pages each) on the assignments for class.  You may choose for which days you want to write a response paper, as long as you have completed eight response papers by the end of the term.  For each response paper, choose one of the following topics and analyze the assignment for the day with respect to the topic you’ve chosen:

1. 1. World View.  What kind of world does the text portray?  What are the fundamental elements or principles of the text’s fictive world?  Is the world a benevolent place or a dark, dangerous hell-hole without hope?  Is the world logical and stable (κόσμος) or random and unstable (χάος)?  Does the text seem to view/portray the world in a basically positive or a basically negative light?  How does the text view God/the gods?  Does the text view the divine as benevolent and stable or as petty and arbitrary?  How much does the divine influence or control the world?  Is divine influence for good or ill?  How does the text portray humanity?  Does the text seem to view/portray humanity in a basically positive or a basically negative light?  Are the human world and society a safe, benevolent space or a site of conflict and cut-throat competition?  How does the text’s portrayal of the world relate to that of previous reading assignments in class?
   2. Values.  What are the fundamental values of the text?  Does the text value hard work, honesty, wealth, breeding, loyalty, physical prowess, outward beauty, love, intelligence, humility, learning, action, duty, honor, (self-)discipline, individual freedom, community, and/or patriotism?  How and where do the characters manifest such values?  How and where are they rewarded for good values (or punished for bad)?  How does the text define such values as duty, honor, love, and loyalty – terms that can mean very different things to different people?  How does the text define and portray heroism?  What is (and isn’t) heroic?  How do the text’s values relate to those of previous reading assignments in class?
   3. Morality. What standard does the text use to determine what is moral?  Is morality based on personal standards (such as integrity), social standards (such as duty), or civic standards (such as patriotism)?  To define a moral human being, does the text primarily focus on personal qualities and merit, communal expectations and norms, or political affiliations and ideologies?  Is morality more a personal matter, a social obligation, or a political ideology?  How do the text’s standards for morality relate to those of previous reading assignments in class?
   4. Gender.  How are men and women portrayed in the text?  What seems to be the attitude of the author toward men and women?  What are the characteristics of a good man in the text? a good woman? a bad man? a bad woman?  What does the text imply or say about what roles are appropriate for each gender?  How does the text’s treatment of gender relate to that of previous reading assignments in class?
   5. Imagery.  Texts in the classical tradition often repeat the same or similar images from text to text and author to author – e.g., dawn, talking trees, articles of clothing (such as veils and sashes), rocks, monsters, flowers, weaving, and ships.  How does the reading assignment use some of these common images?  What meaning do the common images seem to convey?  Is it the same meaning as in previous reading assignments, or has the meaning of the images changed?  Does the author use the images differently or give them a different twist or flavor?  How does the meaning of the images in earlier texts affect how you see them in this assignment?  How does this assignment change how you view the images in the earlier texts?  Are there ways that the earlier uses of the imagery are at odds with how this author wants to use the images?  Does the meaning in this text require that you know about how the imagery was used in earlier texts?  Why would the author resort to the same tried-and-true images as other texts (rather than create new and original images)?  Does the text create some new and original images, not common to other texts?
   6. Identity. What kind of identity does the text project for the people to whom it is written?  What does the text seem to say about what it means to be Roman or Florentine or Portuguese or whatever?  What characteristics does the text seem to assume are fundamental to its people’s identity?  What characteristics seem foreign or antagonistic to its people’s identity?  How does the portrayal of the audience’s identity in today’s reading assignment relate to such portrayals of the same or different peoples in previous reading assignments in class?
   7. Nature.  How is the natural world portrayed in the text?  Is nature awe-inspiring, threatening, restorative, dangerous, innocent, primitive, violent?  What is natural vs. what is unnatural?  How does the text portray the relationship between humans and the natural world?  Are humans part of the natural world or removed from it?  Do humans corrupt and destroy the natural world when they enter it?  How do humans use or steward the resources of the natural world – thoughtfully, carelessly, sustainably, exploitatively?  Does nature need protection from humans?  Do humans need protection from nature?  How does the portrayal of the natural world in today’s reading assignment relate to that in previous reading assignments in class?

Please note that, when you do a response paper, you are writing about the assignment for the day on which you’re submitting the paper. So, you’re writing about the assignment before we discuss it in class and submitting the paper before the class meeting for which that assignment is assigned. You can’t submit a response paper about a past day’s assignment.  You should submit each response paper by “sharing” it with me as a Google Doc before class on the assigned day.  Be sure to grant me “editing” or “commenting” status when you share the Google Doc with me (so that I can comment directly on the paper).

The purpose of the response papers is

1. 1. to help you in your preparation for class discussion,
   2. to allow you to try out new and different ideas in a safe, low-stress space,
   3. to help me see where you’re struggling with the concepts and assignments in class,
   4. to help you reinforce and expand on what you’re learning in class, and
   5. to help you develop your intellectual independence and confidence.

Response papers are graded Pass/Fail, so they need not be a perfect, polished product.  Rather, response papers should be just what their name says – a response.  Think about one of the topics  that I have asked you to consider; then write a response.  Don’t worry about typos or comma splices or organization.  Don’t worry about answering every question I ask under a particular topic.  In fact, focus on the one question that seems most interesting to you, and be as specific as you can, getting down as much as you can, as quickly as you can.  Treat response papers more like a journal entry than like a formal paper.  I don’t want a five-paragraph theme.  Rather, I want an exploration – as detailed and specific as possible – of the assignment for the day.  But don’t focus too narrowly on just one scene or passage from the assignment.  Try to generalize about the assignment and then look at specific examples from all over to support your generalization.

Normally, as long as you submit a response paper of suitable length, detail, and thoughtfulness (and as long as you submit it before class on the assigned day), you will receive all the points that the response paper is worth.  You may submit more than eight response papers in the course of the semester (to make up for any response papers that do not pass), but no matter how many extra response papers you turn in, you will not receive credit for more than eight total.  You may not submit more than one response paper for a single day’s assignment, nor may you submit a response paper for a day that you are absent from class.  But you may submit more than one response paper on the same text if there are multiple assignments from that text spread over multiple days in the course schedule below.  The response papers should then be on the different assignments for the different days.  (NOTE: Even if you do not submit a response paper on a particular day, you should still come to class prepared to discuss the response paper topics in relation to the assignment, since we will focus on these topics in our in-class discussions all semester.  In other words, the response paper topics above are a great guide for your class prep and studying every day.)

EXAMS.  The exams in this course are an assessment of how well you are learning, understanding, and retaining the material in class.  The exams include quotations from our course readings for you to identify and analyze, based on what we’ve learned and discussed in class.  The quotations are usually ones that we discuss at length together, although some quotations may be less discussed in class but still central to the plot and themes of the work from which they come (and therefore reasonable passages for you to be able to identify).  In addition, the exams assess your retention of important character names, settings, critical terms, and concepts by asking you to identify and describe them.  Finally, the exams offer you the opportunity to draw together the different strands of what you’ve been learning in class in an essay that asks you to look broadly at overarching themes and ideas.  The exams will be open-note but NOT open-book.

ACADEMIC ESSAY.  Read Book 3 of the Aeneid.  Many modern-day scholars see Book 3 as Virgil’s mini-Odyssey, since Aeneas is, like Odysseus in Homer, traveling in search of home in the book.  He even lands in some of the same places as Odysseus, although pointedly, he also avoids some of the more dangerous places that Odysseus visited.  Virgil seems to be purposefully creating parallels and differences between Aeneas and Odysseus, presumably to reflect his own world view, values, gender expectations, and morality in relation to Homer’s.  In a paper of 4-6 pages, argue a clear, specific, interesting thesis about how Virgil is responding to Homer in Book 3 of the Aeneid.  As you consider what to argue in your thesis, think about why Virgil might be rewriting Homer the way that he does.  How does Aeneas resemble Odysseus?  How is he different?  How is the world that Aeneas encounters in his travels like or unlike the world that Odysseus explores?  What about Aeneas’s actions and motivations in his relations with that world?  How do they compare to Odysseus’s?  How is Aeneas heroic (or not) in comparison to Odysseus?  What does all of this tell us about how Virgil is responding to – and maybe “correcting” – Homer’s view of things?  To avoid becoming too vague and general, you should focus on one response paper topic as the basis of your analysis.  Be sure to distill your thoughts into a clear, specific thesis, focused very narrowly on one concrete claim that you are arguing in your paper.

You need not use any sources for this paper other than Homer and Virgil.  In fact, I would encourage you not to use other sources (because I’d rather hear what you think than what some published scholar, online blogger, or AI thinks).  But if you do use any other sources (whether scholarly, online, or AI) for ANYTHING (an idea, a piece of background information, an overall perspective, a phrase or wording), be sure to cite and document those sources appropriately.  You do not need notes or a “Works Cited” page just for Homer and Virgil if they’re the only sources that you’re using.  Just cite relevant book and line numbers from Homer or Virgil in parentheses at the end of your sentence.

Your paper will be evaluated according to the following criteria:

1. 1. Does the paper have a clear, specific thesis?  Does the thesis offer an interesting perspective or “hook” that is provocative without being gimmicky or offensive?
   2. Does the paper’s analysis progress logically?  Does the paper have a clear and consistent overall organization that relates all the ideas of the paper together in support of the thesis with appropriate transitions to aid the reader (rather than simply a list of random ideas without relation to one another or to the thesis)?  Does the paper have appropriate transitions to aid the reader in following the paper’s logic (rather than weak transitions like “The first…,” “Another…,” and “…also…”)?
   3. Are the paper’s paragraphs properly developed – neither too long and wandering nor too short and deficient?  Are the topics of the individual paragraphs suitably narrow and focused rather than vague and broad?  Are paragraphs focused on a single claim rather than on a general topic?  Once a paragraph gets specific about anything, does it stay focused on that one thing to the end?
   4. Does the paper provide relevant, concrete evidence and logically persuasive reasons for every assertion?
   5. Does the paper show sensitivity to the concrete historicity of the literary works under consideration (rather than treat them as timeless museum pieces or reflect on them anachronistically)?
   6. Does the paper exhibit confidence and insight when analyzing material never discussed in class?
   7. Does the introduction to the paper offer an interesting, helpful preview of the content, logic, and organization of the paper?
   8. Is factual information in the paper accurate?
   9. Is the writing in the paper clear, effective, and appropriate to an academic setting?

I encourage you, about a week before the paper is due, to submit a thesis paragraph (a draft of the first paragraph of your paper or just a paragraph that describes what you plan to write about) by “sharing” it with me as a Google Doc (making sure to give me “editing” or “commenting” status, so that I can comment directly on your paragraph).  If you do so by the date noted in the course schedule below, I will give you feedback on your proposed thesis.  If you submit a thesis paragraph later than the date noted in the schedule, I will try to get you feedback as quickly as possible, but I cannot guarantee that you’ll get feedback or that it will be fast enough to be of use to you before the essay itself is due.

SOCIAL MEDIA CAMPAIGN. In assigned groups, put together a plan for a social media campaign on a topic related to the texts that we’ve been studying in class.  The campaign should be designed to be used by the English Department on its Facebook, Twitter, or Instagram account.

You are responsible, with your group, for

• • identifying a specific audience to target,
  • figuring out a strategy for reaching that audience,
  • deciding on a topic and goal(s) for the campaign,
  • choosing a platform for it (i.e., the English Department’s Facebook, Twitter, or Instagram account),
  • scheduling a calendar of regular postings,
  • generating original content of your own, and
  • providing curated content from other sources.

At different points in the semester (as noted in the course schedule below and in Canvas), you will submit these elements.  You are not responsible for actually executing your campaign plan (although good campaigns may be executed by the English Department) or for tracking performance or assessing the effectiveness of the campaign (if you were in fact to execute it on your own).

For information about how to put together a social media campaign, I recommend the following resources:

• • https://www.smartinsights.com/social-media-marketing/social-media-strategy/how-to-plan-a-social-media-marketing-campaign-step-by-step/,
  • https://mailchimp.com/resources/how-to-market-on-social-media/,
  • https://blog.hootsuite.com/social-media-campaign-strategy/, and
  • https://www.wordstream.com/social-media-marketing.

Your campaign will be evaluated according to the following criteria:

1. 1. Does the campaign have a clear, specific, and reasonable audience, topic, goal(s), platform, and calendar?  Do the audience, topic, goal(s), platform, and calendar make sense on their own and in relation to each other?  Are they well thought out and explained in a concise, focused, persuasive manner?
   2. Is the campaign’s content presented in a way that is creative and appealing?  Would the format of the content’s presentation be likely to engender interest in the target audience and to achieve the campaign’s goal(s)?  Is there a creative, interesting “hook” to the campaign’s presentation strategy that is inviting and provocative without being gimmicky or offensive?
   3. Does the campaign both use original, newly-created content and provide curated content from other sources?  Is the campaign’s curated content reliable and valuable?  Is the campaign’s original content interesting and insightful?
   4. Is factual information in the campaign’s content accurate?
   5. Is the writing in the campaign’s content clear, effective, and appropriate to a social media setting?

LANGUAGES ACROSS THE CURRICULUM.  A quarter-unit (one-credit) Languages Across the Curriculum independent study may be added to this course for students who have intermediate level proficiency in ancient Greek, Latin, French, Portuguese, or Italian and who wish to complement the work in this course by utilizing their language skills.  Students should complete the google form at https://forms.gle/ztyranBCUjhxrU4m7 by Monday, February 3, to request to be enrolled in the LAC independent study. Please contact LAC Program Director Dr. Holly Didi-Ogren (holly.didi-ogren@tcnj.edu) with any questions.

PROFESSOR’S AVAILABILITY.  My office is Bliss Hall 216.  My in-person office hours this term are 2-4:50pm on Mondays.  If you have questions about class (or just want to talk about stuff), feel free to stop by during these hours (no appointment necessary).  I can also meet over Zoom during my office hours if that’s more convenient for you.  If you cannot come during my scheduled office hours, talk to me about meeting at another time, and we can set up an appointment.  Outside of class, you may contact me by email (gsteinbe@tcnj.edu) or by calling my office phone (609-771-2106) and leaving a message (if I do not answer), but email is usually the best way to get in touch with me.  You may also leave a written message for me in my box at the English Department offices in Bliss Hall 124.

ATTENDANCE.  Regular attendance is a virtual necessity for successful completion of this class.  Class discussion constitutes important, useful preparation for your graded work.  If you miss a class, you will essentially lose out on that day’s contribution to your preparation, since it is never really possible to reproduce or recapture the dynamics and flow of information for a missed class meeting (even if you get notes from someone).  If, however, you positively must miss a class, I expect you to find out what you missed and to come fully prepared – without excuses – to the next class meeting.

ACADEMIC INTEGRITY.  Academic dishonesty is any attempt by a student to gain academic advantage through dishonest means, to submit, as your own, work which has not been done by you or to give improper aid to another student in the completion of an assignment. Such dishonesty would include, but is not limited to, submitting as your own a project, paper, report, test, or speech copied, partially copied, or paraphrased from the work of another (whether it is AI-generated, published in print, on the Internet, or another student’s work). Credit must always be given for words quoted or paraphrased and even for ideas or information taken from a source. The rules apply to any academic dishonesty, whether the work is graded or ungraded, group or individual, written or oral.

ACCOMMODATIONS.  The College of New Jersey prohibits discrimination against any student on the basis of physical or mental disability or perceived disability. The College will also provide reasonable and appropriate accommodations to enable students with disabilities to participate in the life of the campus community. If you require such accommodations, I will make every reasonable effort to accommodate your needs and to create an environment where your special abilities are respected.

DIVERSITY AND INCLUSION. We are all enriched by greater diversity, and we all bring different perspectives to this class. I want to create a learning environment that supports diversity and honors your identities and perspectives (including your race, gender, class, sexuality, religion, mental and physical health, differing abilities, politics, etc.). If, for example, you go by a name and/or set of pronouns that differ from those that appear in your official records, please let me know. If you feel that your performance in class is being impacted outside of class by a hostile environment related to your identity, please don’t hesitate to talk to me. If something is said or posted in class (by anyone, including me) that you consider hostile or offensive to your identity, please talk to me about it. I will expect our whole class (including me) to strive always to honor every form of diversity.

SCREENS.  Unless required as an accommodation for a physical or mental disability, you may not use screens (laptops, phones, or ipads) in this class.  In the last ten years, there has been a ton of research that shows that screens are bad for learning – that you are less likely to remember what happens in class if you take notes on an electronic device rather than with pen and paper, that you are less likely to comprehend and remember what you read if you read it on a screen rather than in a printed format, that you are more likely to be distracted and miss things in class if you use an electronic device during class time.  I am not a Luddite (someone who despises all technology); I love my screens and use them a lot.  But I have watched a lot of students, especially over the last few years, perform much worse in my classes than they could (or should) have performed, because they used screens for taking notes and reading.  And my anecdotal experience with students over the years is nothing in comparison with the towering tsunami of research that shows just how bad screens are for learning in the classroom.

For that reason, you may not use any electronic devices in class.

CLASSROOM ENVIRONMENT AND COMMITMENT TO STUDENT SUCCESS, SAFETY, AND WELL-BEING.  The TCNJ community is dedicated to the success, safety, and well-being of each student. TCNJ strictly follows key policies that govern all TCNJ community members’ rights and responsibilities in and out of the classroom. In addition, TCNJ has established several student support offices that can provide the support and resources to help students achieve their personal and professional goals and to promote health and well-being. You can find more information about these policies and resources at the “TCNJ Student Support Resources and Classroom Policies” webpage here:  https://academicaffairs.tcnj.edu/tcnj-syllabus-resources/.

Students who anticipate and/or experience barriers in this course are encouraged to contact the instructor as early in the semester as possible. The Accessibility Resource Center (ARC) is available to facilitate the removal of barriers and to ensure reasonable accommodations. For more information about ARC, please visit https://arc.tcnj.edu/.

COURSE SCHEDULE.  The schedule below is subject to revision at the discretion of the professor.  Changes in the schedule made after the first day of class will be shown in red.

Date	Assignment
M Jan 27	Introductions
W Jan 29	Homer, Odyssey, Books 1-4
M Feb 3	Homer, Odyssey, Books 5-6 and 9-10
W Feb 5	Homer, Odyssey, Books 11-14
M Feb 10	Homer, Odyssey, Books 18 and 21-23
W Feb 12	Virgil, Aeneid, Books 1-2
M Feb 17	Virgil, Aeneid, Books 4-5
W Feb 19	Virgil, Aeneid, Books 6 and 8
M Feb 24	Virgil, Aeneid, Books 10 and 12
W Feb 26	Ovid, Metamorphoses, Books 1 and 3
F Feb 28	Thesis Paragraph for ACADEMIC ESSAY due as a shared Google Doc by 11:59pm
M Mar 3	Ovid, Metamorphoses, Books 6 and 10
W Mar 5	Ovid, Metamorphoses, Books 13-14
F Mar 7	ACADEMIC ESSAY DUE in Canvas by 11:59pm
M Mar 10	The Song of Roland, laisses 1-71, 79-95, and 104-125
W Mar 12	The Song of Roland, laisses 125a-186 and 273-298
M Mar 17	NO CLASS (Spring Break)
W Mar 19	NO CLASS (Spring Break)
M Mar 24	MIDTERM EXAM
W Mar 26	Dante, Inferno, Cantos I-V
M Mar 31	Dante, Inferno, Cantos VII-XI Last day to withdraw from class with a W or to request ungraded option
W Apr 2	Dante, Inferno, Cantos XIII and XV-XVIII
F Apr 4	DRAFT SOCIAL MEDIA CAMPAIGN PLAN DUE in Canvas by 11:59pm
M Apr 7	Dante, Inferno, Cantos XXI-XXVI
W Apr 9	Dante, Inferno, Cantos XXVIII and XXXI-XXXIV
M Apr 14	Ariosto, Orlando Furioso, Cantos I-IV
W Apr 16	Ariosto, Orlando Furioso, Cantos V-VI and IX-X
F Apr 18	FINAL SOCIAL MEDIA CAMPAIGN PLAN DUE in Canvas by 11:59pm
M Apr 21	Ariosto, Orlando Furioso, Cantos XI, XIV, and XX
W Apr 23	Ariosto, Orlando Furioso, Cantos XXI-XXIII
M Apr 28	Camões, The Lusíads, Cantos 1-2
W Apr 30	Camões, The Lusíads, Cantos 3-4
F May 2	SOCIAL MEDIA CAMPAIGN CONTENT and PERSONAL NARRATIVE DUE in Canvas before 11:59pm
M May 5	Camões, The Lusíads, Cantos 5 and 7
W May 7	Camões, The Lusíads, Cantos 8-9
ASSIGNED FINAL EXAM PERIOD	FINAL EXAM