Module 1: Genre Introduction<\/h2>\n- Defining Literature<\/li>\n \t
- Introduction to American Literature<\/li>\n \t
- Introduction to Fiction<\/li>\n \t
- The Difference Between Fiction and Nonfiction<\/li>\n \t
- Introduction to Creative Nonfiction<\/li>\n \t
- Introduction to Plays and Film<\/li>\n \t
- Reading a Play<\/li>\n \t
- Reading Poetry<\/li>\n \t
- Poetry Lesson Presentation<\/li>\n \t
- Poetry Literary Terms: A Guide<\/li>\n \t
- Free Verse<\/li>\n \t
- Billy Collins: A Poet Speaks Out<\/li>\n \t
- Approaching Poetry (Includes Free Verse)<\/li>\n<\/ul>
Module 2: Literary Conventions<\/h2>\n- Literary Terms<\/li>\n \t
- Elements of Literature<\/li>\n \t
- The Rough Guide to Literary Style, a Historical Overview<\/li>\n \t
- Theme<\/li>\n \t
- Conflict<\/li>\n \t
- Symbols in Literature<\/li>\n \t
- Symbolism<\/li>\n \t
- Characters and Characterization<\/li>\n \t
- Metaphor<\/li>\n \t
- Point of View<\/li>\n \t
- Perspective and Point of View<\/li>\n<\/ul>
Module 3: Writing About Literature<\/h2>\n- How to Read Like a Writer<\/li>\n \t
- Modes of Exposition<\/li>\n \t
- Reading to Write Effectively<\/li>\n \t
- How to Write With Style<\/li>\n \t
- Creating an Effective Style<\/li>\n \t
- Structure in Literary Essays<\/li>\n \t
- Distinguish Between Primary and Secondary Sources<\/li>\n \t
- Using Databases: Periodical Indexes and Abstracts<\/li>\n \t
- Writing an Introduction to a Literary Analysis Essay<\/li>\n \t
- Creating MLA Works Cited Entries<\/li>\n \t
- MLA In-Text Citations<\/li>\n \t
- Annotated Bibliographies: An Illustrated Guide<\/li>\n<\/ul>
Module 4: Literary Analysis<\/h2>\n- The Nature of Analysis<\/li>\n \t
- How to Analyze a Novel<\/li>\n \t
- How to Analyze a Short Story<\/li>\n \t
- How to Analyze Poetry<\/li>\n \t
- How to Analyze a Film<\/li>\n \t
- Finding Literary Criticism<\/li>\n \t
- Reader-Response Criticism<\/li>\n \t
- Introduction to Critical Theory<\/li>\n \t
- New Criticism<\/li>\n \t
- Multicultural Societies Explained<\/li>\n<\/ul>
Module 5: Poetry Readings and Responses<\/h2>\n- Maya Angelou, \"On the Pulse of Morning,\" 1993<\/li>\n \t
- Billy Collins, \"The Lanyard,\" 2007<\/li>\n \t
- Emily Dickinson<\/li>\n \t
- Robert Frost<\/li>\n \t
- Langston Hughes, \"Let America Be America Again,\" 1935<\/li>\n \t
- Edgar Allen Poe<\/li>\n \t
- Ezra Pound, Hugh Selwyn Mauberley, 1920<\/li>\n \t
- Henry Wadsworth Longfellow, Selected Works, 1855<\/li>\n \t
- Theodore Roethke, \"My Papa's Waltz,\" 1961<\/li>\n \t
- Christina Rossetti, \"Goblin Market,\" 1862<\/li>\n \t
- William Shakespeare, Sonnets, 1609<\/li>\n \t
- Percy Bysshe Shelley, \"Ode to the West Wind,\" 1891<\/li>\n \t
- Phillis Wheatley, Poems on Various Subjects, Religious and Moral, 1773<\/li>\n \t
- Walt Whitman, \"When I Heard the Learn'd Astronomer,\" 1865<\/li>\n \t
- William Carlos Williams, \"The Red Wheelbarrow,\" 1962<\/li>\n<\/ul>
Module 6: Drama Readings and Responses<\/h2>\n- Anton Chekhov<\/li>\n \t
- Susan Glaspell<\/li>\n \t
- Langston Hughes and Zora Hurston, \"The Mule-Bone,\" 1930<\/li>\n \t
- Henrik Ibsen, \"A Doll's House,\" 1879<\/li>\n \t
- Oscar Wilde, The Importance of Being Earnest<\/em>, 1895<\/li>\n<\/ul>
Module 7: Fiction Readings and Responses<\/h2>\n- Louisa May Alcott, \"Scarlet Stockings,\" 1869<\/li>\n \t
- Ambrose Bierce, \"The Middle Toe of the Right Foot,\" 1890<\/li>\n \t
- Henry Cuyler Bunner, \"The Nice People,\" 1890<\/li>\n \t
- Willa Cather, \"On the Gull's Road,\" 1908<\/li>\n \t
- Anton Chekhov, \"Peasant Wives,\" 1891<\/li>\n \t
- Kate Chopin<\/li>\n \t
- Joseph Conrad<\/li>\n \t
- Philip K. Dick, \"Beyond the Door,\" 1954<\/li>\n \t
- Charles Dickens, \"The Signal-Man,\" 1866<\/li>\n \t
- Arthur Conan Doyle, \"Scandal in Bohemia,\" 1891<\/li>\n \t
- F. Scott Fitzgerald, \"The Ice Palace,\" 1920<\/li>\n \t
- Nathaniel Hawthorne<\/li>\n \t
- Kelly Link, \"The Specialist's Hat,\" 1998<\/li>\n \t
- Charlotte Perkins Gilman, \"The Yellow Wallpaper,\" 1892<\/li>\n \t
- Saki, \"The Open Window,\" 1914<\/li>\n \t
- Mary Shelley, \"The Mortal Immortal,\" 1833<\/li>\n \t
- Jim Shepard, \"The Zero Meter Diving Team,\" 2007<\/li>\n \t
- Mark Twain, \"Eve's Diary,\" 1905<\/li>\n \t
- Madhuri Vijay, \"Lorry Raja,\" 2012<\/li>\n<\/ul>
Module 8: Nonfiction Readings and Responses<\/h2>\n- Frederick Douglass, My Bondage and My Freedom, 1855<\/li>\n \t
- Henry David Thoreau, \"Walden,\" 1854<\/li>\n \t
- Mark Twain, \"Two Ways of Seeing A River,\" 1883<\/li>\n \t
- Booker T. Washington, Up from Slavery, 1901<\/li>\n \t
- Zitkala-Sa, \"The School Days of an Indian Girl,\" 1900<\/li>\n \t
- Other Creative Nonfiction Readings<\/li>\n<\/ul>","rendered":"
![\"an](\"https:\/\/s3-us-west-2.amazonaws.com\/courses-images\/wp-content\/uploads\/sites\/1370\/2018\/01\/23193229\/binoculars2.png\")
<\/p>\n
The following list shows a summary of the topics covered in this course. To see all of the course pages, visit the\u00a0Table of Contents<\/a>.<\/p>\nModule 1: Genre Introduction<\/h2>\n\n- Defining Literature<\/li>\n
- Introduction to American Literature<\/li>\n
- Introduction to Fiction<\/li>\n
- The Difference Between Fiction and Nonfiction<\/li>\n
- Introduction to Creative Nonfiction<\/li>\n
- Introduction to Plays and Film<\/li>\n
- Reading a Play<\/li>\n
- Reading Poetry<\/li>\n
- Poetry Lesson Presentation<\/li>\n
- Poetry Literary Terms: A Guide<\/li>\n
- Free Verse<\/li>\n
- Billy Collins: A Poet Speaks Out<\/li>\n
- Approaching Poetry (Includes Free Verse)<\/li>\n<\/ul>\n
Module 2: Literary Conventions<\/h2>\n\n- Literary Terms<\/li>\n
- Elements of Literature<\/li>\n
- The Rough Guide to Literary Style, a Historical Overview<\/li>\n
- Theme<\/li>\n
- Conflict<\/li>\n
- Symbols in Literature<\/li>\n
- Symbolism<\/li>\n
- Characters and Characterization<\/li>\n
- Metaphor<\/li>\n
- Point of View<\/li>\n
- Perspective and Point of View<\/li>\n<\/ul>\n
Module 3: Writing About Literature<\/h2>\n\n- How to Read Like a Writer<\/li>\n
- Modes of Exposition<\/li>\n
- Reading to Write Effectively<\/li>\n
- How to Write With Style<\/li>\n
- Creating an Effective Style<\/li>\n
- Structure in Literary Essays<\/li>\n
- Distinguish Between Primary and Secondary Sources<\/li>\n
- Using Databases: Periodical Indexes and Abstracts<\/li>\n
- Writing an Introduction to a Literary Analysis Essay<\/li>\n
- Creating MLA Works Cited Entries<\/li>\n
- MLA In-Text Citations<\/li>\n
- Annotated Bibliographies: An Illustrated Guide<\/li>\n<\/ul>\n
Module 4: Literary Analysis<\/h2>\n\n- The Nature of Analysis<\/li>\n
- How to Analyze a Novel<\/li>\n
- How to Analyze a Short Story<\/li>\n
- How to Analyze Poetry<\/li>\n
- How to Analyze a Film<\/li>\n
- Finding Literary Criticism<\/li>\n
- Reader-Response Criticism<\/li>\n
- Introduction to Critical Theory<\/li>\n
- New Criticism<\/li>\n
- Multicultural Societies Explained<\/li>\n<\/ul>\n
Module 5: Poetry Readings and Responses<\/h2>\n\n- Maya Angelou, “On the Pulse of Morning,” 1993<\/li>\n
- Billy Collins, “The Lanyard,” 2007<\/li>\n
- Emily Dickinson<\/li>\n
- Robert Frost<\/li>\n
- Langston Hughes, “Let America Be America Again,” 1935<\/li>\n
- Edgar Allen Poe<\/li>\n
- Ezra Pound, Hugh Selwyn Mauberley, 1920<\/li>\n
- Henry Wadsworth Longfellow, Selected Works, 1855<\/li>\n
- Theodore Roethke, “My Papa’s Waltz,” 1961<\/li>\n
- Christina Rossetti, “Goblin Market,” 1862<\/li>\n
- William Shakespeare, Sonnets, 1609<\/li>\n
- Percy Bysshe Shelley, “Ode to the West Wind,” 1891<\/li>\n
- Phillis Wheatley, Poems on Various Subjects, Religious and Moral, 1773<\/li>\n
- Walt Whitman, “When I Heard the Learn’d Astronomer,” 1865<\/li>\n
- William Carlos Williams, “The Red Wheelbarrow,” 1962<\/li>\n<\/ul>\n
Module 6: Drama Readings and Responses<\/h2>\n\n- Anton Chekhov<\/li>\n
- Susan Glaspell<\/li>\n
- Langston Hughes and Zora Hurston, “The Mule-Bone,” 1930<\/li>\n
- Henrik Ibsen, “A Doll’s House,” 1879<\/li>\n
- Oscar Wilde, The Importance of Being Earnest<\/em>, 1895<\/li>\n<\/ul>\n
Module 7: Fiction Readings and Responses<\/h2>\n\n- Louisa May Alcott, “Scarlet Stockings,” 1869<\/li>\n
- Ambrose Bierce, “The Middle Toe of the Right Foot,” 1890<\/li>\n
- Henry Cuyler Bunner, “The Nice People,” 1890<\/li>\n
- Willa Cather, “On the Gull’s Road,” 1908<\/li>\n
- Anton Chekhov, “Peasant Wives,” 1891<\/li>\n
- Kate Chopin<\/li>\n
- Joseph Conrad<\/li>\n
- Philip K. Dick, “Beyond the Door,” 1954<\/li>\n
- Charles Dickens, “The Signal-Man,” 1866<\/li>\n
- Arthur Conan Doyle, “Scandal in Bohemia,” 1891<\/li>\n
- F. Scott Fitzgerald, “The Ice Palace,” 1920<\/li>\n
- Nathaniel Hawthorne<\/li>\n
- Kelly Link, “The Specialist’s Hat,” 1998<\/li>\n
- Charlotte Perkins Gilman, “The Yellow Wallpaper,” 1892<\/li>\n
- Saki, “The Open Window,” 1914<\/li>\n
- Mary Shelley, “The Mortal Immortal,” 1833<\/li>\n
- Jim Shepard, “The Zero Meter Diving Team,” 2007<\/li>\n
- Mark Twain, “Eve’s Diary,” 1905<\/li>\n
- Madhuri Vijay, “Lorry Raja,” 2012<\/li>\n<\/ul>\n
Module 8: Nonfiction Readings and Responses<\/h2>\n\n- Frederick Douglass, My Bondage and My Freedom, 1855<\/li>\n
- Henry David Thoreau, “Walden,” 1854<\/li>\n
- Mark Twain, “Two Ways of Seeing A River,” 1883<\/li>\n
- Booker T. Washington, Up from Slavery, 1901<\/li>\n
- Zitkala-Sa, “The School Days of an Indian Girl,” 1900<\/li>\n
- Other Creative Nonfiction Readings<\/li>\n<\/ul>\n\n\t\t\t
\n\t\t\t Candela Citations<\/h3>\n\t\t\t\t\t \n\t\t\t\t\t\t \n\t\t\t\t\t\t\t CC licensed content, Original<\/div>- Course Contents at a Glance. Provided by<\/strong>: Lumen Learning. License<\/strong>: CC BY: Attribution<\/a><\/em><\/li><\/ul>CC licensed content, Shared previously<\/div>
- Binoculars Icon. Authored by<\/strong>: Musmellow. Provided by<\/strong>: Noun Project. Located at<\/strong>: https:\/\/thenounproject.com\/term\/binoculars\/1234056\/<\/a>. License<\/strong>: CC BY: Attribution<\/a><\/em><\/li><\/ul><\/div>\n\t\t\t\t\t\t <\/div>\n\t\t\t\t\t <\/div>\n\t\t\t <\/section>","protected":false},"author":17,"menu_order":2,"template":"","meta":{"_candela_citation":"[{\"type\":\"cc\",\"description\":\"Binoculars Icon\",\"author\":\"Musmellow\",\"organization\":\"Noun Project\",\"url\":\"https:\/\/thenounproject.com\/term\/binoculars\/1234056\/\",\"project\":\"\",\"license\":\"cc-by\",\"license_terms\":\"\"},{\"type\":\"original\",\"description\":\"Course Contents at a Glance\",\"author\":\"\",\"organization\":\"Lumen Learning\",\"url\":\"\",\"project\":\"\",\"license\":\"cc-by\",\"license_terms\":\"\"}]","CANDELA_OUTCOMES_GUID":"","pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"chapter-type":[],"contributor":[],"license":[],"class_list":["post-680","chapter","type-chapter","status-web-only","hentry"],"part":677,"_links":{"self":[{"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/pressbooks\/v2\/chapters\/680","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/pressbooks\/v2\/chapters"}],"about":[{"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/wp\/v2\/types\/chapter"}],"author":[{"embeddable":true,"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/wp\/v2\/users\/17"}],"version-history":[{"count":1,"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/pressbooks\/v2\/chapters\/680\/revisions"}],"predecessor-version":[{"id":863,"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/pressbooks\/v2\/chapters\/680\/revisions\/863"}],"part":[{"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/pressbooks\/v2\/parts\/677"}],"metadata":[{"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/pressbooks\/v2\/chapters\/680\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/wp\/v2\/media?parent=680"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/pressbooks\/v2\/chapter-type?post=680"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/wp\/v2\/contributor?post=680"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/wp\/v2\/license?post=680"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
Module 2: Literary Conventions<\/h2>\n- Literary Terms<\/li>\n \t
- Elements of Literature<\/li>\n \t
- The Rough Guide to Literary Style, a Historical Overview<\/li>\n \t
- Theme<\/li>\n \t
- Conflict<\/li>\n \t
- Symbols in Literature<\/li>\n \t
- Symbolism<\/li>\n \t
- Characters and Characterization<\/li>\n \t
- Metaphor<\/li>\n \t
- Point of View<\/li>\n \t
- Perspective and Point of View<\/li>\n<\/ul>
Module 3: Writing About Literature<\/h2>\n- How to Read Like a Writer<\/li>\n \t
- Modes of Exposition<\/li>\n \t
- Reading to Write Effectively<\/li>\n \t
- How to Write With Style<\/li>\n \t
- Creating an Effective Style<\/li>\n \t
- Structure in Literary Essays<\/li>\n \t
- Distinguish Between Primary and Secondary Sources<\/li>\n \t
- Using Databases: Periodical Indexes and Abstracts<\/li>\n \t
- Writing an Introduction to a Literary Analysis Essay<\/li>\n \t
- Creating MLA Works Cited Entries<\/li>\n \t
- MLA In-Text Citations<\/li>\n \t
- Annotated Bibliographies: An Illustrated Guide<\/li>\n<\/ul>
Module 4: Literary Analysis<\/h2>\n- The Nature of Analysis<\/li>\n \t
- How to Analyze a Novel<\/li>\n \t
- How to Analyze a Short Story<\/li>\n \t
- How to Analyze Poetry<\/li>\n \t
- How to Analyze a Film<\/li>\n \t
- Finding Literary Criticism<\/li>\n \t
- Reader-Response Criticism<\/li>\n \t
- Introduction to Critical Theory<\/li>\n \t
- New Criticism<\/li>\n \t
- Multicultural Societies Explained<\/li>\n<\/ul>
Module 5: Poetry Readings and Responses<\/h2>\n- Maya Angelou, \"On the Pulse of Morning,\" 1993<\/li>\n \t
- Billy Collins, \"The Lanyard,\" 2007<\/li>\n \t
- Emily Dickinson<\/li>\n \t
- Robert Frost<\/li>\n \t
- Langston Hughes, \"Let America Be America Again,\" 1935<\/li>\n \t
- Edgar Allen Poe<\/li>\n \t
- Ezra Pound, Hugh Selwyn Mauberley, 1920<\/li>\n \t
- Henry Wadsworth Longfellow, Selected Works, 1855<\/li>\n \t
- Theodore Roethke, \"My Papa's Waltz,\" 1961<\/li>\n \t
- Christina Rossetti, \"Goblin Market,\" 1862<\/li>\n \t
- William Shakespeare, Sonnets, 1609<\/li>\n \t
- Percy Bysshe Shelley, \"Ode to the West Wind,\" 1891<\/li>\n \t
- Phillis Wheatley, Poems on Various Subjects, Religious and Moral, 1773<\/li>\n \t
- Walt Whitman, \"When I Heard the Learn'd Astronomer,\" 1865<\/li>\n \t
- William Carlos Williams, \"The Red Wheelbarrow,\" 1962<\/li>\n<\/ul>
Module 6: Drama Readings and Responses<\/h2>\n- Anton Chekhov<\/li>\n \t
- Susan Glaspell<\/li>\n \t
- Langston Hughes and Zora Hurston, \"The Mule-Bone,\" 1930<\/li>\n \t
- Henrik Ibsen, \"A Doll's House,\" 1879<\/li>\n \t
- Oscar Wilde, The Importance of Being Earnest<\/em>, 1895<\/li>\n<\/ul>
Module 7: Fiction Readings and Responses<\/h2>\n- Louisa May Alcott, \"Scarlet Stockings,\" 1869<\/li>\n \t
- Ambrose Bierce, \"The Middle Toe of the Right Foot,\" 1890<\/li>\n \t
- Henry Cuyler Bunner, \"The Nice People,\" 1890<\/li>\n \t
- Willa Cather, \"On the Gull's Road,\" 1908<\/li>\n \t
- Anton Chekhov, \"Peasant Wives,\" 1891<\/li>\n \t
- Kate Chopin<\/li>\n \t
- Joseph Conrad<\/li>\n \t
- Philip K. Dick, \"Beyond the Door,\" 1954<\/li>\n \t
- Charles Dickens, \"The Signal-Man,\" 1866<\/li>\n \t
- Arthur Conan Doyle, \"Scandal in Bohemia,\" 1891<\/li>\n \t
- F. Scott Fitzgerald, \"The Ice Palace,\" 1920<\/li>\n \t
- Nathaniel Hawthorne<\/li>\n \t
- Kelly Link, \"The Specialist's Hat,\" 1998<\/li>\n \t
- Charlotte Perkins Gilman, \"The Yellow Wallpaper,\" 1892<\/li>\n \t
- Saki, \"The Open Window,\" 1914<\/li>\n \t
- Mary Shelley, \"The Mortal Immortal,\" 1833<\/li>\n \t
- Jim Shepard, \"The Zero Meter Diving Team,\" 2007<\/li>\n \t
- Mark Twain, \"Eve's Diary,\" 1905<\/li>\n \t
- Madhuri Vijay, \"Lorry Raja,\" 2012<\/li>\n<\/ul>
Module 8: Nonfiction Readings and Responses<\/h2>\n- Frederick Douglass, My Bondage and My Freedom, 1855<\/li>\n \t
- Henry David Thoreau, \"Walden,\" 1854<\/li>\n \t
- Mark Twain, \"Two Ways of Seeing A River,\" 1883<\/li>\n \t
- Booker T. Washington, Up from Slavery, 1901<\/li>\n \t
- Zitkala-Sa, \"The School Days of an Indian Girl,\" 1900<\/li>\n \t
- Other Creative Nonfiction Readings<\/li>\n<\/ul>","rendered":"
<\/p>\n
The following list shows a summary of the topics covered in this course. To see all of the course pages, visit the\u00a0Table of Contents<\/a>.<\/p>\nModule 1: Genre Introduction<\/h2>\n\n- Defining Literature<\/li>\n
- Introduction to American Literature<\/li>\n
- Introduction to Fiction<\/li>\n
- The Difference Between Fiction and Nonfiction<\/li>\n
- Introduction to Creative Nonfiction<\/li>\n
- Introduction to Plays and Film<\/li>\n
- Reading a Play<\/li>\n
- Reading Poetry<\/li>\n
- Poetry Lesson Presentation<\/li>\n
- Poetry Literary Terms: A Guide<\/li>\n
- Free Verse<\/li>\n
- Billy Collins: A Poet Speaks Out<\/li>\n
- Approaching Poetry (Includes Free Verse)<\/li>\n<\/ul>\n
Module 2: Literary Conventions<\/h2>\n\n- Literary Terms<\/li>\n
- Elements of Literature<\/li>\n
- The Rough Guide to Literary Style, a Historical Overview<\/li>\n
- Theme<\/li>\n
- Conflict<\/li>\n
- Symbols in Literature<\/li>\n
- Symbolism<\/li>\n
- Characters and Characterization<\/li>\n
- Metaphor<\/li>\n
- Point of View<\/li>\n
- Perspective and Point of View<\/li>\n<\/ul>\n
Module 3: Writing About Literature<\/h2>\n\n- How to Read Like a Writer<\/li>\n
- Modes of Exposition<\/li>\n
- Reading to Write Effectively<\/li>\n
- How to Write With Style<\/li>\n
- Creating an Effective Style<\/li>\n
- Structure in Literary Essays<\/li>\n
- Distinguish Between Primary and Secondary Sources<\/li>\n
- Using Databases: Periodical Indexes and Abstracts<\/li>\n
- Writing an Introduction to a Literary Analysis Essay<\/li>\n
- Creating MLA Works Cited Entries<\/li>\n
- MLA In-Text Citations<\/li>\n
- Annotated Bibliographies: An Illustrated Guide<\/li>\n<\/ul>\n
Module 4: Literary Analysis<\/h2>\n\n- The Nature of Analysis<\/li>\n
- How to Analyze a Novel<\/li>\n
- How to Analyze a Short Story<\/li>\n
- How to Analyze Poetry<\/li>\n
- How to Analyze a Film<\/li>\n
- Finding Literary Criticism<\/li>\n
- Reader-Response Criticism<\/li>\n
- Introduction to Critical Theory<\/li>\n
- New Criticism<\/li>\n
- Multicultural Societies Explained<\/li>\n<\/ul>\n
Module 5: Poetry Readings and Responses<\/h2>\n\n- Maya Angelou, “On the Pulse of Morning,” 1993<\/li>\n
- Billy Collins, “The Lanyard,” 2007<\/li>\n
- Emily Dickinson<\/li>\n
- Robert Frost<\/li>\n
- Langston Hughes, “Let America Be America Again,” 1935<\/li>\n
- Edgar Allen Poe<\/li>\n
- Ezra Pound, Hugh Selwyn Mauberley, 1920<\/li>\n
- Henry Wadsworth Longfellow, Selected Works, 1855<\/li>\n
- Theodore Roethke, “My Papa’s Waltz,” 1961<\/li>\n
- Christina Rossetti, “Goblin Market,” 1862<\/li>\n
- William Shakespeare, Sonnets, 1609<\/li>\n
- Percy Bysshe Shelley, “Ode to the West Wind,” 1891<\/li>\n
- Phillis Wheatley, Poems on Various Subjects, Religious and Moral, 1773<\/li>\n
- Walt Whitman, “When I Heard the Learn’d Astronomer,” 1865<\/li>\n
- William Carlos Williams, “The Red Wheelbarrow,” 1962<\/li>\n<\/ul>\n
Module 6: Drama Readings and Responses<\/h2>\n\n- Anton Chekhov<\/li>\n
- Susan Glaspell<\/li>\n
- Langston Hughes and Zora Hurston, “The Mule-Bone,” 1930<\/li>\n
- Henrik Ibsen, “A Doll’s House,” 1879<\/li>\n
- Oscar Wilde, The Importance of Being Earnest<\/em>, 1895<\/li>\n<\/ul>\n
Module 7: Fiction Readings and Responses<\/h2>\n\n- Louisa May Alcott, “Scarlet Stockings,” 1869<\/li>\n
- Ambrose Bierce, “The Middle Toe of the Right Foot,” 1890<\/li>\n
- Henry Cuyler Bunner, “The Nice People,” 1890<\/li>\n
- Willa Cather, “On the Gull’s Road,” 1908<\/li>\n
- Anton Chekhov, “Peasant Wives,” 1891<\/li>\n
- Kate Chopin<\/li>\n
- Joseph Conrad<\/li>\n
- Philip K. Dick, “Beyond the Door,” 1954<\/li>\n
- Charles Dickens, “The Signal-Man,” 1866<\/li>\n
- Arthur Conan Doyle, “Scandal in Bohemia,” 1891<\/li>\n
- F. Scott Fitzgerald, “The Ice Palace,” 1920<\/li>\n
- Nathaniel Hawthorne<\/li>\n
- Kelly Link, “The Specialist’s Hat,” 1998<\/li>\n
- Charlotte Perkins Gilman, “The Yellow Wallpaper,” 1892<\/li>\n
- Saki, “The Open Window,” 1914<\/li>\n
- Mary Shelley, “The Mortal Immortal,” 1833<\/li>\n
- Jim Shepard, “The Zero Meter Diving Team,” 2007<\/li>\n
- Mark Twain, “Eve’s Diary,” 1905<\/li>\n
- Madhuri Vijay, “Lorry Raja,” 2012<\/li>\n<\/ul>\n
Module 8: Nonfiction Readings and Responses<\/h2>\n\n- Frederick Douglass, My Bondage and My Freedom, 1855<\/li>\n
- Henry David Thoreau, “Walden,” 1854<\/li>\n
- Mark Twain, “Two Ways of Seeing A River,” 1883<\/li>\n
- Booker T. Washington, Up from Slavery, 1901<\/li>\n
- Zitkala-Sa, “The School Days of an Indian Girl,” 1900<\/li>\n
- Other Creative Nonfiction Readings<\/li>\n<\/ul>\n\n\t\t\t
\n\t\t\t Candela Citations<\/h3>\n\t\t\t\t\t \n\t\t\t\t\t\t \n\t\t\t\t\t\t\t CC licensed content, Original<\/div>- Course Contents at a Glance. Provided by<\/strong>: Lumen Learning. License<\/strong>: CC BY: Attribution<\/a><\/em><\/li><\/ul>CC licensed content, Shared previously<\/div>
- Binoculars Icon. Authored by<\/strong>: Musmellow. Provided by<\/strong>: Noun Project. Located at<\/strong>: https:\/\/thenounproject.com\/term\/binoculars\/1234056\/<\/a>. License<\/strong>: CC BY: Attribution<\/a><\/em><\/li><\/ul><\/div>\n\t\t\t\t\t\t <\/div>\n\t\t\t\t\t <\/div>\n\t\t\t <\/section>","protected":false},"author":17,"menu_order":2,"template":"","meta":{"_candela_citation":"[{\"type\":\"cc\",\"description\":\"Binoculars Icon\",\"author\":\"Musmellow\",\"organization\":\"Noun Project\",\"url\":\"https:\/\/thenounproject.com\/term\/binoculars\/1234056\/\",\"project\":\"\",\"license\":\"cc-by\",\"license_terms\":\"\"},{\"type\":\"original\",\"description\":\"Course Contents at a Glance\",\"author\":\"\",\"organization\":\"Lumen Learning\",\"url\":\"\",\"project\":\"\",\"license\":\"cc-by\",\"license_terms\":\"\"}]","CANDELA_OUTCOMES_GUID":"","pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"chapter-type":[],"contributor":[],"license":[],"class_list":["post-680","chapter","type-chapter","status-web-only","hentry"],"part":677,"_links":{"self":[{"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/pressbooks\/v2\/chapters\/680","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/pressbooks\/v2\/chapters"}],"about":[{"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/wp\/v2\/types\/chapter"}],"author":[{"embeddable":true,"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/wp\/v2\/users\/17"}],"version-history":[{"count":1,"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/pressbooks\/v2\/chapters\/680\/revisions"}],"predecessor-version":[{"id":863,"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/pressbooks\/v2\/chapters\/680\/revisions\/863"}],"part":[{"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/pressbooks\/v2\/parts\/677"}],"metadata":[{"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/pressbooks\/v2\/chapters\/680\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/wp\/v2\/media?parent=680"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/pressbooks\/v2\/chapter-type?post=680"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/wp\/v2\/contributor?post=680"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/wp\/v2\/license?post=680"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
Module 3: Writing About Literature<\/h2>\n- How to Read Like a Writer<\/li>\n \t
- Modes of Exposition<\/li>\n \t
- Reading to Write Effectively<\/li>\n \t
- How to Write With Style<\/li>\n \t
- Creating an Effective Style<\/li>\n \t
- Structure in Literary Essays<\/li>\n \t
- Distinguish Between Primary and Secondary Sources<\/li>\n \t
- Using Databases: Periodical Indexes and Abstracts<\/li>\n \t
- Writing an Introduction to a Literary Analysis Essay<\/li>\n \t
- Creating MLA Works Cited Entries<\/li>\n \t
- MLA In-Text Citations<\/li>\n \t
- Annotated Bibliographies: An Illustrated Guide<\/li>\n<\/ul>
Module 4: Literary Analysis<\/h2>\n- The Nature of Analysis<\/li>\n \t
- How to Analyze a Novel<\/li>\n \t
- How to Analyze a Short Story<\/li>\n \t
- How to Analyze Poetry<\/li>\n \t
- How to Analyze a Film<\/li>\n \t
- Finding Literary Criticism<\/li>\n \t
- Reader-Response Criticism<\/li>\n \t
- Introduction to Critical Theory<\/li>\n \t
- New Criticism<\/li>\n \t
- Multicultural Societies Explained<\/li>\n<\/ul>
Module 5: Poetry Readings and Responses<\/h2>\n- Maya Angelou, \"On the Pulse of Morning,\" 1993<\/li>\n \t
- Billy Collins, \"The Lanyard,\" 2007<\/li>\n \t
- Emily Dickinson<\/li>\n \t
- Robert Frost<\/li>\n \t
- Langston Hughes, \"Let America Be America Again,\" 1935<\/li>\n \t
- Edgar Allen Poe<\/li>\n \t
- Ezra Pound, Hugh Selwyn Mauberley, 1920<\/li>\n \t
- Henry Wadsworth Longfellow, Selected Works, 1855<\/li>\n \t
- Theodore Roethke, \"My Papa's Waltz,\" 1961<\/li>\n \t
- Christina Rossetti, \"Goblin Market,\" 1862<\/li>\n \t
- William Shakespeare, Sonnets, 1609<\/li>\n \t
- Percy Bysshe Shelley, \"Ode to the West Wind,\" 1891<\/li>\n \t
- Phillis Wheatley, Poems on Various Subjects, Religious and Moral, 1773<\/li>\n \t
- Walt Whitman, \"When I Heard the Learn'd Astronomer,\" 1865<\/li>\n \t
- William Carlos Williams, \"The Red Wheelbarrow,\" 1962<\/li>\n<\/ul>
Module 6: Drama Readings and Responses<\/h2>\n- Anton Chekhov<\/li>\n \t
- Susan Glaspell<\/li>\n \t
- Langston Hughes and Zora Hurston, \"The Mule-Bone,\" 1930<\/li>\n \t
- Henrik Ibsen, \"A Doll's House,\" 1879<\/li>\n \t
- Oscar Wilde, The Importance of Being Earnest<\/em>, 1895<\/li>\n<\/ul>
Module 7: Fiction Readings and Responses<\/h2>\n- Louisa May Alcott, \"Scarlet Stockings,\" 1869<\/li>\n \t
- Ambrose Bierce, \"The Middle Toe of the Right Foot,\" 1890<\/li>\n \t
- Henry Cuyler Bunner, \"The Nice People,\" 1890<\/li>\n \t
- Willa Cather, \"On the Gull's Road,\" 1908<\/li>\n \t
- Anton Chekhov, \"Peasant Wives,\" 1891<\/li>\n \t
- Kate Chopin<\/li>\n \t
- Joseph Conrad<\/li>\n \t
- Philip K. Dick, \"Beyond the Door,\" 1954<\/li>\n \t
- Charles Dickens, \"The Signal-Man,\" 1866<\/li>\n \t
- Arthur Conan Doyle, \"Scandal in Bohemia,\" 1891<\/li>\n \t
- F. Scott Fitzgerald, \"The Ice Palace,\" 1920<\/li>\n \t
- Nathaniel Hawthorne<\/li>\n \t
- Kelly Link, \"The Specialist's Hat,\" 1998<\/li>\n \t
- Charlotte Perkins Gilman, \"The Yellow Wallpaper,\" 1892<\/li>\n \t
- Saki, \"The Open Window,\" 1914<\/li>\n \t
- Mary Shelley, \"The Mortal Immortal,\" 1833<\/li>\n \t
- Jim Shepard, \"The Zero Meter Diving Team,\" 2007<\/li>\n \t
- Mark Twain, \"Eve's Diary,\" 1905<\/li>\n \t
- Madhuri Vijay, \"Lorry Raja,\" 2012<\/li>\n<\/ul>
Module 8: Nonfiction Readings and Responses<\/h2>\n- Frederick Douglass, My Bondage and My Freedom, 1855<\/li>\n \t
- Henry David Thoreau, \"Walden,\" 1854<\/li>\n \t
- Mark Twain, \"Two Ways of Seeing A River,\" 1883<\/li>\n \t
- Booker T. Washington, Up from Slavery, 1901<\/li>\n \t
- Zitkala-Sa, \"The School Days of an Indian Girl,\" 1900<\/li>\n \t
- Other Creative Nonfiction Readings<\/li>\n<\/ul>","rendered":"
<\/p>\n
The following list shows a summary of the topics covered in this course. To see all of the course pages, visit the\u00a0Table of Contents<\/a>.<\/p>\nModule 1: Genre Introduction<\/h2>\n\n- Defining Literature<\/li>\n
- Introduction to American Literature<\/li>\n
- Introduction to Fiction<\/li>\n
- The Difference Between Fiction and Nonfiction<\/li>\n
- Introduction to Creative Nonfiction<\/li>\n
- Introduction to Plays and Film<\/li>\n
- Reading a Play<\/li>\n
- Reading Poetry<\/li>\n
- Poetry Lesson Presentation<\/li>\n
- Poetry Literary Terms: A Guide<\/li>\n
- Free Verse<\/li>\n
- Billy Collins: A Poet Speaks Out<\/li>\n
- Approaching Poetry (Includes Free Verse)<\/li>\n<\/ul>\n
Module 2: Literary Conventions<\/h2>\n\n- Literary Terms<\/li>\n
- Elements of Literature<\/li>\n
- The Rough Guide to Literary Style, a Historical Overview<\/li>\n
- Theme<\/li>\n
- Conflict<\/li>\n
- Symbols in Literature<\/li>\n
- Symbolism<\/li>\n
- Characters and Characterization<\/li>\n
- Metaphor<\/li>\n
- Point of View<\/li>\n
- Perspective and Point of View<\/li>\n<\/ul>\n
Module 3: Writing About Literature<\/h2>\n\n- How to Read Like a Writer<\/li>\n
- Modes of Exposition<\/li>\n
- Reading to Write Effectively<\/li>\n
- How to Write With Style<\/li>\n
- Creating an Effective Style<\/li>\n
- Structure in Literary Essays<\/li>\n
- Distinguish Between Primary and Secondary Sources<\/li>\n
- Using Databases: Periodical Indexes and Abstracts<\/li>\n
- Writing an Introduction to a Literary Analysis Essay<\/li>\n
- Creating MLA Works Cited Entries<\/li>\n
- MLA In-Text Citations<\/li>\n
- Annotated Bibliographies: An Illustrated Guide<\/li>\n<\/ul>\n
Module 4: Literary Analysis<\/h2>\n\n- The Nature of Analysis<\/li>\n
- How to Analyze a Novel<\/li>\n
- How to Analyze a Short Story<\/li>\n
- How to Analyze Poetry<\/li>\n
- How to Analyze a Film<\/li>\n
- Finding Literary Criticism<\/li>\n
- Reader-Response Criticism<\/li>\n
- Introduction to Critical Theory<\/li>\n
- New Criticism<\/li>\n
- Multicultural Societies Explained<\/li>\n<\/ul>\n
Module 5: Poetry Readings and Responses<\/h2>\n\n- Maya Angelou, “On the Pulse of Morning,” 1993<\/li>\n
- Billy Collins, “The Lanyard,” 2007<\/li>\n
- Emily Dickinson<\/li>\n
- Robert Frost<\/li>\n
- Langston Hughes, “Let America Be America Again,” 1935<\/li>\n
- Edgar Allen Poe<\/li>\n
- Ezra Pound, Hugh Selwyn Mauberley, 1920<\/li>\n
- Henry Wadsworth Longfellow, Selected Works, 1855<\/li>\n
- Theodore Roethke, “My Papa’s Waltz,” 1961<\/li>\n
- Christina Rossetti, “Goblin Market,” 1862<\/li>\n
- William Shakespeare, Sonnets, 1609<\/li>\n
- Percy Bysshe Shelley, “Ode to the West Wind,” 1891<\/li>\n
- Phillis Wheatley, Poems on Various Subjects, Religious and Moral, 1773<\/li>\n
- Walt Whitman, “When I Heard the Learn’d Astronomer,” 1865<\/li>\n
- William Carlos Williams, “The Red Wheelbarrow,” 1962<\/li>\n<\/ul>\n
Module 6: Drama Readings and Responses<\/h2>\n\n- Anton Chekhov<\/li>\n
- Susan Glaspell<\/li>\n
- Langston Hughes and Zora Hurston, “The Mule-Bone,” 1930<\/li>\n
- Henrik Ibsen, “A Doll’s House,” 1879<\/li>\n
- Oscar Wilde, The Importance of Being Earnest<\/em>, 1895<\/li>\n<\/ul>\n
Module 7: Fiction Readings and Responses<\/h2>\n\n- Louisa May Alcott, “Scarlet Stockings,” 1869<\/li>\n
- Ambrose Bierce, “The Middle Toe of the Right Foot,” 1890<\/li>\n
- Henry Cuyler Bunner, “The Nice People,” 1890<\/li>\n
- Willa Cather, “On the Gull’s Road,” 1908<\/li>\n
- Anton Chekhov, “Peasant Wives,” 1891<\/li>\n
- Kate Chopin<\/li>\n
- Joseph Conrad<\/li>\n
- Philip K. Dick, “Beyond the Door,” 1954<\/li>\n
- Charles Dickens, “The Signal-Man,” 1866<\/li>\n
- Arthur Conan Doyle, “Scandal in Bohemia,” 1891<\/li>\n
- F. Scott Fitzgerald, “The Ice Palace,” 1920<\/li>\n
- Nathaniel Hawthorne<\/li>\n
- Kelly Link, “The Specialist’s Hat,” 1998<\/li>\n
- Charlotte Perkins Gilman, “The Yellow Wallpaper,” 1892<\/li>\n
- Saki, “The Open Window,” 1914<\/li>\n
- Mary Shelley, “The Mortal Immortal,” 1833<\/li>\n
- Jim Shepard, “The Zero Meter Diving Team,” 2007<\/li>\n
- Mark Twain, “Eve’s Diary,” 1905<\/li>\n
- Madhuri Vijay, “Lorry Raja,” 2012<\/li>\n<\/ul>\n
Module 8: Nonfiction Readings and Responses<\/h2>\n\n- Frederick Douglass, My Bondage and My Freedom, 1855<\/li>\n
- Henry David Thoreau, “Walden,” 1854<\/li>\n
- Mark Twain, “Two Ways of Seeing A River,” 1883<\/li>\n
- Booker T. Washington, Up from Slavery, 1901<\/li>\n
- Zitkala-Sa, “The School Days of an Indian Girl,” 1900<\/li>\n
- Other Creative Nonfiction Readings<\/li>\n<\/ul>\n\n\t\t\t
\n\t\t\t Candela Citations<\/h3>\n\t\t\t\t\t \n\t\t\t\t\t\t \n\t\t\t\t\t\t\t CC licensed content, Original<\/div>- Course Contents at a Glance. Provided by<\/strong>: Lumen Learning. License<\/strong>: CC BY: Attribution<\/a><\/em><\/li><\/ul>CC licensed content, Shared previously<\/div>
- Binoculars Icon. Authored by<\/strong>: Musmellow. Provided by<\/strong>: Noun Project. Located at<\/strong>: https:\/\/thenounproject.com\/term\/binoculars\/1234056\/<\/a>. License<\/strong>: CC BY: Attribution<\/a><\/em><\/li><\/ul><\/div>\n\t\t\t\t\t\t <\/div>\n\t\t\t\t\t <\/div>\n\t\t\t <\/section>","protected":false},"author":17,"menu_order":2,"template":"","meta":{"_candela_citation":"[{\"type\":\"cc\",\"description\":\"Binoculars Icon\",\"author\":\"Musmellow\",\"organization\":\"Noun Project\",\"url\":\"https:\/\/thenounproject.com\/term\/binoculars\/1234056\/\",\"project\":\"\",\"license\":\"cc-by\",\"license_terms\":\"\"},{\"type\":\"original\",\"description\":\"Course Contents at a Glance\",\"author\":\"\",\"organization\":\"Lumen Learning\",\"url\":\"\",\"project\":\"\",\"license\":\"cc-by\",\"license_terms\":\"\"}]","CANDELA_OUTCOMES_GUID":"","pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"chapter-type":[],"contributor":[],"license":[],"class_list":["post-680","chapter","type-chapter","status-web-only","hentry"],"part":677,"_links":{"self":[{"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/pressbooks\/v2\/chapters\/680","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/pressbooks\/v2\/chapters"}],"about":[{"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/wp\/v2\/types\/chapter"}],"author":[{"embeddable":true,"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/wp\/v2\/users\/17"}],"version-history":[{"count":1,"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/pressbooks\/v2\/chapters\/680\/revisions"}],"predecessor-version":[{"id":863,"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/pressbooks\/v2\/chapters\/680\/revisions\/863"}],"part":[{"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/pressbooks\/v2\/parts\/677"}],"metadata":[{"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/pressbooks\/v2\/chapters\/680\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/wp\/v2\/media?parent=680"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/pressbooks\/v2\/chapter-type?post=680"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/wp\/v2\/contributor?post=680"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/wp\/v2\/license?post=680"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
Module 4: Literary Analysis<\/h2>\n- The Nature of Analysis<\/li>\n \t
- How to Analyze a Novel<\/li>\n \t
- How to Analyze a Short Story<\/li>\n \t
- How to Analyze Poetry<\/li>\n \t
- How to Analyze a Film<\/li>\n \t
- Finding Literary Criticism<\/li>\n \t
- Reader-Response Criticism<\/li>\n \t
- Introduction to Critical Theory<\/li>\n \t
- New Criticism<\/li>\n \t
- Multicultural Societies Explained<\/li>\n<\/ul>
Module 5: Poetry Readings and Responses<\/h2>\n- Maya Angelou, \"On the Pulse of Morning,\" 1993<\/li>\n \t
- Billy Collins, \"The Lanyard,\" 2007<\/li>\n \t
- Emily Dickinson<\/li>\n \t
- Robert Frost<\/li>\n \t
- Langston Hughes, \"Let America Be America Again,\" 1935<\/li>\n \t
- Edgar Allen Poe<\/li>\n \t
- Ezra Pound, Hugh Selwyn Mauberley, 1920<\/li>\n \t
- Henry Wadsworth Longfellow, Selected Works, 1855<\/li>\n \t
- Theodore Roethke, \"My Papa's Waltz,\" 1961<\/li>\n \t
- Christina Rossetti, \"Goblin Market,\" 1862<\/li>\n \t
- William Shakespeare, Sonnets, 1609<\/li>\n \t
- Percy Bysshe Shelley, \"Ode to the West Wind,\" 1891<\/li>\n \t
- Phillis Wheatley, Poems on Various Subjects, Religious and Moral, 1773<\/li>\n \t
- Walt Whitman, \"When I Heard the Learn'd Astronomer,\" 1865<\/li>\n \t
- William Carlos Williams, \"The Red Wheelbarrow,\" 1962<\/li>\n<\/ul>
Module 6: Drama Readings and Responses<\/h2>\n- Anton Chekhov<\/li>\n \t
- Susan Glaspell<\/li>\n \t
- Langston Hughes and Zora Hurston, \"The Mule-Bone,\" 1930<\/li>\n \t
- Henrik Ibsen, \"A Doll's House,\" 1879<\/li>\n \t
- Oscar Wilde, The Importance of Being Earnest<\/em>, 1895<\/li>\n<\/ul>
Module 7: Fiction Readings and Responses<\/h2>\n- Louisa May Alcott, \"Scarlet Stockings,\" 1869<\/li>\n \t
- Ambrose Bierce, \"The Middle Toe of the Right Foot,\" 1890<\/li>\n \t
- Henry Cuyler Bunner, \"The Nice People,\" 1890<\/li>\n \t
- Willa Cather, \"On the Gull's Road,\" 1908<\/li>\n \t
- Anton Chekhov, \"Peasant Wives,\" 1891<\/li>\n \t
- Kate Chopin<\/li>\n \t
- Joseph Conrad<\/li>\n \t
- Philip K. Dick, \"Beyond the Door,\" 1954<\/li>\n \t
- Charles Dickens, \"The Signal-Man,\" 1866<\/li>\n \t
- Arthur Conan Doyle, \"Scandal in Bohemia,\" 1891<\/li>\n \t
- F. Scott Fitzgerald, \"The Ice Palace,\" 1920<\/li>\n \t
- Nathaniel Hawthorne<\/li>\n \t
- Kelly Link, \"The Specialist's Hat,\" 1998<\/li>\n \t
- Charlotte Perkins Gilman, \"The Yellow Wallpaper,\" 1892<\/li>\n \t
- Saki, \"The Open Window,\" 1914<\/li>\n \t
- Mary Shelley, \"The Mortal Immortal,\" 1833<\/li>\n \t
- Jim Shepard, \"The Zero Meter Diving Team,\" 2007<\/li>\n \t
- Mark Twain, \"Eve's Diary,\" 1905<\/li>\n \t
- Madhuri Vijay, \"Lorry Raja,\" 2012<\/li>\n<\/ul>
Module 8: Nonfiction Readings and Responses<\/h2>\n- Frederick Douglass, My Bondage and My Freedom, 1855<\/li>\n \t
- Henry David Thoreau, \"Walden,\" 1854<\/li>\n \t
- Mark Twain, \"Two Ways of Seeing A River,\" 1883<\/li>\n \t
- Booker T. Washington, Up from Slavery, 1901<\/li>\n \t
- Zitkala-Sa, \"The School Days of an Indian Girl,\" 1900<\/li>\n \t
- Other Creative Nonfiction Readings<\/li>\n<\/ul>","rendered":"
<\/p>\n
The following list shows a summary of the topics covered in this course. To see all of the course pages, visit the\u00a0Table of Contents<\/a>.<\/p>\nModule 1: Genre Introduction<\/h2>\n\n- Defining Literature<\/li>\n
- Introduction to American Literature<\/li>\n
- Introduction to Fiction<\/li>\n
- The Difference Between Fiction and Nonfiction<\/li>\n
- Introduction to Creative Nonfiction<\/li>\n
- Introduction to Plays and Film<\/li>\n
- Reading a Play<\/li>\n
- Reading Poetry<\/li>\n
- Poetry Lesson Presentation<\/li>\n
- Poetry Literary Terms: A Guide<\/li>\n
- Free Verse<\/li>\n
- Billy Collins: A Poet Speaks Out<\/li>\n
- Approaching Poetry (Includes Free Verse)<\/li>\n<\/ul>\n
Module 2: Literary Conventions<\/h2>\n\n- Literary Terms<\/li>\n
- Elements of Literature<\/li>\n
- The Rough Guide to Literary Style, a Historical Overview<\/li>\n
- Theme<\/li>\n
- Conflict<\/li>\n
- Symbols in Literature<\/li>\n
- Symbolism<\/li>\n
- Characters and Characterization<\/li>\n
- Metaphor<\/li>\n
- Point of View<\/li>\n
- Perspective and Point of View<\/li>\n<\/ul>\n
Module 3: Writing About Literature<\/h2>\n\n- How to Read Like a Writer<\/li>\n
- Modes of Exposition<\/li>\n
- Reading to Write Effectively<\/li>\n
- How to Write With Style<\/li>\n
- Creating an Effective Style<\/li>\n
- Structure in Literary Essays<\/li>\n
- Distinguish Between Primary and Secondary Sources<\/li>\n
- Using Databases: Periodical Indexes and Abstracts<\/li>\n
- Writing an Introduction to a Literary Analysis Essay<\/li>\n
- Creating MLA Works Cited Entries<\/li>\n
- MLA In-Text Citations<\/li>\n
- Annotated Bibliographies: An Illustrated Guide<\/li>\n<\/ul>\n
Module 4: Literary Analysis<\/h2>\n\n- The Nature of Analysis<\/li>\n
- How to Analyze a Novel<\/li>\n
- How to Analyze a Short Story<\/li>\n
- How to Analyze Poetry<\/li>\n
- How to Analyze a Film<\/li>\n
- Finding Literary Criticism<\/li>\n
- Reader-Response Criticism<\/li>\n
- Introduction to Critical Theory<\/li>\n
- New Criticism<\/li>\n
- Multicultural Societies Explained<\/li>\n<\/ul>\n
Module 5: Poetry Readings and Responses<\/h2>\n\n- Maya Angelou, “On the Pulse of Morning,” 1993<\/li>\n
- Billy Collins, “The Lanyard,” 2007<\/li>\n
- Emily Dickinson<\/li>\n
- Robert Frost<\/li>\n
- Langston Hughes, “Let America Be America Again,” 1935<\/li>\n
- Edgar Allen Poe<\/li>\n
- Ezra Pound, Hugh Selwyn Mauberley, 1920<\/li>\n
- Henry Wadsworth Longfellow, Selected Works, 1855<\/li>\n
- Theodore Roethke, “My Papa’s Waltz,” 1961<\/li>\n
- Christina Rossetti, “Goblin Market,” 1862<\/li>\n
- William Shakespeare, Sonnets, 1609<\/li>\n
- Percy Bysshe Shelley, “Ode to the West Wind,” 1891<\/li>\n
- Phillis Wheatley, Poems on Various Subjects, Religious and Moral, 1773<\/li>\n
- Walt Whitman, “When I Heard the Learn’d Astronomer,” 1865<\/li>\n
- William Carlos Williams, “The Red Wheelbarrow,” 1962<\/li>\n<\/ul>\n
Module 6: Drama Readings and Responses<\/h2>\n\n- Anton Chekhov<\/li>\n
- Susan Glaspell<\/li>\n
- Langston Hughes and Zora Hurston, “The Mule-Bone,” 1930<\/li>\n
- Henrik Ibsen, “A Doll’s House,” 1879<\/li>\n
- Oscar Wilde, The Importance of Being Earnest<\/em>, 1895<\/li>\n<\/ul>\n
Module 7: Fiction Readings and Responses<\/h2>\n\n- Louisa May Alcott, “Scarlet Stockings,” 1869<\/li>\n
- Ambrose Bierce, “The Middle Toe of the Right Foot,” 1890<\/li>\n
- Henry Cuyler Bunner, “The Nice People,” 1890<\/li>\n
- Willa Cather, “On the Gull’s Road,” 1908<\/li>\n
- Anton Chekhov, “Peasant Wives,” 1891<\/li>\n
- Kate Chopin<\/li>\n
- Joseph Conrad<\/li>\n
- Philip K. Dick, “Beyond the Door,” 1954<\/li>\n
- Charles Dickens, “The Signal-Man,” 1866<\/li>\n
- Arthur Conan Doyle, “Scandal in Bohemia,” 1891<\/li>\n
- F. Scott Fitzgerald, “The Ice Palace,” 1920<\/li>\n
- Nathaniel Hawthorne<\/li>\n
- Kelly Link, “The Specialist’s Hat,” 1998<\/li>\n
- Charlotte Perkins Gilman, “The Yellow Wallpaper,” 1892<\/li>\n
- Saki, “The Open Window,” 1914<\/li>\n
- Mary Shelley, “The Mortal Immortal,” 1833<\/li>\n
- Jim Shepard, “The Zero Meter Diving Team,” 2007<\/li>\n
- Mark Twain, “Eve’s Diary,” 1905<\/li>\n
- Madhuri Vijay, “Lorry Raja,” 2012<\/li>\n<\/ul>\n
Module 8: Nonfiction Readings and Responses<\/h2>\n\n- Frederick Douglass, My Bondage and My Freedom, 1855<\/li>\n
- Henry David Thoreau, “Walden,” 1854<\/li>\n
- Mark Twain, “Two Ways of Seeing A River,” 1883<\/li>\n
- Booker T. Washington, Up from Slavery, 1901<\/li>\n
- Zitkala-Sa, “The School Days of an Indian Girl,” 1900<\/li>\n
- Other Creative Nonfiction Readings<\/li>\n<\/ul>\n\n\t\t\t
\n\t\t\t Candela Citations<\/h3>\n\t\t\t\t\t \n\t\t\t\t\t\t \n\t\t\t\t\t\t\t CC licensed content, Original<\/div>- Course Contents at a Glance. Provided by<\/strong>: Lumen Learning. License<\/strong>: CC BY: Attribution<\/a><\/em><\/li><\/ul>CC licensed content, Shared previously<\/div>
- Binoculars Icon. Authored by<\/strong>: Musmellow. Provided by<\/strong>: Noun Project. Located at<\/strong>: https:\/\/thenounproject.com\/term\/binoculars\/1234056\/<\/a>. License<\/strong>: CC BY: Attribution<\/a><\/em><\/li><\/ul><\/div>\n\t\t\t\t\t\t <\/div>\n\t\t\t\t\t <\/div>\n\t\t\t <\/section>","protected":false},"author":17,"menu_order":2,"template":"","meta":{"_candela_citation":"[{\"type\":\"cc\",\"description\":\"Binoculars Icon\",\"author\":\"Musmellow\",\"organization\":\"Noun Project\",\"url\":\"https:\/\/thenounproject.com\/term\/binoculars\/1234056\/\",\"project\":\"\",\"license\":\"cc-by\",\"license_terms\":\"\"},{\"type\":\"original\",\"description\":\"Course Contents at a Glance\",\"author\":\"\",\"organization\":\"Lumen Learning\",\"url\":\"\",\"project\":\"\",\"license\":\"cc-by\",\"license_terms\":\"\"}]","CANDELA_OUTCOMES_GUID":"","pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"chapter-type":[],"contributor":[],"license":[],"class_list":["post-680","chapter","type-chapter","status-web-only","hentry"],"part":677,"_links":{"self":[{"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/pressbooks\/v2\/chapters\/680","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/pressbooks\/v2\/chapters"}],"about":[{"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/wp\/v2\/types\/chapter"}],"author":[{"embeddable":true,"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/wp\/v2\/users\/17"}],"version-history":[{"count":1,"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/pressbooks\/v2\/chapters\/680\/revisions"}],"predecessor-version":[{"id":863,"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/pressbooks\/v2\/chapters\/680\/revisions\/863"}],"part":[{"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/pressbooks\/v2\/parts\/677"}],"metadata":[{"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/pressbooks\/v2\/chapters\/680\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/wp\/v2\/media?parent=680"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/pressbooks\/v2\/chapter-type?post=680"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/wp\/v2\/contributor?post=680"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/wp\/v2\/license?post=680"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
Module 5: Poetry Readings and Responses<\/h2>\n- Maya Angelou, \"On the Pulse of Morning,\" 1993<\/li>\n \t
- Billy Collins, \"The Lanyard,\" 2007<\/li>\n \t
- Emily Dickinson<\/li>\n \t
- Robert Frost<\/li>\n \t
- Langston Hughes, \"Let America Be America Again,\" 1935<\/li>\n \t
- Edgar Allen Poe<\/li>\n \t
- Ezra Pound, Hugh Selwyn Mauberley, 1920<\/li>\n \t
- Henry Wadsworth Longfellow, Selected Works, 1855<\/li>\n \t
- Theodore Roethke, \"My Papa's Waltz,\" 1961<\/li>\n \t
- Christina Rossetti, \"Goblin Market,\" 1862<\/li>\n \t
- William Shakespeare, Sonnets, 1609<\/li>\n \t
- Percy Bysshe Shelley, \"Ode to the West Wind,\" 1891<\/li>\n \t
- Phillis Wheatley, Poems on Various Subjects, Religious and Moral, 1773<\/li>\n \t
- Walt Whitman, \"When I Heard the Learn'd Astronomer,\" 1865<\/li>\n \t
- William Carlos Williams, \"The Red Wheelbarrow,\" 1962<\/li>\n<\/ul>
Module 6: Drama Readings and Responses<\/h2>\n- Anton Chekhov<\/li>\n \t
- Susan Glaspell<\/li>\n \t
- Langston Hughes and Zora Hurston, \"The Mule-Bone,\" 1930<\/li>\n \t
- Henrik Ibsen, \"A Doll's House,\" 1879<\/li>\n \t
- Oscar Wilde, The Importance of Being Earnest<\/em>, 1895<\/li>\n<\/ul>
Module 7: Fiction Readings and Responses<\/h2>\n- Louisa May Alcott, \"Scarlet Stockings,\" 1869<\/li>\n \t
- Ambrose Bierce, \"The Middle Toe of the Right Foot,\" 1890<\/li>\n \t
- Henry Cuyler Bunner, \"The Nice People,\" 1890<\/li>\n \t
- Willa Cather, \"On the Gull's Road,\" 1908<\/li>\n \t
- Anton Chekhov, \"Peasant Wives,\" 1891<\/li>\n \t
- Kate Chopin<\/li>\n \t
- Joseph Conrad<\/li>\n \t
- Philip K. Dick, \"Beyond the Door,\" 1954<\/li>\n \t
- Charles Dickens, \"The Signal-Man,\" 1866<\/li>\n \t
- Arthur Conan Doyle, \"Scandal in Bohemia,\" 1891<\/li>\n \t
- F. Scott Fitzgerald, \"The Ice Palace,\" 1920<\/li>\n \t
- Nathaniel Hawthorne<\/li>\n \t
- Kelly Link, \"The Specialist's Hat,\" 1998<\/li>\n \t
- Charlotte Perkins Gilman, \"The Yellow Wallpaper,\" 1892<\/li>\n \t
- Saki, \"The Open Window,\" 1914<\/li>\n \t
- Mary Shelley, \"The Mortal Immortal,\" 1833<\/li>\n \t
- Jim Shepard, \"The Zero Meter Diving Team,\" 2007<\/li>\n \t
- Mark Twain, \"Eve's Diary,\" 1905<\/li>\n \t
- Madhuri Vijay, \"Lorry Raja,\" 2012<\/li>\n<\/ul>
Module 8: Nonfiction Readings and Responses<\/h2>\n- Frederick Douglass, My Bondage and My Freedom, 1855<\/li>\n \t
- Henry David Thoreau, \"Walden,\" 1854<\/li>\n \t
- Mark Twain, \"Two Ways of Seeing A River,\" 1883<\/li>\n \t
- Booker T. Washington, Up from Slavery, 1901<\/li>\n \t
- Zitkala-Sa, \"The School Days of an Indian Girl,\" 1900<\/li>\n \t
- Other Creative Nonfiction Readings<\/li>\n<\/ul>","rendered":"
<\/p>\n
The following list shows a summary of the topics covered in this course. To see all of the course pages, visit the\u00a0Table of Contents<\/a>.<\/p>\nModule 1: Genre Introduction<\/h2>\n\n- Defining Literature<\/li>\n
- Introduction to American Literature<\/li>\n
- Introduction to Fiction<\/li>\n
- The Difference Between Fiction and Nonfiction<\/li>\n
- Introduction to Creative Nonfiction<\/li>\n
- Introduction to Plays and Film<\/li>\n
- Reading a Play<\/li>\n
- Reading Poetry<\/li>\n
- Poetry Lesson Presentation<\/li>\n
- Poetry Literary Terms: A Guide<\/li>\n
- Free Verse<\/li>\n
- Billy Collins: A Poet Speaks Out<\/li>\n
- Approaching Poetry (Includes Free Verse)<\/li>\n<\/ul>\n
Module 2: Literary Conventions<\/h2>\n\n- Literary Terms<\/li>\n
- Elements of Literature<\/li>\n
- The Rough Guide to Literary Style, a Historical Overview<\/li>\n
- Theme<\/li>\n
- Conflict<\/li>\n
- Symbols in Literature<\/li>\n
- Symbolism<\/li>\n
- Characters and Characterization<\/li>\n
- Metaphor<\/li>\n
- Point of View<\/li>\n
- Perspective and Point of View<\/li>\n<\/ul>\n
Module 3: Writing About Literature<\/h2>\n\n- How to Read Like a Writer<\/li>\n
- Modes of Exposition<\/li>\n
- Reading to Write Effectively<\/li>\n
- How to Write With Style<\/li>\n
- Creating an Effective Style<\/li>\n
- Structure in Literary Essays<\/li>\n
- Distinguish Between Primary and Secondary Sources<\/li>\n
- Using Databases: Periodical Indexes and Abstracts<\/li>\n
- Writing an Introduction to a Literary Analysis Essay<\/li>\n
- Creating MLA Works Cited Entries<\/li>\n
- MLA In-Text Citations<\/li>\n
- Annotated Bibliographies: An Illustrated Guide<\/li>\n<\/ul>\n
Module 4: Literary Analysis<\/h2>\n\n- The Nature of Analysis<\/li>\n
- How to Analyze a Novel<\/li>\n
- How to Analyze a Short Story<\/li>\n
- How to Analyze Poetry<\/li>\n
- How to Analyze a Film<\/li>\n
- Finding Literary Criticism<\/li>\n
- Reader-Response Criticism<\/li>\n
- Introduction to Critical Theory<\/li>\n
- New Criticism<\/li>\n
- Multicultural Societies Explained<\/li>\n<\/ul>\n
Module 5: Poetry Readings and Responses<\/h2>\n\n- Maya Angelou, “On the Pulse of Morning,” 1993<\/li>\n
- Billy Collins, “The Lanyard,” 2007<\/li>\n
- Emily Dickinson<\/li>\n
- Robert Frost<\/li>\n
- Langston Hughes, “Let America Be America Again,” 1935<\/li>\n
- Edgar Allen Poe<\/li>\n
- Ezra Pound, Hugh Selwyn Mauberley, 1920<\/li>\n
- Henry Wadsworth Longfellow, Selected Works, 1855<\/li>\n
- Theodore Roethke, “My Papa’s Waltz,” 1961<\/li>\n
- Christina Rossetti, “Goblin Market,” 1862<\/li>\n
- William Shakespeare, Sonnets, 1609<\/li>\n
- Percy Bysshe Shelley, “Ode to the West Wind,” 1891<\/li>\n
- Phillis Wheatley, Poems on Various Subjects, Religious and Moral, 1773<\/li>\n
- Walt Whitman, “When I Heard the Learn’d Astronomer,” 1865<\/li>\n
- William Carlos Williams, “The Red Wheelbarrow,” 1962<\/li>\n<\/ul>\n
Module 6: Drama Readings and Responses<\/h2>\n\n- Anton Chekhov<\/li>\n
- Susan Glaspell<\/li>\n
- Langston Hughes and Zora Hurston, “The Mule-Bone,” 1930<\/li>\n
- Henrik Ibsen, “A Doll’s House,” 1879<\/li>\n
- Oscar Wilde, The Importance of Being Earnest<\/em>, 1895<\/li>\n<\/ul>\n
Module 7: Fiction Readings and Responses<\/h2>\n\n- Louisa May Alcott, “Scarlet Stockings,” 1869<\/li>\n
- Ambrose Bierce, “The Middle Toe of the Right Foot,” 1890<\/li>\n
- Henry Cuyler Bunner, “The Nice People,” 1890<\/li>\n
- Willa Cather, “On the Gull’s Road,” 1908<\/li>\n
- Anton Chekhov, “Peasant Wives,” 1891<\/li>\n
- Kate Chopin<\/li>\n
- Joseph Conrad<\/li>\n
- Philip K. Dick, “Beyond the Door,” 1954<\/li>\n
- Charles Dickens, “The Signal-Man,” 1866<\/li>\n
- Arthur Conan Doyle, “Scandal in Bohemia,” 1891<\/li>\n
- F. Scott Fitzgerald, “The Ice Palace,” 1920<\/li>\n
- Nathaniel Hawthorne<\/li>\n
- Kelly Link, “The Specialist’s Hat,” 1998<\/li>\n
- Charlotte Perkins Gilman, “The Yellow Wallpaper,” 1892<\/li>\n
- Saki, “The Open Window,” 1914<\/li>\n
- Mary Shelley, “The Mortal Immortal,” 1833<\/li>\n
- Jim Shepard, “The Zero Meter Diving Team,” 2007<\/li>\n
- Mark Twain, “Eve’s Diary,” 1905<\/li>\n
- Madhuri Vijay, “Lorry Raja,” 2012<\/li>\n<\/ul>\n
Module 8: Nonfiction Readings and Responses<\/h2>\n\n- Frederick Douglass, My Bondage and My Freedom, 1855<\/li>\n
- Henry David Thoreau, “Walden,” 1854<\/li>\n
- Mark Twain, “Two Ways of Seeing A River,” 1883<\/li>\n
- Booker T. Washington, Up from Slavery, 1901<\/li>\n
- Zitkala-Sa, “The School Days of an Indian Girl,” 1900<\/li>\n
- Other Creative Nonfiction Readings<\/li>\n<\/ul>\n\n\t\t\t
\n\t\t\t Candela Citations<\/h3>\n\t\t\t\t\t \n\t\t\t\t\t\t \n\t\t\t\t\t\t\t CC licensed content, Original<\/div>- Course Contents at a Glance. Provided by<\/strong>: Lumen Learning. License<\/strong>: CC BY: Attribution<\/a><\/em><\/li><\/ul>CC licensed content, Shared previously<\/div>
- Binoculars Icon. Authored by<\/strong>: Musmellow. Provided by<\/strong>: Noun Project. Located at<\/strong>: https:\/\/thenounproject.com\/term\/binoculars\/1234056\/<\/a>. License<\/strong>: CC BY: Attribution<\/a><\/em><\/li><\/ul><\/div>\n\t\t\t\t\t\t <\/div>\n\t\t\t\t\t <\/div>\n\t\t\t <\/section>","protected":false},"author":17,"menu_order":2,"template":"","meta":{"_candela_citation":"[{\"type\":\"cc\",\"description\":\"Binoculars Icon\",\"author\":\"Musmellow\",\"organization\":\"Noun Project\",\"url\":\"https:\/\/thenounproject.com\/term\/binoculars\/1234056\/\",\"project\":\"\",\"license\":\"cc-by\",\"license_terms\":\"\"},{\"type\":\"original\",\"description\":\"Course Contents at a Glance\",\"author\":\"\",\"organization\":\"Lumen Learning\",\"url\":\"\",\"project\":\"\",\"license\":\"cc-by\",\"license_terms\":\"\"}]","CANDELA_OUTCOMES_GUID":"","pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"chapter-type":[],"contributor":[],"license":[],"class_list":["post-680","chapter","type-chapter","status-web-only","hentry"],"part":677,"_links":{"self":[{"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/pressbooks\/v2\/chapters\/680","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/pressbooks\/v2\/chapters"}],"about":[{"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/wp\/v2\/types\/chapter"}],"author":[{"embeddable":true,"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/wp\/v2\/users\/17"}],"version-history":[{"count":1,"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/pressbooks\/v2\/chapters\/680\/revisions"}],"predecessor-version":[{"id":863,"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/pressbooks\/v2\/chapters\/680\/revisions\/863"}],"part":[{"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/pressbooks\/v2\/parts\/677"}],"metadata":[{"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/pressbooks\/v2\/chapters\/680\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/wp\/v2\/media?parent=680"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/pressbooks\/v2\/chapter-type?post=680"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/wp\/v2\/contributor?post=680"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/wp\/v2\/license?post=680"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
Module 6: Drama Readings and Responses<\/h2>\n- Anton Chekhov<\/li>\n \t
- Susan Glaspell<\/li>\n \t
- Langston Hughes and Zora Hurston, \"The Mule-Bone,\" 1930<\/li>\n \t
- Henrik Ibsen, \"A Doll's House,\" 1879<\/li>\n \t
- Oscar Wilde, The Importance of Being Earnest<\/em>, 1895<\/li>\n<\/ul>
Module 7: Fiction Readings and Responses<\/h2>\n- Louisa May Alcott, \"Scarlet Stockings,\" 1869<\/li>\n \t
- Ambrose Bierce, \"The Middle Toe of the Right Foot,\" 1890<\/li>\n \t
- Henry Cuyler Bunner, \"The Nice People,\" 1890<\/li>\n \t
- Willa Cather, \"On the Gull's Road,\" 1908<\/li>\n \t
- Anton Chekhov, \"Peasant Wives,\" 1891<\/li>\n \t
- Kate Chopin<\/li>\n \t
- Joseph Conrad<\/li>\n \t
- Philip K. Dick, \"Beyond the Door,\" 1954<\/li>\n \t
- Charles Dickens, \"The Signal-Man,\" 1866<\/li>\n \t
- Arthur Conan Doyle, \"Scandal in Bohemia,\" 1891<\/li>\n \t
- F. Scott Fitzgerald, \"The Ice Palace,\" 1920<\/li>\n \t
- Nathaniel Hawthorne<\/li>\n \t
- Kelly Link, \"The Specialist's Hat,\" 1998<\/li>\n \t
- Charlotte Perkins Gilman, \"The Yellow Wallpaper,\" 1892<\/li>\n \t
- Saki, \"The Open Window,\" 1914<\/li>\n \t
- Mary Shelley, \"The Mortal Immortal,\" 1833<\/li>\n \t
- Jim Shepard, \"The Zero Meter Diving Team,\" 2007<\/li>\n \t
- Mark Twain, \"Eve's Diary,\" 1905<\/li>\n \t
- Madhuri Vijay, \"Lorry Raja,\" 2012<\/li>\n<\/ul>
Module 8: Nonfiction Readings and Responses<\/h2>\n- Frederick Douglass, My Bondage and My Freedom, 1855<\/li>\n \t
- Henry David Thoreau, \"Walden,\" 1854<\/li>\n \t
- Mark Twain, \"Two Ways of Seeing A River,\" 1883<\/li>\n \t
- Booker T. Washington, Up from Slavery, 1901<\/li>\n \t
- Zitkala-Sa, \"The School Days of an Indian Girl,\" 1900<\/li>\n \t
- Other Creative Nonfiction Readings<\/li>\n<\/ul>","rendered":"
<\/p>\n
The following list shows a summary of the topics covered in this course. To see all of the course pages, visit the\u00a0Table of Contents<\/a>.<\/p>\nModule 1: Genre Introduction<\/h2>\n\n- Defining Literature<\/li>\n
- Introduction to American Literature<\/li>\n
- Introduction to Fiction<\/li>\n
- The Difference Between Fiction and Nonfiction<\/li>\n
- Introduction to Creative Nonfiction<\/li>\n
- Introduction to Plays and Film<\/li>\n
- Reading a Play<\/li>\n
- Reading Poetry<\/li>\n
- Poetry Lesson Presentation<\/li>\n
- Poetry Literary Terms: A Guide<\/li>\n
- Free Verse<\/li>\n
- Billy Collins: A Poet Speaks Out<\/li>\n
- Approaching Poetry (Includes Free Verse)<\/li>\n<\/ul>\n
Module 2: Literary Conventions<\/h2>\n\n- Literary Terms<\/li>\n
- Elements of Literature<\/li>\n
- The Rough Guide to Literary Style, a Historical Overview<\/li>\n
- Theme<\/li>\n
- Conflict<\/li>\n
- Symbols in Literature<\/li>\n
- Symbolism<\/li>\n
- Characters and Characterization<\/li>\n
- Metaphor<\/li>\n
- Point of View<\/li>\n
- Perspective and Point of View<\/li>\n<\/ul>\n
Module 3: Writing About Literature<\/h2>\n\n- How to Read Like a Writer<\/li>\n
- Modes of Exposition<\/li>\n
- Reading to Write Effectively<\/li>\n
- How to Write With Style<\/li>\n
- Creating an Effective Style<\/li>\n
- Structure in Literary Essays<\/li>\n
- Distinguish Between Primary and Secondary Sources<\/li>\n
- Using Databases: Periodical Indexes and Abstracts<\/li>\n
- Writing an Introduction to a Literary Analysis Essay<\/li>\n
- Creating MLA Works Cited Entries<\/li>\n
- MLA In-Text Citations<\/li>\n
- Annotated Bibliographies: An Illustrated Guide<\/li>\n<\/ul>\n
Module 4: Literary Analysis<\/h2>\n\n- The Nature of Analysis<\/li>\n
- How to Analyze a Novel<\/li>\n
- How to Analyze a Short Story<\/li>\n
- How to Analyze Poetry<\/li>\n
- How to Analyze a Film<\/li>\n
- Finding Literary Criticism<\/li>\n
- Reader-Response Criticism<\/li>\n
- Introduction to Critical Theory<\/li>\n
- New Criticism<\/li>\n
- Multicultural Societies Explained<\/li>\n<\/ul>\n
Module 5: Poetry Readings and Responses<\/h2>\n\n- Maya Angelou, “On the Pulse of Morning,” 1993<\/li>\n
- Billy Collins, “The Lanyard,” 2007<\/li>\n
- Emily Dickinson<\/li>\n
- Robert Frost<\/li>\n
- Langston Hughes, “Let America Be America Again,” 1935<\/li>\n
- Edgar Allen Poe<\/li>\n
- Ezra Pound, Hugh Selwyn Mauberley, 1920<\/li>\n
- Henry Wadsworth Longfellow, Selected Works, 1855<\/li>\n
- Theodore Roethke, “My Papa’s Waltz,” 1961<\/li>\n
- Christina Rossetti, “Goblin Market,” 1862<\/li>\n
- William Shakespeare, Sonnets, 1609<\/li>\n
- Percy Bysshe Shelley, “Ode to the West Wind,” 1891<\/li>\n
- Phillis Wheatley, Poems on Various Subjects, Religious and Moral, 1773<\/li>\n
- Walt Whitman, “When I Heard the Learn’d Astronomer,” 1865<\/li>\n
- William Carlos Williams, “The Red Wheelbarrow,” 1962<\/li>\n<\/ul>\n
Module 6: Drama Readings and Responses<\/h2>\n\n- Anton Chekhov<\/li>\n
- Susan Glaspell<\/li>\n
- Langston Hughes and Zora Hurston, “The Mule-Bone,” 1930<\/li>\n
- Henrik Ibsen, “A Doll’s House,” 1879<\/li>\n
- Oscar Wilde, The Importance of Being Earnest<\/em>, 1895<\/li>\n<\/ul>\n
Module 7: Fiction Readings and Responses<\/h2>\n\n- Louisa May Alcott, “Scarlet Stockings,” 1869<\/li>\n
- Ambrose Bierce, “The Middle Toe of the Right Foot,” 1890<\/li>\n
- Henry Cuyler Bunner, “The Nice People,” 1890<\/li>\n
- Willa Cather, “On the Gull’s Road,” 1908<\/li>\n
- Anton Chekhov, “Peasant Wives,” 1891<\/li>\n
- Kate Chopin<\/li>\n
- Joseph Conrad<\/li>\n
- Philip K. Dick, “Beyond the Door,” 1954<\/li>\n
- Charles Dickens, “The Signal-Man,” 1866<\/li>\n
- Arthur Conan Doyle, “Scandal in Bohemia,” 1891<\/li>\n
- F. Scott Fitzgerald, “The Ice Palace,” 1920<\/li>\n
- Nathaniel Hawthorne<\/li>\n
- Kelly Link, “The Specialist’s Hat,” 1998<\/li>\n
- Charlotte Perkins Gilman, “The Yellow Wallpaper,” 1892<\/li>\n
- Saki, “The Open Window,” 1914<\/li>\n
- Mary Shelley, “The Mortal Immortal,” 1833<\/li>\n
- Jim Shepard, “The Zero Meter Diving Team,” 2007<\/li>\n
- Mark Twain, “Eve’s Diary,” 1905<\/li>\n
- Madhuri Vijay, “Lorry Raja,” 2012<\/li>\n<\/ul>\n
Module 8: Nonfiction Readings and Responses<\/h2>\n\n- Frederick Douglass, My Bondage and My Freedom, 1855<\/li>\n
- Henry David Thoreau, “Walden,” 1854<\/li>\n
- Mark Twain, “Two Ways of Seeing A River,” 1883<\/li>\n
- Booker T. Washington, Up from Slavery, 1901<\/li>\n
- Zitkala-Sa, “The School Days of an Indian Girl,” 1900<\/li>\n
- Other Creative Nonfiction Readings<\/li>\n<\/ul>\n\n\t\t\t
\n\t\t\t Candela Citations<\/h3>\n\t\t\t\t\t \n\t\t\t\t\t\t \n\t\t\t\t\t\t\t CC licensed content, Original<\/div>- Course Contents at a Glance. Provided by<\/strong>: Lumen Learning. License<\/strong>: CC BY: Attribution<\/a><\/em><\/li><\/ul>CC licensed content, Shared previously<\/div>
- Binoculars Icon. Authored by<\/strong>: Musmellow. Provided by<\/strong>: Noun Project. Located at<\/strong>: https:\/\/thenounproject.com\/term\/binoculars\/1234056\/<\/a>. License<\/strong>: CC BY: Attribution<\/a><\/em><\/li><\/ul><\/div>\n\t\t\t\t\t\t <\/div>\n\t\t\t\t\t <\/div>\n\t\t\t <\/section>","protected":false},"author":17,"menu_order":2,"template":"","meta":{"_candela_citation":"[{\"type\":\"cc\",\"description\":\"Binoculars Icon\",\"author\":\"Musmellow\",\"organization\":\"Noun Project\",\"url\":\"https:\/\/thenounproject.com\/term\/binoculars\/1234056\/\",\"project\":\"\",\"license\":\"cc-by\",\"license_terms\":\"\"},{\"type\":\"original\",\"description\":\"Course Contents at a Glance\",\"author\":\"\",\"organization\":\"Lumen Learning\",\"url\":\"\",\"project\":\"\",\"license\":\"cc-by\",\"license_terms\":\"\"}]","CANDELA_OUTCOMES_GUID":"","pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"chapter-type":[],"contributor":[],"license":[],"class_list":["post-680","chapter","type-chapter","status-web-only","hentry"],"part":677,"_links":{"self":[{"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/pressbooks\/v2\/chapters\/680","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/pressbooks\/v2\/chapters"}],"about":[{"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/wp\/v2\/types\/chapter"}],"author":[{"embeddable":true,"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/wp\/v2\/users\/17"}],"version-history":[{"count":1,"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/pressbooks\/v2\/chapters\/680\/revisions"}],"predecessor-version":[{"id":863,"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/pressbooks\/v2\/chapters\/680\/revisions\/863"}],"part":[{"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/pressbooks\/v2\/parts\/677"}],"metadata":[{"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/pressbooks\/v2\/chapters\/680\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/wp\/v2\/media?parent=680"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/pressbooks\/v2\/chapter-type?post=680"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/wp\/v2\/contributor?post=680"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/wp\/v2\/license?post=680"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
Module 7: Fiction Readings and Responses<\/h2>\n- Louisa May Alcott, \"Scarlet Stockings,\" 1869<\/li>\n \t
- Ambrose Bierce, \"The Middle Toe of the Right Foot,\" 1890<\/li>\n \t
- Henry Cuyler Bunner, \"The Nice People,\" 1890<\/li>\n \t
- Willa Cather, \"On the Gull's Road,\" 1908<\/li>\n \t
- Anton Chekhov, \"Peasant Wives,\" 1891<\/li>\n \t
- Kate Chopin<\/li>\n \t
- Joseph Conrad<\/li>\n \t
- Philip K. Dick, \"Beyond the Door,\" 1954<\/li>\n \t
- Charles Dickens, \"The Signal-Man,\" 1866<\/li>\n \t
- Arthur Conan Doyle, \"Scandal in Bohemia,\" 1891<\/li>\n \t
- F. Scott Fitzgerald, \"The Ice Palace,\" 1920<\/li>\n \t
- Nathaniel Hawthorne<\/li>\n \t
- Kelly Link, \"The Specialist's Hat,\" 1998<\/li>\n \t
- Charlotte Perkins Gilman, \"The Yellow Wallpaper,\" 1892<\/li>\n \t
- Saki, \"The Open Window,\" 1914<\/li>\n \t
- Mary Shelley, \"The Mortal Immortal,\" 1833<\/li>\n \t
- Jim Shepard, \"The Zero Meter Diving Team,\" 2007<\/li>\n \t
- Mark Twain, \"Eve's Diary,\" 1905<\/li>\n \t
- Madhuri Vijay, \"Lorry Raja,\" 2012<\/li>\n<\/ul>
Module 8: Nonfiction Readings and Responses<\/h2>\n- Frederick Douglass, My Bondage and My Freedom, 1855<\/li>\n \t
- Henry David Thoreau, \"Walden,\" 1854<\/li>\n \t
- Mark Twain, \"Two Ways of Seeing A River,\" 1883<\/li>\n \t
- Booker T. Washington, Up from Slavery, 1901<\/li>\n \t
- Zitkala-Sa, \"The School Days of an Indian Girl,\" 1900<\/li>\n \t
- Other Creative Nonfiction Readings<\/li>\n<\/ul>","rendered":"
<\/p>\n
The following list shows a summary of the topics covered in this course. To see all of the course pages, visit the\u00a0Table of Contents<\/a>.<\/p>\nModule 1: Genre Introduction<\/h2>\n\n- Defining Literature<\/li>\n
- Introduction to American Literature<\/li>\n
- Introduction to Fiction<\/li>\n
- The Difference Between Fiction and Nonfiction<\/li>\n
- Introduction to Creative Nonfiction<\/li>\n
- Introduction to Plays and Film<\/li>\n
- Reading a Play<\/li>\n
- Reading Poetry<\/li>\n
- Poetry Lesson Presentation<\/li>\n
- Poetry Literary Terms: A Guide<\/li>\n
- Free Verse<\/li>\n
- Billy Collins: A Poet Speaks Out<\/li>\n
- Approaching Poetry (Includes Free Verse)<\/li>\n<\/ul>\n
Module 2: Literary Conventions<\/h2>\n\n- Literary Terms<\/li>\n
- Elements of Literature<\/li>\n
- The Rough Guide to Literary Style, a Historical Overview<\/li>\n
- Theme<\/li>\n
- Conflict<\/li>\n
- Symbols in Literature<\/li>\n
- Symbolism<\/li>\n
- Characters and Characterization<\/li>\n
- Metaphor<\/li>\n
- Point of View<\/li>\n
- Perspective and Point of View<\/li>\n<\/ul>\n
Module 3: Writing About Literature<\/h2>\n\n- How to Read Like a Writer<\/li>\n
- Modes of Exposition<\/li>\n
- Reading to Write Effectively<\/li>\n
- How to Write With Style<\/li>\n
- Creating an Effective Style<\/li>\n
- Structure in Literary Essays<\/li>\n
- Distinguish Between Primary and Secondary Sources<\/li>\n
- Using Databases: Periodical Indexes and Abstracts<\/li>\n
- Writing an Introduction to a Literary Analysis Essay<\/li>\n
- Creating MLA Works Cited Entries<\/li>\n
- MLA In-Text Citations<\/li>\n
- Annotated Bibliographies: An Illustrated Guide<\/li>\n<\/ul>\n
Module 4: Literary Analysis<\/h2>\n\n- The Nature of Analysis<\/li>\n
- How to Analyze a Novel<\/li>\n
- How to Analyze a Short Story<\/li>\n
- How to Analyze Poetry<\/li>\n
- How to Analyze a Film<\/li>\n
- Finding Literary Criticism<\/li>\n
- Reader-Response Criticism<\/li>\n
- Introduction to Critical Theory<\/li>\n
- New Criticism<\/li>\n
- Multicultural Societies Explained<\/li>\n<\/ul>\n
Module 5: Poetry Readings and Responses<\/h2>\n\n- Maya Angelou, “On the Pulse of Morning,” 1993<\/li>\n
- Billy Collins, “The Lanyard,” 2007<\/li>\n
- Emily Dickinson<\/li>\n
- Robert Frost<\/li>\n
- Langston Hughes, “Let America Be America Again,” 1935<\/li>\n
- Edgar Allen Poe<\/li>\n
- Ezra Pound, Hugh Selwyn Mauberley, 1920<\/li>\n
- Henry Wadsworth Longfellow, Selected Works, 1855<\/li>\n
- Theodore Roethke, “My Papa’s Waltz,” 1961<\/li>\n
- Christina Rossetti, “Goblin Market,” 1862<\/li>\n
- William Shakespeare, Sonnets, 1609<\/li>\n
- Percy Bysshe Shelley, “Ode to the West Wind,” 1891<\/li>\n
- Phillis Wheatley, Poems on Various Subjects, Religious and Moral, 1773<\/li>\n
- Walt Whitman, “When I Heard the Learn’d Astronomer,” 1865<\/li>\n
- William Carlos Williams, “The Red Wheelbarrow,” 1962<\/li>\n<\/ul>\n
Module 6: Drama Readings and Responses<\/h2>\n\n- Anton Chekhov<\/li>\n
- Susan Glaspell<\/li>\n
- Langston Hughes and Zora Hurston, “The Mule-Bone,” 1930<\/li>\n
- Henrik Ibsen, “A Doll’s House,” 1879<\/li>\n
- Oscar Wilde, The Importance of Being Earnest<\/em>, 1895<\/li>\n<\/ul>\n
Module 7: Fiction Readings and Responses<\/h2>\n\n- Louisa May Alcott, “Scarlet Stockings,” 1869<\/li>\n
- Ambrose Bierce, “The Middle Toe of the Right Foot,” 1890<\/li>\n
- Henry Cuyler Bunner, “The Nice People,” 1890<\/li>\n
- Willa Cather, “On the Gull’s Road,” 1908<\/li>\n
- Anton Chekhov, “Peasant Wives,” 1891<\/li>\n
- Kate Chopin<\/li>\n
- Joseph Conrad<\/li>\n
- Philip K. Dick, “Beyond the Door,” 1954<\/li>\n
- Charles Dickens, “The Signal-Man,” 1866<\/li>\n
- Arthur Conan Doyle, “Scandal in Bohemia,” 1891<\/li>\n
- F. Scott Fitzgerald, “The Ice Palace,” 1920<\/li>\n
- Nathaniel Hawthorne<\/li>\n
- Kelly Link, “The Specialist’s Hat,” 1998<\/li>\n
- Charlotte Perkins Gilman, “The Yellow Wallpaper,” 1892<\/li>\n
- Saki, “The Open Window,” 1914<\/li>\n
- Mary Shelley, “The Mortal Immortal,” 1833<\/li>\n
- Jim Shepard, “The Zero Meter Diving Team,” 2007<\/li>\n
- Mark Twain, “Eve’s Diary,” 1905<\/li>\n
- Madhuri Vijay, “Lorry Raja,” 2012<\/li>\n<\/ul>\n
Module 8: Nonfiction Readings and Responses<\/h2>\n\n- Frederick Douglass, My Bondage and My Freedom, 1855<\/li>\n
- Henry David Thoreau, “Walden,” 1854<\/li>\n
- Mark Twain, “Two Ways of Seeing A River,” 1883<\/li>\n
- Booker T. Washington, Up from Slavery, 1901<\/li>\n
- Zitkala-Sa, “The School Days of an Indian Girl,” 1900<\/li>\n
- Other Creative Nonfiction Readings<\/li>\n<\/ul>\n\n\t\t\t
\n\t\t\t Candela Citations<\/h3>\n\t\t\t\t\t \n\t\t\t\t\t\t \n\t\t\t\t\t\t\t CC licensed content, Original<\/div>- Course Contents at a Glance. Provided by<\/strong>: Lumen Learning. License<\/strong>: CC BY: Attribution<\/a><\/em><\/li><\/ul>CC licensed content, Shared previously<\/div>
- Binoculars Icon. Authored by<\/strong>: Musmellow. Provided by<\/strong>: Noun Project. Located at<\/strong>: https:\/\/thenounproject.com\/term\/binoculars\/1234056\/<\/a>. License<\/strong>: CC BY: Attribution<\/a><\/em><\/li><\/ul><\/div>\n\t\t\t\t\t\t <\/div>\n\t\t\t\t\t <\/div>\n\t\t\t <\/section>","protected":false},"author":17,"menu_order":2,"template":"","meta":{"_candela_citation":"[{\"type\":\"cc\",\"description\":\"Binoculars Icon\",\"author\":\"Musmellow\",\"organization\":\"Noun Project\",\"url\":\"https:\/\/thenounproject.com\/term\/binoculars\/1234056\/\",\"project\":\"\",\"license\":\"cc-by\",\"license_terms\":\"\"},{\"type\":\"original\",\"description\":\"Course Contents at a Glance\",\"author\":\"\",\"organization\":\"Lumen Learning\",\"url\":\"\",\"project\":\"\",\"license\":\"cc-by\",\"license_terms\":\"\"}]","CANDELA_OUTCOMES_GUID":"","pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"chapter-type":[],"contributor":[],"license":[],"class_list":["post-680","chapter","type-chapter","status-web-only","hentry"],"part":677,"_links":{"self":[{"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/pressbooks\/v2\/chapters\/680","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/pressbooks\/v2\/chapters"}],"about":[{"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/wp\/v2\/types\/chapter"}],"author":[{"embeddable":true,"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/wp\/v2\/users\/17"}],"version-history":[{"count":1,"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/pressbooks\/v2\/chapters\/680\/revisions"}],"predecessor-version":[{"id":863,"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/pressbooks\/v2\/chapters\/680\/revisions\/863"}],"part":[{"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/pressbooks\/v2\/parts\/677"}],"metadata":[{"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/pressbooks\/v2\/chapters\/680\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/wp\/v2\/media?parent=680"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/pressbooks\/v2\/chapter-type?post=680"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/wp\/v2\/contributor?post=680"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/wp\/v2\/license?post=680"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
Module 8: Nonfiction Readings and Responses<\/h2>\n- Frederick Douglass, My Bondage and My Freedom, 1855<\/li>\n \t
- Henry David Thoreau, \"Walden,\" 1854<\/li>\n \t
- Mark Twain, \"Two Ways of Seeing A River,\" 1883<\/li>\n \t
- Booker T. Washington, Up from Slavery, 1901<\/li>\n \t
- Zitkala-Sa, \"The School Days of an Indian Girl,\" 1900<\/li>\n \t
- Other Creative Nonfiction Readings<\/li>\n<\/ul>","rendered":"
<\/p>\n
The following list shows a summary of the topics covered in this course. To see all of the course pages, visit the\u00a0Table of Contents<\/a>.<\/p>\nModule 1: Genre Introduction<\/h2>\n\n- Defining Literature<\/li>\n
- Introduction to American Literature<\/li>\n
- Introduction to Fiction<\/li>\n
- The Difference Between Fiction and Nonfiction<\/li>\n
- Introduction to Creative Nonfiction<\/li>\n
- Introduction to Plays and Film<\/li>\n
- Reading a Play<\/li>\n
- Reading Poetry<\/li>\n
- Poetry Lesson Presentation<\/li>\n
- Poetry Literary Terms: A Guide<\/li>\n
- Free Verse<\/li>\n
- Billy Collins: A Poet Speaks Out<\/li>\n
- Approaching Poetry (Includes Free Verse)<\/li>\n<\/ul>\n
Module 2: Literary Conventions<\/h2>\n\n- Literary Terms<\/li>\n
- Elements of Literature<\/li>\n
- The Rough Guide to Literary Style, a Historical Overview<\/li>\n
- Theme<\/li>\n
- Conflict<\/li>\n
- Symbols in Literature<\/li>\n
- Symbolism<\/li>\n
- Characters and Characterization<\/li>\n
- Metaphor<\/li>\n
- Point of View<\/li>\n
- Perspective and Point of View<\/li>\n<\/ul>\n
Module 3: Writing About Literature<\/h2>\n\n- How to Read Like a Writer<\/li>\n
- Modes of Exposition<\/li>\n
- Reading to Write Effectively<\/li>\n
- How to Write With Style<\/li>\n
- Creating an Effective Style<\/li>\n
- Structure in Literary Essays<\/li>\n
- Distinguish Between Primary and Secondary Sources<\/li>\n
- Using Databases: Periodical Indexes and Abstracts<\/li>\n
- Writing an Introduction to a Literary Analysis Essay<\/li>\n
- Creating MLA Works Cited Entries<\/li>\n
- MLA In-Text Citations<\/li>\n
- Annotated Bibliographies: An Illustrated Guide<\/li>\n<\/ul>\n
Module 4: Literary Analysis<\/h2>\n\n- The Nature of Analysis<\/li>\n
- How to Analyze a Novel<\/li>\n
- How to Analyze a Short Story<\/li>\n
- How to Analyze Poetry<\/li>\n
- How to Analyze a Film<\/li>\n
- Finding Literary Criticism<\/li>\n
- Reader-Response Criticism<\/li>\n
- Introduction to Critical Theory<\/li>\n
- New Criticism<\/li>\n
- Multicultural Societies Explained<\/li>\n<\/ul>\n
Module 5: Poetry Readings and Responses<\/h2>\n\n- Maya Angelou, “On the Pulse of Morning,” 1993<\/li>\n
- Billy Collins, “The Lanyard,” 2007<\/li>\n
- Emily Dickinson<\/li>\n
- Robert Frost<\/li>\n
- Langston Hughes, “Let America Be America Again,” 1935<\/li>\n
- Edgar Allen Poe<\/li>\n
- Ezra Pound, Hugh Selwyn Mauberley, 1920<\/li>\n
- Henry Wadsworth Longfellow, Selected Works, 1855<\/li>\n
- Theodore Roethke, “My Papa’s Waltz,” 1961<\/li>\n
- Christina Rossetti, “Goblin Market,” 1862<\/li>\n
- William Shakespeare, Sonnets, 1609<\/li>\n
- Percy Bysshe Shelley, “Ode to the West Wind,” 1891<\/li>\n
- Phillis Wheatley, Poems on Various Subjects, Religious and Moral, 1773<\/li>\n
- Walt Whitman, “When I Heard the Learn’d Astronomer,” 1865<\/li>\n
- William Carlos Williams, “The Red Wheelbarrow,” 1962<\/li>\n<\/ul>\n
Module 6: Drama Readings and Responses<\/h2>\n\n- Anton Chekhov<\/li>\n
- Susan Glaspell<\/li>\n
- Langston Hughes and Zora Hurston, “The Mule-Bone,” 1930<\/li>\n
- Henrik Ibsen, “A Doll’s House,” 1879<\/li>\n
- Oscar Wilde, The Importance of Being Earnest<\/em>, 1895<\/li>\n<\/ul>\n
Module 7: Fiction Readings and Responses<\/h2>\n\n- Louisa May Alcott, “Scarlet Stockings,” 1869<\/li>\n
- Ambrose Bierce, “The Middle Toe of the Right Foot,” 1890<\/li>\n
- Henry Cuyler Bunner, “The Nice People,” 1890<\/li>\n
- Willa Cather, “On the Gull’s Road,” 1908<\/li>\n
- Anton Chekhov, “Peasant Wives,” 1891<\/li>\n
- Kate Chopin<\/li>\n
- Joseph Conrad<\/li>\n
- Philip K. Dick, “Beyond the Door,” 1954<\/li>\n
- Charles Dickens, “The Signal-Man,” 1866<\/li>\n
- Arthur Conan Doyle, “Scandal in Bohemia,” 1891<\/li>\n
- F. Scott Fitzgerald, “The Ice Palace,” 1920<\/li>\n
- Nathaniel Hawthorne<\/li>\n
- Kelly Link, “The Specialist’s Hat,” 1998<\/li>\n
- Charlotte Perkins Gilman, “The Yellow Wallpaper,” 1892<\/li>\n
- Saki, “The Open Window,” 1914<\/li>\n
- Mary Shelley, “The Mortal Immortal,” 1833<\/li>\n
- Jim Shepard, “The Zero Meter Diving Team,” 2007<\/li>\n
- Mark Twain, “Eve’s Diary,” 1905<\/li>\n
- Madhuri Vijay, “Lorry Raja,” 2012<\/li>\n<\/ul>\n
Module 8: Nonfiction Readings and Responses<\/h2>\n\n- Frederick Douglass, My Bondage and My Freedom, 1855<\/li>\n
- Henry David Thoreau, “Walden,” 1854<\/li>\n
- Mark Twain, “Two Ways of Seeing A River,” 1883<\/li>\n
- Booker T. Washington, Up from Slavery, 1901<\/li>\n
- Zitkala-Sa, “The School Days of an Indian Girl,” 1900<\/li>\n
- Other Creative Nonfiction Readings<\/li>\n<\/ul>\n\n\t\t\t
\n\t\t\t Candela Citations<\/h3>\n\t\t\t\t\t \n\t\t\t\t\t\t \n\t\t\t\t\t\t\t CC licensed content, Original<\/div>- Course Contents at a Glance. Provided by<\/strong>: Lumen Learning. License<\/strong>: CC BY: Attribution<\/a><\/em><\/li><\/ul>CC licensed content, Shared previously<\/div>
- Binoculars Icon. Authored by<\/strong>: Musmellow. Provided by<\/strong>: Noun Project. Located at<\/strong>: https:\/\/thenounproject.com\/term\/binoculars\/1234056\/<\/a>. License<\/strong>: CC BY: Attribution<\/a><\/em><\/li><\/ul><\/div>\n\t\t\t\t\t\t <\/div>\n\t\t\t\t\t <\/div>\n\t\t\t <\/section>","protected":false},"author":17,"menu_order":2,"template":"","meta":{"_candela_citation":"[{\"type\":\"cc\",\"description\":\"Binoculars Icon\",\"author\":\"Musmellow\",\"organization\":\"Noun Project\",\"url\":\"https:\/\/thenounproject.com\/term\/binoculars\/1234056\/\",\"project\":\"\",\"license\":\"cc-by\",\"license_terms\":\"\"},{\"type\":\"original\",\"description\":\"Course Contents at a Glance\",\"author\":\"\",\"organization\":\"Lumen Learning\",\"url\":\"\",\"project\":\"\",\"license\":\"cc-by\",\"license_terms\":\"\"}]","CANDELA_OUTCOMES_GUID":"","pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"chapter-type":[],"contributor":[],"license":[],"class_list":["post-680","chapter","type-chapter","status-web-only","hentry"],"part":677,"_links":{"self":[{"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/pressbooks\/v2\/chapters\/680","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/pressbooks\/v2\/chapters"}],"about":[{"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/wp\/v2\/types\/chapter"}],"author":[{"embeddable":true,"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/wp\/v2\/users\/17"}],"version-history":[{"count":1,"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/pressbooks\/v2\/chapters\/680\/revisions"}],"predecessor-version":[{"id":863,"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/pressbooks\/v2\/chapters\/680\/revisions\/863"}],"part":[{"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/pressbooks\/v2\/parts\/677"}],"metadata":[{"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/pressbooks\/v2\/chapters\/680\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/wp\/v2\/media?parent=680"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/pressbooks\/v2\/chapter-type?post=680"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/wp\/v2\/contributor?post=680"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/wp\/v2\/license?post=680"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
<\/p>\n
The following list shows a summary of the topics covered in this course. To see all of the course pages, visit the\u00a0Table of Contents<\/a>.<\/p>\nModule 1: Genre Introduction<\/h2>\n
\n
Module 2: Literary Conventions<\/h2>\n
\n
Module 3: Writing About Literature<\/h2>\n
\n
Module 4: Literary Analysis<\/h2>\n
\n
Module 5: Poetry Readings and Responses<\/h2>\n
\n
Module 6: Drama Readings and Responses<\/h2>\n
\n
Module 7: Fiction Readings and Responses<\/h2>\n
\n
Module 8: Nonfiction Readings and Responses<\/h2>\n
\n
Candela Citations<\/h3>\n\t\t\t\t\t