Posts Tagged ‘ready set go’

Some Final Notes

Tuesday, April 23rd, 2013
  • This blog will close for graded work on Saturday, April 27, at midnight.   Except for your final paper and presentation, no work will be accepted for grading after this time.
  • Your final paper should be submitted to me ELECTRONICALLY (note that this is a change), as an email attachment or google docs link, not one minute later than NOON on Tuesday, April 30.  My comments and your grade will be returned to you by email.
  • Our final exam presentations will be on Tuesday, April 30.  We will start at 9:00 a.m. rather than at 8:30 a.m.

Final Project Updates

Thursday, April 11th, 2013

I have posted a number of new items under the Final Projects tab above.

  • The conference schedule is on a drop-down subpage.
  • There is a document with advice, reminders, and information about the draft process, including your peer review process.
  • There is a peer feedback sheet that should be used to guide your responses to classmates’ papers, in addition to any comments you put in/on the actual drafts.
  • There are reminders and guidelines for final submission and the oral reports in a last document.

Next Step on Final Project Now Posted under Mysterious “Final Projects” Tab

Tuesday, April 2nd, 2013

Schedule Reminders

Tuesday, March 26th, 2013

Thursday, March 28, class will not meet.

Annotated bibliographies are due hard copy to my dept. mailbox or office door no later than 4:30 p.m. that day.

My hand message washed off but here you go anyway

Friday, March 22nd, 2013

People, I am feeling… unnerved?  dissatisfied?  disappointed?  [insert UN and DIS words] that we are struggling with Omeros so much.  It is a hard poem.  But it’s also a stunning poem.  And this is an advanced seminar.   You don’t have to like it (but thank you, Kristina!).  But you should be working harder to understand it, to think about its purpose and intention.  You should be blogging about it, even if you are posing questions.  So let’s see some better work in our last week on Walcott.

Some lingering issues:

literary/epic precursors:  We talked about the Melville exchange in class, but a few others are important to Book V as well.  What do you make of the narrator’s encounter with James Joyce (200-201) and his imaginative rendering of the Odyssey (200-204)?

What is going on with our fluid Seven Seas/Omeros/griot/shaman/London man/etc. figure?  What do the manifestations have in common?  What is the purpose of this figure in the poem?

portrait of America: In Books IV and V, we get reflections on present-day America and historical America: Boston, the American West, Native American history, the history of slavery and current race relations.  How are they portrayed individually or what is America’s role more broadly?

poem’s (in)coherence: In class, people expressed confusion about how to bring together all of the parts of this poem: Plunketts, narrator, Achille/Helen/Hector etc.  Ideas?

same old, same old:  I, too, am sick of father-son stories (thanks a lot, Shakespeare, Disney, and everything in between).  But we’ve got another.  Warwick-narrator.  Plunkett-missing son-historical Plunkett.  Afolabe-Achille.  Discuss.

language:  French creole.  English creole.  Standard English.  Anachronistic Black Dialect.  (Others?)   Are there patterns of usage?  Where and why are certain languages employed?  Also, have you noticed that nature “talks” in the poem?  Walcott repeatedly describes nature using communicative words (e.g., garrulous, talkative, cry, pass on, making signs, calligraphy); how does that fit in?

form/genre:  This is our first truly narrative long poem.  Our genre theorists talked about the influences of lyric, epic, novel, drama on the long poem.  How can we characterize Walcott’s use of these or other generic forms and expectations?

There is more but that will do.