English 223.02: Survey of British Literature, 1789-present

Dr. richard ruppel: department of english.

Updated November 30, 2023

Canvas Assignments Useful Links  

Office: Smith Hall, 07 Office Hours: Via Zoom or in-person.      Phone: 997-6754 (office) Email: [email protected] Class Meetings: T-Th, 2:30-3:45pm, Smith Hall 101

Text: The Norton Anthology of English Literature , 10 th edition, Volumes D, E, & F

Course Description and Objectives: This course introduces a wide range of literature written in Great Britain between 1789 (when Blake published Songs of Innocence ) and the present (we'll conclude with Zadie Smith’s, “The Waiter’s Wife," first published in 1999). An enormous amount of important work was written over these two centuries, and they span four major periods: Romantic, Victorian, Modern, and Post-Modern. We will read a relatively small, representative sample, but you will still need to do a lot of reading, and the poetry, essays, fiction, and drama will require your full attention, so don’t fall behind.  My lectures and our class discussions will be much more interesting and useful to you if you keep up. I make significant use of the Web.   Our syllabus will be updated on this Web page, where I will post assignments & useful Web links.  I will also ask you to contribute regularly to threaded discussions in Canvas, and I may ask you to engage in other online activities. 

Since this course is the third part of a historical survey, we will pay attention to the historical context as we read each of these authors, and we will pay attention to the way British literature changed through these decades.  We will become more familiar with the characteristics of the poetry and prose of each period, but we will also pay attention to what makes the work of each of these writers unique. 

As in most literature courses, this class has an important writing component, including the Canvas threaded discussions, the two required essays, and the final exam.  We will devote class time to developing your essay topics, and we will review the criteria I will use to evaluate your essays.  You will discuss and clear your topics with me, and I will accept a revision of one of your essays.  You can expect me to read your essays closely. 

English 223 is a required course that may be taken to fulfill the English major.   We will pay special attention to numbers 1, 2, 4, and 6 of the English Literature Program Learning Objectives listed below, and you will be able to develop and demonstrate these skills in your discussion board responses, formal essays, and final exam:  

1.     Skill in critical reading, or the practice of identifying and interpreting the formal, rhetorical, and stylistic features of a text

2.     Ability to identify and compare key literary movements and genres

3.     Ability to explain and apply significant theoretical and critical approaches in the field of English studies

4.     Skill in writing grammatically, coherently, and persuasively

5.     Skill in finding, analyzing, and utilizing secondary sources (including the appropriate methods of citation)

6.     Skill in crafting a compelling thesis-driven essay, with substantiating evidence

Our Course Learning Outcomes are the following:

1.     We will practice critical reading, especially of poetry, leading us to be able to identify the formal, rhetorical, and stylistic features not only of individual texts but of the texts we associate with particular literary movements – this should help you identify and compare the key literary movements and genres of the Romantic, Victorian, Modern, and Post-Modern periods.

2.     You will improve your understanding of the development of English literature from 1789 to the present within its historical context, so you will be able to list some of the characteristics of the literature in each period.  

3.     We will work on your writing this semester.   We will have writing workshops before the first essay is due, and you will be allowed to revise one of your essays. You will gain some tools that will help you edit your own writing.  

Weekly Syllabus *

Week 1 – August 29-31: Introduction and William Blake Week 2 – September 5-7:   Blake & William Wordsworth

Week 3 – September 12-14: Wordsworth Week 4 – September 19-21: Samuel Taylor Coleridge, Lord Byron, & John Keats Week 5 – September 26-28:  Percy Shelley, John Keats, & Romantics wrap-up Week 6 – October 3-5: Continued Romantics wrap-up. Introduction to the Victorians, Alfred Tennyson.   (Discussion of paper topics & requirements) Week 7 – October 10-12: Alfred Tennyson & Robert Browning . (Paper 1 due, October 12)

Week 8 – October 17-19: Browning & Christina Rosetti. Week 9 – October 24-26:  Oscar Wilde , The Importance of Being Earnest , Robert Louis Stevenson, “The Strange Case of Dr. Jekyll and Mr. Hyde,” Arthur Conan Doyle, “The Speckled Band,” and Rudyard Kipling, “The Man Who Would be King.”   [Student choice.]   W. B. Yeats.   Week 10 – October 31-November 2: Virginia Woolf, “The Mark on the Wall” & selections from A Room of One's Own .”   James Joyce, "The Dead” Week 11 – November 7-9: Joyce, "The Dead,”   Doris Lessing, “To Room Nineteen.” Week 12 – November 14-16: Salman Rushdie, “The Prophet’s Hair.”  

T H A N K S G I V I N G   B R E A K

Week 13  – November 28-30 : Zadie Smith, “The Waiter’s Wife.”   Plus, class choice.  

Week 14 – December 5-7:   Semester wrap-up. (Paper 2 due, December 5)   Week 15 - Final:  8-10:30am, Wednesday, December 13 .  

* These authors or works may change, but I'll give you plenty of notice, and I'll keep the syllabus updated on the Web.  

Course and Paper Requirements

Final drafts of your papers should be submitted via email.   I will accept a revision of one of your essays, but you must schedule a conference with me to discuss that revision before you submit it.  I will average the grade of the original paper and the revision. 

I will both grade and mark essays earning a grade of C- or higher.   I will not put a grade on an essay that earns a grade lower than C-.   If I return an essay to you that does not include a grade, I am treating your submission as a draft, not as a final copy.   You will need to make an appointment to see me so we can go over the essay together and work out a revision strategy.

If you anticipate having trouble getting an assignment in on time, let me know in advance. Unexcused late papers or projects will be marked down one letter grade per week.

You will be allowed 4 free absences through the semester. any absences after that will affect your grade, and you can't pass this class if you miss 7 or more classes.  , keep on top of the reading and other work through the semester. if you haven't read the assignment, you will find our class discussion both incomprehensible and dull.  .

Grades : Assignments & Participation * : 20% Minutes:   10% (Beginning week 2, each student will work with a partner to keep the week’s minutes) Essay 1: 15% (4-5 pages, due October 12) Essay 2: 25% (5-6 pages, due December 5) Final: 30% ( 8-10:30am, Wednesday, December 12)

* This is primarily your grade on the Canvas Discussion Board posts.   Here are my criteria for evaluating your posts:

1. The posting should respond as specifically as possible to the prompt (or you should indicate why you’re modifying the prompt). 2. The posting should reveal close engagement with the work under discussion. 3. The posting should contribute to the discussion, so later postings should not simply repeat earlier postings, and they should reflect some engagement with earlier postings. 4. Postings should be substantive.  

Grade Scale :

A     92 to 100%

A-    90 to < 92%

B +   <  90% to 88%

B   <  88% to 82%

B -   <  82% to 80%

C +   <  80% to 78%

C     < 78% to 72%

C-    < 72% to 70%

D +   <  70% to 68%

D     < 68% to 63%

D-    < 63% to 60%

F      < 60% to 0%

I will post grades in Canvas, which will calculate your overall grade for the class. The official grades are those I calculate myself, and these are nearly always the same as those Canvas creates.   If there is a discrepancy between the grade you see in Canvas and the grade I have in my gradebook, however, the gradebook grade is the one that’s correct. I am always happy to discuss your grades with you.  

Chapman University Academic Integrity Policy : 

Chapman University is a community of scholars that emphasizes the mutual responsibility of all members to seek knowledge honestly and in good faith.  Students are responsible for doing their own work, and academic dishonesty of any kind will be subject to sanction by the instructor and referral to the university's Academic Integrity Committee, which may impose additional sanctions up to and including dismissal.  (See the Undergraduate Catalog for the full policy.) Though I am not requiring you to submit your reflections via Turnitin, I am an expert at finding sources, online and otherwise, so I will notice if you make unacknowledged use of someone else’s work.  And if I have doubts, I will submit your work to Turnitin myself.  So please save both of us from trauma and write your Canvas Discussion posts and essays yourself.  

ChatGPT and other Large Language Model (LLM) chatbots:

1.  Typing a prompt into an LLM chatbot, copying the response, and then submitting that response for an assignment is an obvious form of academic misconduct.  Don’t do it. 

2.   Chatbots are often inaccurate.  When I asked ChatGPT for a biography of Richard Ruppel, a Chapman English professor, I found that I was born in Fairview (false), had been an expert on the Holocaust (mostly false), had graduated from Yale and Harvard (false), and was now dead (demonstrably, I hope, false).  People in the field describe these errors as “hallucinations,” but they are presented with supreme self-confidence. Hallucinations are not uncommon. 

3.   If I suspect that you have  pasted  in a response produced by an LLM, I will check the various services that can detect this.  If those services confirm my suspicion, I will call you in for a conference. 

4.  Chatbots can be inaccurate, but they do offer clear, useful information which users should check.  These are early times, but through this semester (and through your academic career) we will all discover ways to help you use them to enhance your learning. 

The following discussion of the use of LLMs in academic settings was developed by Dr. Nora Rivera, a professor in Chapman’s English department:  

·          Students must cite AI technologies when appropriate (e.g., when using images generated by AI technologies, when referencing an answer provided by AI technologies, et cetera)

·          Copying works entirely generated by AI technologies and submitting them as original content is considered an academic integrity violation

·          Always revise your work before submitting it. You are responsible for any inaccurate, biased, offensive, or otherwise unethical content you submit regardless of whether it originally comes from you or an AI model.

In-Class use of laptops, tablets, and phones :

You may use a laptop to take class notes  only  when you are one of the week’s note-takers.  Otherwise, laptops and tablets must remain closed, and you may not consult your phone during class.  If you have a reason to consult one of these devices during class, you must receive my permission to do so beforehand.  If I see you consulting your phone during class, I will mark you absent. 

Chapman Equity and Diversity Policy :

Chapman University is committed to ensuring equality and valuing diversity.   Students and professors are reminded to show respect at all times as outlined in Chapman’s Harassment and Discrimination Policy .   Any violations of this policy should be discussed with the professor, the Dean of Students and/or otherwise reported in accordance with this policy.  

Chapman's Students with Disabilities Policy :

In compliance with ADA guidelines, students who have any condition, either permanent or temporary, that might affect their ability to perform in this class are encouraged to inform the instructor at the beginning of the term. The University, through the Disability Services Office , will work with the appropriate faculty member who is asked to provide the accommodations for a student in determining what accommodations are suitable based on the documentation and the individual student needs. The granting of any accommodation will not be retroactive and cannot jeopardize the academic standards or integrity of the course.  

It is very important to me that ALL students feel welcome and encouraged to learn in my classes.   If you have any concerns about participating in class, writing posts or papers, or taking our exam, do not hesitate to speak with me.   I want you to feel challenged in this class, but if you feel overwhelmed, let me know .  


For Thursday, August 31 :   Read the introduction to William Blake in our anthology, 122-124, and read all the Songs of Innocence and Songs of Experience , 127-145.   Select one to read out loud to the class (after explaining, briefly, why you chose it).  

For Tuesday, September 5: Continued discussion of Blake’s Songs of Innocence and Songs of Experience .  

For Thursday, September 7 :   Read the introduction to William Wordsworth, 280-282, and “Simon Lee” (285), “We Are Seven” (288), “A Slumber Did My Spirit Seal” (318), and “Nutting” (319).   Respond to the Canvas discussion question by 10am Thursday, September 7.  

For Tuesday, September 12 :   Read the introduction to Samuel Taylor Coleridge (441-44), “The Eolian Harp” (444-445), and “The Rime of the Ancient Mariner” (448-464).  

For Thursday, September 14:   Read “Kubla Khan” (464-466), and respond to the question in Canvas about “The Rime of the Ancient Mariner.”  

For Tuesday, September 19 :   No new reading.  

For Thursday, September 21 :   Read Scene 4 of George Gordon, Lord Byron’s Manfred (664-668), as an introduction to the Byronic Hero.   Also available here

For Tuesday, September 26 : Read Shelley’s “Ozymandias” (790), the introduction to John Keats (950-52), and Keats’s “When I Have Fears” (960), “The Eve of St. Agnes,” (961-71), and “La Belle Dame Sans Merci” (972-73).

For Thursday, September 28 :   Read Keats’s Odes: “Ode to Psyche” (975), “Ode to a Nightingale” (977), “Ode on a Grecian Urn” (979), “Ode on Melancholy” (981) and “To Autumn” (1000).   Respond to the question about Keats by 10am, September 28.  

For Tuesday, October 3 : Bring your first paper topic to class.   Read pages 3-27, an introduction to The Victorian Age .  

For Thursday, October 5 : Read the introduction to Alfred Tennyson (142-45) and his “Mariana” (145), “The Lady of Shalott” (147), and “Ulysses” (156). Remember that you need to clear your first paper topics with me by October 5.  

For Tuesday, October 10 :   Read Tennyson’s “Locksley Hall” (163) and “The Charge of the Light Brigade” (221), the introduction to Robert Browning (321-324), “Porphyria’s Lover” (324), and “Soliloquy of the Spanish Cloister” (326).  

For Thursday, October 12 :   First essay due (by midnight, October 12). Read Robert Browning’s “My Last Duchess” (328), and “The Bishop Orders his Tomb at Saint Praxed’s Church” (332).   

For Tuesday, October 17 :   Read Christina Rossetti’s introduction (535-6) and “Song” (“When I am dead,” 536), “After Death” (537), “In an Artist’s Studio,” “A Birthday” (539), “An Apple Gathering,” and “Winter My Secret” (540).  

For Thursday, October 19 :   As a fond farewell to the Victorian Age, read Oscar Wilde’s , The Importance of Being Earnest (823) , Robert Louis Stevenson, “The Strange Case of Dr. Jekyll and Mr. Hyde” (765), Arthur Conan Doyle, “The Speckled Band” (921), or Rudyard Kipling, “The Man Who Would be King” (941).   This is your choice .

Each of the optional works is a classic example of a different genre: satire/farce, horror, detective fiction, and adventure fiction.   All four are available on video. In your posts, you might like to comment on the play or the story adaptation.   

·          This production of The Importance of Being Earnest is terrific, with Colin Firth, Reese Witherspoon, Judi Dench, Rupert Everette, and other fine actors.  

·          I haven’t watched this adaptation of “Jekyll and Hyde” (1941), but the parts I’ve seen are interesting, and it stars Spencer Tracy, Ingrid Bergman, & Lana Turner. You’ll see that it adds a good deal of conventional heterosexuality to a tale of what a few critics, including me, call “bachelor fiction”: late-Victorian stories with submerged homosexual themes. Henry James’s “The Pupil,” Joseph Conrad’s “Il Conde,” and Oscar Wilde’s The Picture of Dorian Gray are all examples.  

·          The BBC has a nice adaptation of The Speckled Band , with Jeremy Brett as Holmes.  

·          John Huston directed a remarkable The Man Who Would be King , with Sean Connery, Michael Caine, and Christopher Plummer. If you’d like to see it, you’ll need to rent it from Amazon for $2.99.  

For Tuesday, October 24 :   No new reading.   Continued discussion of the works you chose.   By 10am Tuesday, October 24, respond to the Canvas Discussion question about your work.  

For Thursday, October 26 :   Read the introduction to William Butler Yeats (209-12) and his “The Stolen Child” (212-13), “The Lake Isle of Innisfree” (215), “When You are Old” (216), “Adam’s Curse” (218), and “No Second Troy” (219).   These are in The Twentieth Century and After volume of the Norton Anthology.   

For Tuesday, October 31 :    Read the introduction to Virginia Woolf (270-71), “The Mark on the Wall” (272-76), and the selection from A Room of One’s Own , (392-400), a famous, fictional account of what might have happened to Shakespeare’s talented and doomed sister, whom Woolf names Judith Shakespeare. Feel free to dress appropriately for the day.

For Thursday, November 2 :   Read the introduction to James Joyce (404-7) and his greatest short story, “The Dead” (411-40).   John Huston’s adaptation of the film, with Anjelica Huston playing Gretta, is available on Swank . Essays comparing the film and the story welcome.      

For Tuesday, November 7 :    Continued discussion of “The Dead.” Respond to the question about the story on our Canvas discussion board by 10am Tuesday.  

For Thursday, November 9 :   Read the introduction to Doris Lessing (900) and her “To Room Nineteen” (901-22).

For Tuesday, November 14 : Read the introduction to Salman Rushdie (1142-3) and his “The Prophet’s Hair” (1144-53), a coldly brilliant story concerned with the corrupting influences of money and religion.  

For Thursday, November 16 :   No new reading.   Bring ideas for your second essay.  

For Tuesday, November 28 :   Read “The Waiter’s Wife,” by Zadie Smith. Choose a work in our anthology not on the syllabus and written after 1960 that you’d like the class to read.   

For Thursday, November 30 :   To be determined.  

Useful Links

William Blake

  • The Blake Archive , housed at the University of Virginia. 
  • Blake’s life , on You Tube.

William Wordsworth & Samuel Taylor Coleridge

  • Brief but pithy explanation of Wordsworth’s contribution to English poetry , from Lancaster University.  
  • A reading of Wordsworth’s “ Tintern Abbey .”  
  • Photos of the Abbey.  
  • “ A Revolution in Poetry: Wordsworth & Coleridge ,1798.”   Lecture by James Chandler.  
  • A long, illustrated, literary biography of Wordsworth.  
  • An aeolian (wind) harp playing by the Irish coast.  
  • A reading of “ The Rime of the Ancient Mariner ,” with illustrations by Gustave Doré. A very fine theatrical reading including Richard Burton as the Mariner.   And, finally, Iron Maiden’s heavy metal version .  
  • Albatross , a 2015 play by Matthew Spangler and Benjamin Evett, inspired by “The Rime.”   With thanks to Bailey.  
  • A discussion of Coleridge’s poetry by a student at Gordon State College as a way to introduce the analysis of poetry.  
  • From Caitlyn, Bastille - Weight of Living Part 1 (Albatross).  

George Gordon, Lord Byron

·          Act 3, Scene 4 of Manfred , whose protagonist is the archetypal Byronic Hero.  

Percy Bysshe Shelley

·          A reading from Shelley’s Prometheus Unbound , by a fine actor, Ralph Cotterill , filmed in what we might call a Romantic garden.  

·          Prometheus’s curse of his tormenter, Zeus, also from Prometheus Unbound .  

·          “ Ozymandias ,” with a video, read by Bryan Cranston. (One of the Breaking Bad episodes is entitled “Ozymandias.”)  

  • Trailer to Bright Star . 
  • Contemporary, animated biography of Keats. Less casual biography , more authoritative because of the British accent.  
  • A brief lecture on “The Eve of St. Agnes ,” followed by a reading of the whole poem.  
  • Ben Wishaw reads “ La Belle Dame Sans Merci .”  
  • Antonio Canova’s Psyche Revived by Cupid ’ s Kiss .   Finished in 1787, when the sculptor was ~30.   It’s in the Louvre, in Paris.  
  • Benedict Cumberbatch reads “ Ode to a Nightingale .”  
  • “ Ode on Melancholy .” Read by Stephanie Swan Quills .  

Alfred Lord Tennyson

  • Loreena McKennitt sings " The Lady of Shalott ." 
  • Alfred Tennyson.  " Ulysses ."  " Dark House, by Which Once More I Stand ," from In Memoriam . 
  • Fascinating description of the manuscript of In Memoriam , housed at Cambridge, including video of Tennyson’s doodles.  
  • Slightly creepy “video” of Tennyson reading “The Charge of the Light Brigade,” recorded on a wax cylinder.   I don’t know when he recorded it; the poem was first published in 1854.   Extraordinary to hear Tennyson’s actual voice.  
  • Victorian Web resources on “ Mariana. ”   
  • Victorian Web resources on “ The Lady of Shalott .”  
  • Victorian Web resources on “ Ulysses .”  

Robert Browning

  • Robert Browning.  David Olney acts " My Last Duchess ."  Another interpretation by Julian Glover .  "Soliloquy of the Spanish Cloister," acted by Julian Lopez-Morillas .  “ The Lost Leader ,” read by “Tom O’Bedlam .”   [Other poems written in dactyls :   “ Eve ,” Ralph Hodgson.   “ Charge of the Light Brigade ,” Tennyson.]
  • The Victorian Web pages devoted to Robert Browning’s works. Before writing about the poem you choose on the Discussion board, read one or more essay about the poem.   There are good ones here on all the assigned poems :   “ Porphyria’s Lover,” “Soliloquy of the Spanish Cloister,” “My Last Duchess,” and “The Bishop Orders his Tomb at Saint Praxed’s Church.”
  • The Armstrong Brown Library and Museum Web page, on Browning’s dramatic monologue .  

George Bernard Shaw

  • Theatrical production of Mrs. Warren’s Profession : some well-acted scenes between Vivie and Kitty.   And here’s a complete version on You Tube.   

Christina Rossetti

·          In the Poetry Foundation Web pages, a very good literary biography of Rossetti .

·          See the two articles on Rossetti in the Contents section of Blackboard.  

Arthur Conan Doyle

  • The Speckled Band
  • Look in the Contents section for an essay on the story, having to do with Victorian fears of deviance and contagion (the latter an appropriate issue for our time).  

Robert Louis Stevenson

·          Dr. Jekyll and Mr. Hyde , 1941.  

·          See the Contents section of Blackboard for an essay on the history of the insanity defense and how that relates to “Jekyll and Hyde.”  

Oscar Wilde

·          Trailer for the 2002 Importance of Being Earnest.  

·          The Importance of Being Earnest , full length.  

·          Accessible essay on The Importance of Being Earnest : “ The Importance of Being Earnest  (1895) by Oscar Wilde: Conformity and Resistance in Victorian Society ”

·          “ Synchronicity and the Trickster in The Importance of Being Earnest ” By Clifton Snider.   With thanks to Jacob for finding such a good essay that sums up a good deal of the play’s criticism.  

Rudyard Kipling

·          A fine, literary biography of Kipling in The Poetry Foundation .  

·          See the article on “The Man Who Would Be King” in the Contents section of Blackboard.

  • Yeats himself reciting some poetry, with a little commentary.  A tribute to the Easter Rising in 1916. 

Virginia Woolf

  • Full text of A Room of One’s Own .  
  • Eileen Atkins delivers a version of the essay beautifully, sounding and looking a lot like Virginia Woolf.  
  • A video biography of Virginia Woolf.  
  • Trailer for The Hours , a film based on a novel by Michael Cunningham, which in turn is based on Virginia Woolf’s Mrs. Dalloway and Doris Lessing’s “To Room 19.”   With Meryl Streep, Nicole Kidman, and Julianne Moore.  
  • Trailer for Suffragette , a 2015 film with Anne-Marie Duff, Helena Bonham Carter, & Meryl Streep.   A brief video concerning Emily Davison , a radical suffragette, who, in 1913, threw herself in front of King George V’s horse at the Epsom Derby and died of her injuries four days later.  

James Joyce

  • Scenes from John Houston's adaptation of "The Dead":  The trailer . " The Lass of Aughrim ." Finale .  The whole film , via Tubi, or via Swank .  
  • A good video biography .  

Harold Pinter

  • Harold Pinter’s The Dumb Waiter (in one You Tube, with younger actors).   An earlier BBC production.   Part 1 .   Part 2 .   Part 3 .   Part 4 .   Part 5 .   Pinter’s Nobel Prize acceptance speech .  

Doris Lessing

  • Doris Lessing Nobel Prize acceptance speech .   Her obit ; she died November 17, 2013.  
  • Australian Broadcasting Company’s response to Lessing’s Nobel Prize , including an interview.  

Salman Rushdie

·          Pdf of “The Prophet’s Hair.”

·          BBC discussion of the fatwa against Rushdie, issued in 1989, and its consequences, thirty years later.  

·          CBS interview .  

Zadie Smith

·          “ The Waiter’s Wife .”   In Granta , 1999.  

·          “ The Fall of My Teenaged Self ,” in The New Yorker , November 20, 2023.  

·          The Dumb Waiter .  

·          Women’s Suffrage in England timeline , illustrated, from 1832.   From 1520-1979 (when Margaret Thatcher became Prime Minister).  

·          Romanticism Summary PowerPoint .  

·          The Victorian Period, introductory PowerPoint .  

  • From the British Library : “Dr Stephanie Forward explains the key ideas and influences of Romanticism .”   
  • Victorian Web
  • Modernism – a good summary from the Britannica.     

·          Aubrey Beardsley’s illustrations for Oscar Wilde’s play, Salome .   And here .   

·          A quotation from Friedrich Nietzsche in The Gay Science , 1882.  

  • The University of Toronto's extensive poetry pages , with links to a Glossary of Poetic Terms, Criticism, Poems, etc. 
  • Rhythm and meter .   
  • The Poetry Foundation’s excellent “ Glossary of Terms .”
  • UNC Chapel Hill's extended definition of a poetry explication - from the UNC Writing Center. 
  • Poems by Thomas Hardy set to music in Benjamin Britten’s Song Cycle .   Irrelevant Dog Picture
  • Wiz & Rosie

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ENGL 213 - Survey of British Literature I

  • Identify the characteristics of British literary traditions, authors, genres and themes from the 9th century through the mid-18th century.
  • Apply various literary terms to discuss, interpret, and analyze representative texts.
  • Respond to, explicate, analyze, and evaluate literary texts.
  • Express well supported opinions of texts and use a style appropriate for academic discourse using formal writing of three pages or more.
  • Understand and apply the political, socio-cultural or historical contexts of British literature from the 9th century through the mid-18th century.
  • Synthesize connections between individual texts and a variety of literary interpretations, including secondary critical texts.
  • Cite sources in essays using standard documentation procedures.
  • Utilize technology in assignments.

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British Literature Survey 1 SYLLABUS

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British Literature Survey 1: First of a two-part, chronologically based survey of British literature Works of drama, prose, and poetry by British writers of this period are studied.

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Archives and other cultural institutions such as museums and libraries can play an important role for the education and training of younger generations. Since these three institutions opened themselves to society, they started organizing various programs to communicate with various social groups and especially with youth. In most cases, archives, museums and libraries do not cooperate for such programs. What happens when these institutions cooperate for a common goal, such as educating younger people? And what can be the benefits for both the institutions and their users if they establish common programs on a regular basis? Formare insieme il futuro: l'offerta potenziale degli archivi e delle altre istituzioni culturali per l'edu-cazione e la formazione delle giovani generazioni SinTeSi Gli archivi e le altre istituzioni culturali quali musei e biblioteche possono giocare un ruolo importante nella educazione e nella formazione delle generazioni più giovani. Da quando queste tre istituzioni si sono aperte alla società, hanno iniziato vari programmi di comunicazione con vari gruppi sociali ed in special modo con i gio-vani. Nella maggioranza dei casi, archivi, musei e biblioteche non hanno cooperato a questi programmi. Cosa succede quando queste istituzioni cooperano per un obiettivo comune, quale l'educazione dei più giovani? E quale può essere il beneficio per tutte queste istituzioni ed i loro fruitori nel pianificare programmi comuni su base regolare?. Skupno usposabljanje za prihodnost: potencialna ponudba arhivov in drugih kulturnih ustanov za izobraževanje in usposabljanje mladih generacij iZVLeČeK Arhivi in druge kulturne ustanove, kot so muzeji in knjižnice, lahko igrajo pomembno vlogo pri izobraževanju in usposabljanju mlajših generacij. Odkar so se te tri institucije odprle javnosti, so začele organizirati različne programe za komunikacijo z različnimi družbenimi skupinami, zlasti z mladimi. V večini primerov pa arhivi, muzeji in knjižnice ne sodelujejo v teh programih. Kaj se zgodi, ko te institucije sodelujejo za skupni cilj, kot je izobraževanje mladih? In kakšne so lahko koristi, tako za institucije in njihove uporabnike, če pripravijo redne skupne programe izobraževanja? Εκπαιδεύοντας το μέλλον μαζί: η εν δυνάμει προσφορά των αρχείων και άλλων πολιτιστικών οργανισμών στην εκπαίδευση των νεώτερων γενιών ΠΕΡΙΛΗΨΗ Τα αρχεία και άλλοι πολιτιστικοί οργανισμοί όπως τα μουσεία και οι βιβλιοθήκες μπορούν να παίξουν ένα σημαντικό ρόλο στην εκπαίδευση των νεώτερων γενιών. Από όταν αυτοί οι τρεις οργανισμοί έκαναν άνοιγμα στην κοινωνία, άρχισαν να οργανώνουν ποικίλα προγράμματα για να επικοινωνήσουν με διάφορες κοινωνικές ομάδες και ιδιαίτερα τους νέους. Συνήθως, τα αρχεία, τα μουσεία και οι βιβλιοθήκες δε συνεργάζονται για τέτοια προγράμματα. Τι συμβαίνει όταν αυτοί οι οργανισμοί συνεργάζονται για έναν κοινό σκοπό, όπως την εκπαίδευση των νέων; Και ποια μπορούν να είναι τα οφέλη για όλους τους οργανισμούς και τους χρήστες εάν θεσμοθετήσουν κοινά προγράμματα σε τακτικά διαστήματα;

Amoun Wzear

Biological Psychiatry

Robert Risinger

Bima Megantara

Raega - O Espaço Geográfico em Análise


Tendo em vista os problemas ligados às mudanças no uso e na cobertura da terra, em especial, ao desflorestamento da Amazônia no estado de Rondônia, foram analisados, neste estudo, os territórios religiosos de organizações que tem por prática o uso do chá Ayahuasca em seus rituais. A necessidade que essas religiões têm de plantar as espécies Banisteriopsis caapi e Psychotria viridis para o autoconsumo do chá Ayahuasca, e a necessidade reconhecida por essas instituições de que essas espécies precisam do ambiente florestal para um melhor desenvolvimento é o foco principal desse estudo. A presente pesquisa analisou o uso e a cobertura da terra em 24 propriedades rurais de religiões ayahuasqueiras no estado de Rondônia-BR. Para o mapeamento foram utilizadas imagens do satélite QuickBird extraídas do Google Earth por meio do aplicativo El-Shayal, em resolução espacial de 1,42 m. Utilizando-se do aplicativo Envi 5.0 foram realizadas classificações orientadas a objeto, que posteriormente fo...

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International Journal of Applied Research and Studies

Literatures in general and English literature in particular have been used for generations to teach language. It has been proven many times that language can be effectively taught using literature. Literatures, in effect, help shape our thoughts and ideas, learning and using language effectively, and affecting our moods and emotions. We have, in this paper, attempted to show how teaching of several genres of literature, e.g. prose, poetry, drama, short stories etc. help students learn language really well.



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Oding Affandi

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ECO Educational Institute

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ENG-331 Survey of British Literature I

  • 3.00 Credits
  • 08/22/2022 to 12/10/2022
  • Modified 08/22/2022

Meeting Times

  • Monday, Wednesday, Friday, 12:00 PM to 12:50 PM, Education Building 117

Campus Security can be reached at 270-789-5555 and 270-403-3611 .

Course Description

A survey of British literature from the Anglo-Saxon invasion to the end of the Neoclassical Period.

Prerequisite(s): ENG 112 and ENG 210

Course Objectives

  • To gain a perspective of literary history and chronology, demonstrating knowledge of key authors, works, periods, terms, and themes of English literature from Anglo-Saxon times through 1785.
  • To develop skills in critiquing literary texts, giving informed interpretations of a variety of genres, persuasively defending such analyses orally and in writing, and performing in-depth library and Internet research to support a lengthy literary analysis written in MLA style.
  • To recognize patterns in literary texts, making connections among an author’s works, various writers, and literary periods; among English, American, and world writers and historical events; among information within other academic disciplines; and among students’ personal views and creative work.
  • To find value in varied critical approaches; in the wide-ranging views of other eras, cultures, and opinions; in connections between literature and one’s own life; and in worthy ideas and skills.
  • To recognize literary quality and the power of literary expression as an agent of change while enjoying the pleasure of reading and the beauty of language.
  • To learn methods of problem-solving for literary texts and to view the reading of literature as a pleasure well worth cultivating and continuing.

Course Materials

The norton anthology of english literature. package 1: volumes a, b, and c.

  • Author: Stephen Greenblatt, ed.
  • Publisher: Norton
  • Edition: 10th
  • ISBN: 978-0-393-60312-5

The MLA Handbook and  A Handbook to Literature  are recommended.

Course Requirements

4 Exams:   Tests include identification, paragraph answers, and essay questions.  Essay questions may be comprehensive.

Research Paper:   The scholarly research paper presents the student’s original argument concerning a text or texts written during the literary periods studied.  A minimum of seven scholarly sources are to be cited in addition to the text(s) studied.  The paper covers 10-12 pages, follows MLA format, and includes a formal sentence outline.  The essay argues in support of the student’s interpretation of a debatable literary problem, perhaps centering on a symbol, character, word, setting, theme, or idea.  Research is incorporated to support the student’s position; however, the research paper focuses not on what critics say about the text but on the student’s defense of his or her position within an interpretative debate.  Thus, the literary text itself is the primary focus of the analysis.  Close reading of a text, soundly-based and well-presented argument interpreting the text, and skillful research are the goals of the paper.  Students express  their topic, plan, and resources for the paper within a research proposal early in the semester.  Students planning to do graduate work in English should research a text not studied within the course.  Like all essays for the course, the research paper is submitted to TurnItIn.com.

Analysis of a Literary Character: Students develop a five-page argument analyzing a character, providing strong textual support for their conclusions.  The character must be from British literature prior to 1785 and, if the student desires, may be selected from texts the class has already discussed.

Poem Analysis: In a minimum of four pages, students thoroughly explicate and analyze a short British poem written before 1785.  The poem should be selected from works not previously discussed in class.

Conferences: Students are expected to visit the instructor’s office at least once during the semester to discuss their progress and to receive guidance in writing the research paper.

Participation: Students are expected to attend class, student conferences, theater trips, and the fall play; to be prepared to participate actively in every class meeting; to contribute to class and peer group discussions; to complete writing and reading assignments on time; and to participate in all in-class exercises.

Evaluation and Grading Scale

These elements compose the final grade:

4 Exams – 400 points

Research Paper – 130 points

2 Literary Analyses – 100 points

Participation – 20 points

Grading Scale:

            A = 585-650 points

            B = 520-584 points

            C = 455-519 points

            D = 390-454 points

            F = 0-389 points

All essays completed for this course are to be first-time submissions designed specifically for the assigned requirements.  Essays presented for other classes will not be accepted.  Essays submitted late receive a letter-grade penalty.  Essays more than one week late will not be accepted.  Plagiarized work is unacceptable, unethical, and fraudulent.  It results in automatic failure of the course and is reported to the Vice President for Academic Affairs.  In addition, expulsion from the University can occur.

Course Policies

Attendance Policy for ENG 331-01:

Students are expected to attend every meeting of ENG 331.  For illness, unavoidable personal emergencies, and participation in university-sponsored events, the equivalent of two weeks of class (6 sessions in MWF classes; 4 sessions in TTh classes) may be missed without penalty.  Work missed during an absence that is not approved may not be made up.  A total of twelve absences results in automatic withdrawal from the course.

Course Outline

Aug.   24:  Introduction; Bede A31

26:  “Dream” 34; “Wanderer” 119; “Wife’s” 123; Beowulf 42-59

29:  Beowulf 59-89

31:  Beowulf 89-109; “Deaths of Tristran” 140-43; “Milun” 160; “Chevrefoil” 185; “General Prologue” 261

Sept.    2:  “General Prologue” 261

  5:  Labor Day

  7:  Miller’s Prologue and Tale 282; Nun’s Priest’s Tale 344

  9:  Wife of Bath’s Prologue and Tale 300

12:  “Complaint” 363; “Retraction” 360; “Randall,” “Barbara,” “Spens” (handouts); Piers 391-94, 415-426; Poem Analysis due

14:  Sir Gawain 204-27

16:  Test 1

19:  Sir Gawain 227-56; Everyman 558

21:  “Whoso” B121; “They Flee” 125; Utopia 47-51, 69-72, 74-99, 106-17; “Poins” 131; “Cruel” 137

23:  Astrophil 586 (sonnets 1, 7, 45, 47, 52, 91); Defense 548-59, 568-76, 584-85

26:  Schoolmaster 172-73, 200-1; “Letter” 205; “Words” 207; “Doubt” 230; “Speech” 234; I Corinthians 13 translations 146-48

28:  Amoretti 487-91; Faerie Queene 249-67

30:  FQ 267-78, 289-98 (s. 37)

  Oct.    3:  FQ 327-65; “Eve’s” 983; “Passionate” 678; “Nymph’s” 527; Character Analysis due

  5:  Hero 660; “Burning” 171; Sonnets 18, 29, 73, 94, 116 (p. 723)

  7:  Sonnets 130, 138, 144, 147 (p. 736); Volpone 995-1031

10:  Test 2

12:  Volpone 1032-63; “Son” 1092

14:  Fall Break

17:  Volpone 1063-89; “Penshurst” 1096; “Memory” 1106

19:  Bacon 1213-15; “Of Studies [1625]” 1224; King Lear 1254-85 (handout); Research Proposal due

21:  Lear 1285-1315; “Song” 924; “Sun” 926; “Canonization” 927; “Flea” 923

24:  Lear 1316-39; “Valediction” 935; “Ecstasy” 936; “To His” 943

26:  Holy Sonnets 1, 10, 14 (p. 960); “Hymn” 967; “Meditation 17” 970; “Delight” 1308; “Corinna’s” 1310; “Virgins” 1312; “Coy” 1346; “Song”

       (handout); “Out” (handout); “Lucasta” 1329

28:  “Altar” 1257; “Redemption” 1258; “Wings” 1259; “Collar” 1270; “Pulley” 1271; “Wounds” 1296; “Soon” 1489; “Light” 1492; Areopagitica 1479

31:  “Methought” 1493; Milton 1459-73; Pilgrim’s C96; Paradise Lost

Nov.     2:  PL B1495-1514, 1528-37, 1575-79; Research Paper Conferences

  4:  Test 3

  7:  PL  1643-68

  9:  PL 1723-27; “Annus” C36; “Shakespeare” 807; “Milton” 819; “Diary” 86; “Absalom” 40; Research Paper due

11:  “Absalom” 40; Way 188-200

14:  Way 200-48; “Shower” 256; “Modest” 454

16:  Gulliver’s 282-330; Steele 462-65, Handout; Addison 465-67; 474-81; 483-86; “Criticism” 490

18:  Gulliver’s 407-26, 450-54; “Man” 535; Dunciad 555-56, 558-60; Johnson 723-26, 729-34, 801-6

21:   Rape of the Lock 507

     23-25:  Thanksgiving Break

28:  Life 832-33, 839-49, 858-62; “Autumn” 991

30:  “Fantomina” 609; “Eton” 994; “Elegy” 998; “Jeoffry” 1006

  Dec.   2:  “Village” 1009; “Village” 1019; “Castaway” 1028

  7:  Final Exam

Institutional Policies

Health and safety statement.

Campbellsville University values the health and safety of students and employees. While the intention is to remain face-to-face for classes scheduled in this way, this may be adjusted as circumstances change. Students and employees should be prepared to work and learn remotely as the health and safety situation dictates. Students and faculty may be required to participate in videoconferencing and remote learning for some part of the semester coursework. Students and faculty will need access to technology for remote learning including Internet access, videoconferencing (SmartPhone, tablet, laptop, or PC) and webcams for test proctoring. Students may be required to videoconference during scheduled class times. Webcams may be required for remote testing. All classes will adhere to the Campbellsville University Health and Safety Guidelines.

Disability Statement

Campbellsville University is committed to reasonable accommodations for students who have documented learning and physical disabilities, as well as medical and emotional conditions. If you have a documented disability or condition of this nature, you may be eligible for disability services. Documentation must be current, in terms of assessment, from a licensed professional. Please contact the Coordinator of Disability Services at (270) 789-5450, [email protected] , or visit the BASC (Badgett Academic Support Center), Room 212 to inquire about services.

Notice of Non-Discrimination

Campbellsville University does not discriminate on the basis of race, color, national origin, sex, disability, or age in its programs and activities, including applicants for admission and employment.  The following persons have been designated to handle inquiries regarding the University’s non-discrimination policies:

Title IX Coordinator                                                                   Director of Human Resources

Administration Building, Office  7                                             Administration Building, Office 7

1 University Drive, UPO 944                         OR                        1 University Drive, UPO 944

Campbellsville, KY 42718                                                          Campbellsville, KY 42718

[email protected]                                    [email protected]   

(270) 789-5092                                                                            (270) 789-5016

For further information on notice of non-discrimination, visit  http://wdcrobcolp01.ed.gov/CFAPPS/OCR/contactus.cfm  for the address and phone number of the office that serves your area, or call 1-800-421-3481.

Campbellsville University has developed grievance procedures for investigating complaints of sexual misconduct, including sexual harassment and sex discrimination. The Sexual Misconduct Policy can be found at: https://www.campbellsville.edu/policy/title-ix-policy-procedure/ .

To file a report or complaint of sexual misconduct, contact the Title IX Coordinator , whose contact information is listed above, or use this link to complete an online reporting form: https://cm.maxient.com/reportingform.php?CampbellsvilleUniv&layout_id=2

CU’s Title IX website also contains a list of resources and events designed to enhance education around sexual violence prevention and awareness, risk reduction, and bystander intervention.

Student Attendance Policy

Students are required to attend all class meetings of courses for which they are registered. Students are responsible for meeting all the course requirements and properly addressing the content of courses for which they are registered. If a student finds it necessary to miss a class, it is the student’s responsibility to:

  • Contact the course instructor before the absence, if possible;
  • To make arrangements with the course instructor for missed work; and
  • To provide the course instructor with appropriate documentation and verification of the need or reason(s) for the absence.

The needs or reasons for absences may include only the following:

  • Illness: A specific debilitating ailment that significantly impairs the student’s ability to carry on any activities other than those of recuperation.
  • Unavoidable Personal Emergency: A situation that presents an unresolvable conflict with class attendance due to severe and unusual demands placed upon the student by circumstances beyond his/her control.
  • Participation in a University-Sponsored Event: A situation that presents an unresolvable conflict with class attendance due to the student’s required participation in a University-sponsored event as approved by the Vice President for Academic Affairs (VPAA). Arrangements for missed work due to absences of this type must be made prior to the absence.


Should the student miss classes, FOR THE ABOVE STATED REASONS ONLY, and proper prior arrangements have been made, the instructors will follow (for make-up work) their policy as stated in the course syllabi. HOWEVER, course instructors are not required to repeat lectures, lab experiments, music rehearsals, or other classes or components of classes for which making up missed work may be impractical or infeasible.

If, for any reason, a student is absent from class the number of times that the class meets in two weeks during a semester, or an equivalent amount of time during term courses and other academic sessions the course instructor must notify the Director of Academic Support who will send a written warning of attendance deficiency to the student, the student’s advisor, and to each coach, director or other person responsible for any school organization providing the student with a performance grant, or for which the student must maintain intercollegiate competitive eligibility.

1 class meeting per week 2 absences per semester 2 class meetings per week 4 absences per semester 3 class meetings per week 6 absences per semester All other classes 12.5% of the total number of class meetings per semester or an equivalent amount of time during term courses and other academic sessions

If, for any reason, a student is absent from class the number of times that the class meets in four weeks during a semester, or an equivalent amount of time during term courses and other academic sessions, the course instructor must notify the Assistant Dean of Academic Support who will initiate the withdrawal of the student from the class with a grade of WA (Withdrawn- Absenteeism). A grade of WA will earn zero quality points as calculated for GPA purposes. Students for whom withdrawal from a course is initiated by the Director of Academic Support will be allowed to withdraw from said course with a grade of W if the action is taken by both parties within the normal withdrawal time period.

Remote Learning Policy

Requests for remote learning (joining a class session by Zoom) are based on the same reasons students are allowed to make up missed work as described in the University’s Class Attendance Policy. Faculty should be judicious in considering requests for remote learning.

1. Illness: A specific debilitating ailment that significantly impairs the student’s ability to attend class but would allow them to participate by Zoom. 2. Unavoidable Personal Emergency: A situation that presents an unresolvable conflict with class attendance due to severe and unusual demands placed upon the student by circumstances beyond his/her control. 3. Participation in a University-Sponsored Event: A situation that presents an unresolvable conflict with class attendance due to the student’s required participation in a University-sponsored event as approved by the Vice President for Academic Affairs (VPAA).

A student who receives permission from the instructor and participates in class virtually for one of the above reasons, should not be counted absent. Students may be required to keep their webcam on and their face on the screen throughout the class. Students may be expected to unmute and respond to questions during the class session. In cases where laboratory or other class activities are not appropriate or comparable for Zoom, the student may be counted absent but should be allowed to make up work if there is a reasonable way to do so.

It is the student’s responsibility to contact the instructor prior to class in a timely manner to allow for arrangement of the virtual option. It is the student’s responsibility to have access to a webcam and microphone for remote learning.

In some cases when a student request for remote learning does not satisfy one of the conditions listed in the absence policy, instructors may allow the student to join class remotely. It is the instructor’s discretion to count the student as present or absent.

Academic schools and departments may have additional and more detailed policies regarding remote learning. Individual instructors may address specific details regarding remote learning in their syllabi.

Online Attendance Policy

Campbellsville University’s Online Course Attendance Policy Bi-term and 8 week terms: Online students must participate weekly as defined by the professor in the syllabus. After 1 week (12.5%, 1/8th of the scheduled classes) without contact the student will be issued an official warning. After the second week (25%, 1/4th of the scheduled class) without contact the student would fail the course and a WA would be recorded.

Weather Statement

When conditions are or have the potential to be unsafe, the University may elect to move its instruction and operations to a remote status. Classes will be held remotely. Students and faculty will need access to technology for remote learning including Internet access and videoconferencing (Smart Phone, tablet, laptop, or PC). Students may be required to videoconference during scheduled class times. 


Allen, Walter.  The English Novel .  New York: Dutton, 1954.

Bate, Jonathan.  The Genius of Shakespeare .  New York: Oxford UP, 1998.

Bate, W. Jackson.  Samuel Johnson .  Washington, D.C.: Counterpoint, 1998.

Benson, Larry D., ed.  Riverside Chaucer .  3 rd ed.  Boston: Houghton, 1987.

Blake, N. F. A History of the English Language .  Washington Square: New York UP, 1996.

Boyce, Charles.  Shakespeare: A to Z .  New York: Laurel, 1990.

Briggs, Asa.  Social History of England .  London: Weidenfield, 1994.

Coote, Stephen.  The Penguin Short History of English Literature .  New York: Penguin, 1993.

Elton, Geoffrey.  The English .  Cambridge: Blackwell: 1992.

Hawkins-Dady, Mark.  The Reader’s Guide to Literature in English .  Chicago: Fitzroy, 1996.

Hibbert, Christopher.  Cavaliers and Roundheads .  New York: Scribner’s, 1993.

Jones, Norman.  Birth of the Elizabethan Age .  Cambridge: Blackwell, 1993.

Kernan, Alvin.  Shakespeare, the King’s Playwright .  New Haven: Yale UP, 1995.

Lawrence, Robert G.  Restoration Plays .  Rutland: Tuttle, 1994.

MacCaffrey, Wallace.  Elizabeth I .  New York: Arnold, 1993.

McKeon, Michael.  Origins of the English Novel, 1600-1740 .  Baltimore: Johns Hopkins UP, 1987.

Morrill, John, ed.  Tudor and Stuart Britain .  New York: Oxford UP, 1996.

Mortimer, Richard.  Angevin England .  Cambridge: Blackwell, 1994.

Ribner, Irving, and George Lyman Kittredge, ed.  Complete Works of Shakespeare .  Waltham:    Ginn, 1971.

Richetti, John, ed.  The Columbia History of the British Novel .  New York: Columbia UP, 1994.

Rossingnol, Rosalyn.  Chaucer: A to Z .  New York: Facts on File, 1999.

Sanders, Andrew.  Short Oxford History of English Literature .  New York: Oxford UP, 1994.

Seward, Desmond.  The Wars of the Roses .  New York: Viking, 1995.

Tydeman, William, ed.  Two Tudor Tragedies .  New York: Penguin, 1992.

Vaughn, Richard, ed.  The Illustrated Chronicles of Matthew Paris: Observations of Thirteenth-Century Life .  Cambridge: Sutton, 1993.

Wells, Stanley.  Shakespeare: A Life in Drama .  New York: Norton, 1995.

Woodring, Carl, ed.  Columbia History of British Poetry .  New York: Columbia UP, 1994.

Wren, C. L., ed. Beowulf .  Boston: Heath, 1953.

Also consult Norton’s selected bibliographies.



A Blogs@Baruch site

Baruch College logo

ENGLISH 3015:                                                                       MARY MCGLYNN

SURVEY OF ENGLISH LITERATURE II                        OFFICE:  onscreen!

SPRING 2021                                                                         OFFICE HOURS: 

 MW 12:50-2:05 pm                                                            MW 3-4; Th11-12:30; & by appt.


In making a survey of the last 300 years of British literature, this class will pay particular attention to the representations of work and leisure and how wealth and deprivation are depicted.  Throughout the term, we will explore constructions of urban and rural, of rich and poor, of artist and worker, with special focus on enslaved and precarious labor, domestic workers, and snobbery.


  • Increased understanding of the literary movements of the 18 th -20 th centuries on the British Isles and how texts shape and are shaped by cultural and historical events
  • Increased ability to interpret meaning in literary texts by paying close attention to an author’s choice of detail, vocabulary, and style
  • Increased confidence in the oral presentation of ideas
  • Increased ability to write critical essays employing a strong thesis statement, appropriate textual citations, and contextual and intertextual evidence for their ideas


  • Attendance is graded. See policy below.
  • You should log on to class with your text, having read all assigned material carefully, which is not possible if you read on a phone. Discussion is a crucial aspect of the course. Always annotate!
  • Relatedly: you should plan to complete digital annotations in advance of each reading.
  • Three papers/projects of increasing length will be assigned. Additionally, two response paragraphs will be required.  All writing should be submitted through BlackBoard. Please include your name, the course and section, my name, and submission date.


As noted in the schedule, most texts will be provided via pdfs on the course blog. [1]

The following texts are required in addition to the pdfs. They are listed in the order that we’ll use them. They have been ordered at the Baruch bookstore and are viewable in C1. You may of course obtain them elsewhere (thriftbooks!), but please allow time for delivery of items. You should plan to have each novel in hand a week before we begin discussing it. I do not require that you use the same edition as I have ordered, but I do recommend it, and you’ll need to figure out pagination to keep up with class discussion as well as cite your edition in any written work you submit.

  • Austen, Jane. Pride and Prejudice . Longman, 2002. 978-0321105073
  • Wilde, Oscar. The Importance of Being Earnest . Any edition is acceptable; here’s an online version: http://www.jacneed.com/ASYD/Earnest/the_importance_of_being_earnest.pdf
  • Woolf, Virginia. Dalloway . Harcourt, 1981. (1925) 978-0156628709
  • Ishiguro, Kazuo. Remains of the Day . Vintage, 1990. 9780679731726

Points will be awarded for each assignment as well as for class participation:

Response #1:            30 points

Response #2:            50 points

Paper #1:                150 points

Paper #2:                175 points

Paper/project #3:     225 points

Annotations:            200 points

Participation:           120 points (4 points/session + 1 office meeting)

TOTAL:                   950 points


I want to work with you to help you succeed in ENG 3015!

  • This course is organized to run very much like an in-person class. We will meet for two fully synchronous sections a week.
  • You will need a computer with decent wi-fi in order to participate. Please let me know if you have tech issues. BCTC (https://bctc.baruch.cuny.edu/students/) can be of help with platform problems.
  • Attendance will be taken for all live class sessions, with opportunities to complete makeup work if you are unable to log in.
  • Even though this is an online class, I want us to adhere to standards of courtesy and respect befitting all classroom interactions.
  • Please plan to be on time and to remain focused on our class. Please come to class having read all materials in advance and prepared to engage in discussion, through voice or chat. We will discuss what constitutes good participation in the first two class sessions.
  • You will need to be able to log on to your baruchmail, to Blogs@Baruch, and to BlackBoard in order to complete all activities in this class. We will submit assignments via BlackBoard and do annotations through the blog, using the Hypothes_is platform.
  • Please use a professional tone and format when emailing me. I will try to respond to all email within 24 hours, weekends excepted. I will return all graded work within two weeks, with a goal of one week.
  • Late work will be accepted for one week after the scheduled due date.


I value your intelligence and integrity and am committed to a class that is equitable and fair. Scholastic dishonesty is at odds with these values. Plagiarism and other forms of cheating will not be tolerated. You are responsible for knowing what constitutes academic dishonesty and for avoiding any instance of it. Failure to do so will result in failure of the course and in being reported to the dean of students. Please read the college policy on academic honesty on the website at http://www.baruch.cuny.edu/academic/academic_honesty.html .

[1] (Many of my pdfs are generated from the The Norton Anthology of English Literature , Vol D, E, & F. ISBN 9780393450514, so feel free to order this edition if you’d like. It is not, however, required.)

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Bryan · Humanities · English - ENGL

Survey of British Literature II ENGL-2323

  • Spring 2022
  • Section 300 CRN-21183
  • 01/18/2022 to 05/12/2022
  • Modified 01/17/2022

Meeting Times

  • This is a 16 week traditional face to face class meeting Mondays and Wednesdays from 2:50 to 4:05 p.m.
  • Academic 223

Contact Information

Instructor: dr. olympia sibley.

  • Email: [email protected]
  • Office: Academic 131
  • Phone: 979 209 8605

Office Hours

  • 1:30 to 2 p.m. Mondays and Wednesdays; 3:00 to 4:00 p.m. Tuesdays and Thursdays, and by appointment.
  • Zoom or the courtyard in front of the library.


48 semester contact hours. Credit: Three semester hours

A survey of the development of British literature from the Romantic period to the present. Students will study works of prose, poetry, drama, and fiction in relation to their historical and cultural contexts. Texts will be selected from a diverse group of authors and traditions.

Prerequisites: Successful completion of ENGL 1301 (Composition I) or ENGL 1302 (Composition II) with a C or better

Corequisites: None

Core Objectives

Courses in this category focus on how ideas, values, beliefs, and other aspects of culture express and affect human experience. Courses involve the exploration of ideas that foster aesthetic and intellectual creation in order to understand the human condition across cultures

Both direct and indirect assessment methods may be used to measure success in this course.

Students in the course will demonstrate their knowledge of the course material as well as their critical and writing skills in the form of analytical, argumentative, and researched papers, for a total of at least 3000 graded words. Faculty-designed rubrics may be used for assessing written essays. Personal responsibility in the form of academic integrity is encouraged by student submission of papers to a plagiarism-detection database. An understanding of social responsibility is cultivated through discussion, oral and written, of the social and ethical issues raised by many literary works. In addition, students develop social and teamwork skills as they participate in group activities.

Core Curriculum Statement

Through the Texas Core Curriculum, students will gain a foundation of knowledge in human cultures and the physical and natural world, develop principles of personal and social responsibility for living in a diverse world, and advance intellectual and practical skills that are essential for all learning. For details relating to this core course, please see:


Students who succeed in this course will

  • Identify key ideas, representative authors and works, significant historical or cultural events, and characteristic perspectives or attitudes expressed in the literature of different periods or regions;
  • Analyze literary works as expressions of individual or communal values within the social, political, cultural, or religious contexts of different literary periods;
  • Demonstrate knowledge of the development of characteristic forms or styles of expression during different historical periods or in different regions;
  • Articulate the aesthetic principles that guide the scope and variety of works in the arts and humanities; and
  • Write research-based critical papers about the assigned readings in clear and grammatically correct prose, using various critical approaches to literature.
  • Required: Greenblatt, Stephen, general editor. The Norton Anthology of English Literature.  10th ed., vols. D, E, and F, W. W. Norton, 2018.

ISBN: 9780393603132

  • Recommended : Hacker, Diana, and Nancy Sommers. A Writer's Reference with Writing about Literature . 9th ed., Bedford/St. Martin's, 2018.

ISBN: 9781319133054

Technology and Software

  • A computer (certain elements of this course cannot be completed on a phone, tablet, or Chromebook)
  • Reliable Internet access
  • Speakers, headphones, or earbuds
  • A webcam with a microphone
  • Google Chrome (download for free at https://www.google.com/chrome/ )

Miscellaneous materials

  • Highlighters and post-its for annotations.
  • Basic Paper 2-pocket folder for submitting assignments. 

Academic Integrity Online Resources 



Course Requirements

Through the study of literary texts in multiple genres, supplemented by cultural artifacts in other media, students will develop an understanding of how individuals responded to and sometimes influenced the changing political, social, intellectual and religious landscape of the period.

The coursework teaches students to identify key ideas, representative authors and works, significant historical or cultural events, and characteristic perspectives or attitudes expressed in the culture of Britain between 1785 and the present day.

The coursework teaches students critical reading, academic research, academic integrity, interpersonal collaboration, and the generation of ideas in oral, aural, written and visual form that will serve them throughout their post-secondary learning experiences and beyond.

Graded assignments for this course include major examinations, a research-based literary analysis paper, class participation, and a comprehensive final exam. Students will write a minimum of 3000 graded words.

Online Course Integrity

Humanities Division instructors implement a variety of strategies to ensure scholastic integrity online, including but not limited to Turnitin originality checks, Honorlock proctoring, timed testing, and/or randomized test questions. Individual instructors will provide more information.

Contact Hour Requirement

In compliance with ACGM and THECB rulings,

  • 3-credit classes must have a minimum of 48 contact hours;
  • the number and type of contact hours per week are stated on the course schedule below; and
  • in addition to in-class hours, all faculty post and keep regular office hours for individual consultations.

Final grades and letter equivalents at Blinn College are as follows:

The following table explains the specific grade breakdown for this class:

Blinn College Policies

All policies, guidelines, and procedures in the  Blinn College Catalog ,  Blinn College Board Policies , and the  Blinn College Administrative Regulations  are applicable to this course.

Specific information on civility, attendance, add/drop, scholastic integrity, students with disabilities, final grade appeal, alternative retailers, campus carry and proctoring arrangements and cost.

Notice of any action taken under these protocol and procedures, by Blinn College or its employees, may be delivered by hand, through the U.S. Postal Service, or electronically to the student’s Blinn Buc e-mail account. Notice shall be deemed received upon actual receipt, on deposit in the U.S. Mail, or upon entering the information processing system used by Blinn College for Blinn Buc e-mail accounts, whichever first occurs.

Information about the changes Blinn has made to the Spring semester: Back with Blinn .

Course Policies

Humanities division policies.

Academic Honesty. Academic integrity is taught and enforced in all division classes. Deliberate intellectual theft signals a lack of respect for oneself and others, while careless or accidental plagiarism shows the student has not understood and followed guidelines for academic writing. Academic dishonesty includes, but is not limited to,

  • submitting another person’s work as one’s own,
  • failing to credit sources in an essay,
  • copying or sharing items on a test or exam,
  • resubmitting work from another class (without explicit instructor permission),
  • colluding inappropriately on an assignment, and
  • submitting falsified documents such as doctors' notes. 

An instructor who suspects academic dishonesty will call a conference with the student to clarify the issue. If a student has been found in violation of the Scholastic Integrity Policy, the student’s name will be forwarded to the Blinn College Student Conduct Database. If the student has previously been cited for plagiarism at the College, a grade of F in the course will be assigned, even if the student decides to drop the course. If it is the student’s first offense, the instructor will decide whether to allow the student to rewrite the paper for a reduced grade or to assign a grade of zero.

If you are having difficulty with an assignment, please get legitimate help from your instructor, the Writing Center, your handbook, or a classmate rather than resorting to plagiarism. The short- and long-term consequences of plagiarism are simply not worth it. Please see the College Catalog for the current policy and appeal procedure.

Attendance and Participation . To succeed in college, students are expected to attend class regularly and participate actively; class participation will make up 10-20% of the final grade in each class. Attendance for each class is determined by  Blinn College policy  in conjunction with the stated instructor policy (refer to the Instructor Policies section below), and instructors will keep accurate records of attendance throughout the semester.

Students who must miss class for any reason are responsible for communicating with their instructors in a timely manner; students requesting an absence be excused should be able to provide their instructors documentation to substantiate the reasons for the absence. The stated instructor policy will determine whether a student is allowed to make up any missed work and what the student should do to continue to make progress in the class.

Please note that in the event of illness, Blinn's health clinics are located on the Brenham, Bryan, and RELLIS Campuses and provide free health services to all current Blinn students throughout the College District, including online students: http://www.blinn.edu/health-clinic/index.html . 

Dropping a Class . Students who want to drop a class are responsible for dropping themselves. Students can drop a class by clicking the Add/Drop button in myBlinn. Students who need to withdraw from a class for medical reasons or military service should contact Blinn’s Enrollment Services at (979) 830-4800. More information about dropping can be found in the College Catalog .

In the Spring 2022 semester, for classes in the 16-week term, the last day to drop a class with a grade of Q is Friday, April 29.

Papers. Major papers must be submitted on time according to the mode of course delivery and instructor requirements for that course. Students in all classes will submit all major writing assignments to a Turnitin-enabled dropbox through eCampus. All other assignments must be submitted according to the instructor’s requirements.

Student Email Accounts.  Blinn College assigns every student an email account to facilitate official College correspondence. Students need to check their Blinn accounts regularly for important communications, including excessive absence reports and emergency announcements.

Textbooks.  The assigned textbooks are essential for learning, especially in classes focusing on the study of the written word. Students need the books from the very beginning of the semester. Students in all classes, including online and blended classes, are expected to acquire and use the textbook assigned by the course instructor, and students are required to bring the textbook to each face-to-face class unless otherwise instructed. Students may purchase their textbooks from any retailer they choose.

Writing Center. Blinn’s Writing Center ( https://www.blinn.edu/writing-centers/index.html ) provides free professional tutoring for students in all courses at Blinn College; their mission is to help students become better writers by supporting students at all stages of the writing process, including planning, drafting, organizing, revising, and proofreading. Tutors help students correct specific writing weaknesses so they can feel confident in their writing, succeed in their classes, and work toward educational and career goals. Students can meet with tutors in person by going to room A118 on the Bryan Campus , or students can access online tutoring by clicking the Tutoring link in eCampus . For additional help or more information about Blinn’s Writing Center, please call (979) 209-7591.

Division Grading Standards for Papers and In-class Essays

NOTE: To receive a grade of A , B , or C , the paper must meet all requirements of the assignment . All research material of a paper must be correctly documented, and formatting must adhere to instructor requirements and current standards of the Modern Language Association (MLA) or the style guide prescribed by instructor.

The A paper (90-100%) represents original, outstanding work. It shows consistently careful thought, fresh insights, sophisticated analysis, and stylistic maturity.

  • The reader moves through the A paper effortlessly because of its effective transitions and topic sentences, strong organization, and thorough, purposeful development.
  • The thesis of an A paper is a complete, well-formulated sentence appearing early in the paper. It clearly states the controlling idea of the paper and projects the organization of supporting ideas to follow.
  • Directly quoted and paraphrased passages are gracefully integrated into the text with correct attribution.
  • An A paper is not marred by distracting mechanical and syntactic errors such as fragments, run-on sentences, subject-verb agreement problems, and incorrect or missing punctuation.
  • Word choice is marked by precision and a varied, advanced vocabulary. It is free of jargon, clichés, and empty language.

The B paper (80-89%) represents clearly good, above average college level work. It demonstrates insight, detailed analysis, and a varied vocabulary.

  • Its specific points are logically ordered, with appropriate transitions and topic sentences; ideas are well developed and supported with evidence.
  • The thesis of a B paper is a complete sentence, appearing early in the paper, which states the essay’s controlling idea.
  • Directly quoted and paraphrased passages are smoothly integrated into the text with appropriate attribution.
  • A B paper is mostly free of distracting mechanical and syntactic errors such as subject-verb agreement problems or incorrect or missing punctuation. Serious errors, such as fragments and run-ons, rarely appear in the B paper. The writer’s meaning is clear throughout the document.
  • In summary, the language of the B paper is clear, correct, and often thoughtful, but it lacks the candor and precision of the most memorable writing.

The C paper (70-79%) represents average college-level work. It is a competent expression of ordinary thoughts in ordinary language and exhibits a writing style that is basically correct.

  • It has an organizational pattern, with body paragraphs containing information that is relevant to the assignment. However, it often lacks varied transitions, clear topic sentences, and other information needed to guide the reader.
  • It has a thesis , but it usually lacks specificity in language and focus. It may be insubstantial, vague, or simply too broad or general.
  • Analysis is superficial or inconsistently provided.
  • Directly quoted and paraphrased passages are integrated into the text with attribution.
  • A C paper may have some serious mechanical and syntactic errors such as fragments, run-on sentences, subject-verb agreement problems, or incorrect punctuation. Errors may distract the reader but do not obscure the writer’s meaning.
  • In summary, the language of the C paper is characterized by generalities rather than precise, illustrative details.

The D paper (60-69%) represents below average college work. It often demonstrates one or more of the following characteristics:

  • it has only skeletal organization—e.g., body paragraphs lack topic sentences—and minimal or superficial development;
  • the thesis is unclear or missing;
  • analysis is infrequent, extremely vague, and/or does not follow logically from the evidence;
  • direct quotations and paraphrased passages lack signal phrases or are dropped into the text without context, but still have some attribution (e.g., quotations standing alone as their own sentences, but with internal citations);
  • it has serious mechanical and syntactic errors, including fragments, run-on sentences, subject-verb agreement problems, and incorrect or missing punctuation. These errors are distracting and interfere with the reader’s ability to understand the document;
  • its style and sentence structure are awkward, non-standard, and ambiguous.

Note: A paper exhibiting major weaknesses in any specific area—organization, content, development, documentation conventions, grammar and mechanics, writing style—or, indeed, a failure to adequately address the assignment is usually considered, at best, a D paper.

The F paper (59% and below) is characterized by writing that falls below minimal standards for college-level literacy. It demonstrates one or more of the following characteristics:

  • it has little or no organization with a lack of logical paragraphing;
  • lack of analysis, thought, and/or purpose;
  • lack of evidence, or direct quotations and paraphrased passages lack sufficient attribution;
  • it has numerous and pervasive mechanical and syntactic errors, including fragments, run-on sentences, subject-verb agreement, and incorrect or missing punctuation. These errors are very distracting and significantly interfere with the reader’s ability to understand the document;
  • it has a garbled or immature style.

Note: Sometimes significant inadequacy in one area is enough to fail a paper; however, serious weakness usually occurs in several areas of concern.

The No-Credit Paper (0) demonstrates one or more of the following serious errors : 

  • plagiarized content in any form, including the failure to acknowledge the source of any borrowed material (summarized, paraphrased, and directly quoted) and unmarked exact wording (directly quoted from either a primary or a secondary source), whether a specific well-chosen word, a phrase (two or more words), a clause, or full sentence(s);
  • failure to address the assigned topic;
  • failure to meet the requirements of the assignment;
  • failure to follow directions.

Instructor Course Policies

Professor Sibley’s Course Policies

ELECTRONIC DEVICES IN THE CLASSROOM:   My traditional face to face classrooms are electronics-free zones , with the exception of students with official accommodation documentation. Recording is NOT permitted. Please silence or turn off your devices and put them away in your back-pack at the beginning of each class. You will need print copies of required textbooks and a notebook to take notes in by hand.

ATTENDANCE: To enroll in a course entails assuming the obligations (and privileges) of relationships with other persons. Students who are not willing or able to attend class punctually and faithfully, will not only be incapable of successfully completing this course, but will also deprive themselves (and the rest of the persons in the class—including me) of realizing the full benefits of membership in our small community of scholars.

  • Blinn has changed its attendance policy ONLY in that students will no longer be dropped from classes for excessive unexcused absences. This means that unless students drop classes themselves, they will receive the grade they have earned by the end of the course.

Attendance still matters, not only for the sake of learning and getting the full benefit of the education you (and others) are paying for, but because class participation is still at least 10% of your course grade, and assignments cannot be “made up” or submitted in alternative ways if you are absent from class for reasons that cannot be officially excused.

Excused absences include (in addition to those excused by Blinn’s policy) things like significant illness of a student or his or her dependents or attendance at funerals of close family members or friends. All of these require credible documentation . 

Absences which are not excusable include events such as routine, non-emergency medical appointments, sleeping through alarms, and transportation problems.

  NOTE WELL : Students must notify me by email  within 24 hours  of missing a class, either before or after the absence. This notification  must  be repeated for each absence.

Only students who have accumulated no more than one course week of unexcused absences are eligible to earn extra credit in my courses.

ABSENCES:  If you miss a class you should :

1) email me within 24 hours (either before or after the absence),

2) attach any assignments that were due the day you missed to your email as evidence you have completed your work.

Do not email to ask me if you can or should submit your assignment by email. Just do it ! If your absence is officially excusable, bring in a print copy of the assignment with the documentation to excuse your absence when you return to class. If your absence is NOT officially excusable, I may still consider giving some credit for the assignment if you emailed it to me on the day it was due AND bring a print copy when you return to class.

If a print copy of the assignment was required to be physically turned in, I will not “grade” the electronic copy. Please get the print copy to me as soon as you return to campus.

Campus Clear & Quarantine: You should be using Campus Clear every day (whether or not you are coming to campus). If you are told you are not cleared to come to campus, follow the guidelines above, but also send me a screenshot from Campus Clear and forward the email you are sent when you receive it.

NOTE WELL: Being quarantined does NOT exempt one from continuing to complete assigned readings and turning in assignments. Make sure you have arranged with another student (or students) to take notes in class during days you cannot attend class. If your quarantine ends up being lengthy, I will arrange alternative ways for you to participate in class.

CIVILITY: To be civil is not simply a matter of abstaining from being disruptive; it is a condition of being actively attentive, courteous, and respectful.

  • Students will be dressed  modestly . 
  • Students will take off their hats when entering my classroom (yarmulkes, hijabs and other head-coverings worn for religious reasons are exceptions to this rule.)
  • Students will not wear dark glasses or be plugged into electronic devices. They will silence and stow their cell-phones unless I instruct otherwise.
  • Students will maintain reasonably good posture while sitting at their tables; they will not put their heads down on the table or lean back in their chairs.
  • Students will bring all necessary materials for active class participation, will listen, take notes, and take part in discussion; they will not use our class time for catching up on sleep or on assignments for other courses.
  • Students who arrive late to class will be careful to avoid interrupting or distracting the class in session.

EMAIL : Since some students are unfamiliar with protocol for this kind of semi-formal electronic communication, here are a few guidelines.

  • Type your course number, and brief description of the purpose of the email in the subject line ( for example : 2323 absence).
  • Type the body of the email in complete, grammatically correct sentences, and use standard punctuation and capitalization rules.
  • Use appropriate tone (polite) and diction (semi-formal) in these emails.
  • For clarity’s sake, use concrete nouns rather than pronouns. If you do not clearly identify what you need, I cannot provide it.
  • Ideally, proofread your email before sending it.
  • Expect a response, and extend the courtesy of letting me know you received my email. Check your email at least daily—more often if you have sent an email requesting information. If you have not received a response after 24 hours (unless you emailed on a weekend), send a follow-up email and/or come talk with me during my office hours.

NOTE WELL : I usually do not check email when I am not physically on campus. You may (of course) email me at any time you choose to do so, but do not expect immediate replies from emails you send in the evenings or on weekends.

TENTATIVE COURSE CALENDAR:  The course calendar is subject to revision . Any changes will be announced in class and/or on eCampus. I do understand how important it is for you to be able to depend on dates of major assignments and exams, and promise to do my best to avoid changing those dates.

Readings should be completed  before  the class for which they are listed. Homework assignments are due at the beginning of class periods. Be sure to bring books and materials that will be used to class each day.

PARTICIPATION GRADES: These grades are worth 10% of your course grade and can only be earned by being in class and participating in the activity. Some of these are announced; some are not. If you miss a participation assignment for an officially excusable reason, I will “exempt” that grade from your record. If you end up being quarantined for an extensive time, I will provide alternate ways for you to earn participation grades.

LATE ASSIGNMENT POLICY :  I do not assign credit to late assignments . Work is considered late if it is not turned in  at the beginning of the class period  on which it is due. If you are absent the day an assignment is due, and the absence is excusable (e.g. illness) submit the assignment with documentation regarding your absence (e.g. note from doctor’s office) the next day you are in class.

If you would like to have your late work evaluated, I will be happy to do this with you during my office hours (or by appointment).

LATE PAPER POLICY: I do not assign credit to late papers. A paper is late if it is not submitted ( both in print and to dropbox) by the deadline to submit it. There is a 48 hour window during which major papers may be submitted without late penalties.

GRADES : I use the eCampus grade book to record grades, and encourage you to regularly check your grades . If you believe you see an error in the grade book, please bring the graded assignment to my office hours. I will be happy to change the record if I have incorrectly entered a grade. NOTE: There is a 1 week window of opportunity for grade revisions of any grades other than major exam and/or essay grades.

TECHNICAL DIFFICULTIES POLICY: It is your responsibility to complete eCampus training and to generally familiarize yourself with the technology you will be using in this course. I cannot “fix” your technological problems; if you are having problems with eCampus, you need to contact Academic Technology Services (blinn.edu) . 

Many times, technical problems are really procrastination problems ( for example, the drop box has closed because you waited until the last minute and didn’t have time to complete the submission ); however, DO email me if you are having difficulty completing an assignment due to a technical problem—especially if you can tell me in your email that you have already contacted the appropriate source for help.

FORMAT :  Handwritten Work:  Must be legibly printed or written in a dark colored ink (that does not bleed through the page) or dark #2 pencil on lined, loose-leaf paper. Write on the front side of each page.

Keyboarded Work:  Must be in a legible 12 point font (such as Times New Roman, Book Antiqua or Palatino), and meet Modern Language Association (MLA) requirements for style and documentation. Printing should be laser-quality and in black ink only on white paper.

All Blinn students have access to a free copy of Office 365 . Another option is downloading free open-access programs (like Open Office).

FINAL EXAM : The final exam will be administered on Monday, May 9th between 3:15 and 5:30 p.m. It will be given in our normal classroom, face to face. Please do NOT make travel arrangements that make it impossible for you to take the final exam at the assigned time.


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    Survey of British Literature I Syllabus. View Print Download. Info; CV; Top; Distance Education · Humanities · English - ENGL Survey of British Literature I ENGL-2322. Fall 2023; Section N01 CRN-10169; 3 Credits; 08/23/2023 to 12/13/2023; Modified 08/23/2023; Tips for your academic success.

  15. Survey of British Literature I > Syllabus

    Syllabus. View Print Download. Files; Info; Top; ENG-331 Survey of British Literature I. FA 2022; Section 01; 3.00 Credits; 08/22/2022 to 12/10/2022; ... Campus Security can be reached at 270-789-5555 and 270-403-3611. Course Description. A survey of British literature from the Anglo-Saxon invasion to the end of the Neoclassical Period ...

  16. Syllabus

    In making a survey of the last 300 years of British literature, this class will pay particular attention to the representations of work and leisure and how wealth and deprivation are depicted. Throughout the term, we will explore constructions of urban and rural, of rich and poor, of artist and worker, with special focus on enslaved and ...

  17. Survey of British Literature I > Syllabus

    Syllabus. View Print Download. Info; CV; Top; Royal High School · Humanities · English - ENGL Survey of British Literature I ENGL-2322. Fall 2022; Section 801 CRN-23438; 3 Credits; 08/24/2022 to 12/14/2022 ... 48 semester contact hours. Credit: Three semester hours. A survey of the development of British literature from the Anglo-Saxon period ...


    Syllabus 2 of 6 Survey of English Literature I ENGL 1013(3) Fall 2010 • in conjunction with their courses in Philosophy and History, gain an understanding of the major figures and ideas that have shaped Western civilization. • receive detailed and timely feedback on the progress of their learning. III. REQUIRED TEXTS:

  19. PDF English 204: Survey of English Literature, Part I Dr. Jessie Herrada

    You will learn the early history of English literature: works, authors, dates, major intellectual and historical movements of the Medieval and Renaissance periods. This class will also build your literary vocabulary with hands-on, creative assignments designed to give you practice analyzing and discussing literature in academic contexts.

  20. Survey of British Literature I > Syllabus

    Concourse Syllabus Management. Skip to main content . Internet Explorer 7, 8, and 9 are no longer supported. ... Keyword search. Perform search. Survey of British Literature I Syllabus. View Print Download. Info; CV; Top; Distance Education · Humanities · English - ENGL Survey of British Literature I ENGL-2322. Summer I 2022; Section NX2 CRN ...

  21. English 220

    Class description: Completion of English 101 with a "C" or better is required. English 102 is recommended. This is a transfer-level survey class in American literature to 1865.This class is set up in a group discussion format; therefore, it is essential that you schedule time to do the assigned daily readings.

  22. Survey of British Literature II > Syllabus

    Description. 48 semester contact hours. Credit: Three semester hours. A survey of the development of British literature from the Romantic period to the present. Students will study works of prose, poetry, drama, and fiction in relation to their historical and cultural contexts. Texts will be selected from a diverse group of authors and traditions.