English157_SyllabusTENTATIVE

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English E-157/W: THE MAKERS OF MODERN POETRYFall 2012

TentativeSyllabus

Instructor: Dr. Sue Weaver SchopfOffice: 51 Brattle Street, E-705Voice-Mail: (617) 495-9942Conference Hours (by appointment only): Mondays and Tuesdays 11-5E-Mail: [email protected] (the preferred medium for brief queries and comments)FAX: (617) 496-2680Course Website: http://isites.harvard.edu/course/ext-13978/2012

FOCUS OF THE COURSE: This course is a study of modern British and American poetryfrom the 1890s to the 1950s, with major emphasis placed on the high priests of modernism

Yeats, Frost, Pound, Eliot, Stevens, and Williams. We examine the European origins of modernverse and the rebellion against Romantic and Victorian traditions; the impact on poetry of WorldWar I, the new technology, the modern city, the avant-garde and its manifestoes; the use oftechniques and effects derived from painting and music; and the challenge facing poets afterPound and Eliot to "make it new." We also consider the poets' experiments with free verse andopen form, their reworking of traditional genres, including that unruly hybridthe modernistlong poem; the debates over poetry's stance as impersonal or confessional; the role of irony,ambiguity, and obscurity in the new verse, resulting in the poet's growing isolation from thegeneral audience. As part of this exploration, we will also hone our close-reading skills and learnto write about poetry in clear, well-organized prose. Prerequisite: an undergraduate surveycourse in English or American poetry or some other background in the study of poetry.


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REQUIRED TEXTS(sold at the Coop; on reserve in Grossman Library, Sever Hall)these arethe editions that must be used (not e-texts or alternate versions):

Jahan Ramazani, Richard Ellmann and Robert O'Clair, ed., MODERN POETRY,Volume Iof THE NORTON ANTHOLOGY OF MODERN ANDCONTEMPORARY POETRY, 3rd ed.

Ezra Pound, SELECTED CANTOS, W. W. Norton & Co.

T. S. Eliot, FOUR QUARTETS, Harvest Books of Harcourt Brace

William Carlos Williams, PATERSON, New Directions Paperback

SUPPLEMENTAL REQUIRED READINGS ON THE COURSE WEBSITE--Acollection of useful background materials, including a selection of French symbolistpoetry, essays on poetry by the poets themselves, and selections from other relevantcritical works. You should print these out and put them in a notebook so that you canannotate and highlight them as needed.

(N. B. Only registered students with an ID number and PIN can login to thepassword-protected part of the website where the supplemental readings are found.)

SCHEDULE OF MEETINGS, READINGS & WRITTEN ASSIGNMENTS

N. B. Most of the shorter poems are in the Norton Anthology; background

selections with page numbers are likewise in the Norton; those without page

numbers are on the course website under Supplemental Required Readings,

hereafter referred to as SUPP.

Sept. 5: Introduction to Modern Poetry. 19th-century traditions in art,literature, and music vs. their modern antagonists. The social origins ofmodernism, and the beginnings of a modernist aesthetic: the role of irony,impersonality, obscurity.Helpful background reading: Precursor Poets (seereading list on page 9 of syllabus); essays by Baudelaire, Mallarm, Symons inSUPP, as well as Whitmans Preface toLeaves of Grass, pp. 865-70; from theEnglish manifesto BLAST!, pp. 895-920.

Sept. 12: An Irish Symbolist: YeatsRead: To the Rose Upon the Rood of Time, The Lake Isle of Innisfree, When YouAre Old, To Ireland in the Coming Times, Adam's Curse, The Wild Swans atCoole, Easter 1916, The Second Coming

[Background Reading: essays by Yeats in SUPP]

Writing Assignment #1 due:To get you thinking about the transition from 19

th-century poetry to modern

poetry, take a look at the poem by William Wordsworth (I Wandered Lonely Asa Cloud) and the one by Ezra Pound (In a Station of the Metro) foundon page10 of the syllabus. Both poems are occasioned by the speaker noticing somethingthat catches his attention. What are the main differences in form and content thatyou see between the 2 poems? (1 page maximum)


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Sept. 19: YeatsRead: A Prayer for My Daughter, Sailing to Byzantium, The Tower, AmongSchool Children, Byzantium, Crazy Jane Talks with the Bishop, The CircusAnimals Desertion

Sept. 26: The Imagist Poet: PoundRead: Portrait d'une Femme, The River-Merchant's Wife, A Pact, In a Station ofthe Metro, The Seafarer (SUPP), The Return, Homage to Sextus Propertius(SUPP), Hugh Selwyn Mauberley

[Background Reading: essays by Pound, Glenn Hughes in SUPP]

Writing Assignment #2 due

***SECTION: Film on Pound (60 min.)

Oct. 3: Pound: SELECTED CANTOS (read all)

Oct. 10: THE Ironist: EliotRead: The Love Song of J. Alfred Prufrock

[Background Reading: essays by Eliot, pp. 941-953]

***SECTION: Film on Eliot (60 min.)

Revision of Writing Assignment #2 due

Oct. 17: Eliot: THE WASTE LAND (read all)

[Background Reading: essays by Jessie L. Weston and Sir James Frazer;manuscript pages of THE WASTE LAND in SUPP

Oct. 24: Eliot: FOUR QUARTETS (read all)

Oct. 31: Another Ironist: FrostRead: Mending Wall, After Apple-Picking, The Wood-Pile, The Road Not

Taken, Birches, Fire and Ice, Stopping by Woods on a Snowy Evening; For Once,

Then, Something;

***SECTION: Film on Frost (60 min.)

Writing Assignment #3 due

Nov. 7: FrostRead: The Need of Being Versed in Country Things, Tree at My Window,Acquainted with the Night, Two Tramps in Mud Time, Desert Places, Neither OutFar Nor in Deep, Design, The Gift Outright; Provide, Provide; Directive

[Background Reading: essay by Frost pp. 984-986]


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Nov. 14: Another Imagist: WilliamsRead: Tract, The Great Figure, Spring and All, The Red Wheelbarrow, At the

Ball Game, This Is Just to Say, Flowers by the Sea, The Yachts, The Young

Housewife, Burning the Christmas Greens; PATERSON, Books I & II

[Background Reading: preface by Williams pp. 954-959]

***SECTION: Film on Williams (60 min.)

Nov. 21: NO CLASS: THANKSGIVING HOLIDAY

(PLEASE NOTE: Between Nov. 14 and 28 you will have 2 weeks in which torevise paper #3 and read the longest assignment of the course: the final 3 booksof PATERSON. I strongly recommend that you get either your paper revision orthe reading of PATERSON completed during the 1

stweek and the remaining

assignment during the 2nd

. Please do not wait to complete both a day or twobefore class on the 28

th, or you will find it a near-impossible task.)

Nov. 28: WilliamsRead: PATERSON, Books III, IV, & V

Revision of Writing Assignment #3 due

Dec. 5: An American Symbolist: StevensRead: Sunday Morning, Peter Quince at the Clavier, Disillusionment of Ten

OClock, Thirteen Ways of Looking at a Blackbird, Anecdote of the Jar, The

Snow Man, The Emperor of Ice-Cream

[Background Reading: aphorisms and essay by Stevens pp. 971-983]

***SECTION: Film on Stevens (60 min.)

Dec. 12: StevensRead: The Idea of Order at Key West, The Man with the Blue Guitar, Study of

Two Pears, Of Modern Poetry, Notes Toward a Supreme Fiction, from TheAuroras of Autumn, from An Ordinary Evening in New Haven, The Planet on the

Table, The Plain Sense of Things, Reality Is an Activity of the Most August

Imagination; Not Ideas About the Thing But the Thing Itself (SUPP)

Dec. 19: PROCTORED FINAL EXAM (2 hours)

To learn how proctored exams work for distance students, consult thefollowing link, which explains in detail what your responsibilities are forarranging to take the final exam. Students living in the New England areaare expected to sit for the exam in Cambridge during the appointed classmeeting time: http://www.extension.harvard.edu/distance-education/how-distance-education-works/academic-policy-exam-proctoring.


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Written Assignments in This Class:

All of the writing assignments have been designed to introduce you to a number of ways ofthinking and writing about poetry. Topics will range from the formal aspects of Modernist

poems (style, language, tone, structure) to the menu of subjects/ideas/emotions explored in them

through image, symbol, and metaphor. Assignments will be paced so that students are doingsome writing approximately every other week. All papers will focus on the analysis of selectedpoems from the reading list. The assignments are as follows:

(1) One 1-page essay: 10%

One 2-4 page essay (with required revision): 20%

One 4-6 page essay (with required revision): 30%

**The longer page lengths are for graduate students papers.**

(2) The 2-hour proctored final exam will count 40% and will be cumulative. It willconsist of selected passages from the assigned poems to identify and explicate,

along with an essay question. Graduate students will be given an additional essay

question to answer.

GENERAL ADVICE and REQUIREMENTS

IS THIS YOUR FIRST HARVARD EXTENSION COURSE, DISTANCE COURSE, or

WRITING-INTENSIVE COURSE?

If so, you will find the following advice helpful. If not, it will be useful to you anyway! Please

read on.

Harvard Extension Courses: Although this course is offered through the Extension School, it is

the HarvardExtension School; thus the standard to which students are held is high. The qualityof your work is what determines the grade you will earn in the course. I will assume that you are

here to be challenged, to gain new knowledge, and to ratchet up your close reading, writing, and

analytical skills, and that you are prepared to put in the time and effort that will accomplish those

goals. You are expected to be thoroughly familiar with the contents of this syllabus, theassignment due dates, and class policies at all times.

Distance Courses: Distance students should approach the course in the same organized fashion

that they would if they were coming to class each week, at a designated time, with homeworkprepared and written work ready to submit. In other words, they should set themselves a

schedule and stick to it as closely as possible. Lectures should be watched without interruption

by other duties or activities, in a quiet setting. A haphazard approach will lead to a poorperformance.Do not let yourself fall behind in viewing the lectures or doing the readings and

other assignments. Catching up will be a frustrating and largely fruitless exercise.


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Important Advice from Experienced Distance Students: Again and again, experienced distance

students have stated that a disciplined approach is the key to successand to achieving the

maximum amount of learning in the course. Their second best piece of advice is, Start talking

with your TA right away; introduce yourself via email or telephone, so that you feel comfortableemailing with questions or comments throughout the semester.Remember that each of you will

have a teaching assistant assigned to you; this person will be available to talk with you, answeryour questions via email or telephone, and assist you with your writing. I will also be availableto answer your questions about the poems we are studying.

Setting Yourself Up for a Distance Course: Be sure to consult the Extension Schools distanceeducation website, well before the course begins, to make sure that you have the technical

requirements in place for successfully viewing the videos. Out-of-date computers and unreliable

dial-up connections will not work. Without proper equipment, you will not be able to fulfill the

assignments in this course, so make these determinations ahead of time. Its also a good idea, ifthis is your first distance course, to view one of the sample videos so that youll know what to

expect.

See:http://www.extension.harvard.edu/distance-education/how-distance-education-works. Check out the FAQs on the distance website and the Need Help? link(http://www.extension.harvard.edu/distance-education/need-help) should you experience any

technical difficulties during the semester. ***Please note that if you have technical difficulties,

you should contact the distance help line, not me or the TAs, since we can do nothing to solvethese kinds of problems.***

Writing-Intensive Courses and Written Assignments in This Class: This is a writing-intensive course, which means that students will be doing a great deal of writing on the literature

that were studying. This is the best way to learn about the nuts and bolts of a poem, by focusing

on its intricate details and then formulating an argument about how these details contribute to the

whole. Writing-intensive courses require a special commitment from both the student and theinstructor and her staff. Such courses are predicated on the notion that students will write

frequently, at regular intervals, submit papers of various lengths; be given the opportunity torevise their work, and to confer with the staff about individual writing problems. The emphasis

is on practicing the mode of writing appropriate to the particular subject being studied--in thiscase, the analysis of poetry. The theory behind this practice is that engagement with the subject

matter in writing facilitates a deeper understanding of the material and of the kind of analysis

associated with a given discipline.

While some instructors may grade for content only, we care aboutgood writingas well as

intelligent content, and your papers will be graded for both. Proper grammar, correct spelling and

punctuation, well-constructed sentences, and a precise, descriptive vocabulary are the vehiclesfor the expression of your ideas. Your essays are likewise supported by an infrastructure that

includes a clear introductionand hypothesis statement(what the paper will argue), supporting

evidence from the text(examples that lend credence to your argument or illustrate the point being

made), and a unified discussionthat unfolds in such a way as to justify the conclusions reached atthe end of the essay. Poorly-written papers undermine even the most intelligent observations.

(See pages 10-11 of the syllabus for further helpful advice about writing a literature paper.)

Outside sources should NOT be consulted for any of these assignments, aside from those

provided on the course website. We want to see yourideas, observations, and thinking at work
http://www.extension.harvard.edu/distance-education/how-distance-education-workshttp://www.extension.harvard.edu/distance-education/how-distance-education-workshttp://www.extension.harvard.edu/distance-education/how-distance-education-workshttp://www.extension.harvard.edu/distance-education/how-distance-education-works


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in these papers. Wrestling with the poetry on your own is how you will best come to understand

it.

Should you ever use any outside sources, however, whether print or electronic, you must cite

them correctly, with quotation marks placed around any verbatim quotes, and the publishing

information and exact page numbers of the source given. Paraphrased passages in which youuse the ideas of another author but rephrase them in your own words must likewise be properly

attributed and cited. You do not want to commit plagiarism either by accident or design.

And, please, stay away from primitive resources such as Wikipedia and Sparks Notes; they willonly get you into trouble.

Refer to pages 11-12 of this syllabus, taken from the Extension Schools website, for moreinformation on our policies regarding academic honesty. I strongly urge you to spend some time

with theHarvard Guide to Using Sources,found online at:

http://usingsources.fas.harvard.edu/icb/icb.do. This guide will help you to avoid any pitfalls in

the proper use of sources. But you can eliminate the risk in this class simply by following the

stated policy above of not consulting outside sources for our assignments .

WEEKLY PREPARATION TIME: As you will immediately discover, modern poetry cannot

be read quickly. It is frequently difficult, obscure, and allusive; only slow, patient, and repeated

readingsline by linewill yield up its rich and complex expression. Using the techniques ofclose reading, we will explore how the modernist poet fuses form and content and experiments

with fresh combinations of language, metaphor, structure, and subject matter. Students should

expect to spend at least 4-5 hours per week on the readings (more when one of the modernistlong poems is assigned). On the weeks when a paper or a revision is due, several additional

hours will also be required. My best advice to you is to set aside ample uninterrupted reading

time and to give yourself the opportunity to think as well as read. Students are expected to readallof the poems on the reading list, not just those on which paper topics are assigned.Remember that you will be responsible for all assigned poems on the final exam.

ATTENDANCE: Local students are strongly encouraged to attend class. Why? Because I

likethe interaction with you, Im interested in your responses to the poetry, and I enjoy hearing

you respond to each others comments in real time. (Our distance students also like hearing your

comments during class.) This is likewise the best way to get to know your fellow students andfor me to get to know you. The distance option can be a great convenience if you must miss

classyou never have to miss a single lecture, and you can always go back and review a lecture

youve already seen. But I hope to have spirited discussions with you about these fascinating,

often vexing poems.

Each week in class, I shall lecture for a portion of the evening; but discussion and comments

from students are welcome and expected. Always bring questions that you have about thereadings to class or post them on the course websites discussion board. You can also email me

or your TA directly with your questions. We will make every effort to address them. The weekly

lectures will usually be posted on the course website 24-48 hours after the Wednesday class.You will need your Harvard ID and PIN in order to login to each lecture after the second week of

classes.


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TIMELY SUBMISSION OF WORK: All written work must be submitted on time.

Unexcused late work will not be accepted. Only if you have suffered a serious personal or

medical emergency and contacted me (not your TA) in advance of the submission dateto requestan extension will late work be accepted. The number of assignments and amount of reading in

this class are evident from the start, so plan accordingly.

Since this is a writing-intensive course, students are expected to complete all writtenassignments, in the requisite number of drafts and pages as assigned throughout the semester.

Any 2-part assignment requiring a paper and revision cannot receive a grade higher than D if

either draft is missing. You do yourself no favor by neglecting to submit either half of a two-partassignment, since you forego helpful feedback and the opportunity to revise your work, likely

resulting in a higher grade.Learning the benefits, indeed the necessity, of revising your work is

one of the main goals of a writing-intensive course.

Please do not ask if you may submit your work in one draft only, or submit all of the papers at

the end of the semester, or according to some other unorthodox arrangement.Arrangements you

may have made with other professors in previous "W" courses have no relevance in this course.

Be sure that you make your vacation plans with all assignment dates in mind. You have the

syllabus many months ahead of time so that you can plan around th is schedule. The final

exam cannot be taken earl ier.

ASSIGNMENT DROP BOX: All papers and revisions will be submitted directly to the

Assignment Drop Box on the course website. Papers must be submitted as a Word document

and are due by the Wednesday class at 5:30 p.m. EST. If you send it in an alternate form that we

cannot open, the paper will be considered missing. The Drop Box will close at 5:30 pm. Afterthat, papers cannot be submitted.

COURSE WEBSITE & DISCUSSION BOARD: You are expected to consult the course

website each week. Announcements, handouts, and interesting ancillary materials will be added

frequently. A discussion boardwill be set up so you can engage in a dialogue with us and each

other about the course readings. We will give you specific questions to consider, but I also wantto know what struck you as interesting, surprising, puzzling, or provocative about the weekly

readings, the style in which they are written, the social or other issues they illuminate. We hope

to have lively discussions with you about these writers at this exciting moment in the history of

poetry. Especially for distance students, the discussion board can help you feel moreconnected to your fellow students and to the teaching staff. We want you to be as much apart of the conversation in the course as those attending class in Cambridge each week.

Please note: the discussion board should be a forum for courteous exchanges and serious

academic discussion (not I hated this poem or I think Ezra Pound was a jerk).

I encourage all of you to post a photo of yourselves on the class facebook, which can be found on

the course website once the semester begins. Degree candidates at Harvard Extension will

automatically have their ID photos posted.


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**Since I will communicate with you from time to time via email as well, please be sure that yourspam-catcher will allow you to receive emails from me and the TAs without blocking them. Also,kindly double-check your email address on file with the Harvard Extension School to ensure its

correctness. When I send out group emails to the class, I must use the list provided by the

Registrar. I f you change your email address, be sure to noti fy Harvard Extension so that you

dont miss important messages from me and your TA.

OCCASIONAL SECTION MEETINGS AFTER CLASS: Immediately following class (7:40-

8:40 pm, classroom TBA) on the dates shown in red on the syllabus, we will be showingexcellent films from the Voices and Visions series about the poets werestudying in the course

(each film is 60 minutes long). Feel free to bring your dinner (but, please, throw all of your trash

away as you exit the room)!

We will also make each film accessible online for a 24-hour period so that our distance students

wont miss out on any. (According to the fair use law, we can only leave the films up on the

course website for this length of time.) **Films will be available on the course website from12:00 noon on Saturday until 12:00 noon on Sunday, adjacent to the link for each weeks

lecture.**

NON-CREDIT STUDENTS: We welcome non-credit students to the class, invite them to

participate in class discussion, the course discussion board, and even to submit papers, if they

wish. However, non-credit students cannot receive grades or course credit for their work. If youwish to receive a grade and course credit, please change your registration status during the

registration period to either UN or GR.

Precursor Poets to Be Discussed in Lecture #1: Introduction to the Course

WHITMAN: Song of Myself, Crossing Brooklyn Ferry

DICKINSON: Wild Nights--Wild Nights!, There's a Certain Slant of Light, After Great Pain, I

Heard a Fly Buzz, I Dwell in Possibility, A Narrow Fellow in the Grass

HARDY: Hap, Neutral Tones, The Darkling Thrush, New Year's Eve, Channel Firing, The Oxen

HOPKINS: The Windhover, Pied Beauty

HOUSMAN: When I Was One-and Twenty, Is My Team Ploughing, With Rue My Heart Is

Laden

ROBINSON: Luke Havergal, Richard Cory, Mr. Floods Party

STEIN: poems from Tender Buttons, Susie Asado

HD: Oread, The Pool, Sea Rose, Garden

OWEN: Anthem for Doomed Youth, Dulce et Decorum Est, Mental Cases, Disabled


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WORDSWORTH AND POUND POEMS FOR WRITING ASSIGNMENT #1

I Wandered Lonely As a Cloud In a Station of the Metro

I wandered lonely as a Cloud The apparition of these faces in the crowd;That floats on high oer Vales and Hills, Petals on a wet, black bough.When all at once I saw a crowd

A host of dancing Daffodils;

Along the Lake, beneath the trees,Ten thousand dancing in the breeze.

The waves beside them danced, but they

Outdid the sparkling waves in glee:--A Poet could not but be gay

In such a laughing company:

I gazedand gazedbut little thoughtWhat wealth the shew to me had brought:

For oft when on my couch I lie

In vacant or in pensive mood.They flash upon that inward eye

Which is the bliss of solitude,

And then my heart with pleasure fills,And dances with the Daffodils.

What Is a Literary Paper?

A literary paper is different from a history paper or a psychology paper or a science paper. The

style and focus are different, as is the kind of evidence employed to support the argument.

In terms of style, an academic paper about a work of literature employsformal diction. By that I

do not mean that it should be stiff and unnatural and use only big words; rather, I mean that it

differs from ordinary conversation in which one might employ slang, contemporary

colloquialisms, or a shorthand way of expressing something (as in texting or emailing), andemploys instead an elevated level of discourseand an objective, professional voice. The analysis

of poetry also requires a precise technical vocabularythat describes the features of a poem using

terminology common to the field of poetics. English professors like to see elegant writing that is

clear, grammatically correct, accurately expressed, and that eschews awkward constructions suchas the passive voice.

The focus of a poetry paper will typically be certainstructural or linguistic featuresthat the poetemploys to express the main ideas or emotions of the poem. Occasionally, such papers may also

investigate the externalcircumstances behind the poems composition or those reflected in the

poem, such as biographical or historical data; however, this requires a tremendous amount ofresearch before one can safely make such connections. (I will provide much of this external


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context for you in my lectures.) But in our class, the focus will be on the close reading of poems

and their internalfeatures; in other words, howthe poem communicates what it does.

The evidence for whatever argument you are constructing will come from the text itself, since

virtually all of our writing assignments will be anchored to a close reading of one or more

poems.

One of the greatest falsehoods ever communicated to students is that a poem can meananything you want it to mean. If you were ever taught such a ridiculous untruth, please free

yourself of that notion immediately before it leads you to make up interpretations that have nobasis within the poem, simply for the sake of being creative. Poets are not idiots. They write

poems that express particular ideas or emotions using carefully-constructed patterns of language

to convey them. The poets intended meaning resides in the poem and is a stable entity (even

though the readers subjective responses to a poem or a cultures view of its relevance mayvary greatly, especially over time). It is the task of the literary critic to identify that central

meaning but also to ask how the poet uses language to accomplish this.

Language, however, can sometimes be ambiguous (a poet can even aim for a certain degree of

ambiguity)and a complex idea can contain several parts, just as emotions can contain

contradictory feelings: this is why poems can be interpreted in different ways. But in order to

arrive at a valid interpretation, the critic must look for correspondenceswithin the poem,clusters of ideas, images, symbols, metaphors or other patterns that collectively validate an

interpretation. A reasonable interpretation can never be based on a single element alone (one

reference to biting doesnt make it a vampire poem, just as one image of a crucifix doesnt makeit a religious poem). Thus the literary critic seeks coherencein his/her interpretation.

Univers ity Pol icy on Academic Integr i ty

(f rom the Harvard Extension School Websi te und er

Student Responsibilities)

Harvard Extension School expects students to understand and maintain high standards of

academic integrity. Breaches of academic integrity include the following examples.

Plagiarism

Plagiarism is the theft of someone elses ideas and work. It is the incorporation of facts, ideas, orspecific language that are not common knowledge, are taken from another source, and are not

properly cited.

Whether a student copies verbatim or simply rephrases the ideas of another without properly

acknowledging the source, the theft is the same. A computer program written as part of thestudents academic work is, like a paper, expected to be the students original work and subject

to the same standards of representation. In the preparation of work submitted to meet course,

program, or school requirements, whether a draft or a final version of a paper, project, take-home


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exam, computer program, placement exam, application essay, oral presentation, or other work,

students must take great care to distinguish their own ideas and language from information

derived from sources. Sources include published and unpublished primary and secondarymaterials, the Internet, and information and opinions of other people.

Extension School students are responsible for following the standards of proper citation to avoidplagiarism. The most helpful source is theHarvard Guide to Using Sources, found at:

http://usingsources.fas.harvard.edu/icb/icb.do

http://isites.harvard.edu/icb/icb.do?keyword=k24101&pageid=icb.page123040

Inappropriate collaboration

Collaboration on assignments is prohibited unless explicitly permitted by the instructor. Whencollaboration is permitted, students must acknowledge all collaboration and its extent in all

submitted work.

Cheating

Students may not copy other students assignments, computer programs or parts of programs, or

exams. To avoid any suggestions of improper behavior during an exam, students should not

communicate with other students during the exam. Neither should they refer to any books,papers, or use electronic devices during the exam without the permission of the instructor or

proctor. All electronic devices must be turned off during an exam.

Duplicate assignments

Students are expected to submit work that is done solely for each course in which they

enroll. Prior written permission of all instructors is required if students wish to submit the

same or similar work in more than 1 course.

**Please note that the penalty for academic dishonesty is a failing grade in the course, an

RQ (required to withdraw) notation on the students permanent transcript, mandatory

withdrawal from the students degree program, and rustication from Harvard Extension

for two complete semesters.**

N. B. The instructor reserves the right to make changes in the syllabus as necessity dictates.

Dr. Sue Weaver Schopf

Harvard Extension School, 2012

English157_SyllabusTENTATIVE

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