SPRING 2025: LIT 212/Cultural Representations of Gender: Gender at the Round Table

LIT 212 – 01 1 course unit no prerequisites Term: Spring 2025 Time: 2:00-3:20pm TF 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:

• • 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

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, but note that you may not use electronic devices in class, so you would need to print the online copies to bring them to class.

COURSE DESCRIPTION.  An exploration of literature around the globe that examines the roles of gendered humans across multiple cultures and age groups.  This section focuses on “Gender at the Round Table” and on British and American culture.

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, 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 your own learning,
   2. to improve cognitive endurance in order to be better able to complete readings of considerable length and complexity,
   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 identify and explain norms, values, and practices across different societies or regions to critically evaluate worldviews,
   5. to be more aware of, question, and enrich your basic assumptions about gender, culture, and literature,
   6. to identify and characterize some of the historical constructions of gender in the Middle Ages and the 19th century,
   7. to recognize and interpret some of the seminal texts of Arthurian literature from the Middle Ages and the 19th century, and
   8. to demonstrate greater facility with critical practices in the field of English.

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 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. 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. 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?
   5. How does social class influence the construction of gender in the assignment?  Most characters in the readings for this course are from the upper classes (royalty and nobility), but occasionally a character is from another class (or pretends to be).  Do characters from different social classes have different gender expectations and performances?  What about how the social class of the creators and audience of the text influence how gender is represented?  Does a text written for a lower-class audience have different gender expectations and performances from one written for a higher-class audience?  How does social class in the assignment compare to that in earlier readings for 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 The Knightly Tale of Gologras and Gawain (in Sir Gawain, pp. 234-308).  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 other Gawain tales.  If you wish, you may compare or contrast The Knightly Tale of Gologras and Gawain to one other Gawain tale from class.  To avoid becoming too vague and general, you should probably 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 cannot – and should not try to – say everything that you think about the tale.

You need not use any sources for this paper other than the tale.  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 the tale if that’s the only source that you’re using.  Just cite relevant line numbers 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 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 material never 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 “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 gender and 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 French or German 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
T Jan 28	Introductions
F Jan 31	Stanzaic Morte Arthur, lines 1-1466 (in King Arthur’s Death)
T Feb 4	Stanzaic Morte Arthur, lines 1467-2769
F Feb 7	Stanzaic Morte Arthur, lines 2770-3970
T Feb 11	Alliterative Morte Arthure, lines 1-1438 (in King Arthur’s Death)
F Feb 14	Alliterative Morte Arthure, lines 3176-4346
T Feb 18	Sir Gawain and the Green Knight, Fitts 1-2
F Feb 21	Sir Gawain and the Green Knight, Fitts 3-4
T Feb 25	Sir Gawain and the Carle of Carlisle (in Sir Gawain, pp. 85-112) and The Avowyng of Arthur (in Sir Gawain, pp. 119-168)
F Feb 28	The Wedding of Sir Gawain and Dame Ragnelle (in Sir Gawain, pp. 47-80) and The Awntyrs off Arthur (in Sir Gawain, pp. 179-226)
T Mar 4	Sir Thomas Malory, Le Morte D’Arthur, “The Tale of Balyn and Balan” and “The Wedding of Kyng Arthur”
W Mar 5	Thesis paragraph for ACADEMIC ESSAY DUE as a shared Google Doc by 11:59pm
F Mar 7	Malory, Le Morte D’Arthur, “A Noble Tale of Sir Launcelot du Lake” and the sections focused on Lancelot in “The Fyrste and the Secunde Boke of Syr Trystrams de Lyones” (pp. 462-474 and 480-490 in our textbook)
T Mar 11	Malory, Le Morte D’Arthur, “The Tale of Sir Gareth of Orkeney”
W Mar 12	ACADEMIC ESSAY DUE in Canvas by 11:59pm
F Mar 14	Malory, Le Morte D’Arthur, “The Tale of Sir Lancelot and Quene Gwenyvere”
T Mar 18	NO CLASS (Spring Break)
F Mar 21	NO CLASS (Spring Break)
T Mar 25	Malory, Le Morte D’Arthur, “The Dethe of Arthur”
F Mar 28	MIDTERM EXAM
M Mar 31	Last day to withdraw from class with a W or to request ungraded option
T Apr 1	Alfred Lord Tennyson, Idylls of the King, “Dedication,” “The Coming of Arthur,” and “Gareth and Lynette”
F Apr 4	Tennyson, Idylls of the King, “The Marriage of Geraint” and “Geraint and Enid”
T Apr 8	Tennyson, Idylls of the King, “Balin and Balan” and “Lancelot and Elaine”
W Apr 9	DRAFT OF SOCIAL MEDIA CAMPAIGN PLAN DUE in Canvas by 11:59pm
F Apr 11	Tennyson, Idylls of the King, “Pelleas and Ettarre,” “Guinevere,” “The Passing of Arthur,” and “To the Queen”
T Apr 15	Mark Twain, A Connecticut Yankee in King Arthur’s Court, “Preface,” “A Word of Explanation,” and Chapters I-XIII
F Apr 18	Twain, A Connecticut Yankee in King Arthur’s Court, Chapters XIV-XXIII
T Apr 22	Twain, A Connecticut Yankee in King Arthur’s Court, Chapters XXIV-XXXIII
W Apr 23	FINAL SOCIAL MEDIA CAMPAIGN PLAN DUE in Canvas by 11:59pm
F Apr 25	Twain, A Connecticut Yankee in King Arthur’s Court, Chapters XXXIV-XLIV
T Apr 29	NO CLASS (Celebration of Student Achievement)
F May 2	Howard Pyle, The Story of King Arthur and His Knights, “Foreword,” “The Winning of a Sword,” and “The Story of Sir Gawaine”
T May 6	Pyle, The Story of King Arthur and His Knights, “The Winning of a Queen”
W May 7	SOCIAL MEDIA CAMPAIGN CONTENT and PERSONAL NARRATIVE DUE in Canvas by 11:59pm
F May 9	Pyle, The Story of King Arthur and His Knights, “The Story of Sir Pellias” and “Conclusion”
ASSIGNED FINAL EXAM PERIOD	FINAL EXAM