English 100: Introduction to English Literature
SYLLABUS FOR 2005-2006
ENGLISH 100 aims to introduce students to the richness and breadth of literature written in English, and to the skills
necessary for appreciating, understanding and discussing literature in general. Each year, the course is organized in a
number of distinct thematically based units, each focused on the problems of responding imaginatively to change and
to new realities. It is not a survey of English literature as a whole since the range of literature in English is too broad
and rich to ‘cover’ in an introductory course, especially since the recent expansion of non-British literature. This
year, the course begins in Elizabethan England in the great age of expansion (unit 1) and then moves chronologically
forward to examine responses to the loss or perversion of those original hopes and energies (unit 2), the struggle of
Americans to voice hitherto unexpressed spiritual and racial realities (unit 3), and the birth of post-colonial
literatures around the globe (unit 4).
COURSE STRUCTURE
Lectures
The general aim of the lectures is to provide a context for the works being studied. While they will provide some
historical background for the works, one of their main functions will be to relate the works to each other and their
broader literary and cultural context. They will also focus on the works themselves and will often be illustrated by
analyses of specific passages.
The contexts provided by the lectures are essential to the course. Students are expected to become familiar with the
contexts and show evidence of their familiarity in their seminars, their essays and especially in the mid-year and final
examinations. The lectures are therefore a crucial component of the course.
Seminars
Seminars are the other crucial component of the course. Instructors will organize their seminars in different ways, but
the two basic functions of all seminars are the same: to explore the works on the course more closely than is possible
in the lectures, and to give students the opportunity to express, test and refine their own interpretations of the works.
COURSE INSTRUCTORS
Christy Carlson
Geoffrey Eathorne
Mac Fenwick
Robert Hemmings
Hugh Hodges
Gordon Johnston
Graham Murphy
Michael Peterman
Fred Tromly
Brent Wood
TC WH122
CC C4
TC WH122
TC WH122
TC WH124
OC 227
TC WH115
TC SH220
CC E30
TC WH122
748-1011, ext. 1822
748-1011, ext. 1362
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[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
(Course Co-ordinator: Gordon Johnston)
English 100 – SYLLABUS FOR 2005-2006
Page 1
REQUIRED TEXTS
English 100 Course Pack (to be purchased in bookstore)
Chinua Achebe, Things Fall Apart (Heinemann, 1996)
Mary Ann Armstrong, et al., Notes on the Preparation of Essays in the Arts and Sciences, 5th Edition, Peterborough,
Ontario: Academic Skills Centre, Trent University, 2001
William Blake, Songs of Innocence and of Experience, (Oxford, 1970)
Willa Cather, My Ántonia, ed. Urgo (Broadview, 2003)
Joseph Conrad, Heart of Darkness, ed. Goonetilleke (Broadview, 1999)
Athol Fugard, ‘Master Harold’…and the boys (Viking Penguin, 1984)
Kamala Markandaya, Nectar in a Sieve (Signet Classic, 2002)
Christopher Marlowe, Doctor Faustus (Signet Classic, 2001)
William Shakespeare, Othello (Signet Classic, Revised Edition, 1998)
Mary Shelley, Frankenstein, [1831 edition] (Signet Classic, 2000)
Mark Twain, Adventures of Huckleberry Finn, ed. Elliott (Oxford World’s Classics, 1999)
RECOMMENDED TEXTS
In addition to Notes on the Preparation of Essays (required), two texts by the Academic Skills Centre are highly
recommended:
Clear, Correct, Creative: A Handbook of Academic Prose – provides instruction about common problems
of grammar, style, and usage
Thinking It Through: A Practical Guide to Academic Essay Writing – covers all stages of planning,
organizing, and writing essays.
Note that the Course Pack is a required text. Students are expected to familiarize themselves with all the material
contained in it; your knowledge of it will be tested in the mid-year and final examinations.
WebCT
Supplementary material (including elaboration of issues, suggestions for further reading, links to relevant websites)
is also provided on WebCT. The materials will be updated during the year; students are welcome to make
suggestions to their instructors of any appropriate material which they would like posted to WebCT.
EVALUATION
Mid-year Exam on the first two units (2 hours) ........................................................................................................15%
Final Exam on third and fourth units (2 hours) .........................................................................................................15%
Seminar Participation (for the year)..........................................................................................................................25%
Essay 1: 1000 words. Diagnostic essay due in seminar in week of October 10 ........................................................10%
See pages 6-7 below for the topic for Essay 1. Any student who wishes may choose to revise this essay – all
revisions are due no later than the seminar in the week of November 14.
Essay 2: 1500 words. Topic and due date to be set by student’s instructor ..............................................................15%
Essay 3: 2000 words. Topic and due date to be set by student’s instructor ..............................................................20%
In the third essay, all students are required to discuss at least two works by different authors.
Like essay topics and deadlines, late essay policies will vary from tutor to tutor. Make sure you are aware of
your tutor’s policy.
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English 100 – SYLLABUS FOR 2005-2006
Lecture and Workshop Schedule
NOTE: Every lecture will be given twice –
once on Monday at 10:00 AM* in the Wenjack Theatre,
and a second time on Tuesday at 6:00 PM in the Wenjack Theatre.
———
It is important that students read the assigned work in its entirety
before attending the lecture and seminar in which it is to be discussed.
* Monday October 10 (Thanksgiving) Lecture moves to Wednesday October 12, at 7 pm in SC137
FIRST TERM
New Worlds and Old Worlds in the Renaissance
Sept. 12/13 Introduction to the Course and the First Unit/Introduction to Donne’s ‘The Sun Rising’ (course pack, p.
9) [G. Johnston]
Sept. 19/20 John Donne, Selected Poems (all of the poems in course pack, pp. 9-13) [F. Tromly]
Sept. 26/27 Marlowe, Doctor Faustus (and read the excerpt in the course pack from Pico’s “Oration on the Dignity
of Man,” pp. 7-8) [F. Tromly]
Oct.3/4
Marlowe, Doctor Faustus [M. Peterman]
Oct. 3
WORKSHOP: University Expectations for English Essays, 7:00 to 9:00 pm, Science Complex Lecture
Hall (SC 137)
Oct. 10/11* Shakespeare, Othello [G. Johnston]
*NOTE: Monday lecture (Thanksgiving) given this week on Wednesday at 7:00 pm SCLH (137)
FIRST ESSAY DUE – see assignment (syllabus, pp. 6-7)
Oct. 17/18 Shakespeare, Othello (Roundtable discussion) [H. Hodges, F. Tromly]
Oct. 24/25 RESIDENTIAL READING WEEK – NO CLASSES
The End of Innocence
Oct. 31/Nov.1 Blake, Songs of Innocence and of Experience [O. Mitchell]
Nov. 7/8
Blake, Songs of Innocence and of Experience [M. Fenwick]
Nov. 14/15 Shelley, Frankenstein [R. Hemmings]
NOTE: All revisions of first essay due in this week’s seminar
Nov. 21/22 Shelley, Frankenstein [G. Murphy]
Nov. 28/29 Conrad, Heart of Darkness [C. Carlson]
Dec. 5/6
Conrad, Heart of Darkness [R. Hemmings]
MID-YEAR EXAMINATION: 2 HOURS during the formal exam period, from Dec. 10 through Dec.
22 . (The specific day, time, and place will be determined and announced by the Registrar’s Office.)
English 100 – SYLLABUS FOR 2005-2006
Page 3
SECOND TERM
Discovering America’s Voices
Jan. 9/10Twain, Adventures of Huckleberry Finn [M. Peterman]
Jan. 16/17 Twain, Adventures of Huckleberry Finn [J. Findon]
Jan. 23/24 Dickinson, Poems [G. Johnston]
Jan. 30/31 Dickinson, Poems [B. Wood]
Feb.6/7
Cather, My Ántonia [M.Peterman]
Feb.13/14 Cather, My Ántonia [R. Hemmings]
Feb.20/21 RESIDENTIAL READING WEEK – NO CLASSES
Post-colonialism and Cultural Encounters
Feb. 27/28
Mar. 6/7
Mar. 13/14
Mar. 20/21
Mar. 27/28
Apr. 3/4
Achebe, Things Fall Apart [H. Hodges/G. Murphy]
Achebe, Things Fall Apart [H. Hodges/G. Murphy]
Markandaya, Nectar in a Sieve [G. Eathorne]
Walcott, (for assigned poems, see course pack, pp. 52-55) [H. Hodges]
Walcott (for assigned poems, see course pack, pp. 55-57) [M. Fenwick]
Fugard, ‘Master Harold’...and the boys (and Fugard’s journal entry in course pack,
p. 58) [G. Eathorne]
FINAL EXAMINATION: 2 HOURS, during the formal exam period, from April 12 through April 29.
(The specific day, time, and place will be determined and announced by the Registrar’s Office.)
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English 100 – SYLLABUS FOR 2005-2006
Specific Poems for Poetry Reading Assignments
SEPTEMBER 19/20: Donne
All of the readings in the course pack (pp. 8-13).
OCTOBER 31/NOVEMBER 1 AND NOVEMBER 7/8: Blake
All of the following poems (and their illustrations) should be carefully read and re-read in preparation for the two
lectures and the seminars:
Songs of Innocence
Introduction, The Echoing Green, The Lamb, The Little Black Boy, The Blossom, The Chimney Sweeper, The Little Boy
Lost, The Little Boy Found, The Divine Image, Holy Thursday, Night, Spring, Nurse’s Song, Infant Joy.
Songs of Experience
Introduction, Earth’s Answer, The Clod and the Pebble, Holy Thursday, The Chimney Sweeper, Nurse’s Song, The Sick
Rose, The Angel, The Tyger, The Garden of Love, The Little Vagabond, London, The Human Abstract, Infant Sorrow, A
Poison Tree, The School Boy, The Voice of the Ancient Bard.
OCTOBER 31/NOVEMBER 1
The first lecture will pay particular attention to Blake’s “composite art” and will examine the following poems and
plates: the three title pages and two frontispieces, “London,” “Introduction” (both), “Nurse’s Song” (both), “Infant Joy,”
“Infant Sorrow,” “Earth’s Answer,” and “The Voice of the Ancient Bard.”
NOVEMBER 7/8
The second lecture will do close readings of contrary sets of poems including the following: “The Lamb,” “The Tyger,”
“The Chimney Sweeper” (both), “The Blossom,” “The Garden of Love,” “The Sick Rose,” and “The Clod and the
Pebble.”
JANUARY 23/4: Dickinson: pieties and rebellions
All of the Dickinson poems in the course pack, paying attention especially to the following poems:
129, 258, 288, 301, 324, 341, 425, 435, 613, 657.
JANUARY30/31: Dickinson: death and gifts
All of the Dickinson poems in the course pack (again), paying attention especially to the following poems:
280, 287, 327, 454, 465, 709, 712, 883, 1212, 1551.
MARCH 20/21: Walcott
All of the poems from “Week One” in the course pack, pp. 52-55, paying attention especially to: “Ruins of a
Great House” (p. 52-53), “The Sea Is History” (pp. 53-54) and “New World” (p. 54)).
MARCH 27l28: Walcott
All of the poems from “Week Two” in the course pack, pp. 55-57.
English 100 – SYLLABUS FOR 2005-2006
Page 5
First Essay Assignment for English 100
DUE DATE:
This essay is due in week of Oct. 10. Exact due date to be set by student’s instructor.
LENGTH:
It should be no less than 1000 words long, and no more than 1200.
EVALUATION:
This first essay counts for 10% of your final grade.
REVISIONS:
Please note that all students have the opportunity to re-think and re-write this first essay. All revised essays are due in
the week of November 14. Exact due date to be set by student’s instructor. A Re-Write application form will be
provided for those interested. The final grade on the assignment will be the average of the first grade and the grade
for the revision.
TOPIC:
Write an essay on one of two speeches by Faustus in Marlowe’s Doctor Faustus: either Act 2, Scene1, ll. 1-14
(“Now, Faustus, must thou needs be damned” to “newborn babes”), or Act 2, Scene 2, ll. 18-35 (“My heart is
hardened” to “centric earth”). You should consider the nature and progression of Faustus’ thought in the speech you
choose, paying particular attention to the language and images in which he thinks, the complexities and subtleties in
the movement of his mind. Your focus should be on the speech itself. While you may want to give a specific sense of
the immediate context of the speech, you should be careful not to summarize the action or the themes of the play
generally.
NOTE: The English language has changed in the more than four hundred years since Marlowe wrote; it is therefore
important to be aware that some of the words he uses may have had rather different meanings than they now have.
The essential resource for understanding all periods of the English language is the Oxford English Dictionary, which
traces the meanings of English words as they develop historically, and illustrates all definitions with quotations, from
the earliest periods of English to the present.
A required part of the First Essay Assignment is for students to discuss at least two words from the Faustus speech,
as they are defined in the Oxford English Dictionary. You are expected to incorporate the definitions that you think
are most relevant into the argument of your essay, so it makes sense to choose words that (in your view) are
especially important to the passage as a whole.
The best way to use the OED is in the updated, online version, which is accessible through TOPCAT (search for
Oxford English Dictionary and click on “connect” for the online version) and we suggest you make use of it.
However, for your convenience, we provide some examples from the Oxford English Dictionary of several words,
with carefully selected pairs of definitions and quotations for each. It is acceptable for you to confine your use of the
OED to the examples we have provided, but it is strongly recommended that you do some exploring of your own in
the online OED.
1) From Act 2, Scene 1, ll. 1-14
Fancies (Fancy) (line 4)
2. A spectral apparition; an illusion of the senses. Cf. FANTASY n. 2. Obs. 1609 HOLLAND Amm. Marcell. XIV. xi.
25 Dreadful spectres and fancies skreaking hideously round about him.
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English 100 – SYLLABUS FOR 2005-2006
3. Delusive imagination; hallucination; an instance of this; = FANTASY 1597 HOOKER Eccl. Pol. II. 732 The
righteous may have their fancies; they may conceive worse of their own estate than reason giveth.
Resolute
II. 4. Relaxed, weak, infirm. Obs. Rare 1607 TOPSELL Four-f. Beasts (1658) 148 The weak, resolute, or paralytike
members being therewith anointed, they are much eased, if not recovered.
III. 6. Determinate, decided, positive, absolute, final. Obs. 1597 HOOKER Eccl. Pol. V. xlix. §3 The answer of God
was a resolute denial of favour to them for whom supplication was made.
III. 8. Of persons, their minds, etc.: Determined, having a fixed resolve, constant, firm. 1579 LYLY Euphues (Arb.)
134 They would never have been so dissolute in their life, or so resolute in their own conceits.
Lukewarm (line 14)
1. Moderately warm, tepid. 1546 T. PHAER Bk. Childr. (1553) Tea, Let the child drink of it twice or thrice a day
luke warm. 1590 SPENSER F.Q. I. ix. 36 All wallowed in his own yet luke-warm blood.
2. Of persons, their actions, attributes, etc.: Having little warmth or depth of feeling, lacking zeal, enthusiasm or
ardour, indifferent. 1593 G. HARVEY Pierce'
s Super. 108 Some that called him the lukewarm Doctor, and likened
him to milk from the Cow.
2) From Act 2, Scene 2, ll. 18-35
Deep (line 23)
II. Figurative senses.* Of things, states, actions, etc .6. a. Hard to fathom or ‘get to the bottom of’; penetrating far
into a subject, profound. 1535 COVERDALE Ps. xci[i]. 5 Thy thoughts are very deep.
7. Solemn; grave: a. of oaths, protestations, etc. Obs..) 1587 TURBERV. Trag. T. (1837) 117 To swear by deep
And very solemn oaths.
Dispute (line 31)
I. intransitive. 1. To contend with opposing arguments or assertions; to debate or discourse argumentatively; to
discuss, argue, hold disputation; often, to debate in a vehement manner or with altercation about something. 1551 T.
WILSON Logic (1567) 1a, note, Four questions necessary to be made of any matter, before we dispute.
6. To encounter, oppose, contest, strive against, resist (an action, etc.). 1605 SHAKES. Macb. IV. iii. 219 Dispute it
like a man.
Divine (line 32)
4. a. Partaking of the nature of God; characteristic of or consonant to deity; godlike; heavenly, celestial. 1594
HOOKER Eccl. Pol. I. viii. §6 The diviner part in relation unto the baser of our souls.
5 b. Of things: Of surpassing beauty, perfection, excellence, etc.; extraordinarily good or great. Freq. in trivial use.
1592 SHAKES. Rom. & Jul. III. ii. 77 Beautiful Tyrant, fiend Angelical..Despised substance of Divinest show.
English 100 – SYLLABUS FOR 2005-2006
Page 7
SOME SUGGESTIONS FOR APPROACHING ENGLISH ESSAYS
Preliminary Preparation:
As a preparation for thinking more carefully about the passage which you have chosen to discuss, and for creating a
thesis or constructing your argument, you may want to paraphrase the speech for yourself. But your final essay must
not be a mere paraphrase. You may assume that the reader of your essay has read the work, and understands its
substance. Instead of paraphrasing, you should consider the ways in which the speech differs from any possible
paraphrase of it, and how it does more than any paraphrase could. Why does it use these particular words and images
in this order? What kind of voice does it imply or require? What shape does it have?
As you work through this stage, think about what seems to you to be centrally important or interesting in the speech.
This may shift somewhat as you pay more attention to details, and as you begin to develop your argument.
Detailed Preparation:
(The questions are intended only as guides and prompts to your thinking. Your essay should NOT consist merely of
answers to these questions.)
Words: Look up in the Oxford English Dictionary any words you find interesting or surprising or difficult. You
should be aware of what meanings and connotations the words had at the time the work was written. (You are
required to refer to at least two such definitions but will probably want to explore the meanings of more words.)
What kinds of words are used? (For example, are they from spoken language? Casual and conversational?
Specialized? Contrived? Erudite?) Do the words form a consistent language field, or do some of them stick out?
How and why? What words are repeated, and why?
Images: What images does it use? What use does it make of them? (For example: Do they carry the weight of the
argument? Do they convey meaning? Are they entertaining? Subversive? Diversionary?)
Voice: Does the work have a particular tone of voice? (Try out several different tones, reading the work aloud, to
see which are the most appropriate or convincing. For example, is the tone earnest? Shy? Cynical? Forthright?
Devious? Clever? Ostentatious?) Does the tone of voice change in the work? If so, where and why?
Shape: Does the thought progress in an even and regular way, or is it disrupted? Does it circle back and repeat
things? Does it break at some point, and take a different direction? Does the ending resolve the issues and feelings in
the work, or are they left open-ended?
Rhythm: How regular is the rhythm? What is the significance of any disruptions in the rhythm?
Situation: What are the circumstances of the speech? That is, what situation do you understand to provoke or precede
the speech? Does it have a listener. Is it addressed to someone? What is the poem’s intended or announced purpose?
What is its effect or consequence? (Again, be careful not to be led into mere paraphrase.)
WRITING THE ESSAY
Decide how your ideas connect to each other, and which ones you want to use. Write the first draft of your essay.
You probably won’t be able to include all the insights you have had into the work; not all of them will be relevant to
your thesis. Construct a coherent argument about your thesis which refers to some interesting or important aspect of
the work, drawing on and referring to the relevant features you have noticed.
Put the essay away for at least a day. Come back to it, to make sure that it says what you mean to say, and that it
holds together. Also make sure the grammar, sentence and paragraph structure and spelling are correct. By this stage,
your thesis should be clear enough to you that you can give the essay its own title. That is, your title should not be
“Faustus’ speech in Act 2, Scene 1”, and should not be “Essay Number One,” but should indicate explicitly the
subject of your argument.
For this essay we ask you not to use any secondary sources (e.g. critical commentaries), including material from the
web. The key thing is your careful, engaged response to the work.
Your instructor will tell you about any particular expectation that she or he has for the essay. For questions of format
and much else, consult Notes on the Preparation of Essays, which is the Trent University style guide.
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English 100 – SYLLABUS FOR 2005-2006
Grading Symbols for Comment on and Revision of Essays
(page references are to Clear, Correct, Creative: A Handbook of Academic Prose)
General Problems
?
¶
no ¶
e.g.
log.
rep.
trans.
vag.
unclear
paragraph needed here
no new paragraph needed
example needed
faulty logic
unnecessary repetition
problems with transitions
vague expression of ideas
168-169
168-169
194-199
339-341
188-189
194-199
Diction and Style
coll.
cont.
mm
nsw
wdy
ww
colloquial expression
contraction
mixed metaphor
no such word
too wordy
wrong word
277-278
304
308-342
256-274
Sentence Structure
awk.
cs
run-on
sv agr,
pr agr.
pr ref.
faulty //
dm
awkward sentence
comma splice
run-on sentence
subject-verb agreement
pronoun antecedent agreement
ambiguous pronoun reference
faulty parallel structure
dangling modifier
109-116
51-62
51-62
63-72
73
176
83-95
incorrect possessive form
spelling error
error in punctuation
faulty quotation form
tense shift
234-242
Mechanics
poss.
sp.
punc.
quot.
ts
English 100 – SYLLABUS FOR 2005-2006
204-255
243-255
110, 113
Page 9
EXPLANATION OF GRADES
EXCELLENT (A range: 80%–100%)
Content: Interesting, well-considered, intelligent. The writer successfully presents some largely original critical
judgements on several aspects of the material.
Reasoning: Consistently logical and showing an awareness, and anticipation, of the counter-arguments. Supporting
evidence is persuasive but economical. Taste and insight are shown in choosing passages to quote or paraphrase. If
used, secondary sources have been evaluated and are used without overwhelming the writer’s argument and are
properly acknowledged (see Trent’s “Policy on Plagiarism”).
Organization: Organization reinforces communication. There is no doubt as to the writer’s purpose and means of
accomplishing it.
Style: Paragraphs are structured and developed in a manner appropriate to content. Sentences are clear and varied in
structure, and reinforce the writer’s point of view. The syntax reflects a personal style — natural, vigorous, precise.
Words are used correctly, but also show precision and often flare. Vocabulary is well above average.
Grammar: No errors in spelling, punctuation or grammar (except typographic errors).
Form: unexceptionable.
VERY GOOD (B+: 77%–79%)
Almost, but not quite, an “A.” For example, in one or more areas (use of supporting evidence, organization and/or
style), the description of the “B” essay fits; however, the reasoning and content often demonstrate the critical
judgement an “A” essay. Alternatively, correct and well-supported but without the originality or flair of an “A”
paper.
GOOD (B range: 70%–76%)
Content: Interesting in many respects, showing evidence of original thinking. However, many ideas require further
consideration. Some critical judgements are attempted, but these are not yet sufficiently developed or supported.
Reasoning: Although the materials have a clear logical relationship, the connections between them could be better
developed. Supporting evidence is well-chosen and convincing, but may be excessive. If used, secondary sources are
chosen intelligently, with some evidence of perceptive evaluation.
Organization: Clear and careful, appropriate to the writer’s materials and methods. However, development is still
somewhat mechanical.
Style: Paragraphs are unified and coherent. Clear and concise sentences, varied in type and length, with appropriate
links and transitions between sentences. Words are used precisely, with some attention to connotations. Vocabulary
is large enough to describe accurately and make clear distinctions.
Grammar: No more than 2-3 minor or careless errors in spelling, punctuation or grammar.
Form: No errors in matters of form or documentation.
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English 100 – SYLLABUS FOR 2005-2006
FAIR/SATISFACTORY (C range: 60%–69%)
Content: Adequate, reasonably detailed but not distinguished. The writer makes several valid points, but most are
obvious ones.
Reasoning: The argument is logical for the most part, but may break down at crucial points. Supporting evidence is
adequate for the limited purposes of the writer’s thesis, but does not show a thorough or perceptive knowledge of the
primary sources. Secondary sources (if used) do not dominate the essay, but are often used in place of references to
primary materials, or when the writer is unable or unwilling to hazard his/her own opinion.
Organization: A sense of organization is evident in most parts of the essay. The main idea is clear from the outset,
and is systematically divided into subtopics. However, opportunities for more imaginative, less mechanical
organization are not recognized or followed up.
Style: Paragraphs are generally coherent, but individual paragraphs may be either loose or mechanical. Sentence
structure is usually clear, with some attempt at variation. Transitions between sentences are supplied, but are often
obvious and repetitious. Words are used correctly, but seldom strikingly. Writing will often lapse into triteness or
extravagance, suggesting that the writer has not considered ideas or arguments carefully enough to express them
clearly or precisely. Vocabulary is adequate but undistinguished.
Grammar: 1-2 major errors in grammar, and a few minor or careless errors. Not more than one significant error in
punctuation per page; not more than one spelling error per page.
Form: Correct, except for a few instances of carelessness.
MARGINAL (D range: 50%–59%)
Content: Weak. The essay either lacks a worthwhile central idea, or has a potentially good idea which has not been
sufficiently considered and developed. Occasionally interesting points are lost in irrelevant detail.
Organization: There is some attempt at logical thinking, but it is inconsistent. Supporting evidence is insufficient or
erratically chosen. In use of secondary sources, borrowings (although acknowledged) are often substantial and
undigested. Organization is attempted but is unimaginative and mechanical, and breaks down in several places. Some
awareness of the need for subdivisions is evident, but the overall structure is confused and ineffective.
Style: There is no real understanding of paragraphing and paragraph development, although divisions coincide on
occasion with major divisions of argument. Sentence structure is often awkward, especially when complex syntax is
attempted. There is some awareness of proper subordination and transitions between sentences. Words are
sometimes imprecise or inappropriate, but there are few examples of incorrect usage. Vocabulary is limited, but
some attempt has been made to expand it (with resulting errors).
Grammar: 2-3 major errors in grammar, and several minor or careless errors. 2-3 spelling errors per page; 2-3
significant errors in punctuation per page.
Form: Essential elements of form are here, but there is considerable evidence of haste and/or carelessness.
English 100 – SYLLABUS FOR 2005-2006
Page 11
FAILURE/UNSATISFACTORY (F range: 0%–49%)
Content: Undistinguished, superficial, nonsensical, thoughtless, off-topic.
Reasoning: Consistency faulty. Supporting evidence is missing, or else irrelevant and insignificant.
Organization: Weak or lacking entirely. The argument is either never clearly stated and/or not logically developed.
Style: Paragraphing is faulty; there may be several topics in one paragraph, or constant repetition of the same point.
Sentence structure is consistency faulty (contorted, awkward, incoherent) or monotonously simple. There are either
no links between sentences, or else illogical links. Words are often used incorrectly or imprecisely. The vocabulary is
inadequate.
Grammar: More than 3 major errors in grammar, and numerous minor or careless errors. More than 3 spelling errors
per page; more than 3 significant errors in punctuation per page.
Form: Unacceptable. Documentation (notes and bibliography) in improper form with numerous errors. Essay format
standards (margins, page numbering, presentation of quotations from primary and secondary sources) ignored.
Evidence of plagiarism results in automatic failure regardless of other factors.
Plagiarism
In the Academic Dishonesty Policy of the University (printed in the University Calendar, pp. 16 to 19), plagiarism is
defined as follows:
Plagiarism is the presentation of the words, ideas, images, data, or any other form of scholarly
work of another person (including essays, theses, lab reports, projects, assignments, presentations,
and posters) in a way that represents or could be reasonably seen to represent the work as one’s
own. Plagiarism covers a wide range of academic offences, from failure to acknowledge sources
correctly to submitting materials downloaded from the world wide web.
If you have any questions about plagiarism or the proper documentation of source material, please speak to your
instructor, before an error in judgment is made.
English Department Website
For the most complete and up-to-date information on the English Department – courses, faculty, schedules,
procedures, policies, special events, etc. – check the English Department website at www.trentu.ca/english.
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English 100 – SYLLABUS FOR 2005-2006