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New York City College of Technology
Humanities Department
SAMPLE SYLLABUS
TITLE: Oral Interpretation of Literature
COURSE CODE: COM 1340
3 credit hours; core comm
COURSE DESCRIPTION: Analyzing and interpreting literature within the distinct dimension of oral discourse.
Students identify rhetorical and lyrical structures, allusions, narratives, and potential ambiguities in order to
articulate an intention; determine and produce corresponding delivery styles; and learn how meanings can be
enhanced or altered through delivery techniques. Materials drawn from classical and modern poetry, prose and
dramatic literature.
COURSE CO/PREREQUISITE (S): CUNY proficiency in reading and writing
RECOMMENDED / REQUIRED TEXTBOOK and/or MATERIALS*
Textbook(s) may differ from instructor to instructor. One department sample provided below:
Title: Oral Interpretation
Edition: 12th
Year: 2010
Authors: Gura, Timothy and Lee I., Charlotte
Publisher: Allyn & Bacon
Materials: Handouts of prose and poetic texts, including, but not limited to, the works of Shakespeare, Edgar Lee
Masters, Sayd Bahodine Majrouh, Langston Hughes, Martin Luther King, Patrick Henry, John Updike, Edgar Allen
Poe, Maya Angelou, and Charles Dickens.
Selections from:
1) MacArthur, Brian. The Penguin Book of Twentieth-Century Speeches. London: Penguin, 1999.
2) Edgar Lee Masters, Spoon River Anthology, ed. Shane Weller. Dover, 1992.
3) Shakespeare, William. The Complete Works.
4) Turkel, Studs. Working: People Talk About What They Do All Day and How They Feel About What They Do.
New York: The New Press, 2004.
5) Dove, Rita. The Penguin Anthology of Twentieth-Century Poetry. London: Penguin, 2011.
Rationale: Oral interpretation of literature is a multifaceted course, requiring concentrated discipline on the part of
the student. Students are expected to analyze in depth excerpts of literature; plan its presentation, and develop the
vocal skills to interpret effectively before an audience. The demands are great, but so are the rewards. Students
derive a personal gratification from deeper understanding and appreciation of literature. They learn to bridge the
gap between the written and spoken word, thereby acquiring another dimension – the oral recreation of an author’s
words.
All types of literature are studied – prose, poetry, and, drama, ranging from classic to modern. Texts include, but
are not limited to, the works of Shakespeare, Edgar Lee Masters, Sayd Bahodine Majrouh, Langston Hughs, Martin
Luther King, Patrick Henry, John Updike, Edgar Allen Poe, Maya Angelou, and Charles Dickens. Students
discover that while language and styles of writing change, man’s dreams and desires generally remain the same,
and a Shakespearean sonnet is merely another poem about a man in love.
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Oral interpretation is not just reading aloud. It is an art form, requiring total synthesis of mind, body, and voice. The
interpreter is an instrument; he recreates the words of the author, using all the skill at his command. Students must
articulate clearly, project their voices effectively, and immerse themselves intellectually and emotionally into their
material.
The course gives students the opportunity to study great literature and to enjoy the experience of sharing the spoken
word with an appreciative audience.
Aim: The aims of the course are to enlarge, broaden and deepen student’s appreciation of literature through
analysis and performance. Students are taught vocal and articulatory skills to prepare them for the performance of
intellectually and emotionally demanding selections. They are taught that the study of literature is a challenging
experience in itself, and the translation of the printed word to the spoken work is doubly challenging. Through
established techniques of oral reading, students learn to express the author’s words to an audience.
General Method: Varied methods will be used as the course develops. Students will analyze selections from
several points of view – the author’s intent (message/point of view) and the role of the interpreter in projecting the
author’s ideas. Students will also study the techniques of performance and the different approaches to reading prose
and poetry. In class, a discussion will center on the analysis of a single poem. For example, an entire group might
offer various ways in which a single poem might be interpreted. There will be individual presentations, as well.
Initially, the materials may come from the text. Later, students will be given the opportunity to select their own
materials, after conferring with the instructor as to the literary merits of the materials.
COURSE INTENDED LEARNING OUTCOMES/ASSESSMENT METHODS
LEARNING OUTCOMES
Demonstrate progressive level of interpretation and
performance of literature.
To differentiate and recognize effective and ineffective
speech patterns that effect listener comprehension,
comfort, and interest.
Demonstrate active listening and effective
communication.
ASSESSMENT METHODS
Final reading, based on semester's worth of participation
and class work and tests.
Quizzes, oral evaluations, feedback, class discussion,
performances.
Oral readings, class discussion, recordings, performances,
feedback.
GENERAL EDUCATION INTENDED LEARNING OUTCOMES/ASSESSMENT METHODS
LEARNING OUTCOMES:
CREATIVE EXPRESSION
ASSESSMENT METHODS
Gather, interpret, and assess information from a variety
of sources and points of view.
Evaluate evidence and arguments critically or
analytically.
Produce well-reasoned written or oral arguments using
evidence to support conclusions.
Analyze how arts from diverse cultures of the past serve
as a foundation for those of the present, and describe the
significance of works of art in the societies that created
them.
Students will read and interpret All types of Literature are
studied – prose, poetry, and, perhaps, drama, ranging from
classic to modern.
Students analyze in depth excerpts of literature; plan its
presentation, and develop the vocal skills to interpret
effectively before an audience.
Students are assigned both self-evaluations and peer
evaluations of presentations. Students are also tested with
quizzes and exams.
Through the analysis and established techniques of oral
reading of poetry, prose, drama, and speeches from world
culture, past and present, students learn to express the
author’s words to an audience. Through intellectual and
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Demonstrate knowledge of the skills involved in the
creative process.
Use appropriate technologies to conduct research and to
communicate.
performative engagements with literature, students better
understand the concerns and communications of past
societies while tracing the continuation of traditions into
their current world.
Students study the techniques of performance and the
different approaches to reading prose and poetry.
Video recordings of presentations are implemented to
reinforce the developing of skills needed to become
effective presenters.
Assignments:
Students will be required to make 2 presentations during the semester. The first presentation is an interpretion of a
prose text (ordinary speech or writing, without metrical structure). The second presentation/reading is an
interpretation of poetry (the art or work of a poet). Both presentations will be performed as members of a group and
require careful and meticulous preparation. Aside from intensive rehearsal of your selections, students must
thoroughly prepare the manuscript: underscore the content/key words (project meaning or feeling), insert dramatic
pauses between thought groups to aid phrasing (single slash (/) indicates a short pause, a double slash (//) a long
pause). You may also choose to add speaking cues (optional) in the left hand margin to indicate varying levels of
rate and volume. You may also choose to indicate qualities of voice in the left hand margin, such as deep and round
voice, confidential voice, etc.
All the presentations must be accompanied by an analysis sheet appropriate to the performance. This analysis sheet
addresses questions about the “Analysis of Prose” and the “Analysis of Poetry.” The analysis will assist you in
preparing for the performance(s). Each oral reading must be no longer than 5-6 minutes. Both presentations will be
video recorded in the Atrium Amphitheater. Finally, there will be two quizzes, a Midterm exam and a Final exam.
Grading:
PROSE Performance
30%
POETRY Performance
30%
TWO QUIZZES
10%
MIDTERM EXAM
10%
CLASS/GROUP
PARTICIPATION / HOME WORK
FINAL EXAM
10%
10%
For each reading/ performance, you will receive three grades: One for the performance, one for the analysis and
one for the marking (scoring) of the manuscript. Although your reading will be as participants in a group (assigned
during class), you will be given individual grades. A group will not be penalized if one or more members of your
group either fails to participate in the reading or interprets poorly. Furthermore, I will ask each member of a group
to evaluate/grade the performance of a reader from another group. This is done to help you develop skills to
objectively evaluate a performance. Consequently, you acquire a better/more insightful view of your own
performance (s).
Regarding, your own performances, you must also objectively self-analyze your two performances. I will provide
analysis sheets to assist you. In order to receive a satisfactory grade in this class, you must meet the attendance
guidelines, participate in class discussions, activities, and take the quizzes, exams and, above all, you must carefully
analyze your selections for each performance and you must diligently rehearse your selection(s) so that your
presentations are well interpreted. Moreover, in order to effectively succeed in performance, you must attend each
of the rehearsals scheduled for both readings. Finally, you must be fully committed and focused to truly attain
superior results.
WEEKLY SCHEDULE
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Week 1 OVERVIEW OF COURSE, REVIEW COURSE OUTLINE. Review questions from Chapter One,
including definitions of Oral Interpretation, the requirements of Oral Interpretation, how we communicate
effectively and the differences between acting and oral interpretation. Preview methods of a successful Oral
Reading (analyzing the selection, preparing the manuscript, identifying key words, proper phrasing and pausing
etc.); mechanics of manuscript preparation and the physical presentation (proper eye contact, gestures and posture,
etc.); play audio recording of Shakespeare’s Sonnet #29 (“When in disgrace…”) and play audio recording of
Patrick Henry’s speech “Give me Liberty, or give me death” to demonstrate oral interpretation of poetry and prose.
Students must answer questions from page ten of handout and also transcribe Shakespeare’s text (from Sonnet #29)
into their own words for next week. Read Chapter One and two for next week.
Week 2 ANALYSIS OF THE SELECTION. Students learn the importance of carefully analyzing the content of a
selection prior to performance. For instance, students must determine the author’s point of view (message), the
author’s intent/purpose in order to successfully prepare a piece of literature for presentation. Students also need to
understand the author’s use of language, use of rhythmical devices and method of organizing a selection.
Shakespeare’s Sonnet #29 is used to implement the principles of analysis. Afterwards, students perform the
selection both individually and in groups. The short story “A Christmas Memory” by Truman Copote is analyzed to
understand the use and relevance of imagery. Read Chapter Three for next week.
Week 3 VOICE DEVELOPMENT FOR ORAL INTERPRETATION. Articulation: Discussion of the importance
of clear and proper articulation and its role in effective interpretation. We will explore the importance of the
International Phonetic Alphabet and its use in improving articulation and pronunciation. Proper pronunciation and
correct articulation is needed to successfully interpret literature. Improper articulation and pronunciation may
negatively impact a student’s presentation. In other words, the student’s credibility is undermined. Handouts will be
provided to fine-tune articulation. Quiz One (analysis of Shakespeare’s Sonnet #18).
Week 4 VOICE DEVELOPMENT FOR ORAL INTERPRETATION. Work on breath control, projection,
loudness, phrasing, pausing, stressing, pitch variation, rate/tempo, duration, etc. Handouts will be provided to
reinforce the work. Read Chapter Four for next week.
Week 5 VOCAL VARIETY TECHNIQUES. Methods of presenting character, tone, color and vocal expression
are introduced and practiced. Mechanics of manuscript preparation (scoring/annotating the script), physical
presentation, (effective use of eye contact and proper posture), and bodily communication techniques (proper
employment of gestures and indicating locations) will also be explored. Handouts will be provided to enhance our
work on vocal variety etc. Read Chapter Five for next week.
Week 6 INTERPRETATION OF PROSE. A discussion of the interpretation of prose in terms of styles and types
in fiction and nonfiction. A video recording of Dr. Martin Luther King’s “I Have a Dream” speech is shown and a
discussion follows to introduce the interpretation of prose. This speech especially enhances the comprehension of
the importance of using a variety of figures of speech, colorful imagery, and various aspects of rhythm. The
importance of organizing ideas and main points are reviewed. Handouts will be provided to assist discussion and
group work. Read Chapter Six for next week. Read the “A&P” short story by John Updike for next week. Please
identify the central idea and type of narration for this story. Quiz Two.
Week 7 INTERPRETATION OF PROSE. The three types of narration will be explored (first person, second
person and third person). “A&P” is thoroughly analyzed after listening to John Updike’s reading of the story. Other
stories are additionally analyzed, such as Poe’s “The Tell Tale Heart,” and Oscar Wilde’s fairy tale “The Selfish
Giant.” Charles Dickens “A Tale of Two Cities” is also reviewed. Students variously perform excerpts from the
stories. Handouts will be provided to support the discussion. Read Chapter Nine for next week. Moreover, read the
dramatic narrative poem “The 38” by Ted Jones. Study sheet will be provided for Midterm exam.
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Week 8 INTERPRETATION OF POETRY. The language of poetry and classifications of poetry will be discussed.
Ted Jones’ dramatic narrative poem “The .38” is analyzed and performed by students for practice. Additional
narrative poems by Langston Hughes, Lewis Carroll, etc. are examined. Handouts will be provided to enhance
discussion and some group readings. Read Chapter Ten for next week. Midterm exam.
Week 9 INTERPRETATION OF POETRY. Types and elements of verse (stanza, line, cadences and rhyme) will
be discussed. Reflective lyric poems of Robert Frost, Langston Hughes, Edna St. Vincent–Millay and other poets
are examined and performed (for practice) by students. Other forms of poetry, such as dramatic poems by William
Shakespeare, are analyzed and practiced. Handouts will be provided to assist the discussion. Students must submit a
few annotated paragraphs from their prose selections for review. Students must submit answers from selected
questions from their prose analysis sheets, such as “What is the central idea?” – “What is the purpose?” – “Who is
the persona?”—“What is the locus?”, etc. This will help students to successfully prepare their manuscripts and
Prose Analysis Sheets for the prose performance.
Week 10 REHEARSAL FOR PROSE PERFORMANCE (Atrium Amphitheater)*
Week 11 PROSE PERFORMANCE (Atrium Amphitheater)
Week 12 REPEAT READINGS (if necessary): unfinished readings, extra credit readings etc. Students submit selfanalysis of their performances.
Week 13 POETRY REHEARSAL (In the Atrium Amphitheater)
Week 14 POETRY PERFORMANCE (In the Atrium Amphitheater)
Week 15 FINAL EXAM – repeat readings (if necessary). In this final meeting, I will speak to each student to
discuss what he/she needs to do to further improve his or her presentational and analytical skills.
PLAGIARISM AND NYCCT ACADEMIC INTEGRITY POLIGY:
“Students and all others who work with information, ideas, texts, images, music, inventions, and other intellectual
property owe their audience and sources accuracy and honesty in using, crediting, and citing sources. As a
community of intellectual and professional workers, the College recognizes its responsibility for providing
instruction in information literacy and academic integrity, offering models of good practice, and responding
vigilantly and appropriately to infractions of academic integrity. Accordingly, academic dishonesty is prohibited in
The City University of New York and at New York City College of Technology and is punishable by penalties,
including failing grades, suspension, and expulsion.” (See pp. 73-76 in the student handbook). The following are
some examples of plagiarism:
 Copying another person’s actual words without the use of quotation marks and footnotes attributing the
words to their source.
 Presenting another person’s ideas or theories in your own words without acknowledging the source.
 Using information that is not common knowledge without acknowledging the source.
 Failing to acknowledge collaborators on homework and laboratory assignments.
 Internet Plagiarism includes submitting downloaded term papers or parts
of term papers, paraphrasing or copying information from the internet without citing the source, and
“cutting and pasting” from various sources without proper attribution.
 Speech assignments must be paraphrased into your own language and properly cited.
REASONABLE ACCOMODATION:
We are committed to providing reasonable accommodation to students with disabilities. Any student who has a
disability that may prevent him or her from fully demonstrating his or her abilities should contact me personally so
we can discuss accommodations necessary to ensure full participation and to maximize educational opportunities.
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COLLEGE POLICY ON ABSENCE/LATENESS:
A student may be absent without penalty for 10% of the number of scheduled class meetings during the semester as
follows:
Class Meets Allowable Absence
1 time/week 2 classes
2 times/week 3 classes
3 times/week 4 classes
**Each department and program may specify in writing a different attendance policy for courses with laboratory,
clinical or field work. If the department does not have a written attendance policy concerning courses with
laboratory, clinical or field work, the College policy shall govern.
HUMANITIES DEPARTMENT POLICY ON ABSENCES/LATENESS:
Class Meets
Allowable Absence
1 time/week
1 1/2 classes
2 times/week
3 classes
3 latenesses
equal one absence
There are no excused absences, since a student who is not in a class for any reason is not receiving the benefit of
the education that is taking place. The professor will keep accurate, detailed records of all absences from class, and
may assign a WU grade (withdrew unofficially) to any student who exceeds that limit. A student is required to take
the responsibility of keeping track of his/her own absence from class. When it exceeds four hours, he or she should
make an appointment to discuss the problem with the professor.
REVISED BY: Christopher Swift (2013 Minor Modifications)
DATE: October 12, 2015