Fall 2023 – LIT 270/WGS 270: Gender at the Round Table

LIT 270 – 01/WGS 270 – 02
1 course unit
Term: Fall 2023
Time: 3:30-4:50pm MR
Room: Bliss Annex 228		 Prof. G. Steinberg
Office: Bliss Hall 216
Office Phone: 771-2106
Office Hours: 2-3:20pm MR or by appointment
E-mail : gsteinbe@tcnj.edu

TEXTBOOKS:

    • King Arthur’s Death:  The Middle English Stanzaic Morte Arthur and Alliterative Morte Arthur (Medieval Institute, 1994), ISBN 9781879288386
    • Sir Gawain:  Eleven Romances and Tales, ed. Thomas Hahn (Medieval Institute, 1995), ISBN 9781879288591
    • Sir Gawain and the Green Knight, trans. and ed. James Winny (Broadview, 1995), ISBN 9780921149927
    • Sir Thomas Malory, Le Morte D’Arthur, ed. Stephen H. A. Shepherd (Norton, 2003), ISBN 9780393974645
    • Alfred Lord Tennyson, Idylls of the King (Penguin, 1989), ISBN 9780140422535
    • Mark Twain, A Connecticut Yankee in King Arthur’s Court (Norton, 2018), ISBN 9780393284171
    • Howard Pyle, The Story of King Arthur and His Knights, ed. John F. Plummer (Penguin, 2006), ISBN 9780451530240

Note that you can get free online copies of the first two texts (King Arthur’s Death and Sir Gawain) at https://d.lib.rochester.edu/teams/publication/benson-and-foster-king-arthurs-death and https://d.lib.rochester.edu/teams/publication/hahn-sir-gawain.

COURSE DESCRIPTION.  This is a Topics Course with no prerequisites, offered primarily for sophomores, juniors, and seniors.  The topic of this section is “Gender at the Round Table.”  The brotherhood of the Round Table.  Virgins.  Knights in shining armor.  Adultery.  The Holy Grail.  This course explores gender as a central concern in stories about King Arthur from the Middle Ages and the 19th century.  Among texts and authors included in the course are The Stanzaic Morte Arthur, Sir Gawain and the Green Knight, The Wedding of Sir Gawain and Dame Ragnelle, Sir Thomas Malory, Alfred Lord Tennyson, and Mark Twain.

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 (typically 150 minutes on the TCNJ schedule grid), 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) The 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 texts and 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 problem, then to have us brainstorm lots of ideas together in response to the opening question/problem, 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/solutions to the opening question/problem.  Your input to the discussion is absolutely critical.  Even though I’ve taught the readings in this class many, many times, no two classes have ever had exactly the same discussion about them.  Different classes come up with different ideas, different solutions, different answers.  As the professor, I’m not looking for one idea or one solution 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 text 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 solve a problem.  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 the readings and written your response papers) and on your participation (how willing you are to take risks, brainstorm, and share your ideas – even when they’re only half-baked – with your classmates).  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 ready to join in.

GOALS.  In this course, you will learn

      1. to grow ever more responsible for and independent in your own learning,
      2. to analyze how creative texts, artworks, or performances reflect, shape, exalt, or challenge the values of a culture,
      3. to explain the social construction of gender and sexuality, and critically evaluate norms and practices of identity formation at interpersonal or wider levels,
      4. to be more aware of, question, and enrich your basic assumptions about gender, culture, and literature,
      5. to identify and characterize some of the historical constructions of gender in the Middle Ages and the 19th century,
      6. to recognize and interpret some of the seminal texts of Arthurian literature from the Middle Ages and the 19th century, and
      7. to demonstrate greater facility with critical practices in the field of English.

Also, the following goals for the School of Humanities & Social Sciences apply in this course:

#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 as a focus of instruction and/or the ability to analyze linguistic and cultural patterns
#7 Interpret Language and Symbol
#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
#17 Analyze how creative texts, artworks, or performances reflect, shape, exalt, or challenge the values of a culture

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

      1. ten 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 ten short, informal papers (about 2 pages each) on the readings for class.  You may choose for which days you want to write a response paper, as long as you have completed ten response papers by the end of the term.  For each response paper, choose one of the following topics and analyze the reading assignment for the day with respect to the topic you’ve chosen:

      1. How is masculinity constructed in the reading assignment?  What seem to be the assumptions about what is properly masculine?  What seem to be the assumptions about the strengths and weaknesses of masculinity?  Which characters seem to be rewarded for behaving in a properly masculine way?  What kind of behavior is rewarded?  Which characters seem to be punished for behaving in an unmasculine or improperly masculine way?  What kind of behavior is punished?  Are any behaviors viewed as properly or naturally masculine but nonetheless punished or viewed negatively?  How does the construction of masculinity in the reading compare to that in earlier readings for class?
      2. How is femininity constructed in the reading assignment?  What seem to be the assumptions about what is properly feminine?  What seem to be the assumptions about the strengths and weaknesses of femininity?  Which characters seem to be rewarded for behaving in a properly feminine way?  What kind of behavior is rewarded?  Which characters seem to be punished for behaving in an unfeminine or improperly feminine way?  What kind of behavior is punished?  Are any behaviors viewed as properly or naturally feminine but nonetheless punished or viewed negatively?  How does the construction of femininity in the reading compare to that in earlier readings for class?
      3. How might the reading assignment be engaging – intentionally or unintentionally – in the queering of gender roles and expectations?  In what ways does the reading defy heterosexual norms or draw attention to the impossibility of strict gender boundaries?  Which characters might be viewed as queer – as nonconforming, nonbinary, or motivated by homosocial/homosexual desire?  How does the reading – consciously or unconsciously – subvert or dismantle the structures of gender power and privilege?  How does the queering of gender in the reading compare to that in earlier readings for class?
      4. How might the reading assignment be engaging – intentionally or unintentionally – in gender politics?  How does the reading portray power relations between men and women?  In what ways are those power relations portrayed as proper or improper?  What does the reading imply (or maybe even state explicitly) about what proper power relations ought to be between men and women?  How might the reading’s portrayal and perspective concerning gender power relations be translated into a position on gender politics generally?  What does the reading seem to be saying about how power should be organized in the world when it comes to gender?  How does the gender politics in the reading compare to that in earlier readings for class?

Please note that, when you do a response paper, you are writing about the reading assigned for the day on which you’re submitting the paper. So, you’re writing about the reading before we discuss it in class and submitting the paper before the class meeting for which that reading is assigned. You can’t submit a response paper about a past day’s reading assignment.  You should submit each response paper by “sharing” it with me as a Google Doc before class on the reading’s assigned day.  Be sure to grant me “editing” or “suggesting” 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. 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 readings and concepts 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 your confidence as a reader.

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 reading assignment for the day.  But don’t focus too narrowly on just one scene or passage from the reading assignment.  Try to generalize about the reading 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 ten 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 ten total.  You may not submit more than one response paper on a single day’s reading 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 reading assignments from that text spread over multiple days in the course outline below.  The response papers should be on the different reading assignments for each of the 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 reading 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 every day.)

ACADEMIC ESSAY. Choose one of the following options for your academic essay:

      1. Gawain option: Read The Jeaste of Sir Gawain and The Turke and Sir Gawain.  In a paper of 4-6 pages, argue a clear, specific, interesting thesis about the way in which these two texts treat gender.  As you think about your thesis, consider what the two texts share in terms of their expectations and representations of gender, as well as how they differ.
      2. Malory option: Read “Aftir Thes Questis” from Le Morte Darthur.  In a paper of 4-6 pages, argue a clear, specific, interesting thesis about the way in which the tale treats gender.  As you think about your thesis, consider how the tale fits and doesn’t fit with Malory’s other tales.
      3. Tennyson option: Read “Merlin and Vivien” in The Idylls of the King.  In a paper of 4-6 pages, argue a clear, specific, interesting thesis about the way in which the tale treats gender.  As you think about your thesis, consider how the tale fits and doesn’t fit with the other tales in Idylls of the King.

Do not write vaguely about a broad topic.  Be sure to distill your thoughts into a clear, specific thesis, focused very narrowly on just one concrete claim that you are arguing in your paper.

Note that each of the three options for the essay is due at a different time of the semester.  You must submit the option that you choose on the appropriate due date in the course schedule below.

You need not use any sources for this paper other than the literary text(s) that you’re discussing.  In fact, I would encourage you not to use other sources (because I’d rather hear what you think than what some published scholar thinks).  But if you do use any other sources (whether scholarly or online), be sure to cite and document those sources appropriately.  You do not need a “Works Cited” page for the literary text(s) that you’re discussing.

Your paper will be evaluated according to the following criteria:

      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, such as “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?  Once a paragraph gets specific about anything, does it stay focused on that topic to the end?
      4. Does the paper provide relevant, concrete evidence (including brief quotations) and logically persuasive reasons for every assertion?
      5. Does the paper analyze gender appropriately – with insight and sophistication, based in what we have learned in class?
      6. 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)?
      7. Does the paper exhibit confidence and insight when analyzing a work not discussed in class?
      8. Does the introduction to the paper offer an interesting, helpful preview of the content, logic, and organization of the paper?
      9. Is factual information in the paper accurate?
      10. 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 “suggesting” 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.

SOCIAL MEDIA CAMPAIGN. In assigned groups, put together a plan for a social media campaign on gender and Arthurian stories.  You are responsible, with your group, for

      • identifying a specific audience to target,
      • deciding on a topic and goal(s) for the campaign,
      • choosing a platform for it,
      • 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), you will submit these elements.  You are not responsible for actually executing your campaign plan (although I encourage you to do so) or for tracking performance or assessing the effectiveness of the campaign (if you do in fact execute it).

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

Your campaign will be evaluated according to the following criteria:

      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?

EXAMS. The exams in this course are an assessment of how well you are learning, understanding, and retaining the material in class.  One of the goals in this course is that you learn to “recognize and interpret some of the seminal texts of Arthurian literature from the Middle Ages and the 19th century.”  To assess your ability to do that, the exams include quotations from our Arthurian 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 all 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.

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 French or German and who wish to complement the work in this course by utilizing their language skills. Students should complete an Enrollment Request Form (https://forms.gle/NCbYWWRVxfogTv5T7) to enroll in the LAC independent study by Tuesday, September 5. Please contact the LAC 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 2-3:30pm on Mondays and Thursdays.  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 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.  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 from, partially copied, or paraphrased from the work of another (whether the source is AI-generated, printed, under copyright, or in manuscript form). Credit must always be given for words quoted or paraphrased. 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 special 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 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 by a hostile environment related to your identity outside of class, please don’t hesitate to talk to me. If something is said or posted in class (by anyone, including me) that makes you feel that your identity is being targeted, misunderstood, or disparaged, please talk to me about it. I will expect our whole class (including me) to strive always to honor every form of diversity.

SCREENS.  I encourage you to use screens (laptops, phones, ipads) as little as possible 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 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 students.

For that reason, while I do not forbid you to use screens in and for class (because you are adults, responsible for your own choices), I nevertheless encourage you – with every fiber of my being – to consider taking the “minimal screens” pledge below:

In order to maximize my learning in this class, I pledge

        1. to take notes in class with pen and paper,
        2. to read assignments in print format if at all possible,
        3. to keep all electronic devices out of sight during class (unless needed for a reading assignment or to look up information requested by the professor), and
          if I do use an electronic device during class time for any reason,
        4. to avoid the temptation to “multitask” by opening only the programs, websites, and apps that I specifically need for class.

I can almost guarantee that you will do better in class – participate more, learn more, retain more – if you take this pledge and follow its guidelines than if you do not.

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.  This schedule 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
R Aug 31 Introductions
M Sep 4 NO CLASS (Labor Day)
T Sep 5 MONDAY SCHEDULE
Sir Launfal (available free online at http://d.lib.rochester.edu/teams/text/laskaya-and-salisbury-middle-english-breton-lays-sir-launfal)
R Sep 7 Stanzaic Morte Arthur, lines 1-1466
M Sep 11 Stanzaic Morte Arthur, lines 1467-2769
R Sep 14 Stanzaic Morte Arthur, lines 2770-3970
M Sep 18 Alliterative Morte Arthure, lines 1-1438
R Sep 21 Alliterative Morte Arthure, lines 3176-4346
M Sep 25 Sir Gawain and the Carle of Carlisle and The Avowyng of Arthur
R Sep 28 Sir Gawain and the Green Knight, Fitts 1-2
F Sep 29 DRAFT OF SOCIAL MEDIA CAMPAIGN PLAN DUE in Canvas by 11:59pm
M Oct 2 Sir Gawain and the Green Knight, Fitts 3-4
Thesis paragraph for GAWAIN ACADEMIC ESSAY OPTION DUE (shared as a Google Doc by 11:59pm)
R Oct 5 The Wedding of Sir Gawain and Dame Ragnelle and The Awntyrs off Arthur
M Oct 9 NO CLASS (Fall Break)
GAWAIN ACADEMIC ESSAY OPTION DUE in Canvas by 11:59pm
R Oct 12 The Knightly Tale of Gologras and Gawain
M Oct 16 MIDTERM EXAM
R Oct 19 Malory, “The Tale of Balyn and Balan” and “The Wedding of Kyng Arthur”
M Oct 23 Malory, “A Noble Tale of Sir Launcelot du Lake” and the long section focused on Lancelot in “The Fyrste and the Secunde Boke of Syr Trystrams de Lyones” (pp. 461462-474 and 480-490 in our textbook)
R Oct 26 Malory, “The Tale of Sir Gareth of Orkeney”
F Oct 27 FINAL SOCIAL MEDIA CAMPAIGN PLAN DUE in Canvas by 11:59pm
M Oct 30 Malory, “The Tale of Sir Lancelot and Quene Gwenyvere”
T Oct 31 Last day to withdraw from this class with a W
R Nov 2 Malory, “The Dethe of Arthur”
Thesis paragraph for MALORY ACADEMIC ESSAY OPTION DUE (shared as a Google Doc by 11:59pm)
M Nov 6 Tennyson, “Dedication,” “The Coming of Arthur,” and “Gareth and Lynette”
R Nov 9 Tennyson, “The Marriage of Geraint” and “Geraint and Enid”
F Nov 10 MALORY ACADEMIC ESSAY OPTION DUE in Canvas by 11:59pm
M Nov 13 Tennyson, “Balin and Balan” and “Lancelot and Elaine”
R Nov 16 Tennyson, “Pelleas and Ettarre,” “Guinevere,” “The Passing of Arthur,” and “To the Queen”
Thesis paragraph for TENNYSON ACADEMIC ESSAY OPTION DUE (shared as a Google Doc by 11:59pm)
M Nov 20 Mark Twain, “Preface,” “A Word of Explanation,” and Chapters I-XVI
W Nov 22 TENNYSON ACADEMIC ESSAY OPTION DUE in Canvas by 11:59pm
R Nov 23 NO CLASS (Thanksgiving)
M Nov 27 Mark Twain, Chapters XVII-XXX
R Nov 30 Mark Twain, Chapters XXXI-XLIV
F Dec 1 SOCIAL MEDIA CAMPAIGN CONTENT DUE in Canvas by 11:59pm
M Dec 4 Howard Pyle, “Foreword,” “The Winning of a Sword,” and “The Winning of a Queen”
T Dec 5 SOCIAL MEDIA CAMPAIGN CONTENT DUE in Canvas by 11:59pm
R Dec 7 Howard Pyle, “The Story of Sir Pellias,” “The Story of Sir Gawaine,” and “Conclusion”
FINAL EXAM PERIOD FINAL EXAM