XIDS 2100

Fall 2006

Dr. Angela S. Insenga

ainsenga@westga.edu

Website: http://www.westga.edu/~ainsenga/

Office: 315 Pafford

Office phone: 678-839-4864

Office hours: 7-8, TR; 11:15-12:30, TR; 3:30-4:45, TR; Writing Center hours: TBA

Ravages, Revels, and Retreats: The Great War and Modern (Un)Consciousness

“We are not youth any longer. We don’t want to take the world by storm. We are fleeing. We fly from ourselves.

From our life. We were eighteen and had begun to love life and the world; and we had to shoot it to pieces.

The first bomb, the first explosion, burst in our hearts. We are cut off from activity, from striving, from progress.

We believe in such things no longer, we believe in the war.”

--Erich Maria Remarque, All Quiet on the Western Front

Course Description:

It ravaged the European landscape. It obliterated the soldier’s body. It blew to bits his psyche. Its technologies changed forever our capabilities for destruction. World War One—the purported “war to end all wars”—will be the focus of this course. To investigate this behemoth properly, we will attack it from several contextual angles: historical, artistic, sociological, and psychological. We will read texts, both fiction and non-fiction, both prose and poetry, both painted and filmic, that chart the soldier’s experience as a warring body in conflict with the physical terrain, his enemies, and, at times, himself. The ravages of this body at odds will give way to our study of that body as it revels in victory and then, finally, retreats back into civilian life. Of importance as well will be the lasting legacy of World War One as we examine temporal, cultural reverberations.

General Learning Outcomes of All XIDS Classes:

v To establish an understanding of the interrelationships among the arts and ideas.

v To give the student a framework inclusive of the historical settings, cultural forces, and philosophical wellsprings that contribute to the production of artistic works.

v To experience participating in the performance of a creative, collaborative work of art.

Required Texts:

v Books you will need to buy:

F. Scott Fitzgerald. The Great Gatsby

Robert Graves. Goodbye to All That

Ernest Hemingway. Nick Adams Stories

Erich Maria Remarque. All Quiet on the Western Front

Jon Silkin, ed. The Penguin Book of First World War Poetry

Rebecca West. The Return of the Soldier

v Texts that are on electronic reserve (Docutek) at the library:

Bill Harris. The Hellfighters of Harlem: African-American Soldiers Who Fought for the Right to Fight for Their Country (selection)

Ernest Hemingway. “Soldier’s Home”

Dorothy Parker. “Big Blonde”

Directions to get into Docutek:

· Go to http://www.westga.edu/~library/

· Click on “Course Reserves” underneath “Find Information”

· Click on “Electronic Reserves and Reserves Pages”

· Enter the information requested (course or instructor name)

· Click on course number (XIDS 2100, Insenga)

· Enter password (ainsenga); click on “accept”

· Find document on the list; print out and read document

Major Assignments/Percentage Breakdown:

v Daily reading quizzes (20%)—five, plot-based questions at the beginning of each class. I drop the three lowest quiz grades at the end of the semester before I average.

v Two major tests: one at mid-term, another during the final examination period (20, 25%)—a combination of multiple choice, text and term identifications, and either five, one or two paragraph, analytical questions or one large, analytical essay, depending on class vote. See your syllabus for examination dates.

v War Project and presentation (25%)—you will choose a primary or secondary text—fiction or non-fiction—that deals with WWI in some way. You may not use a text we’ve read for this course, and you must choose a text by October 3^rd. All students must present on different texts, so choosing in advance is strongly encouraged. I will either approve the text you’ve chosen or work with you to find another. Choosing your text will involve library research on your part, though I can be of assistance as you decide. You will then carefully read and digest this text and write a 4-6 page MLA documented, analytical essay that creates a substantial argument about the text’s themes, symbols, premise, ideologies, etc. Before the essay’s due date, you’ll sign up for a presentation date and present the information you’ve found in the text by offering a short summary of it and a longer analysis of the text. Each presentation will be at least 10 but no longer than 12 minutes. Each of you must create a handout for the entire class that outlines your presentation, offers a correctly formatted works cited entry for the text on which you present, and offers up main points/major information pertinent to your work with this text. More details and discussion about this assignment and choosing an appropriate text to come.

v Class participation and group work (10%)—coming prepared with texts and/or print outs, talking in class (yes, that “counts” for this professor), paying attention to your fellow classmates and to me, being an active group participant during collaborative exercises, and generally being right here with us instead of somewhere else inside of your head all define the concept of “participation” in this course.

Attendance:

This class is a discussion-based, collaborative course. For that reason, your attendance is mandatory. You may have no more than three absences in a TR class. I usually do not differentiate between excused and unexcused absences, and when you are absent it is not necessary for you to call, e-mail, or inform me. The only absences I will excuse up front are university-documented trips and court dates with documentation. If you accumulate more than three absences before the final drop date (October 6^th), I will administratively withdraw you from the course. If you achieve more than three absences after the drop date, you will no longer be able to pass the course. Plain and simple: we have a big job to do, and a large portion of our job depends on your prompt attendance and readiness to work with me. Three tardies equal one unexcused absence. You are tardy if we have begun the quiz. I take attendance by grading the daily reading quizzes. Make sure, then, that you turn in a quiz every class period at the designated time. If you arrive late and we are still quizzing, jump in at the number we are on; however, do not expect to have the quiz repeated for your benefit.

Disruptive Behavior:

Students may be dismissed from any class meeting at which they exhibit behavior that disrupts the learning environment of others. Such behavior includes—but is not limited to—arriving late for class, allowing cell phones to ring, speaking disrespectfully to the instructor and/or to other students, checking email or surfing the web, and using personal audio or video devices. Each dismissal of this kind will count as an absence and will be applied toward the attendance requirements policy above.

Make-Up Work:

I will give no make-up quizzes. Those who participate in group work will turn it in at the end of class, and there is no way to make up group work. In-class writing assignments/tests cannot be made up except under dire circumstances. If you feel you have an extenuating circumstance, you must see me to discuss your problem.

Late Work:

You must see me in conference if you wish to discuss extenuating circumstances surrounding late work. As a general rule, I do not accept late work. Do not place late work outside of my office door without consulting me; I will not accept the work.

My UWG Policy:

As the result of a new university policy, the only e-mail addresses students and faculty can use to communicate with one another are West Georgia e-mail addresses. Please know that I will not return e-mails to any other address, and I will only respond using my own West Georgia e-mail account.

Print Out Policy:

You are wholly responsible for accessing and printing out materials on the days indicated on the syllabus below. You must bring print outs to class on the days indicated.

Special Needs:

Any student who requires special accommodations should bring the appropriate paperwork to my office during the first week of the semester so that we can devise a plan for your success.

Workload:

This course, like many others you will take, is reading-intensive. You can expect longer reading assignments assigned on Thursdays for Tuesday classes since you have five days to prepare. Your reading quizzes are designed to keep you on track with the non-fiction and fiction reading assignments. If you are a slow reader, examine each reading assignment on your daily syllabus below, and chart your course wisely so that you have enough time to complete all assignments in the time provided.

Plagiarism and Collusion Policy:

From the English Department’s website: “The Department of English and Philosophy defines plagiarism as taking personal credit for the words and ideas of others as they are presented in electronic, print, and verbal sources. The Department expects that students will accurately credit sources in all assignments. An equally dishonest practice is fabricating sources or facts; it is another form of misrepresenting the truth. Plagiarism is grounds for failing the course.  The University policies for handling Academic Dishonesty are found at the following internet URLs: The Faculty Handbook and Student Uncatalogue: "Rights and Responsibilities"

Please note: “excessive collaboration” includes having family members, friends, or significant others edit or proofread your work. This sort of behavior is cheating and will be treated as such. We’ll participate in Peer Review and will collaborate in class, and you have the Writing Center as well as my input should you need extra advice about your writing. Should you hire a personal tutor or use an athletic tutor, realize that excessive collaboration with that person can also result in plagiarism charges. In short, do your own work. Should you cheat in this class, it is an automatic “F” for the course, and I will recommend that you be sent before a disciplinary committee. My policy is a zero tolerance one.

*NOTE: I realize that, occasionally, “life happens,” that problems beyond your control can crop up once in a while. Never hesitate to discuss problems or issues with me if you feel that your circumstance is dire. With honest communication, most issues can be resolved. *

Administrivia:

v I reserve the right to amend this document with further handouts.

v You may e-mail me, make appointments, come by during office hours, or contact me at the office to ask questions. Make sure you have read the assignments carefully or have consulted this document before calling or coming by to ask me a question that you could answer yourself.

v From time to time, I may utilize a listserv to contact the entire class via e-mail. You should be aware of this, and should make use of your UWG account daily for this and other university-related information.

v Please turn off all cell phones and/or beepers upon entering this classroom.

v Please turn off I-pods and remove I-pod ear buds upon entering our classroom

v If you attend class without your text, know that it is an automatic absence. You will be free to stay in class, but without a text, you are officially “not here.”

Detailed Syllabus:

Below is the daily syllabus for the entire semester. All reading assignments, due dates, test dates, and class activities are listed. Please examine this syllabus every day and complete all assignments for the class periods indicated.

August 15

Course Introduction—some talk about polices, procedures, and the daily syllabus

Lecture/discussion: What’s Modernism? Why all this war talk in a Modernism class?

Truth telling

For next class:

-Print out and read the policy statement and syllabus from my website

-Buy textbooks

-Consider course contract

-Read and annotate the following WWI poems in Silkin’s anthology: Rupert Brooke, pgs. 81-82

-Begin exploring the WWI website at http://www.firstworldwar.com/index.htm In particular, I’d like you to examine the link at the left entitled “War Timeline.” After you click on this link, click on each of the years to the right of the page. This site will be an invaluable resource to us as we explore The Great War.

August 17

Lecture/discussion: “The war to end all wars began with a hungry man looking for a sandwich?”—World War One Chronology

Discuss Brooke poems

View a portion of WWI series in class

For next class:

-Print out and read the Bill Harris selection found on Docutek, the library’s electronic course reserve (see above for directions to get into Docutek)

-Read All Quiet on the Western Front, pgs. 1-18

-Course contract due

-Continue to explore the comprehensive WWI website at http://www.firstworldwar.com/index.htm

August 22

Turn in course contract

Quiz 1 (on Harris chapter)

Discuss Harris and the early political, social, economic, and religious attitudes about WWI

For next class:

-Read All Quiet on the Western Front, pgs. 19-74

-Continue to explore the comprehensive WWI website at http://www.firstworldwar.com/index.htm

August 24

Quiz 2

Discuss AQOTWF: soldier’s meditations

View portions of Jarhead, Apocalypse Now

For next class:

-Read All Quiet on the Western Front, pgs. 75-186

-Continue to explore the comprehensive WWI website at http://www.firstworldwar.com/index.htm

August 29

Quiz 3

Discuss AQOTWF: ravages of war, ravaged minds

View portions of Full Metal Jacket and Legends of the Fall

For next class:

-Read All Quiet on the Western Front, pgs. 186-229

August 31

Quiz 4

Discuss AQOTWF

View portions of AQOTWF film adaptation

For next class:

-Finish All Quiet on the Western Front, pgs. 230-295

September 5

Quiz 5

Finish our discussion of AQOTWF

View portions of AQOTWF film adaptation

For next class:

-Read the following poetry selections in Silkin’s anthology: Ivor Gurney, pg. 115, “To His Love” and 118-9, “Strange Hells”; Siegfried Sassoon, pg. 123, “A Working Party,” pg. 124, “The rank stench of those bodies haunts me still,” and pg. 127, “The Death-Bed”; Wilfred Owen, pg. 192, “Dulce et Decorum Est,” pg. 194, “Disabled,” and pg. 205, “Mental Cases”; and Isaac Rosenberg, pg. 218, “Break of Day in the Trenches,” pg. 219, “Louse Hunting,” pg. 221 “Dead Man’s Dump,” and “Soldier: Twentieth Century”

September 7

Quiz 6

Discuss poetry selections

For next class:

-Read Goodbye to All that, glossary in the front and pgs.1-66

September 12

Quiz 7

Discuss GTAT

For next class:

-Read Goodbye to All that, pgs. 67-90

September 14

Quiz 8

Discuss GTAT

For next class:

-Read Goodbye to All that, pgs. 91-165

-Reminder: it’s a great idea to begin choosing your war project text right about now. See me if you have questions or want to chat about a book that will work for you.

September 19

Quiz 9

Discuss GTAT

For next class:

Read Goodbye to All that, pgs. 166-208

September 21

Quiz 10

Discuss GTAT

For next class:

- Read Goodbye to All that, pgs. 209-244

-Research to choose your war project text! Remember, you must have this text chosen by October 3^rd, since I’ll be asking you to write down the book on which you will write/present then.

September 26

Quiz 11

Discuss GTAT

For next class:

-Read Goodbye to All that, pgs. 245-264

-Research to choose your war project text! Remember, you must have this text chosen by October 3^rd, since I’ll be asking you to write down the book on which you will write/present then.

September 28

Quiz 12

Discuss GTAT

For next class:

-Finish Goodbye to All that, pgs. 265-347

-Bring all of your notes to class for mid-term examination review

-Research to choose your war project text! Remember, you must have this text chosen by October 3^rd, since I’ll be asking you to write down the book on which you will write/present then.

October 3

Finish our discussion of GTAT

In-class mid-term review

For next class:

- Study for mid-term examination (the mid-term will cover Harris, Remarque, Graves, all poetry covered thus far, and pertinent dates, concepts, and terms)

-Remember, on your mid-term, you’ll be asked to write down the book title and author that you’ve chosen for your war project paper and presentation. This text MUST be chosen by test time on the 3^rd.

October 5

Mid-term examination (75-minute test)

For next regular class:

-Examine the entire site on Dada listed on the main page of my website. Click on all of the links at the top of the Dada site’s main page to read all of the introductory material and historical information about the movement. Take notes as you read. Examine, in particular, the following artists and their works displayed on the site: Hans Arp, Otto Dix, and Marcel Duchamp

-Read the following poems from Silkin’s anthology: Alice Meynell, pg. 149, “Summer in England”; “Alfred Lichtenstein, pg. 244, “Leaving for the Front”; and Charles Vildrac, pg. 259, “Relief”

-Pick up your graded mid-term examinations by tomorrow at noon so that you have an exact idea of where you stand at mid-term

October 6 (Mid-term): no regular class, but last day to drop with a “W”

October 10: no regular class or office hours—Fall break

October 12

Quiz 13 (on Dada)

View portions of Un Chien Andalou in class

Lecture/discussion: “Doing Dada”

Discuss poetry

For next class:

-Read the following poems from Silkin’s anthology: Herbert Read, pg. 160, “The End of a War” (the section “Argument” is part of this poem); Wang Chien, pg. 281-2, “Hearing That His Friend Was Coming back from the War”; and Albert Ehrenstein, pg. 251, “The Poet and War”

October 17

Quiz 14

Discuss poetry

For next class:

-Read Return of the Soldier, pgs. 3-42

October 19

Quiz 15

Discuss ROTS

For next class:

-Read Return of the Soldier, pgs. 43-60

October 24

Quiz 16

Discuss ROTS

For next class:

Finish Return of the Soldier, pgs. 61-90

October 26

Quiz 17

Discuss ROTS

For next class:

-Print out and read Parker’s “Big Blonde” and Hemingway’s “Soldier’s Home,” both found on Docutek, the library’s electronic course reserves system.

October 31

Quiz 18

Lecture/discussion: Hemingway and Parker—broken but home

View a portion of the film adaptation of Big Blonde

For next class:

-Read the following Hemingway short stories in Nick Adams Stories: “Three Shots,” “Indian Camp,” “The Light of the World,” “Night Before Landing,” and “Nick Sat Against the Wall. . .”

-Request AV materials for you presentation (if necessary)

-You should be reading your war project text

November 2

Quiz 19
Sign up for presentations

Discuss Hemingway’s Nick Adams: Maturation and Masculinity

For next class:

- Read the following Hemingway short stories in Nick Adams Stories: “Big Two-Hearted River,” “The End of Something,” and “Fathers and Sons”

-Read The Great Gatsby, pgs. 1-59

-You should be reading your war project text and planning your essay and presentation

-Today’s the last day for you to request AV materials of me

November 7

Quiz 20

Finish signing up for presentations

Discuss Hemingway’s Nick Adams: the great retreat

F or next class:

-Read The Great Gatsby, pgs. 61-96

-You should be reading your war project text and planning your essay and presentation

November 9

Quiz 21

Discuss Gatsby

View a portion of the film adaptation of The Great Gatsby

For next class:

-Read The Great Gatsby, pgs. 97-145

-You should be reading your war project text and planning your essay and presentation

November 14

Quiz 22

Discuss Gatsby

3 Presentations

For next class:

-Finish The Great Gatsby, pgs. 147-180

-You should be reading your war project text and planning your essay and presentation

November 16

Quiz (last of the semester) 23

Finish our discussion of Gatsby

3 Presentations

For next class:

-You should be reading your war project text and planning your essay and presentation

November 21

6 Presentations

For next class:

-You should be reading your war project text and drafting your essay and presentation plan

November 23: no regular class or office hours—Thanksgiving Break

November 28

6 Presentations

For next class:

-You should be revising/editing your war project essay (it’s due next class)

November 30: last day of classes

Final draft of war project paper due at the beginning of class

Course evaluations

5 Final Presentations (last ones of the semester)

For December 7^th:

-Study for your final examination (75-minute test)

-I will conduct a voluntary final examination review session on a date and at a time TBA (we’ll discuss which days between the last day of classes and the final examination period work best for us all).

December 7: 11 a.m.-1 p.m.

Final examination

Course Contract

Assigned: August 15

Due: August 22

I have printed out and read the policy statement and do understand the responsibilities required of me in Dr. Insenga’s XIDS 2100 class. I understand the grading methods and major assignments and all rules set down in the policy statement. I enter into this class knowing how it will function and how I must function in it.

Sign your name: _______________________

Print your name: _______________________

Student, fall 2006