REQUIRED TEXTS
Stephen Greenblatt (General Editor). The Norton Shakespeare (Based on the Oxford Edition, 2nd Edition) Two-Volume Paperback                Set • ISBN-10: 0-393-93151-X • ISBN-13: 978-0-393-93151-8
MLA Handbook (6th Edition) Modern Language Association of America, 2003. ISBN-10: 0873529863; ISBN-13: 978-0873529860
Harmon, William, and Hugh Holman, eds. Handbook to Literature (11th Edition). New York: Longman, 2009. ISBN-13:                               9780136014393

COURSE DESCRIPTION

This course will introduce you to the life and works of William Shakespeare. Specifically, we will be looking at drama written by the Great Bard for the early modern stage during the sixteenth and seventeenth century. While the focus will lie with Shakespeare’s tragedies (Hamlet, Romeo & Juliet, Othello, Macbeth, and King Lear), we will study a variety of dramatic genres, including comedies (Twelfth Night and A Midsummer Night’s Dream), histories (Richard II, Henry IV Part 1 & 2, and Henry V), problem plays (The Merchant of Venice, Measure for Measure, The Winter’s Tale, and The Tempest), and sonnets.

William Shakespeare is considered one of the greatest and most influential poets of all times, and his writing has left a mark on literary culture by painting an intriguing, authentic, and often highly critical picture of his own life and times. Through an intensive study of Shakespearean drama, this course will explore early modern culture and illuminate the social, political, and religious concerns of this historical period. While Shakespeare’s works are saturated with history, culture, and social criticism, much is hidden within the intricate syntax of his poetry. It is, therefore, the unraveling of his poetic genius and the analysis of his self-reflective portrayal of early modern culture that will drive our interpretative efforts in this course.

CULTURAL OVERVIEW: Shakespeare in Early Modern London

The Renaissance was a period of enormous social, political, and intellectual unrest. Power became a universal theme—and the search for truth a quest of epic dimensions. The Protestant Reformation and Italian humanism struck the European continent with full force, sending new and revolutionary ideas all the way across the English Channel. But medieval beliefs were not replaced by these movements—neither in Europe, nor in England. Rather, they were complemented and supplemented by new findings and hypotheses that sometimes caused confusion, but more often resulted in intellectual debates that reached back and forth and extended in both directions, away and toward the English Isles. A new internationalism thus grabbed hold of the early modern world, a new connectedness between cultures and ideas that had heretofore been unimaginable—or, perhaps more accurately, gone unnoticed. Early moderns wrote treatises, tracts, as well as short expository and explorative writings and essays (first primarily in Latin but then more and more in the vernacular), thereby initiating cross-national discussions about the problem of free will, the responsibilities of rulers, the art of warfare, the conduct of courtiers, the nature of love, and the dangers of public performances. Social commentary fashioned itself in the form of non-fictional expository writings, comparable to current-day news flashes. Literature, in other words, was on the rise.

Indeed, the sixteenth century gave birth to some of the greatest achievements in English literature. William Shakespeare, of course, made his not-so-humble beginnings toward the end of the 1500s, writing some of his finest plays during the late sixteenth century—his Richard II through Henry V historical sequence and his famous romantic tragedy Romeo and Juliet, for example; Hamlet, of course, forever marks the beginning of the seventeenth century, with an estimated composition date of 1600. But Shakespeare was not the only sensation, nor was the repertoire he created for the Lord Chamberlain’s Men and the King’s Men necessarily the most unique literature of the day.

Poetry and drama were born alongside philosophical and theological debates. Martin Luther’s posting of the 95 theses at the doors of the cathedral in Wittenberg in 1517 set in motion the Protestant Reformation, a religious and cultural movement that would recast the western world. Luther’s theses initiated religious doubt, permeated early modern European thought, and unleashed an intense intellectual energy. This energy quickly and forcefully surged through Renaissance Europe, produced debate and, quite literally, set the stage for Shakespeare and other creative thinkers like him, who channeled the productive forces that surrounded them and created literary works that paid tribute to the world they imitated. It is in the works of these early modern playwrights that we find the earliest and most extensive engagements with early modern culture and a world in flux.

Although generally concerned with matters similar to those raised by theological and philosophical polemicists, poets and playwrights were additionally interested in portraying these concerns in a manner that made them accessible to peoples from all walks of life and all levels of education. Plays were meant to entertain, to amuse, and to delight; but they were also meant to instruct and to raise awareness of cultural issues that occupied the nation. Unlike previous types of literature then, the early modern play was also inherently public. To accommodate this new genre a public space had to be created. Thus the English playhouse experienced its nascence toward the end of the sixteenth century, quickly establishing itself as the place where both the new intellectualism and internationalism found their most vivid and often most controversial expression.

This course will examine Shakespearean drama as part of these “debates,” and acknowledge Shakespeare’s indebted- and connectedness to cultural, political, and intellectual concerns. Additionally, it will examine how early modern creative energies impacted the stage literature of Renaissance England and how Shakespearean drama channeled these energies, responded to them, and translated them for the general public, inviting all social classes to experience his plays.  

COURSE OBJECTIVES
At the end of this course you should be able to:
- Read and comprehend Shakespearean drama independently
- Write reflective, interpretive, and critical essays about early modern drama
- Contextualize and historicize early modern drama
- Utilize and criticize scholarly articles on early modern drama

 DEPARTMENT OUTCOMES
English 380 meets the following learning outcomes:

• Students will meet English Department Outcome 2 (English majors will be able to read, analyze, interpret, critique, evaluate written and visual texts) by engaging in critical reading and writing assignments, by exploring documents and visual media, and by completing tests and exams for the course.
• Students will meet English Department Outcome 3 (English majors will be able to conduct research effectively using a variety of research strategies and sources and documenting their sources according to standard guidelines) by preparing oral presentations and by completing short written responses to the course reading.
• Students will meet English Department Outcome 6 (English majors will be familiar with literatures as culturally and historically embedded practices. This outcome includes goals such as familiarity with major writers, genres, and periods, and technologies of writing) by engaging with the cultural, historical, and political constructs that shape literature and give voice to social and intellectual concerns.
• Students will meet English Department Outcome 7 (English majors will develop professionalism exhibited in such qualities as self-direction, cooperation, civility, reliability, and care in editing and presenting the final product) by exercising professional manners in the course, by cooperating with their peers on oral and written projects, and by carefully editing, revising, and constantly improving their work throughout the course of the semester.

GRADED ASSIGNMENTS

1) Group Presentation (15%): In a group of four, you need to prepare one 20-30 min. presentation on a critical article about a scholarly approach to one of the text we are reading. As a group you will need to choose a text as well as a scholarly article written about that text and present both the article and the approach the article takes to the rest of the class. There will be several opportunities for you to complete this assignment; I will alert you to these opportunities as we discuss our daily schedule. I will gladly help you locate a scholarly article for your group presentation, but you will be responsible for understanding, summarizing, contextualizing, and criticizing this article for the rest of us. Some of the question that you might want to consider as you prepare for you presentation include: What approach did the author take? What is the author’s professional/scholarly background? How is the argument structured? What are its major points? Do you agree with this approach? Do you agree with the analysis and the conclusions it draws about the text, its author, and/or the time period within which it was composed? In what ways is this article useful to our understanding of the literary text?

Requirements: As a group, you will need to meet with me at least 1 week prior to your presentation to discuss your plans for the presentation and the article you have chosen; at least 1 class period prior to your presentation, you will need to hand in your outline for the presentation, along with any handouts that you will be using during your presentation. In addition, on the day of your presentation, each group member needs to hand in a 1-2 page individual presentation report (composed individually by each group member and written in form of a letter, addressed to me, in prose, i.e. complete sentences, not bullet points) which describes your individual responsibilities within the group and explains why and how your group decided on your topic, what it is that intrigues you about the play and the article, and how you went about dividing tasks within your group, researching your topic, and assembling your material for the class presentation. Your oral presentation will account for 10%, the written report for 5% of your final grade for a total of 15%.

2) Two reflective papers (25%): To complete this course successfully, you need to write two 2-4 pages reflective papers this semester (see the daily schedule for due dates). As the word “reflective” indicates, these papers are meant to be exploratory and “reflect” your own thoughts and ponderings on one or several of the readings assigned for the course. These papers will be your chance to respond to a text formally, outside of class discussion, and to record your reaction to and interpretation/analysis of a play, a theme, a motif, or a problem reoccurring in multiple plays in form of a brief essay. While no research is required, you are welcome to consult materials; be sure to indicate clearly in your paper which thoughts are yours, which come from experts in the field (direct quotations), and which have been inspired by your reading of outside material (summaries and paraphrases). Since this is a formal writing exercise, you are expected to follow the rules of Standard Written English and MLA style formatting (to document your use of outside sources).

Requirements: Your papers should be no fewer than 2 and no more than 4 pages in length (double-spaced), font 12p, with a 1” margin all around. Be sure to provide an introduction and a conclusion to your paper and organize your thoughts into coherent paragraphs. Note, please that a paragraph consists of a minimum of 7-10 sentences (this holds true for introductory and concluding paragraphs as well); anything shorter than that will be considered as “a fragment of a thought,” not as a paragraph, and it will not be counted as part of your argument.  The first of these written assignments will account for 10% and the second paper for 15% of your final grade for a total of 40%.

3) Midterm and Final Exam (25%):  There will be two exams this semester, one at midterm and one during finals week (see daily schedule for exact dates). Both exams will consist of a mixture of identifications, fill-in-the-blanks, scene discussions, short essay questions, and one longer essay; and both exams will cover the texts read and discussed up to this particular exam (in case of the final exam, this does mean that all texts will be included). There will be no surprises, however, and you will be well prepared to pass these tests. Unless otherwise discussed, both the midterm and the final exam will be in-class, timed exams.

The midterm will account for 10%, the final exam for 15% of your final grade for a total of 25 %.

4) Term paper (25%): This is the final class project, and it is meant to be a critical analysis of a play, an overarching theme with several plays, or a theme or motif within just one of the plays we have read this semester. This is the most extensive project this semester, and its quality should be professional and scholarly in nature, including a discussion of at least eight scholarly, secondary sources. Think of this paper as your chance to demonstrate what you have learned this semester through our study of Shakespearean drama. It should be thesis-driven, well researched, and mechanically flawless.
Requirements: This paper needs to be 10-12 pages long, double-spaced, font 12p, with a 1” margin all around; strict adherence to MLA style format is a requirement, and a works cited page must be attached. This will account for 25% of your final grade.

5) Participation and Pop Quizzes (10%): In addition to the midterm and final exam, there will be pop quizzes on the assigned reading. Coming to class un- or even ill-prepared is never a good idea; it will both inhibit your ability to succeed on quizzes and your confidence to participate in conversations about the readings with your classmates and me. Note that participation in class discussion is necessary and not synonymous with attendance. “Being there” is not enough; you will need to take part in group activities and class discussions on and about the reading every time we meet as a class.

Active class participation and the completion of assigned reading in preparation for class discussion and quizzes will account for 10% of your final grade.

GRADING

This course and all its assignment will be graded on a standard scale from A to F, with A representing work greater in quality than 90% and F lower than 50%. Paper grades are determined by applying standards of logic, coherence, style, and mechanics. Class assignments, exams, and course projects are clearly marked with points and/or percentages; refer to the assignment section of this syllabus for assignment criteria and individual percentage allotments. The breakdown of grades looks as follows: 

A: 100-90%                     B: 89-80%                        C: 79-70%                        D: 69-60%                       F: 59-0%

You may also consult http://www.ndsu.edu/ndsu/theile/grade.html for a description of standards applied to written assignments.

COURSE POLICIES

Read these guidelines carefully—they are essential to your successful completion of English 380.

• All assigned readings need to be completed before class in preparation for class discussion.
• All written assignments must be typed and proofread.
• No late assignments will be accepted; please plan accordingly.Remember, it is your responsibility to stay in contact with me and to ask me for help if you are experiencing difficulties following the course material or completing work on time.

DEPARTMENT ATTENDANCE POLICY

In compliance with NDSU University Senate Policy, Section 333: Class Attendance and Policy and Procedure, located at <http://www.ndsu.nodak.edu/policy/333.htm>, the English Department has established the following attendance policy. All English Department courses require active learning. Students are expected to speak, listen, and contribute. Therefore, prompt, regular attendance is required. Students who miss more than four weeks of class during the standard academic semester (e.g. twelve 50 minute classes, eight 75 minute classes, or their equivalent) will not pass the course. Moreover, each student is accountable for all work missed because of absence, and instructors have no obligation to make special arrangements for missed work. Additional attendance requirements may be implemented at the discretion of the individual instructor.

In addition, the following policies are applied to English 380: Timely attendance in class is a requirement for all students in English 380; two late arrivals will count as one absence. Students with two absences (i.e. two weeks of missed class work) will earn an F for the course. No exceptions are made. Keep track of your absences. Regular and timely attendance is an absolute must.

ABSENCES AND CONTACT INFORMATION

You are responsible for finding out what you missed on the days you were absent, and this should not take place by asking me at the beginning (or the end) of the following class period. Gather the names, phone numbers, and e-mail addresses of two or three students in class, so that you can contact them to find out what happened in your absence. I suggest that you record this information now, so you will have it handy when you need it.

Name: _____________________________     Name: _____________________________    Name: _________________________________
Phone: ____________________________      Phone: ____________________________      Phone: ________________________________

E-mail: ____________________________      E-mail:____________________________      E-mail: ________________________________

CAMPUS RESOURCES

Center for Writers: The Center for Writers is located in the library. The Center employs student tutors who will talk to you about your writing. Note, please, that the Center is not a proofreading service; expect tutors to offer suggestions for the overall improvement of your paper—no more, no less.

Library: You will need to familiarize yourself with the library this semester as you conduct your research for your oral presentations, both individual and group. Besides the general catalogue/search engine, notice the database link on the NDSU Library home page; this will take you to all of the databases to which you have free access as an NDSU student (such as Project Muse, JSTOR, ProQuest Direct, and the MLA Bibliography). In addition, you will find a link to the OED (Oxford English Dictionary)—an invaluable resource for students.
Reference Librarians: The reference librarians are another important resource for you; they are some of the most competent and helpful people on campus, and they will be happy to help you locate whichever information you need.

Minard Hall 322 F: I guarantee that I will be in my office during my scheduled office hours, but I am in my office or somewhere in or around Minard Hall quite a bit. If you have questions about assignment instructions or expectations, please come and see me. The quickest way to get in touch with me is by finding me in my office; option 2 is sending me an e-mail inquiry. I rank phone messages as option 3, because 1) I only receive/check messages when I’m in my office, and 2) NDSU phones do not support long distance calls, which disqualifies most of your cell phone numbers, I’m sure; leave local numbers or e-mail addresses only, please.

E-MAIL ETIQUETTE
I am always happy to answer questions and discuss research topics, your progress in the course, and course assignments via e-mail. I do trust, however, that all e-mails are written in a respectful, professional tone and that they are proofread before they are sent. Remember please that this is a university level English course; your writing needs to reflect that. I do not respond to unprofessional or sloppily composed e-mails.

ACADEMIC HONESTY AND PROFESSIONAL INTEGRITY

Plagiarism is grounds for failing the assignment and this course. All incidents of plagiarism and/or collusion will be reported to the department chair, the dean, and Student Affairs. There are no exceptions to this rule. Academic dishonesty is not acceptable in this or any other class at NDSU. All work for this course and all NDSU courses must be completed in a manner consistent with NDSU University Senate Policy, Section 335: Code of Academic Responsibility and Conduct; see www.ndsu.edu/policy/335.htm for policy details. Note that action will be taken immediately and that dismissal from the university lies at the discretion of the Dean of Student Affairs. Save drafts, notes, and outlines for all of your written and oral assignments. You are expected to provide evidence of significant invention and revision for all work produced for English 380; be prepared to do so, and keep track of your work notes.

SPECIAL NEEDS

In keeping with the Americans with Disabilities Act, I encourage students with special needs, students who need special accommodations in this course, to share these concerns or requests with me during the first week of class.

PORTFOLIO RECOMMENDATION FOR ENGLISH MAJORS
During their senior year, English majors generally enroll in the English Capstone course (Engl 467), during which they assemble a portfolio containing representative written work from NDSU English courses.  The English Department evaluates these portfolios to assess its undergraduate programs, analyzing how student work meets departmental outcomes.  In order to facilitate the preparation of senior portfolios, English majors are encouraged to save copies of their written work (in electronic and hard copy) each semester.

STUDY HINT

As we begin our exploration, we need to remember that Shakespeare wrote for the stage and that his works were meant to be watched, not read. In fact, the first complete edition of his plays came out in 1623 (this edition is commonly referred to as the First Folio), which was several years after the poet’s death. Generally speaking, people came and saw his plays performed, and the reason for that is obvious: Shakespeare’s works need to be experienced. I strongly recommend that you read Shakespeare aloud and that you watch as many productions of his plays as possible (made for the screen and/or the stage). If at all possible, try to watch more than one performance per play, because every enactment is also an interpretation, by its actors, directors, and screenwriters. In other words, every production of a Shakespearean play is just one interpretation orreading of that particular play. No single production can capture all the facets and nuances with which Shakespeare imbued his plays: There is always more; there is always something that remains just beneath the surface.

NOTE: The instructor reserves the right to change and modify this syllabus without notice. It is your responsibility to take notes and stay informed. If you do not understand these policies, you must ask me for clarification or stop by my office at your earliest convenience. By staying in this class, you are showing your acceptance of and compliance with these guidelines.

TENATIVE LIST OF DAILY READINGS FOR ENGLISH 380
You will need to complete all of the reading by the day it is listed on the syllabus, announced in class, and/or posted online. As in all classes, the schedule will occasionally need to be shifted to accommodate class discussion. Stay informed by taking notes and checking with classmates.

Week 1                               

Thursday, January 15: Course Overview & Introduction to Shakespeare’s England

Week 2                               

Thursday, January 22: Richard II and Henry VI, Part 1

Week 3                               

Thursday, January 29: Henry VI, Part 2 and Henry V

TRIP to the GUTHRIE in MSP on JAN. 31 to view the matinee presentation of Henry V

Week 4                               

Thursday, February 5: Midsummer Night’s Dream

Week 5                               

Thursday, February 12: Romeo and Juliet

Week 6                               

Thursday, February 19: Hamlet

Week 7                               

Thursday, February 26: Twelfth Night

Week 8              

Thursday, March 5: MIDTERM

Week 9                               

Thursday, March 12: Measure for Measure

Week 10           

March 16-20: SPRING BREAK

Week 11             

Thursday, March 26: Othello

Week 12             

Thursday, April 2: King Lear

Week 13             

Thursday, April 9: Macbeth (Guest Lecturer)

Professor at 37^th Annual Meeting of the Shakespeare Association of America in DC (April 9-11)

Week 14             

Thursday, April 16: The Merchant of Venice

Week 15             

Thursday, April 23: The Winter’s Tale

Week 16             

Thursday, April 30: The Tempest

Dead Week       
Thursday, May 7: Sonnets and Exam Review (Guest Lecturer)

Professor at 44^th International Congress on Medieval Studies in Kalamazoo (May 7-10)

Finals Week   
Thursday, May 14: Term papers due by 5pm via Blackboard

Professor in Europe, at 2009 Sixteenth Century Society and Conference in Geneva (May 28-30)