Course syllabus

 

Comparative Literature             Semester 1              2018

 

COMPLIT 202/303: Interpreting Folktales (15 pts)

Every society has its stock of traditional stories, passed on orally from one generation to the next, sometimes committed to writing, painting, video, or other semi-permanent media. These narratives may be roughly divided into ‘myths’, sacred narratives purporting to express truths about the creation of the world, the origins of human mortality, etc., and ‘folktales’, regarded even by members of the social group in which they are told as playful products of collective fantasy yet having 'truth value'. Tales such as “Little Red Riding Hood” and “Sleeping Beauty,” best known as children's stories through the Grimm Brothers and Walt Disney, derive from folktales which have been recounted in various versions by oral tellers to audiences of all ages across Eurasia for hundreds (in some cases, thousands) of years. These stories also use motifs and narrative devices (journey or quest, transformation of humans into animals and back again, magic, subversion of authority, injustice avenged) similar to those found in folktales from cultures elsewhere in the world -- China, Japan, the Caribbean, the Americas, South Asia, West Africa, and Polynesia.

This course explores international and regional aspects of folktales and fairy tales. Are these stories products of culturally specific ways of knowing and feeling, or do they express universal human preoccupations present in the collective unconscious? What are the relations between folktales and other popular narrative forms, e.g. fairy tales, tall tales, ballads, and myths? Are folktales formal constructions which are given different meanings by the particular cultures that make, reuse, or preserve them? What are the relations between the rich oral traditions of tale telling and the literary or media narratives which sometimes rely on folktale motifs and forms, for example Superheroes? What do folktale narratives as cultural forms tell us about the making and uses of stories in general?

 Convenor and Lecturer:       

Associate Professor Mark Amsler (Comparative Literature, European Studies)

Email: m.amsler@auckland.ac.nz

Phone: 923-5559

Office: CLL Building (aka ARTS 2)-517

Office Hours: Tuesdays 10.00-11.30, or by appointment

 

Additional Lecturers:

               Dr. Melissa Inouye (Chinese, Asian Studies)

               Dr. Nicole Perry (German, European Studies)

               Dr. Sabina Rehman (Comparative Literature)

                      

Tutor:     Tru Paraha

Email: available in Canvas announcements

Office: CLL/207/Arts 2-313B

Office Hours: Wednesdays 9.30-10.30 or by apppointment

 

Timetable:

Lectures:

COMPLIT 202/303:  Mondays, 1200-1400 (Social Science Building North-370)

 

  Tutorials:

  COMPLIT 202: Wednesdays 1100-1200 (Arts 1-212)

  COMPLIT 303: Wednesdays 1300-1400 (Commerce A-G13)   

Please check SSO or Canvas for any updated room allocations.

 

Students are expected to attend all lectures and tutorials and complete weekly readings as assigned by the course convenor, lecturers, and tutor. To receive a final grade, students must complete and submit all assignments for marking.

 

 

Eligibility:       

COMPLIT 202: completed at least 60 points in any BA subjects

COMPLIT 303, completed at least 30 points at Stage II (not necessarily in Comparative Literature).

 

Texts: 

1) The Classic Fairy Tales. Ed. Maria Tatar. NY/London: W. W. Norton, 1999. ISBN 0-393-97277-1 (pbk).

2) COMPLIT 202/303 Course Reader, Parts 1 & 2.

3) A few additional course readings -- folktales and critical materials -- will be posted to the CANVAS course website.

 Course text and readers are required and can be purchased through the University Bookstore, or in the case of Classic Fairy Tales can be ordered from Book Depository. Additional texts will be available for download from Canvas.

 

Assessments:

COMPLIT 202:

  • 30% In-class test (1 hour/@1000 words, Week 8): critical analysis of selected passages, concepts, and terms and of a tale not assigned for course reading.
  • 25% Essay 1 (@1000-words, due Week 6) on a comparative topic assigned.
  • 35% Essay 2 (@ 2000 words; due Week 12) on a comparative topic assigned.
  • 10% Quizzes (three during tutorials, based on assigned readings, worth 3-3-4 points, respectively)

 

**************************************

 COMPLIT 303:

  • 25% Essay One on critical folktale interpretation (@1750 words; due Week 6).

OR

  • 25% Creative Writing project – make an “original” or explicitly “reversioned” tale and add a reflective commentary (tale max. 1000 words, commentary max. 750 words; due Week 6).

 AND

  • 35% Essay Two on critical folktale reading/interpretation (@2000 words, Week 12).
  • 15% Quizzes (three during tutorials, based on assigned readings, each worth 5 points, Weeks 4, 6, 9).
  • 25% Group Research Project on a comparative topic presented as PPT (max. 15 slides):
    • Group presentation proposal (150 words, due Thursday, 26 April via email)
    • Group presentations (PPT + discussion/questions, in tutorials Weeks 10-11-12)

 

COMPLIT 202/303 Interpreting Folktales           2018

 Course Schedule:

Monday lectures will present material for both 202 and 303. Tutorials assignments and activities are specific to each course level.

COMPLIT 202 Tutorials will discuss and explicate lecture materials and readings.

COMPLIT 303 Tutorials will discuss and explicate lecture materials and readings and also include additional materials and activities.

 

 

Monday Lectures

CL 202/303: 1200-1400

Tutorials

CL 202: Wed 1100, Thurs 1300, 

CL 303: Wed 1300, Thurs 1100

Week 1

26 February

Introduction:

Folktales & other narratives (MA)

No tutorials in Week 1.

Week 2

5 March

Close reading a folktale: Red Riding Hood tale type (MA)

Comparative Criticism & Reversioning: Is it still the same tale?

Week 3

12 March

 

Quests, motifs, signs: semiotics of folk narratives:  (MA)

 

"Reading" Aarne-Thompson-Uther, Motif- Index of Folk Literature.

Feminist and post-colonial approaches to folktales.

CL 202: Essay 1 questions & topics distributed.

CL 303: Essay 1 topics distributed.

CL 202: Quiz 1

Week 4

19 March

Interpreting folk narratives: orality, literacy, structure, function (MA)

Grimm Bros & Von Schönwerth:

versions of authenticity.

CL 303: Quiz 1

Week 5

26 March

South Asian folktales and female power (SR)

Are there folktale universals?

CL 202: Quiz 2

 

MIDSEMESTER BREAK

 

Week 6

16 April

Chinese folktales (MI)

Religious and cultural bases of folktales: East meets West.

CL 303: Quiz 2

CL 303: in tutorial groups for research project organised & topics developed.

CL 202: Essay 1: due Friday, 20 April, before 1500

CL303: Essay 1: due Friday, 20 April, before 1500

Week 7

23 April

Folktales as national & cultural work.

Intersectional reading: feminism, postcolonial critique, narratology. (NP)

 

ANZAC DAY -- no tutorials.

CL 303 Essay 2 Qs & topics distributed via Canvas.

MA and TP hold extra office hours on Thurs, 26 April. Check announcements for times.

Week 8

30 April

Japanese folktales & folk theatre (MA)

 

Folktales in performance.

CL 202: In-class Test

CL 202: Essay 2 Qs & topics distribute via Canvas.

Week 9

7 May

African, Caribbean & African-American folktales: (post)colonial stories (MA)

 

Folktales, performance, & politics.

 CL 303: Quiz 3.

Week 10

14 May

Superheroes & gendering folktales (NC)

 

Do folktales construct, reflect, or disrupt genders?

CL 202: Quiz 3

CL 303: Research PPT presents.

Week 11

21 May

Robin Hood & outlaw tales (MA)

 

Tricksters, outlaws, carnival.

CL303: Research PPT presents.

Week 12

28 May

Werewolves & Vampires in folktales (tba)

 

Folktales in contemporary culture. What fairytales teach Trump.

CL 303: Research PPT presents.

 

 

CL 202: Essay 2: due Friday, 1 June, before 1500

CL 303: Essay 2: due Friday, 1 June, before 1500

 

 

 

COMPLIT 202/303   Interpreting Folktales                 2018

 

Assessment Arrangements:

 

COMPLIT 202:

  • 30% In-class test (1 hour/@1000 words, Week 8): critical analysis of selected, passages, and terms and of a tale not assigned for course reading.
  • 25% Essay 1 (@1000-words, due Week 6) on a comparative topic assigned.
  • 35% Essay 2 (@ 2000 words; due Week 12) on a comparative topic assigned.
  • 10% Quizzes (three during tutorial meetings, based on assigned readings, worth 3-3-4 points, respectively).

 

30% In-class Test:

In your tutorial on Wed, 2 May you will be presented with a selection of passages, concepts, and terms from the first half of the course and a choice of European, African, Caribbean, and/or Asian folktales you have not seen before. The test asks you to identify the passages or define and use the concepts and terms and then critically analyse ONE tale in light of what you have learned up to this point about folktales and fairy tales. You will have the entire class time (50 mins) to write your identifications, definitions, and text analysis. The test will be closed book. Please bring your own paper or exam booklet to write your test answers.

 

The in-class test prompts will ask you to:

  • identify text, speaker, and context for selected folktale passages
  • define key concepts and terms we have explored and used in class
  • discuss the tale’s structure, especially the opening and ending
  • consider the tale's relation to other tales you have read, in terms of tale type and motifs
  • use one critical approach you think is particularly helpful for understanding the tale and explain what that critical perspective reveals
  • discuss your reading response to the tale.

 

 

25% Essay 1 (1000 words) & 35% Essay 2 (2000 words) on assigned comparative topics:

Essay 1 questions and prompts will be distributed and posted on CANVAS in Week 3.

Essay 2 questions will be distributed and posted on CANVAS in Week 8.

 

These essays should be written in an formal or academic style and submitted electronically to turnitin.com (guidance will be given), and in hard copy with a coversheet, available on the CANVAS course website, to SOCIAL SCIENCES BUILDING, Rm. 413, by the due date listed on the syllabus.

 

Please observe the instructions (below) on Essay Presentation and Plagiarism given under Researching and Writing Your Essay.

 

*************************************

COMPLIT 303:

  • 25% Essay 1 on critical folktale interpretation (1500 words), due Week 6, before 1500.

OR

  • 25% Creative writing project of an original tale and commentary (tale max. 1500 words, commentary 1000 words), due Week 6, before 1500.

 AND

  • 15% Quizzes (three) on assigned readings in tutorials Weeks 4, 7, 9 (5 points each).
  • 35% Essay Two on critical folktale reading/interpretation (@2000 words, due Week 12, before 1500).
  • 25% Group Research Project on a comparative topic presented as PPT (max. 15 slides, 15 minute presentation):
    • Group Presentation Proposal (150 words, due Thurs, 26 April, submitted via email)
    • Group presentation (PPT + discussion/questions, in tutorials Weeks 10-12).

 

COMPLIT 202/303 Interpreting Folktales                  2018

Assessment Information:

 

COMPLIT 303:

25% Assignment 1, Option 1: Creative Writing and Commentary Guidelines:

 The purpose of including a creative writing option in this course is to encourage students to consider the techniques of folktale composition from the perspective of the author, and thus to develop their critical awareness of texts.

The tale and commentary, taken together, should be in the order of 2500 words. While the length of the story is flexible, the commentary should be succinct, around 1000 words. Assessment for the assignment as a whole will be based on 50% for the narrative and 50% for the commentary.

Students are given free choice in writing their tale. They may write on any theme, in any style, etc, they wish. They should aim to produce an original text which captures the readers’ attention, and sustains their interest to the end.

The commentary should provide a detailed description and analysis of the story, written in academic language, and using concepts discussed in the course. Your commentary should address at least TWO of the following elements:

  • The genesis of the project: what prompted you to write this particular tale?
  • The writing process: how did you go about writing your story? How long did it take? How much revision did you undertake?
  • Motifs and tale type: what motifs are used? Did you follow a particular tale type? Are there any links with other tales using similar motifs?
  • Structure: what plot devices and characters are used? What are the turning points?
  • Themes: what ideas are presented? How?
  • Setting: does your tale have a particular setting? How does this contribute to the overall effect?
  • Audience: what is the implied audience for the story? How did this affect your choices?
  • Style: how is language used to enhance the effect of the story?
  • Opening and ending: how did you choose to start and end your tale? Why?
  • Interpretation: does your tale invite any particular interpretative approach?
  • Questions of intertextuality: were you inspired by a particular story? How? Is your tale a rewriting, a contestation, a parody?
  • Overall effectiveness: what worked? What didn’t, maybe?

Together the tale and commentary should show how the student has developed and reflected on his or her creative and critical capabilities.

 

25% Essay 1, Option 2; 35 Essay 2: Critical folktale reading/interpretation (@2000 words each)

Specific guidelines for each essay assignment will be given in your tutorials. The essays should focus on a specific and grounded critical or contextualising question, drawn from the course lectures, tutorial activities, and readings and approved in advance by your instructor. Compose your essays in an academic format, although contractions and first- and second-person pronouns are acceptable. Use footnotes or endnotes sparingly to identify key sources. Each essay should include at least one secondary source beyond the assigned course readings.

 

15% Quizzes:

In tutorials in Weeks 4, 8, 10, students will spend 10 minutes writing responses to the assigned readings, both primary and secondary texts (tales and criticism). Each quiz is worth 5 points.

 

25% Group Research and PPT Project:

COMPLIT 303 research groups will be organised early in the semester. In your research group, you will devise a comparative topic and work with texts in language areas which your group members are familiar with or which extend your range of reading or which probe more deeply a question raised in the course, e.g. gendering in folktale narratives or visual representations of verbal narrative. Then you will research the question, develop an argument, and compose a PPT presentation to deliver to your tutorial. The research question need not be entirely separate from the essays your research group are composing individually, but the topic and argument should be distinct. The PPT presentation may be presented orally or from a "script."

Use some of the following guidelines to frame your projects:

  • Choose at least two tales or tale types to work on for comparison or contrast;
  • Choose a provocative, interesting theoretical framework for analysing them;
  • Critically research the contexts and critical writing on the tales according to that framework;
  • Consider some of the existing scholarship and criticism about the tales, including historical information about the context of their production and reception;
  • Develop an argument about your findings;
  • Construct a PPT presentation (maximum 15 slides, approximately 15 minutes) to show your argument verbally and visually. The slides should not summarise the tale(s) but emphasise the argument or contextualisation your group is making. Visual images and animation are appropriate sources and devices to use in your PPT. Be prepared to present the PPT to your tutorial group.

Your research group will receive one grade based on the coherence and insight of your PPT presentation and how the PPT presentation engages with and extends and elaborates on the course topics and materials. This assignment asks you to "take your learning on the road" and develop orally and visually a point of view and a researched analysis for a public audience, in this case, the informed audience of your fellow students and instructors in the course.

 

COMPLIT 202/303 Interpreting Folktales                  2018

Researching and writing your essay:

Good critical writing in Comparative Literature typically has the following features:

  • a clearly defined research or critical inquiry question and a compelling argument that addresses and answers that question;
  • a clear, informed use of the theoretical approach to the topic;
  • well-chosen supporting evidence from close readings of primary texts and from existing criticism and scholarship (there's loads);
  • relevant background information on the contexts --production, reception, historical, cultural -- of the chosen texts;
  • proof-read (i.e. as error-free as you can make it) and engaging prose, coherent argument sequence, and accurate referencing.

To get started, read the primary texts thoroughly at least twice. Take notes of your impressions, questions, and ideas after each reading. This will help you generate your own research question and ideas about the texts.

Use library and internet resources to find existing criticism and scholarship about your topic or question. Start writing your draft, always keeping your topic and your line of argument in mind, and eliminate all information that does not support your line of argument. I suggest you NOT write an introduction first but dive straight into your textual analysis and see where it takes you.

Write more than one draft. Yes, really. REALLY. Try to organise your ideas around your own line of argument. DO NOT summarise the plot of the tale(s), or list narrative features, or rehearse a series of ideas from other scholars. The essay should progress from a general critical point or theme of your own to specific analyses and examples to illustrate or concretise that point. We expect you to use one or more of the critical approaches to folktales we have explored and modelled in class: motif analysis, structural analysis, narrative goal, narrativized social norms or subversions, etc. As I suggested before, a good way to ensure this is to dive straight into your textual analysis and see where it takes you. Don't start with an "introduction".

Once you have a draft, THEN write a first paragraph to introduce your topic and research question in а meaningful way. Indicate clearly which texts or tale types you are going to analyse, from which perspective, and why this is interesting and important. Present your research question or topic but, at the start, only suggest in broad terms your expected conclusion(s).

Each paragraph should develop and contain one idea or line of thought. Discuss the idea thoroughly, using evidence from the primary and secondary texts to support your argument. Also present and discuss alternative points of view to those you may endorse. Link one idea to the next at the beginning and end of each paragraph.

Quote purposefully and give the precise reference, including page numbers, of the primary and secondary sources you have used, so that your reader can easily find the exact quotation. Your quotations should be short and should be in inverted commas, or indented if taking up more than three lines of text.

You do NOT have to agree with the critics you have read nor with your lecturer(s), but you do have to statement your argument clearly and back it up with relevant evidence and materials.

Observe the deadlines and try to prepare your work well ahead so that you may have time for consultation with your lecturer if you wish.

 

 Essay presentation guidelines (hard copy and electronic version):

 Use А4 paper only.

  • Print on one side of the paper only.
  • Use 1.5 or double spacing.
  • Leave 1 to 1.5” margins for comments.
  • Number the pages and put your name, ID number, and course number at the top right-hand comer of page one.
  • Download from CANVAS and print out an assignment coversheet. Complete, sign, and attach it to your essay.
  • DO NOT put the essay inside plastic or paper folders.
  • Document your sources: include а List of Works Cited/Bibliography on а separate page at the end of your essay. Footnotes may be written at the bottom of the page or as endnotes at the end of your document. Consult the MLA Handbook for Writers of Research Papers, Chicago Manual of Style, APA Style Guide, or the Referencite website http://www.cite.auckland.ac.nz/ for further guidance. Citation format IS important, but more important is to be accurate and consistent.
  • Check your punctuation and spelling carefully. Start with a SpellChecker, but don't rely solely on that software to proofread your essays.
  • Do not use excessive colloquial language. Contractions and first- and second person pronouns are ok where appropriate or effective.
  • Underline or italicise all titles of books and put “quotation marks” around titles of shorter works (i.e., poems, short stories, journal articles, etc.)
  • Keep for yourself an electronic version of your essay, just in case.
  • Submit your essay in hard copy with a signed completed coversheet (available on CANVAS) to the COMPLIT 202 or 303 box at SOCIAL SCIENCES BUILDING-Rm 413 (201E-413) before the announced deadline.
  • Upload your essay electronically to the course site at turnitin.com.

 

COMPLIT 202/303: MOST COMMON CITATION AND REFERENCE FORMATS

The following examples are for a separate Citations or References page in your essay. These are not the formats for numbered footnotes.

 Books (authored)

Thernstrom, M. (1997). Halfway heaven: Diary of a Harvard murder. New York, NY: Doubleday.
[author, by last name, initial.] [(year).] [title.] [city of publication, state using the two letter postal abbreviation without periods: publisher.]

In-text citation format: (Thernstrom, Halfway Heaven, 83).
Footnote format: author last name, shortened title, page quoted.

Shakespeare, W. (1999). The tempest. Ed. P. Holland. NY: Penguin. (Original work published 1623.)
[author last name, initial.] [(year).] [title.] [editor, by initial (“Ed.”).] [city of publication, state using the two letter postal abbreviation without periods: publisher.]
In-text citation format: (Shakespeare, Tempest, 3.2.21).
Footnote format: author last name, shortened title, act.scene.line for quoting plays.

 

Books (edited)

Wertsch, J. (Ed.). (1981). The concept of activity in Soviet psychology. Armonk, NY: Sharpe.
[editor last name, initial. (“Ed.”).] [(year).] [title.] [city of publication, state using the two letter postal abbreviation without periods: publisher.]

In-text citation format: Wertsch, Concept of Activity, 7.

Shakespeare, William. The Tempest. 1604. Ed. Peter Holland. New York: Penguin, 1999.

Also note: If the material you’re using is not from the main text, you may want to list by the.

 

Books (translated)

Derrida, J. (1981). Dissemination. Trans. Barbara Johnson. Chicago, IL: U of Chicago P.
[author last name, initial.] [(year).] [title.] [(translator, by initial, “Trans.”).] [city of publication, state using the two letter postal abbreviation without periods: publisher.]

In-text citation format: Derrida, Dissemination, 91.

Book chapter
Bialostosky, D. H. (1991). Liberal education, writing, and the dialogic self. In P. Harkin & J. Schilb (Eds.), Contending with words: composition and rhetoric in a postmodern age (pp. 11-22). New York, NY: MLA.
In-text citation format: Bialostosky, “Liberal Education,” 17.

 

Article in academic journal

Masri, H. A. (1995). Carnival laughter in the Pardoner’s TaleMedieval Perspectives, 10:148-156.
In-text citation format: Masri, “Carnival Laughter,” 151.

Article in magazine

Considine, J. D. (1999, December). Radical shriek. Guitar World, 62-68, 210-214.
In-text citation format: Considine, “Radical Shriek,” 212.

In a newspaper

Sullivan, R. (1991, April 27). Jury quickly acquits man charged in brush with officer. New York Times, p. A28.
In-text citation format: Sullivan, “Jury Quickly Acquits,” A28.

Multiple authors for books and articles

Faulkner, W., & Arnold, E. (1985). Smothered by invention. London, England: Pluto.
In-text citation format: Faulkner and Arnold, Smothered by Invention, 41.
___________________________________________________________________

Normally, e-mailed essays will not be accepted. Please see your instructor if there are extentuating circumstances.

All essays submitted after the due date will penalised 2 points per day late UNLESS you have arranged an extension PRIOR TO the due date with your tutor or the course convenor.

Note that the Student Learning Centre offers very useful courses on research and essay writing, If you find it difficult to express yourself in writing, you should consider taking one of them. See:

 http://www.library.auckland.ac.nz/student-learning/index.php?p=slc

 

CANVAS  and e-mail based course resources

 

The University of Auckland now uses CANVAS as the electronic course organisation system. The CANVAS course website is the location for all electronic or Internet communication within the course. On the CANVAS website for COMPLIT 202/303, you will find electronic copies of the course syllabus and all readings (except those included in The Classic Fairy Tales, ed. Maria Tatar), notices of all writing assignments, and any handouts or PPTs from lectures or supplements to the course reader. All course announcements will be posted on the CANVAS course website and directed to your University email address. It is your responsibility to regularly check the CANVAS course website and your University email account to keep current with the course.

Please note the University policy regarding ‘Student Communications Using Electronic Mail’: ‘As of Semester One 2009, the new Student Communications Using Electronic Mail Policy is operative. Your University student email address (NetID@aucklanduni.ac.nz) is officially one of the University’s primary means of communication with students. Official emails sent from CANVAS to enrolled students (class announcements, important updates, class discussion topics) will be sent to your University student email address, not any other email address. Because students are no longer able to change their email addresses in CANVAS, you need to ensure that any re-directs or forwards from your University student email address to your personal email address are up to date and correct in EC Mail. To provide greater convenience for participating in discussion using emails, you may nominate another email address specifically for discussion forums (in addition to their University student email address) for posting discussion message to CANVAS. Contact the CANVAS Help Desk or Arts IT for further details on redirecting messages sent to your University student to another email address.’

What is Turnitin.com?

Turnitin.com is an electronic plagiarism detection service used by many universities worldwide. When you upload your assignment into the system, it is matched against millions of Internet pages, databases, and a constantly increasing database of all previously and concurrently submitted assignments. Course instructors receive reports from Turnitin.com that can be used to help determine whether a student’s submitted work is their own or plagiarised, and if plagiarised, to what extent. COMPLIT 202/303 instructors do review Turnitin.com reports, and we do contact students when we have questions about a piece of writing submitted for course marking.

 

How to use Turnitin.com

Turnitin.com is an on-line resource (Internet connection required) and can be accessed from any location, on- or off-campus through the University's CANVAS website.

You can access the Internet at computer labs across the University, using your Net ID (UPI) and Net password. It should take you less than five minutes to upload a Word or RTF file of your assignment and submit it to Turnitin.com through CANVAS.

 

What is Plagiarism?

The University of Auckland does not tolerate cheating or plagiarism or assisting others to cheat or plagiarise written work submitted as part of coursework. Instructors at the University view plagiarism and cheating in coursework as a serious academic offence.

What constitutes plagiarism is a complex question of authenticity and ownership, as well as a matter of honesty, ethics, and responsibility. The English word plagiarism, first used in the early seventeenth century, is based on the Latin word plagiarius, meaning a kidnapper, a person who steals another person. Plagiarism is stealing another person’s intellectual property.

Academic research and writing are fundamentally collaborative, and it is expected that students and scholars will acknowledge the research, creativity, and published writing of others on whom they are relying to compose their own academic or creative writing. This applies to all forms of academic writing and publication, whether print, oral delivery, on-line or digital format. Researchers in different disciplines have developed clear, agreed upon ways to reference, cite or acknowledge the published research of others, whether you are relying on or agreeing or disagreeing with the ideas or words of another.

In 2014, the University instituted an Academic Integrity (AI) online module for all new undergraduate students. The University now requires that you complete the AI online module before completing your degree. If you have not already done so, JUST DO IT -- NOW. We will provide more information about the AI requirement and how you can complete it early in the semester.

The work you submit for grading, which you may have discussed with others inside and outside the course and received feedback on, must be your own written work, reflecting your ideas and learning as well as incorporating informed readers’ comments or ideas. It is also important to distinguish plagiarism from copyright infringement. Plagiarism is using another’s written text and presenting it as your own words and arrangement. Copyright infringement is using a published source covered by copyright law, beyond academic ‘fair use,’ without the permission of the copyright’s owner. Although a text might not be covered by copyright law, reproducing all or part of the text without acknowledgement and presenting it as your own written work constitutes plagiarism.

In COMPLIT 202/303, we adopt the following working definition of plagiarism:

Plagiarism is using the written work of others and presenting it as your own course work without explicitly acknowledging or referencing where the written work originally appeared and who created it. It is plagiarism not to acknowledge and cite others’ ideas or research, paraphrase without acknowledgement, or directly copy from books, articles, web-pages, or other students’ work. Whenever you use the published or unpublished writing or ideas of other people, those ideas or writings must be properly acknowledged and cited. Writing another's argument or opinion in your own words without reference or citation still constitutes plagiarism. In academic writing, acknowledgement usually takes the form of endnotes or in-text parenthetical references to the materials used plus a bibliography or list of works cited, using an approved citation style guide.

For further information and advice on how to avoid plagiarism, see:

http://www.auckland.ac.nz/uoa/home/about/teaching-learning/academic-integrity

 

Marking schedule:

The Faculty of Arts marking schedule is as follows:

A+       90-100             A         85-89               A-        80-84

B+        75-79               B          70-74               B-        65-69

C+       60-64               C         55-59               C-        50-54

D+       45-49               D         37-44               D-        0-36

Any mark below C- is not passing. To pass the course you need to complete ALL the assigned coursework with a cumulative grade of C- or better.

 

Any extensions to submission deadlines need to be negotiated

 IN ADVANCE of the due date with the course convenor and/or tutor.

A 2-point-per-day penalty will be applied to all assignments submitted without prior approval.

Course summary:

Date Details