M.L.A. Documentation Formats
Requirements
Course Policies
A Few Themes to Get You Started
Texts
Research documentation guides—M.L.A. style
• Detailed parenthetical citation MLA style at University of Wisconsin-Madison
• Detailed Works Cited MLA style at University of Wisconsin-Madison (NOTE: Don't use for online database sources. See next link for that.)
• Citing an online database source for an article: M.L.A. at Cornell U.
• Detailed advice for Annotated Bibliography and M.L.A. style
• How to cite a DVD, film, performance, TV, radio, online sources from Berkeley
• Detailed advice for Annotated Bibliography
Requirements
Overview
All papers must be in 12 point Courier / Courier New, double-spaced, numbered pages—printed on one side. All papers must have a complete and accurate Works Cited page, M.L.A. style.
Touchstone Text
How can you use class work, then, to help develop your own project?
We will be reading and discussing Anthony Swofford's memoir Jarhead, which details his experience as a sniper in the first Gulf War. Making Jarhead the centerpiece, or even a sizable portion, of your Senior Seminar Paper would result in failure of the course. If, however, you are interested in war and masculinity, you certainly should use class discussion of Jarhead to suggest ways that you might make another work the focus of your investigation, say, Michael Herr's Dispatches, about the Vietnam war. In this way, a class work, such as Jarhead, may become a touchstone for, say, a theme like self-destructive masculinity, but not the primary subject of your analysis.
If you are unsure about your approach at any time, come by for a chat.
• In-class Writing (several brief papers) (25%)
Frequent, unannounced writings on readings for the day, seminar themes, theory and Short Seminar papers from classmates.
• Short Seminar paper & Abstract (1,250-2,000 words) (25%) —Sign up for date
A researched scholarly analysis of readings on the syllabus, making clear connections to masculinity theory from class readings and / or your own research.
• Email the paper to me—and to each member of the class—by noon the day before the class your paper is due. Paste the text into the email. Head the paper with a 50-100-word abstract of the paper. Class members are responsible for reading each paper and for discussing it in class.
• Each paper must have a complete and accurate bibliography (M.L.A Works Cited page).
• Long Seminar Paper Proposal (750-1,000 words)—Due 10/20
A work-in-progress report that succinctly sets out your "project," anticipating—imagining yourself into—the final paper that you will write. Include:
• A possible title
• A working thesis. Include a statement on why your thesis is relevant or interesting.
• The primary texts that you will be working with—literary or cultural—and your anticipated focus.
• The secondary texts you expect to use and your anticipated use.
• A working bibliography
• Annotated bibliography (required) —Due 11/10
1) Read your secondary sources—articles in journals or books by literary critics, feminist critics, African American studies critics, sociologists, psychologists, and so on—thoroughly, underlining and annotating;
2) In a paragraph, summarize the author's thesis and how he or she argues the thesis;
3) In a sentence or two, explain how the work is or may be relevant to the paper that you will write.
• How an annotated entry must look.
• Rough draft (required)—Due. 11/19
This should set out a clear thesis and be as complete as possible. For incomplete drafts, append a detailed description of how you plan to finish the draft and make an appointment to turn in the incomplete draft in person during an office hour.
• Long Seminar Paper (5,000-6,250 words) (50%)—Due 12/5
The paper will foreground its theoretical position as it offers close, analytical reading of texts and/or cultural practices as they pertain to masculinity.
An original, thoroughly researched and well-written essay exploring connections between scholarly discourse on masculinity and masculinity as represented in literary texts and/or in influential nonfiction texts and media. All papers will consider in depth at least one literary text (fiction or nonfiction). Films, other media and texts may be considered for analysis, but may account for no more than half of the paper's project.
Use books and scholarly (or otherwise appropriate and influential) essays that you find in your research to support and develop your thesis. For literary papers, you must use the M.L.A. Bibliography in your research. For other papers focusing on, say, media representation and reception of masculinity, use the appropriate scholarly and media research databases. The number of scholarly articles and books that you end up using in the paper will be determined by how many relevant sources you find and by your approach. That said, your research must show evidence of broad reading and in-depth analysis.
• Use M.L.A. style for documenting sources used in the paper. Include a standard Works Cited page.
• Document all sources: if you get an idea, a paraphrase, or a quote from a source, credit and document it. Use of undocumented sources is plagiarism. Plagiarism results in failure of the course.
Heading:
• Name
• course
• date
• Abstract: Place just above title.
• Title: Assert a descriptive, effective title.
The Research Portfolio (Turn in with final paper)
Keep a research portfolio as you do your work. This means keeping all photocopies of articles and your own notes, excluding texts used in class or on reserve. Include the rough draft and other drafts in which you have made substantive changes. In all cases, works studied in class may not be used in your Senior Seminar paper, except as a briefly cited touchstone. (See above.)
What not to offer in your Seminar Paper
• mere summaries of works that never lead to analysis
• casual observations and rambling prose
• diffuse analysis that leads nowhere
• hurried work
What you should offer
• a focused thesis resulting from your close analysis of primary materials and masculinity theory
• work that engages the thinking of others (secondary scholarship), challenging or expanding theories as you develop your own thesis
• a professionally prepared final draft with a letter-perfect, style-perfect Works Cited bibliography
• a thoroughly revised essay, carefully edited for clarity, argument and analysis
General Course Policies
Coming Late to Class & Waltzing In and Out
Walking in late is disruptive and counts as absence, as does walking in and out during class. If you have a special, documented need, let me know.
Office Hours
My door is always open, and I am happy to see you during my office hours, as well as other times that I'm in my office—drop by or call or e-mail to see if I'm in. You are welcome anytime to come by and talk about your class work in general, or about a specific reading or essay draft on which you are working.
Learning Disabilities
CNU Disability Policy: Students with documented disabilities are required to notify the instructor on the first day of class and in private if accommodation is needed. The instructor will provide students with disabilities with all reasonable accommodations, but they are not exempted from fulfilling the normal requirements of the course. Work completed before the student notifies the instructor of his/her disability may be counted toward the final grade at the sole discretion of the instructor.
If you believe that you have a disability, you should make an appointment to see me to discuss your needs. In order to receive an accommodation, your disability must be on record in the Dean of Students’ office, 3rd Floor David Student Union/DSU (Telephone: 594-7160).
CNU Success Policy
We want you to succeed at CNU; therefore I may notify the Academic Advising Center if you seem to be having problems with this course. Someone may contact you to help you determine what help you need to succeed. You will be sent a copy of the referral form. I invite you to see me at any time that I can be of assistance in helping your with the course material.
Attendance
Not Attending Class Can Result in Failure of Course
You may miss one week of class without any penalty or consequence. You are responsible for the material covered, of course, and I draw my exam questions from material covered in class, class discussion and lecture, as well as from our texts.
Additional absences will result in reduction of your final course grade.
That means that a "B" in all of your coursework can become a "C," if you have excessive absences. It also means that a passing grade for the course can become a failing grade for the course.
In the case of an emergency, contact me as soon as possible. Emergency absences can be excused, and I may ask for documentation.
Complete All Work
You must complete all work by the last day of class to receive a passing grade.
Incompletes
Given only in extraordinary circumstances. Plan to complete work by last day of class. Not completing the work results in an "F," not an "I."
A Few Themes &Works of Fiction to get you thinking about approaches you might take.
• Masculinity as performance
• Endless proving of masculinity for an audience
•Masculinity moving from inner values to outer show—consuming, body
•Social construction of gender v. essential gender identity
• Gender role abrasion
•Separate Spheres
•Black Masculinity —rage, justifying existence, self worth; holism, group identity, beyond social pathology
•Breadwinner Masculinity
• Self-made men
•Self-Actualizing Masculinity
Fathers
• "All the Way in Flagstaff" (Vintage)
• "Minor Heroism" (Vintage)
• "The Benchmark"( Dorris)
• "Jeopardy" (Dorris)
• "Winter Father," Andre Dubus
Lost Men (and boys) & Loss
• "Murderers" (Vintage)
• "Talk of Heroes" (Vintage)
• "Men Under Water" (Vintage)
• "Emergency" (Vintage)
• "Qiana" (Dorris)
• "Name Games" (Dorris)
• "The Vase" (Dorris)
• "Rock Springs" (Vintage)
• "One More Thing" (Carver)
• "Mr. Coffee & Mr. Fixit" (Carver)
• "So Much Water, So Close To Home" (Carver)
Men Embattled
• Dispatches, Herr
• "The Things They Carried" (Vintage)
• Changing Fictions of Masculinity, Rosen
—introduction & chapter 1 (on Beowulf)
• Hamlet, Shakespeare
• Changing Fictions, chapter 3 (on Hamlet)
Men in Transformation
• "Cathedral" (Vintage)
• "Earnest Money" (Dorris) in Working Men
• "Oui" (Dorris) in Working Men
• "Viewfinder" (Carver)
• "The Calm" (Carver)
• "Why Don't You Dance?" (Carver)
• "Groom Service" (Dorris)
Perceptions of Masculinity & Men in the Media
• "Merchants of Cool" PBS documentary and interviews, full video available online
• "Queer Guy With A Slob's Eye,"John Weir (8/10/03 NYTimes)
• "Coming Together Where A River Forks," Lou Ureneck (4/13/2003 NYTimes)
• "The Weaker Sex," Maggie Jones (NY Times 3/16/03)
Men & War
• From Chilvalry to Terrorism: War and the Changing Nature of Masculinity, Leo Braudy (reserve)
Primary texts:
•Henry IV: Part II, Shakespeare
• Henry V, Shakespeare
• The Illiad, Homer
• The Odyssey, Homer
• Dispatches, Michael Herr
• Cold Mountain, Charles Frazier
• • Beowulf (a story summary)
Class Texts
•Manhood in America, Michael Kimmel
• Guyland, Kimmel
•Hearts of Men, Barbara Ehrenreich
• The Vintage Book of Contemporary American Stories, ed. Wolff
• What We Talk About When We Talk About Love, Raymond Carver
• Jarhead, Anthony Swofford
• Changing Fictions of Masculinity, David Rosen (Optional purchase—a copy of the book and assigned chapters on library reserve)
• The Rag & Bone Shop of the Heart, eds. Bly, et al.
• Reserve readings... forthcoming
• Recommended resource: The Male Experience, James Doyle (on library reserve)
• A Glossary of Literary Terms, Abrams (optional)
• A Dictionary of Literary Terms, Cuddon (optional)
Online bibliography:
On reserve:
This is the capstone class for the English Major. As such, the class demands initiative for sustained critical reading and research, as well as incisive, analytical writing. Your work must impress to succeed and dazzle to excel.
Your critical thinking about masculinity begins now. We will use class to workshop your ideas and questions, and that is the time to raise questions, share problems and successes. This is a seminar, and you are expected to share your thoughts and research with the class actively, as a matter of course.
Be aware that the Senior Seminar Paper is a work-in-progress from the first day of class. Have an opinion. Research. Finely tune an informed opinion. Write, write, write to find that elusive fellow, the focused statement of thesis. Again, a process that develops throughout the semester. The bar for success is relatively high: a paper with a diffuse thesis and weak support (e.g., much summary, little analysis) will not succeed.
Goals of the class
• To research and develop one's own critical interpretation and analysis of fiction, poetry, or nonfiction of a literary quality and/or analysis of trends in the culture, examining the work and/or culture from a position highly informed by contemporary literary theory or theoretical approaches from other scholarly fields, all with an emphasis on masculinity.
• To draft and refine a scholarly paper of 20-25 pages (5,000-6,250 words) that uses secondary research to help persuasively argue, evaluate and/or analyze primary texts in support of your own original thesis concerning masculinity.
Assignments
8/25 — Masculinity ... Masculinities
• Manhood in America, Kimmel—"Preface" and "Introduction"
• "The Myth of Male Decline," New York Times, Stephanie Coontz
Suggested reading:
Kilmartin on "Frameworks for Understanding Men" in The Masculine Self
8/27
• Manhood in America, Kimmel, Chapters 1 and 2
• "Masters of Their Domain: Seinfeld and the Discipline of Mediated Men's Sexual Economy," C. Wesley Buerkle (reserve)
__________________________________
9/1 — Obeying the Cultural Father
• Hamlet (brush up on the play: re-read it or see a good production/film)
• Changing Fictions of Masculinity, Preface & chapt. 3 (on reserve)
9/3
• "The Things They Carried," O'Brien (Vintage Stories)
• "Introduction" in Chivalry to Terrorism: War & the Changing Nature of Masculinity, Leo Braudy ( book is on reserve)
__________________________________
9/8 — Self-destructive Masculinity
• Jarhead, Anthony Swofford (read most of the book)
9/10
• Jarhead, (finish the book)
• Chivalry to Terrorism,Braudy, Chapters 1-4 (reserve)
• "Second Thoughts on Gays in the Military," Gen. John Shalikashvili (Ret.)
• "from Homeric Hymn to Ares" (Rag & Bone 83)
• "The War Prayer," Mark Twain (Rag & Bone 215)
Suggested reading:
• Chivalry to Terrorism, Braudy, Chapts. 5-8 (29-55) (reserve)
__________________________________
9/15
• Changing Fictions, chapt. 1 (on Beowulf) (reserve)
• "All the Way in Flagstaff" (Vintage Stories)
Suggested reading:
9/17 — Black Masculinity
Etheridge Knight
• "The Idea of Ancestry" (44)
• "The Bones of My Father" (125)
• "On the Yard" (210)
• "Feeling Fucked Up" (344)
ª "Welcome Back, Mr. Knight: Love of My Life" (452)
• "Re/constructing Black masculinity in prison" M. Nandi.
Suggested viewing:
• "I Am A Man: Black Masculinity in America (DVD, 1998) (reserve)
• "Malcolm X" (VHS, 1992; DVD, 2000)
•Suggested reading:
• We Real Cool, bell hooks
• Constructing the Black Masculine: Identity & Ideality in African-American Men's Literature and Culture, Maurice Wallace (scholarly essays/book chapters)
• Makes Me Wanna Holler, Nathan McCall (autobiography about growing up in Hampton, Va.)
• Reaching Up for Manhood, Geoffrey Canada (Boys are socialized to ignore pain and to risk-taking behaviors and to practices of "consuming" masculinity)
__________________________________
9/22
Poems in Rag & Bone...
• "A Poem Some People will Have to Understand" (211)
• "We Real Cool" (204)
• "The White City" (309)
• "The Negro Speaks of Rivers" (101)
• "Necessity" (452)
• "Harlem" (310)
• "No More Auction Block," Spiritual (107) (Rag & Bone)
•He Is a "Bad Mother*S%@!#": Shaft and Contemporary Black Masculinity, Matthew Henry; African American Review, Vol. 38, 2004, Spring.
9/24—Gay Masculinity
• "Queer Musings on Masculinity & History," S. Maynard. Available on Proquest Online.
__________________________________
9/29
"Comedy as Correction: Humor as Perspective by Incongruity on Will & Grace and Queer As Folk," Rachel Silverman in Sexuality & Culture (2013) 17: 260-274. (reserve and/or Iliad Interlibrary loan)
10/1 — Masculinity, Women & Work
• The Hearts of Men, Ehrenreich (read about half)
• Manhood in America, Kimmel, Chapt. 6, "Muscles, Money, & the M-F Test"
__________________________________
10/6
• The Hearts of Men (finish)
• Manhood in America, Kimmel, Chapt. 5, "A Room of His Own: Socializing the New Man"
• "Men Not Working, And Not Wanting Just Any Job," Louis Uchitelle & David Leonhardt
• "Men at Work? Not These Men," NYTimes
• "Coming to Terms with the Men on the Corner," NYTimes, Fernanda Santos
Suggested reading:
• "In Hiding and on Display," from The Male Body, Bordo (reserve)
• "Who is the Perfect Man?" from Houdini, Tarzan & the Perfect Man, Kasson (reserve)
• "'Gosh, Boy George, You Must Be Awfully Secure in your Masculinity,'" Eve Kosofsky Sedgwick, in Constructing Masculinity, eds. Berger, Wallis, Watson (reserve)
• "Performance Anxiety: Mehinaku," Gillmore, chapter in Manhood in the Making (in library stacks)
College Masculinity
10/8
• Guyland: : "Welcome to Guyland" & "What's the Rush?" 1-43; "Just Guys" 265-289
__________________________________
10/13
Spring break
Suggested reading:
• "Oui" & "Earnest Money," Michael Dorris in Working Men (reserve)
10/15
•Guyland: "Boys and Their Toys: Guyland's Media" 144-168
• "Girls in Guyland" 242-264
________________
10/20
• Long Seminar Paper Proposal due
—On the Brink & Hope
• "What We Talk About When We Talk About Love," Carver
• "Gazebo," Carver
• "Cathedral," Carver (in Vintage Short Stories)
• "After Making Love, We Hear Footsteps," Galway Kinnell (Rag & Bone 59)
• "Men and Birth: The Unexplainable," Haki R. Madhubuti (Rag & Bone 46)
• "Dance Russe," William Carlos Williams (Rag & Bone 6)
Suggested reading:
• The Symposium, Plato
• "Mr. Coffee & Mr. Fixit," Carver
• "Why Don't You Dance," Carver
• "Killings," Andre Dubus, available in a Dubus short story collection in library
10/22
•Dr. Deborah Vick, a psychologist at the Hampton VA Medical Center
__________________________________
10/27
• class does not meet: conferences, research & writing
10/29
• class does not meet: conferences, research & writing
__________________________________
11/3
• class does not meet: conferences, research & writing
11/5
• class does not meet: conferences, research & writing
__________________________________
11/10
•Annotated bibliography due my office at 4 p.m.
11/12
• class does not meet: conferences, research & writing
__________________________________
11/17
• class does not meet: conferences, research & writing
11/19
• Rough draft due in my office at 4 p.m.
• class does not meet
__________________________________
11/24
• Class meets: conferences—sign up
11/26
• Thanksgiving break
__________________________________
12/1
• Class meets: conferences—sign up
12/3
• class does not meet: writing & revision
12/5, Friday
• Final Seminar Paper due at 5 p.m. in my office.