Instructor: Dr. Steve CirroneClass Location:______
Office: RS322
Phone/Voice Mail: 916-650-2608
Email:
WELCOME TO SHAKESPEARE!
OVERVIEW
The sonnets and five plays chosen for this course illustrate Shakespeare's remarkable range and variety, and show the development of his art from the relatively early tragedies to his latter comedies. Despite the broad range covered by these works, you will discover how they are linked by common issues and dramatic techniques; at the same time, you will learn how Shakespeare's art developed during his career.
REQUIRED TEXTS and MATERIALS
Shakespeare’s Sonnets –New Cambridge Shakespeare—ISBN 0521294037
Macbeth—Folger Shakespeare Library—ISBN 0743477103
King Lear—Harold Bloom/Riverhead Trade—ISBN 1594480893
Measure for Measure—OxfordUniversity Press—ISBN 0198320108
The Merchant of Venice—Norton Critical Edition—ISBN 0393925293
The Tempest—Bedford/St Martins—ISBN 0312197667
Packet of Photocopied Materials
A Folder with Pockets
Note: For good background information about the time period, it is recommended that you also view within the first few weeks of class the recent two-episode mini-series Elizabeth I, starring Helen Mirren and Jeremy Irons.
ASSIGNMENTS and EVALUATION CRITERIA
There will be six in-class comprehensive quizzes based on lectures and readings, worth 5% each, total 30% of final grade
There will be one analytical7-8 page essay worth 20% of final grade. (You must meet with me twice during the semester during my office hours, once to discuss your paper topic, and the second time to show me an outline/intro paragraph and thesis statement/sources—if you plan to use them.)
There will be one in-class group presentation, worth 20% of grade
There will be an in-class final exam, worth 20% of final grade
You must attend a play relevant to this class (ask me if you are unsure) and write a 350-500 word (1 ½ to 2 pages), typed reaction and bring in ticket stub(s), worth 10% of your final grade. (You are welcome to attend this play with a friend or other class mate(s), but each one of you will be responsible for your own reaction essay.
PLEASE NOTE THE FOLLOWING:
NO LATE PAPERS WILL BE ACCEPTED and THERE IS NO EXTENSION OR MAKEUP FOR THE GROUP PRESENTATION
IF YOU MISS A QUIZ, YOU WILL BE RESPONSIBLE FOR WHATEVER MAKE-UP QUIZ I ASSIGN YOU. THE MAKE-UP QUIZ WILL BE MUCH HARDER, AND WILL PROBABLY CONSIST OF AN ORAL EXAM TO BE CONDUCTED IN MY OFFICE DURING MY OFFICE HOURS.
ALL WRITTEN ASSIGNMENTS MUST BE TYPED, DOUBLE SPACED
ALL WRITTEN ASSIGNMENTS MUST BE DONE
ALL ASSIGNMENTS DUE BY DATE INDICATED BELOW
NO CEL PHONES, PAGERS or BEEPERS PLEASE
ALL ATTEMPTS WILL BE MADE TO HELP STUDENTS WITH LEARNING DISABILITIES. IT IS YOUR RESPONSIBILITY TO LET ME KNOW IF YOU HAVE A LEARNING DISABILITY AS CLOSE TO THE START OF THE COURSE AS POSSIBLE.
IF YOU MISS CLASS, YOU MUST FIND OUT ABOUT AND MAKE UP MISSED WORK
Classmate Name and Number:
______
Classmate Name and Number:
______
ATTENDANCE POLICY:
COME TO CLASSON TIME—I rarely take attendance, but if I do, and you are late, you will be marked absent. If you are consistently late, you will be interrupting the class, and my lectures, and that will be noted and will result in a grade reduction.
THREE CONSECUTIVE ABSENCES WITHIN THE FIRST THREE WEEKS OF CLASS RESULTS IN AUTOMATIC DROP
IF YOUR ABSENCES EXCEED SIX, FOR WHATEVER REASON, YOU WILL BE DROPPED FROM THE COURSE OR RECEIVE AN “F” FOR THE CLASS IF AFTER DROP DATE
IF YOU WISH TO DROP THIS COURSE, IT IS YOUR RESPONSIBILITY TO DO SO
SPECIAL NOTE ON PLAGIARISM AND ACADEMIC DISHONESTY:
As it is defined in the SCC Student Code of Conduct, Plagiarism is representing the work of someone else as your own and submitting it for any purpose. Plagiarism includes the following: Incorporating the ideas, works, sentences, paragraphs, or parts of another person's writings, without giving appropriate credit, and representing the product as your own work; Representing another's artistic/scholarly work as your own; Submitting a paper purchased from a research or term paper service.
Note: It is my policy to fail anyone for the course if I suspect that person of having committed plagiarism or academic dishonesty.
SHAKESPEARE – DR CIRRONE – SYLLABUS MWF
January 17: Introductions/Overview: Aristotelian TRAGEDY and COMEDY
19 Lecture: What was the English Renaissance?
22 GROUP PROJECT EXPLAINEDand GROUPS FORMED
(Please come into class with your first and second choices, see attached Group Presentation information.)
24 The Sonnets: The Cycle, The Fair Youth and The Dark Lady
Close attention in class may be paid to
Sonnets 1, 5, 6, 10, 12, 18, 19, 20, 23, 30, 35, 40, 41, 42
26 The Sonnets: Fair Youth, continued
Close attention in class may be paid to
Sonnets 43, 47, 48, 49, 54, 55, 56, 60, 62, 64, 66, 71 73, 76,
82, 87, 90, 91, 94, 97, 99 102, 106, 107, 110, 111, 115, 116, 119, 124
29 The Sonnets: The Dark Lady
Close attention in class may be paid to
Sonnets 127, 128, 129, 130, 132, 137, 138, 141, 144, 145, 146, 147,
148, 150, 151, 152 and 154 (Envoi)
31 The Sonnets
Quiz 1
February 2Macbeth—Lecture: Renaissance Witchcraft
5 Macbeth – Exposition
7 Macbeth – Rising Action
Note: The play should be read in its entirety by this date.
9 Macbeth – Climax
12 Macbeth – Denouement and Resolution
14 Macbeth Quiz 2
NOTE: DAYS OFF
21 Macbeth– GROUP PRESENTATIONS A
NOTE: THIS WEEK, YOU MUST MEET WITH ME DURING MY OFFICE HOURS TO DISCUSS YOUR ESSAY TOPIC
23 In-class Movie: Hamlet (Gibson-Close)
26 In-class Movie: Hamlet (Gibson-Close)
28 In-class Movie: Hamlet (Gibson-Close)
March 2 Hamlet (Gibson-Close)
5 King Lear—Background and What to Look for
7 King Lear—Dividing the Kingdom
Note: The play should be read in its entirety by this date.
9 King Lear—The “O”
12 King Lear—The King/The Fool
NOTE: THIS WEEK YOU MUST MEET WITH ME TO DISCUSS THE OUTLINE AND SHOW ME THE SOURCES OF YOUR ESSAY
14 King Lear—GROUP PRESENTATIONS B
16 King LearQuiz 3
19 Measure for Measure—The Nature of the Tragicomedy
21 Measure for Measure—Your Chastity or Your Life!
Note: The play should be read in its entirety by this date.
23 Measure for Measure—The Bed-trick
26 Measure for Measure—Angelo, Angel or Devil?
28 Measure for Measure—GROUP PRESENTATION C
30 Measure for Measure Quiz 4
SPRING RECESS April 2-8
April 9OFF
11The Merchant of Venice—Suitor Question
13The Merchant of Venice—Anti-Semitism
Note: The play should be read in its entirety by this date.
***ONE PAGE REACTION TO STAGED PLAY and TICKET STUB DUE***
16 The Merchant of Venice—Pretty Portia, in Drag?
18 The Merchant of Venice—GROUP PRESENTATIONS D
20 The Merchant of Venice Quiz 5
23 In-class Movie: Much Ado About Nothing (Brannaugh—Thompson)
25 In-class Movie: Much Ado About Nothing (Brannaugh—Thompson)
27 In-class Movie: Much Ado About Nothing (Brannaugh—Thompson)
30 Much Ado About Nothing (Brannaugh—Thompson)
May 2 The Tempest—The System of Renaissance Magic
4 The Tempest—Oratory Conception
Note: The play should be read in its entirety by this date.
** ANALYTICAL ESSAY DUE on MAY 4**
7 The Tempest—Caliban and Ariel
9 The Tempest—The Ends of Temptation
11The Tempest—GROUP PRESENTATIONS E
14The Tempest Quiz 6
16 Final Review
18Final Exam, Part I
21Final Exam, Part II
Please Note: The Instructor reserves the right to modify this syllabus at his discretion.
GROUP PROJECTS—SHAKESPARE—DR CIRRONE
THIS IS GOING TO BE A FUN AND EXCITING PROJECT, NO MATTER WHICH ONE YOU ARE ASSIGNED!
NOTE—THE MAXIMUM AMOUNT OF PERSONS IN A GROUP IS 4, EXCEPT WHEN NOTED BELOW.
Each Group MUST have a Group Leader, the duties of which include:
This person should not mind taking on a little extra work, but this person in no way can or will carry the burden of the entire project. If you read below, the projects DEMAND group activity, so one person—even the most capable person—could not complete the Group Project by himself or herself. To compensate for the extra work, GROUP LEADERS WILL HAVE THEIR LOWEST QUIZ SCORE DROPPED AND REPLACED WITH AN “A”
This person is the project coordinator and should be the most organized member of your group, someone who understands how to create and implement deadlines.
It is the responsibility of the Group Leader to keep everyone else in the group on track, to motivate individuals when necessary, and to make sure that all sections of the project are completed on time, thoroughly and thoughtfully.
If and when a Group Member fails to perform or meet a deadline as set by the Group, it is the Group Leader’s responsibility to let me know immediately.
The Group Leader is also responsible for distributing a short survey (though the Group Leader is not responsible for creating this survey on his or her own) to the class which will serve to evaluate/assess the success of the Group Project
The Group Leader is also responsible for assessing the survey information and typing a one-page reaction to that assessment. In other words, evaluate the effectiveness of your group’s presentation.
The Group Leader is also responsible for typing a short evaluation of each Group Member and his/her activities within the Group.
The Group Leader is also responsible for gathering and getting to me the final project elements in a clear-cover folder, in this order:
1)Cover Page with the name of your Group Project, the names of your Group Members and their contact information, and their designated functions.
2)A chronological outline of duties to be performed to meet the demand of the Project.
3)A copy of the distributed in-class survey
4)Five surveys filled out by your peers
5)The written response that addresses the Group Members’ individual activities.
NOTE: IT IS RECOMMENDED THAT ONE PERSON OTHER THAN THE GROUP LEADER BE DESIGNATED A NOTE TAKER/CONTACT LIST CREATOR DURING ALL GROUP MEETINGS.
**PLEASE LET ME KNOW YOUR GROUP LEADERS BY JANUARY 29th**
Although any member of your group is welcome to speak with me during office hours about the Group Project, I will conduct most conversations and directions/explanations through your Group Leader.
Below are the instructions for each group project. They differ vastly from each other. Please take the time to review these before we talk about the group project in class, and choose your first and second choices by JANUARY 22. I will do my best to accommodate the entire class, but know the minimum and maximum number of persons required for some projects may mean that you will be placed into a group not your first or second choice. If you do not make a request on JANUARY 22 or have no preference, then I will add you into a group at my discretion.
A: MACBETH:
1)More than any other play in the history of the English language, Macbeth, or “The Scottish Play,” has been riddled with drastic difficulty during its staging—so much so that the play was considered “cursed” by thespians for two centuries and avoided like the plague! Write a 4-5 page paper that examines the efficacy of the play’s “curse.” Then, with your group members, create a multi-media presentation that shares with class the “curse” claims of the past and speculate on how and why this play had the reputation it did. Create a handout for the class that documents “cursed” performances. Finally, you may wish to connect the staging of this play to the development of the theatre in general, if you have the time. Intended for 3 or 4 persons. You and your group will have 25 minutes to present and survey the class.
2)Witchcraft, anyone? In its final folio form, Macbeth presents us with some of the more pronounced aspects of Renaissance black magic. With your group, investigate: where common concepts of witchcraft came from; what elements Shakespeare (or other writers) incorporated into the play text; and how the Renaissance audience would have reacted to these representations on stage. Write a 4-5 page documented paper outlining one of the issues above. Put together a multi-media representation that presents these connections critically and thoughtfully. Might there have been any other explanation for the play being written the way it is? Intended for 3 or 4 persons. You and your group will have 25 minutes to present and survey the class.
B: KING LEAR:
1)Lear is, among other possibilities, a highly complex play when it comes to figuring out the motivation of the characters in this dysfunctional family. With your group members, research and write a 4-5 page documented essay that considers the psychological motives of the Lear family, or of Lear himself. Then, armed with your research and your reading of the play, imagine that one of you is Lear, one Regan, one Goneril and one Cordelia. Confront each other, as well as yourself. Each one of you map out a “motivational chart” that shows connections between what you say/do as a character and the other members in your family. Then, each of you write a “confessional letter” in which you outline why you do what you do in the play. These letters should be specific to play text and scene. In class, the four of you will “manifest” the psychology of the Lear family for us by reading aloud your letters to one another. Distribute a survey to the class asking them for reactions to the way in which your group interprets the motivations of the main characters. You will have 25 minutes to present and survey the class.4 persons required for this project. The survey may be collected the next class period.
2)Like to act, direct or write plays? First, with your group, choose a key scene or two from Lear that presents us with the dynamics of the Lear family. Then re-write this scene, updating it into contemporary English and contemporary English family structure. Perform your mini-play before the class. One person in your group should function solely as director and also function to lead the class through the choices he or she has made in staging the mini-production. Need extra room? A real stage? Let me know early so we can secure you the right space. Up to FIVE people (recommended) may join this group—four of which, then, must be on stage.You will have 25 minutes to perform for the class. The survey may be distributed afterwards and collected the next period.
C: MEASURE FOR MEASURE:
1)Just how difficult on Isabel is the choice imposed on her by Angelo? With your group members, investigate concepts of morality as they existed during the time period(s) relevant to the play’s initial staging. Write a 4-5 page documented research paper connecting the moral questions introduced in the play to Shakespeare’s world. Then, in presentation of your choosing, inform the class of the moral relevance of the play and speculate on what Shakespeare may have been doing for his audience when he side-steps the dilemma with the bed-trick. Distribute a survey to the class that asks us to react to the moral questions raised in the play and assess this information. You will have 25 minutes to present and survey the class.Intended for 3 or 4 persons.The survey may be collected the next class period.
2)With your group members, come up with an alternative ending for this play, starting with III.iv.156. Make sure you consider the elements of plot introduced in the first “half” of the play. Then, write up the ensuing plot line, paying strict attention to consistency of character. Write up six soliloquies based on your new plot line/ending (50 line minimum apiece). Three of soliloquies should be delivered from Isabel, three from Angelo, and should represent in small the progression of the plot/design of the new play you and your group members have created. In class, distribute your soliloquies and lead us through the second half of the play to its new conclusion, with specific references to the soliloquies you create. Strict attention MUST be paid to poetic/verse principles (ie: the formal elements of poetry and drama). You will have 25 minutes to present and survey the class. Note: This is a project intended for the would-be and actual poets in class, and not a project for the layman. Intended for 1-3 persons. The survey may be collected during the next class period.
D: THE MERCHANT of VENICE:
1)You and your group members will be responsible for choosing severalkey scenes that elucidate the gender-power relationship depicted in this play and performing them before the class. Scenes TBA after I meet with the Director of the group, which should take place as soon as possible. You will also create the perfect “Set” to compliment your interpretation of this gender-power relationship. Present this set design to the class before your group performs. One member of the group shouldfunction asDirector. One person will function both as an actor and as a “set designer.” One person will be responsible for costuming/props—if available and appropriate. Need extra room? A real stage? Let me know early so we can secure you the right space.Up to FIVE persons (recommended) may join this group—four of which, then, must be on stage. You will have 30 minutes to conduct this project in front of class.The surveys may be collected the following class period.