1

Statement of Teaching Philosophy

Natalie A. Strobach
University of California Davis

If an answer does not give rise to a new question from itself, it falls out of the dialogue. Mikhail Bakhtin

I begin my Comparative Literature Great Books course Re-Membering Trauma in the
20
th
Century in a darkened room in the company of twenty students with a Zoopraxiscope, the
creation of 19
th
century photographer and pioneer of motion studies Eadweard Muybridge,
projecting images of his horse Occident running a race across the walls and dusty chalkboards
of our classroom. We share in the experience of early viewers of the Zoopraxiscope who
reported seeing the race as exactly pictured, and when the lights click on and we read
through Platos Allegory of the Cave, we recognize how we also share the experience of those
prisoners squinting at shadows on the wall, but in a world of far more complex and enveloping
optical illusions. I challenge that diverse mixture of undergraduates, multiple years and
multiple majors represented, to critically question the relations (or lack there of) between
temporalities and spaces, to seek what was truly taking place in what was once dismissed as
persistence of vision. I play the Zoopraxiscopes image a second time, in reverse. I play other
images from Muybridge, wrestlers, dancers, forward and backwards, and ask what is wrong.
The students express frustration when, unlike the strangeness of a horse galloping backwards,
it was indiscernible whether the other clips were moving forward or in reverse. The analyses
the students produced in discussion were exceptionally precise: we crave linearity. The
question they asked: why? provided the entire framework for the quarter, the project to rejoin
or re-member not only socio-historic frameworks for our texts but also the philosophical and
psychological traumas often unperceived in modernisms unrelenting drive to use linearity to
fend off the contingency that is modernity.
This exercise exemplifies my commitment to constructing classroom situations that are
at once participatory, open, and engaging spontaneously creative and analytically demanding.
I work to design syllabi, discussions, and assignments that provide opportunities for disjunctive
practices of reading and writing. I attempt to construct instances in which the self-evidence of
what we perceive breaks down, cutting through the internal excesses and cultural
embeddedness agitating our processes of perception and, with that, our sense of understanding.
I spend the first few classes further situating the students philosophically with Hegels preface
in Phenomenology of Spirit and poetically with Baudelaires The Painter of Modern Life set
alongside Tolstoys What is Art? Reading Gertrude Stein, we work together to unhinge the
very notion of meaning, time, and memory as I bring in a hat filled with random objects and
ask students to work individually, in groups, and then all together to write our own Tender
Buttons. Whether working through the psychoanalytic approach of Freuds Interpretation of
Dreams and !i"eks Perverts Guide to Cinema, the surrealism of Bretons Nadja and Resnaiss
Last Year at Marienbad, or the full spectral weight of Cixouss Manhattan and Becketts
Endgame, we always continue our hunt for the roots of the contemporary notion of
consciousness and perception, paying careful attention to the shifts in genre and ideology along
the way. We learn what we could not remember: the aporias, the gaps between the frames.
All the while, we write and revise three essays. The students learn not only to write
well, even beautifully, but, with much feedback, extensive office hours, and even peer
workshops, they also learn to write critically, to think always of the thesis and antithesis. This
central tenet of my pedagogy ensures quality in the revision process, creates a rapport,
produces a continuing dialogue, and builds confidence in students own abilities to write well. I
2
ensure that during peer review students have useful feedback to give, having learned from
comments I have given them on past papers and working with a custom-designed grading
rubric. During student conferences, of which I require two per quarter, we also discuss any
difficult readings from common texts or from their respective fields. I use the portfolio system
to encourage a revision process, which gives students the opportunity to demonstrate and to
witness the gradual improvement in their own work. I try to make them know why the work is
relevant in their lives so that they can discover some of the framework on their own. As a final
project and to emphasize the evolution of ideas, I ask them to write a reflection for each essay in
their portfolios. I encourage students to incorporate writing into their thinking as a constant
practice rather than an occasional task. All of my pedagogical efforts are directed toward
creating an environment in which reading, writing, discussion, and analytic thought are
indiscernibly involved in the processes by which the perception of texts becomes legible and
their formal, material qualities become part of students critical understanding of the world.
I plan my courses with precision and with high expectations because I know the impact
a good teacher has. As a McNair Scholar, a first-generation student whose parents did not so
much as graduate high school, and a daughter of immigrants, I can say that since my earliest
days with my fathertranslating with him, teaching him the things I was learning in school
that he never had the opportunity to learnone constant in my life has been this presence of
excellent teachers. As much as I could state how my teaching philosophy has developed in my
time as an undergraduate peer teacher, my instruction abroad for the French Ministry of
Education, and my time as an associate instructor in Comparative Literature and French, it has
evolved equally with each gifted teacher from whom I have had the pleasure of learning. From
a high school teacher who brought a lesson on slavery and plantation life alive by bringing us
the thorny branches of a cotton plant to a creative writing teacher who re-wrote each and every
one of my run-on sentences over pages and pages of typed comments, single handedly ending a
lifelong battle with grammar in one week, I have learned the importance of engaging the
student at every turn, and of never giving up. This is precisely why I persist in scheduling one-
on-one consultations with each of my students every term.
As soon as I arrived at Davis I took on a second position as advisor and teacher for the
McNair Scholars Program so that I could begin to chip away at the enormous debt I owe them
for their support and mentoring, and I have spent countless evenings and weekends working on
writing samples and personal statements whenever my students could meet outside of
coursework, jobs, and childcare responsibilities. I have helped them negotiate difficult life
choices such as moving far from home, seemingly abandoning their families, so that they could
accept a place in an Ivy League Ph.D. program in order to be better prepared to support their
families in the long-term. Nothing is more essential to my teaching philosophy than
understanding and more than understanding, interacting with my students as multi-
dimensional people.
Whether I am teaching for Comparative Literature, French, or with under-represented
undergraduate scholars in the federally-funded McNair Scholars Program or Martin Luther
King Hall Outreach Program for the UC Davis Law School, we learn to approach a work,
especially our own, from a variety of angles not only an interdisciplinary approach, but a
multicultural one as well. Creating an inclusive and safe learning environment is a top priority
for me. Above all else, I try to bring to my students a confidence, not that they know all, or that
learning is complete at the end of the course, but that in the knowledge we shared they have
further honed the conceptual tools to examine that world, our cave.

"

UNIVERSI1Y OI CALIIORNIA, DAVIS


BERKELEY DAVIS IRVINE LOS ANGELES MERCED RIVERSIDE SAN DIEGO SAN IRANCISCO SAN1A BARBARA SAN1A CRUZ



SIRIA S. MAR1INEZ
MCNAIR SCHOLARS IROGRAM
ONE SHIELDS AVE
DAVIS, CA :o:o
SSMAR1INEZUCDAVIS.EDU
(:o) ::-+so


OC1OBER , :o:+

To Whom It May Concern:

This is an open evaluation of Natalie Strobachs work with the McNair Scholars Program at the
University of California Davis.

Natalie Strobach taught for the McNair Scholars Program at the University of California Davis
for five years. My work with her began when I became Director of the program in fall of 2011.
The McNair Scholars Program is a federal TRIO program designed to accommodate
undergraduates from low-income, first-generation, and underrepresented backgrounds who are in
pursuit of doctoral degrees. The students typically enter in their junior year and attend a year of
rigorous coursework on grant and research writing, thesis design, and presentation skills. They
also participate in intensive weekly GRE seminars for both verbal and math sections. The second
year in the program requires additional weekly coursework as they prepare materials for graduate
school applications and perfect their McNair theses for publication. The UC Davis McNair
Program has a particular commitment to transfer students from community colleges and, as of
2012, to selecting 75% of its students from STEM fields. We accept roughly 20 students
annually from the top programs at UC Davis.

I had the opportunity to observe Natalies teaching on several occasions and am happy to report
that she excelled at teaching our research and writing seminars as well as our GRE verbal
seminars. These were regular courses that she taught across Fall, Winter, and Spring quarters
every quarter for five years. Additionally, she taught every summer and designed our intensive
summer writing and GRE boot camp, where the scholars prepared for the GRE test and refined
their undergraduate McNair theses. Natalie was responsible for the course design, selection of
materials, and grading for all of these courses. Prior to my arrival Natalie actually entirely
redesigned the boot camp series and the program was able to move from a private GRE tutor to
Natalies instruction. This resulted in tremendous savings for our program, but above and beyond
the cost benefit, Natalies new program dramatically increased student GRE scores, an average
of a 200 point increase per student, which is unprecedented in GRE preparation courses and
speaks to the effectiveness of her teaching.

Natalies student evaluations for all of these courses were uniformly fantastic. Given the
intimacy and small size of our program, Natalie held 16 hours a week of office hours, always
making herself available to our students. This included not only working with them on their
McNair coursework, theses, and GRE preparation, but also quite frequently guiding them on
their coursework in their major fields and reviewing their other undergraduate essays: work that
the students found immensely helpful.

#

Furthermore, under the title of Program Coordinator and Graduate Student Instructor, Natalie
was also responsible for regular advising sessions with the students. Given the unique population
of students in the program, advising requires a distinct dedication to diversity and must
accommodate a multicultural student population that is also diverse in age, educational
background, and economic background. A McNair Scholar herself, Natalie showed the students
the utmost respect and care and I have no doubt that she truly enjoyed the opportunity to work
closely and build longstanding mentoring relationships with our scholars, many of whom still
seek her advise and feedback to this day even as they are now finishing their own dissertations.

Prior to my arrival, the McNair Scholars Program went through three different directors in
Natalies time and at certain times had no in-office director. (We typically have five full-time
and graduate student staff working for the program.) Despite these challenges, Natalie strove for
collaboration with other graduate students and staff to design the McNair Scholars Handbook
that gives much structure to both the program and the students. This is just one example of how
her work with McNair went above and beyond. She was editor of the McNair Scholars Journal
that published the students theses for the University of California Davis, and was a great asset
when revising and researching our application for the renewal of our five-year federal grant. She
also has flown out to national recruiting events when a director was not available. For every year
in the program she also accompanied the students to national undergraduate research conferences
to assist and support the students as they presented their research for the first time. These
students, once unsure of their research focus and shaky when speaking publicly, would arrive to
their national conferences as polished professionalsin great part thanks to the close work
Natalie did with them throughout the year. I could not have asked for more from her. She was
excellent to work with in every regard, always a fantastic and enjoyable colleague.

Graduate students tend to hold short tenures working with our program, often only a year. Even
in my relatively short time with the program, we have seen many graduate students come and go;
few can keep up with the multi-year commitment and rigor that we require as a special scholars
program. Natalie is one of those few people. Her time with McNair only ended when she was
awarded a prestigious UC-wide Provosts Dissertation Fellowship, which provided full funding
but prohibited her from holding a position with us. Her performance was exemplary in every
way, and I am happy to say that she was the longest-running instructor our program has ever had.
There were many tears and hugs at the going away party that faculty, staff, and students hosted
for her and it was wonderful to see different cohorts of scholars so touched by an instructor. I
have nothing but the utmost confidence in her teaching and have no doubt that she will be as
hard working and enlivening in any position she may hold.

Sincerely,



Siria S. Martinez, Ph.D.
Director of the McNair Scholars Program
University of California, Davis

03/20/12
2012 Winter McNair Evaluation Report

Course Title: ANALYTIC SEMINAR Date: Friday March 16, 2012
GSR/Instructor: Natalie Strobach Location: 2102 SCC


Average
Instructors syllabus was available to me, clear, and useful 4.7
Course administration was efficient and friendly 4.9
Course objectives were consistent with the course as advertised 4.7
Course material was up-to-date, well-organized, and presented in sufficient depth 4.4
Instructor demonstrated a comprehensive knowledge of the subject 4.9
Instructor appeared to be interested and enthusiastic about the subject 5.0
Instructor spoke clearly and distinctly 4.9
Instructor encouraged questions and participation 4.9
Audio-visual materials used were relevant and of high quality 4.6
Handout materials enhanced course content 4.7
Instructor was available during office hours 5.0
My performance and the quality of my work as a student was at its best 4.4
Overall, I would rate this course: 4.7
Overall, I would rate this instructor: 4.9
Total 4.8



General comments:

Natalie is always open to assist with coursework. Great instructor.
Very helpful course. The 100 vocab. words were a bit rough, but the fact that they were open
for a change really saved my sanity.
Positive energy / welcoming, supportive, overall good
Natalie is a great instructor and she is very helpful outside of class as well.
She is very helpful. Her writings skills are great and she has great feedback to offer.
Instructor is very smart and gives great advice.
Instructor made the class interesting & was helpful. Also very knowledgeable.
My favorite instructor! Approachable and always available to help answer questions.

03/20/12
Natalie really helped me with getting used to McNair and helping accommodate some needs.
She helped in revising my abstracts at all hours and she is a vital resource for McNair.
Great instructor, method of learning has been very productive. I love her!
Natalie has been a great teacher, and her flexibility w/class & homework is great. I appreciate
the care she takes to be sure we are all able to focus on what is the most important. I would
love if she taught the research class, as she has already been more helpful, just in this class,
with the important aspects of our research projects. Best teacher Ive ever had!
I hope our emphasis remains on research. I need a break from GRE prep!
I would like more help with basic grammar. I think she went to way more advanced writing
stuff.
I love how honest Natalie is. She says it like it is. She cares about our well-being and really
understands us. I love how she is flexible regarding course work and takes the time to design
research schedules with us. She is accommodating but also has high expectations for us. I
appreciate her help w/ assignments in other classes during office hours. She is always willing
to schedule office hours for private sessions when her regular office hours are too booked up.
I look forward to maintaining a mentor-mentee relationship w/Natalie.
The course should focus on improving speaking in public. I need help with that!
She is extremely kind, approachable and real. Her feedback is really thorough but it gets me
to where I need to be. Ive seen a real improvement in my other classes!Thanks for
everything.

Other topics you would like offered:

More essay workshops
More tests on GRE vocab!

!"#$ &'(' ) *+,-./ 0/-1-,2
!"#$%&'$(%) +,$,-./ 0$%(1,'2

Class size = 16; Completeu evaluations =16
0',-/ .# 3 $( 4 5.$2 4 ,# 2.62/#$7

Knowledge & Expertise of Subject Area 4.6
Presentation Skills 4.4
Time for Q&A 4.7
Usefulness for Undergrad. Courses 4.4
Usefulness for Law School Prep. 4.3
Books & Hand-Outs 4.5
Overall Rating 4.65
Overall Average 4.51

345 678..9 :/;:4/41-., 1. <;,;=-1:
Stiongly Agiee = 9 Agiee = 6 Bisagiee = 1 Stiongly Bisagiee = u

>74?;@-7 :;/=./@4,7; -, 7.99;2; 1. -@:/.A;:
Stiongly Agiee = 1u Agiee = 6 Bisagiee = u Stiongly Bisagiee = u

What impoitant infoimation uiu you leain.
- uiammai (x2), being succinct.
- I leaineu a lot about my own peisonal wiiting.
- Reau uiffeient authois that weie inteiesting.
- Leaining about a wiitei's paiticulai ihetoiic, maintaining style in an essay ,
Cv, covei lettei.
- Bow to wiite bettei (x2).
- I leaineu how to use comma's.
- I leaineu the most in essay anu composition.
- I leaineu about impoitant wiiteis anu theii woiks.
- I leaineu moie giammai! uieat methou of teaching.
- I uiun't take much into that I uiun't alieauy.
- Some giammai impiovement; giammai tiicks.
- Bettei giammai, bettei analytical skills.
- Wiiting skillsthesis foimationepigiaph!

What concepts seemeu most challenging. Please explain.
- Reauing compiehension.
- uiammatical pioblems weie ieally haiu foi me to unueistanu.
- Essays.
- Plato, Nontaigne, Thoieau.
- uiammai (x2)
- Reauing compiehension is moie vague anu uiveise to leain.
- Balancing concise use of language anu still explaining fully, whatevei neeus
to be explaineu.
- Nothing seemeu too uifficult.
- Reauing a few of the passages.
- Wiiting a peifect papei.

Aie theie any topics you think coulu be shoitei oi longei. Please specify.
- I wish we coulu have spent a little moie time on legal wiiting.
- REABINuS SB0RTER!
- Less compaiative liteiatuie
- At the enu of the class got bettei because we focuseu moie on ielevant woik
to us anu began focusing on ielevant woik.
- The ieauings shoulu be cut back.
- Slightly less ieauing, moie wiiting.
- The whole class shoulu be shoitei.

What woulu you change about this class. Please explain.
Noie one on one foi peisonal statement.
The amount of things we went ovei was oveiwhelming.
It shoulu not be eveiy uay. LSAT shoulu be eveiyuay anu wiiting shoulu be
twice a week.
No moie Thoieau.
I woulu love to wiite but spenu moie time on cleaning up physically insteau
of just ieauing about them.
The giauing system. A laige amount of oui giaue uepenuing on
compiehension ieauing quizzes that focuseu on picky uetails iathei than
impoitant iueas like in the LSAT's.
Less ieauings anu moie emphasis on ie-uiafting.
Focus the wiiting on legal wiiting; uiu a lot of comp. lit.
I woulu make it shoitei anu twice a week anu make LSAT piep eveiy uay foi
an houihoui anu a half.

SuggestionsComments:
- Natalie is veiy appioachable.
- Natalie is a gieat teachei anu I woulu love to hei again as a senioi.
- I felt moie confiuent in my ieauing compiehension anu legal wiiting.
- T00 N0CB REABINu!
- Theie was too much comp. lit. But Natalie was pietty cool.
- <S hei
- She giaueu much too haiu consiueiing the laige amount of woik we hau anu
the veiy limiteu time we hau to complete the tasks.
- uieat piofessoi helpeu with oui speaking skills as well! We want hei back as
seniois!!!
- Really awesome! Please let hei come back anu be oui senioi wiiting teachei.}

Thompson 1

Amanda Thompson
Instructor: Natalie Strobach
Comparative Literature 4
30, May 2011
Sex, Blood & Mommy Issues: An Examination of the Perversities in Choke & Story of the Eye
The protagonists of Choke and Story of the Eye live in perverse worlds of their own
creation. Characters in both stories, specifically Victor and Simone, use their sexual adventures
to fulfill a need in their lives. They are like junkies desperate for another fix, and the sexual
norms of society are not enough to meet their needs each and every time. The sexual
transgressions of Victor in Choke and Simone in Story of the Eye require constant escalation in
order for the characters to maintain the same highs.
The increasing level of perversity has a clear continuous pattern for the lead characters of
both texts. In Choke Victors transformation into a sex addict is explained through a series of
flashbacks, each of which brings understanding to the different aspects of his perversion. His
apathy towards everyday life results from a disorderly upbringing with an eccentric mother.
Victor perspective is distorted to the point that he constantly sees women naked, whether they
are the patients in his mothers convalescence home or the nuns that run it. His transgressions go
from having sex with the woman he sponsors during a sex addicts meeting to participating in a
simulated rape, all in an attempt to perpetuate the high he feels when taking part in such acts
(Choke). In Story of the Eye Simone begins her decent into perversion with relatively small acts
of exhibitionism (Bataille 8) and sexual play (Bataille 4) with the Narrator. However she soon
requires more violent and extreme exploits to match the previous levels of excitement. Simone
Natalie ----- 6/3/2011 5:19 PM
Deleted:
Natalie ----- 6/3/2011 5:19 PM
Comment [1]: l sLlll really llke Lhls Lhesls.
Cood work.
Natalie ----- 6/3/2011 5:20 PM
Comment [2]: Cood!
Natalie ----- 6/3/2011 5:20 PM
Comment [3]: Coogle CWL+u8uuL+MLA
Cl1A1lCn and flx Lhese.
Thompson 2

and the Narrator become obsessed with Marcelle who is referred to as the purest and most
poignant of our friends (Bataille 7) and the two take pleasure in corrupting and mentally
torturing her (Bataille 12). Their obsession with Marcelle results in her suicide, leading Simone
to defile the corpse and her subsequent escape to Spain with the Narrator (Bataille 50).
Marcelles death is the turning point: after the demise of her friend Simone takes part in
increasingly violent and perverse sexual acts culminating with the rape and murder of the priest
in the final stages of the story (Bataille 78).
The lead characters of Choke and Story of the Eye need the escalating transgressions to
experience the world outside of their own heads. In Victors case he was once a fairly normal
person, however a history of childhood traumas leads him to become a sex addict. He uses the
increasing perversity of his sexual addiction to escape the numbness he feels in relation to his life
(Choke). Sex holds no real pleasure for Victor; rather it is used to help him feel human for brief
periods of time before he is drawn back into the protection of his numbed senses. Conversely
Simone from Story of the Eye continually increases her perversions because she is unable to
obtain pleasure any other way and uses these acts to distance herself from humanity. The
pleasures of the transgressions allow Simone to experience the world outside of her own point of
view while at the same time distancing her from it. The characters disconnect from decency is
hinted at early on when she and the Narrator accidentally kill a cyclist while speeding around in
a car (Bataille 5). The two show no remorse or horror at the site of the nearly decapitated body
and instead equate the sight of the corpse to how they feel upon seeing each other. Simones
detachment from human decency can also be seen in her disrespectful treatment of her mother.
She and the Narrator openly engage in lewd acts in front of her (Bataille 11) and Simone later
outright dismisses her mother when the Narrator chooses to hideout in her home after the
Natalie ----- 6/3/2011 5:21 PM
Comment [4]: 1hls ends wlLh
summary/quoLes.noL analysls. All ln all, Lhe
analysls ln Lhls paragraph ls a blL weak. l would
llke Lo really see you work on Lhls for Lhe nexL
essay.
Natalie ----- 6/3/2011 5:21 PM
Comment [5]: llrsL, Lhls sounds llke Lhe
Lhesls. Second, ouLslde Lhelr own heads" ls
really unclear. Second ma[or polnL Lo work on.
Natalie ----- 6/3/2011 5:21 PM
Comment [6]: 1ruly?
Natalie ----- 6/3/2011 5:22 PM
Comment [7]: Cood polnL.
Thompson 3

disastrous orgy (Bataille 19). As the story progresses blood and death become associated with
sexual excitement for Simone. From the site of Marcelles dead body (Bataille 50) which leads
she and the Narrator to have sex for the first time to the disgusting pleasure Simone takes in
witnessing the violent bull fights (Bataille 56) and her use of the raw bull testicles for sexual
gratification during Graneros death (Bataille 64). These instances show Simones need for
violent perversity as well as her detachment from humanity
The continual escalation of perversity it ultimately the driving force within both Choke
and Story of the Eye. In Choke the escalation eventually leads Victor to a resolution regarding his
past. Throughout the film he partakes in multiple debaucheries in an effort to feel human, but it
is an unintentional act that leads him to closure after his mothers death. The moment Victor
coughs up the bead and simultaneously relieves himself is both a cathartic and embarrassing
moment for the character (Choke). The removal of a sexual object from the body combined with
the physical release of defecation finally allows Victor to feel like a person again. The mounting
transgressions committed by Simone and the Narrator have the opposite effect in Story of the
Eye; because the two have become so distanced from humanity, each act of perversion is more
horrific than the one preceding it. The exhibitionism of two emotionally repressed teenagers
turns to madness and violence and the culminating moment of these developments is the rape
and murder of the priest in Seville (Bataille 79). Simones vicious attack of the clergymen, the
subsequent decimation of the corpse and the pleasure she receives from it represent her full
dissociation from any remaining humanity.
The characters of Choke and Story of the Eye need the stakes to be raised each time they
take part in a perverse act in order to fulfill their addictive needs. Each pattern begins with
something comparatively small that ultimately gives way bigger, more profane actions. Simone
Natalie ----- 6/3/2011 5:22 PM
Comment [8]: 8eLurn Lo boLh Lhe Loplc
senLence and Lhe Lhesls a blL more here.
Natalie ----- 6/3/2011 5:23 PM
Comment [9]: Say why or say how. l Lhlnk
Lhls sub-argumenL ls a blL Loo easy.Loo many
of your fellow classmaLes would ouLrlghL
agree. llgure ouL whaL you're provlng here.
1hlrd ma[or polnL Lo lmprove.
Thompson 4

and Victor require such perversities for different reasons. Victor needs the highs of sexual
addiction to escape the memories of an unhealthy childhood, while Simone uses the
transgressions to distance herself from humanity. The patterns of and need for greater perversity
drives both stories and becomes a means to an end for both Simone and Victor.
Word Count: 1,014

I like this paper, but Ive still found a few major points that need work. Overall, a bit
more analysis and more careful wording on the topic sentences. 92










Thompson 5





Works Cited

Bataille, Georges. Story of the Eye. Trans. Joachim Neugroschel. San Francisco: City Light
Books. 1987. Print.
Choke. Dir. Clark Gregg. Perf. Sam Rockwell, Anjelica Houston, Kelly McDonald. Fox
Searchlight Pictures. 2008. DVD.


Comparative Literature 3 Section 3
Contingency in Contemporary World Literature

Time: M, Tu, W: 11am-1:15pm
Instructor Natalie Strobach
Office: TBA
E-mail nstrobach@ucdavis.edu
Office Hours: Wednesday 1:30-3:30pm and 2pm-4pm Friday, or email for appointment.

Course Objectives: Through the process of attending class and engaging in discussions of the
required texts, you will: 1) Engage in methods of academic inquiry, interpretation, and
analysis; 2) Read actively and think critically and comparatively; 3) Develop and nourish new
ideas through both discussion and written work (reader response journals and essays); 4)
Explore the significance of work from the 1800s to the mid-20
th
century.
This course offers a supportive environment in which you are welcome to question,
debate, and explore various topics. This course provides four credits in Comparative
Literature and does satisfy the university writing requirement. Our primary objective will be
to apply a variety of readingsbe it historical, psychological, or sociological to better
understand the depth of these texts and to ultimately grasp the modern crisis.

Expectations: You are expected to attend class on time and on a regular basis. More than
three unexcused absences will result in a failing grade. You will be graded on participation
(which includes attendance), quizzes and tests, and reading responses. Late work will be
docked five points for each day late. Quizzes and tests will not be able to be made up unless
there was a documented reason for the absence (such as a doctors note or university-required
event). In the event you do miss a quiz or exam please meet with me during office hours or
another scheduled time to discuss the possibilities. When possible, it is best to notify me in
advance of any absences.

Office Hours: You are required to meet with me outside of class twice this quarter, during
office hours or by special appointment, so that we can become better acquainted and so that
you can receive one-on-one interactive feedback on your work. These meetings must be at
least 15 minutes long, but can go longer if you desire.

Portfolio: For this class you will retain all your in-class writing, essay drafts, and revisions in
order to create a portfolio. Your final grade on your portfolio will be based on a two-page,
single-spaced analysis of your own evaluation your performance and developments in critical
and analytical thinking, alongside of an explication of your progression in understanding the
themes of this course. This review is due on the day of the final along with the full portfolio.

Peer Review Workshop: Because your second and third essays will also have graded
revisions due, we will hold peer review workshops to allow you to work with a partner in
class to revise these essays. You will be graded on your enthusiastic participation in the
review process and completion of the peer review worksheet.

Participation (includes quizzes, in-class assignments): 15%
Essay 1: 15% (1000 words)
Essay 2: 20% (1000 words)
Essay 3: 20% (2000 words)
Revision: 15% (of 2000 words from Essay 3)
Portfolio Review: 10%
Peer Review Workshop: 5%

Required Texts (available at the UC Davis bookstore)
Leo Tolstoy The Death of Ivan Ilyich (ISBN 9780140449617)
Sigmund Freud On Dreams (ISBN 9780393001440)
Friedrich Nietzsche Genealogy of Morals (ISBN 9780199537082)
Samuel Beckett Endgame and Act Without Words (ISBN 9780802144393)
T.J. Clark - Farewell to an Idea (ISBN 9780300089103)
Charles Baudelaire The Flowers of Evil and Other Works (ISBN 9780486270920)
Andre Breton - Nadja (ISBN 9780802150264)

In Reader (available from Copyland at 231 G Street)
Plato - Allegory of the Cave (from The Republic)
Friedrich Hegel - Preface (from Phenomenology of Spirit)
Franz Kafka - Excerpts from notebooks, short stories, and aphorisms

Graded Participation will include the following:
Contributing (constructively) in class. Part of our discussion will include brief
readings aloud of selected excerpts. We will also work together during close readings
and discussion, for which you should always be prepared to answer questions.
Prompt attendance and limited absences. You must arrive on time and prepared to
discuss all texts and materials listed for that day. Please remember to always bring all
texts listed to class.

Contributing Constructively:
Please remember to be kind to other students and constructive during discussion!
The classroom is a safe haven for all ideas. Respect your peers as equals. We are all
unique individuals entitled to our own opinions and beliefs. Though we may argue (in
a structured, objective manner) any comments, jokes, or remarks that denigrate the
worth of the individual's physical or mental ability, body size, religion, race, creed,
ethnic background, sexual preference, or gender are inappropriate and will not be
tolerated. You may be asked to leave class.
Cell phones and other such devices disrupt class. Turn them off before class. Failure to
do so may affect your participation grade. If at any time your use of such devices
becomes persistent or distracting to other students, you may be asked to leave.
You are encouraged to contact me during my office hours to discuss assignments, the
direction and conduct of the class, or for general discussion. If you cannot come
during my office hours, contact me, and we'll arrange another mutually convenient
time. I check email regularly, so don't hesitate to shoot me a note or question. You are
also responsible for communication through our course SmartSite.

I reserve the right to make changes to this syllabus and schedule.
Com 3 Section 3 Fall 2009 Schedule Strobach

Monday June 21
Introductions
Sign up for Baudelaire poem for presentations Wednesday
Plato (Allegory of the Cave) Handout

Tuesday June 22
Hegel (Preface to Phenomenology of Spirit) Handout

Wednesday June 23
Baudelaire The Flowers of Evil and Other Works - Poetry Presentations
Essay workshop and introduction to Baudelaire's style

Monday June 28
Baudelaire cont'd. The Flowers of Evil and Other Works - Critical and Art Writings Pgs.
154-198 and 208-221
Due: First 1000-word essay. Sample topics will be provided online. This essay
must be in Times New Roman, Arial, or Cochin font size 12. It must also adhere to
MLA formattingwhich we will discuss in class. This should be in the style of
Baudelaire's essays.

Tuesday June 29
Clark (Farewell to an Idea) Chapter 1: Painting in the Year 2 Pgs 15-53. See all
images up to page 168.
Film on the French Revolution (screened in class)

Wednesday June 30
Clark cont'd. Focus on Chapter 4 Cubism and Collectivity. Read the following
excerpts: 169-174, 188-194, 215 (first full paragraph) to 218. The Unhappy
Consciousness Page 306-309 (end at Moby Dick). Chapter 7, Pgs. 371-376. See all
images through to the end of the book.
Argumentative essay workshop

Monday July 5: HOLIDAY

Tuesday July 6
Nietzsche (Genealogy of Morals) Pgs. 3-76

Wednesday July 7
Nietzsche cont'd. Pgs. 77-136

Monday July 12
Tolstoy The Death of Ivan Ilyich, Pgs. 155-217.
After the Ball, Pgs. 221-232

Tuesday July 13
Tolstoy cont'd. Three Deaths, Pgs. 74-87
What is Art Handout.

Wednesday July 14
Freud (On Dreams) Entire Text
Due: Second 1000-word essay. Sample topics will be provided online This essay
must be in Times New Roman, Arial, or Cochin font size 12. It must also adhere to
MLA formattingwhich we will discuss in class.

Monday July 19
Breton (Nadja) Pgs. 11-90

Tuesday July 20
Breton (Nadja) Pgs. 90-160

Wednesday July 21
Films (Avant-garde & Experimental Films of the 1920s-30s: Films of the Raymond
Rohauer Collection Vol. 1)

Due: A 2000 word essay. Sample topics will be provided online. This essay must be
in Times New Roman, Arial, or Cochin font size 12. It must also adhere to MLA
formattingwhich we will discuss in class. This essay will be revised for finals
week.

Monday July 26
Kafka (short stories) Handout
Revision Workshop

Tuesday July 27
Beckett ("Endgame" and "Act Without Words") Entire Text
"Beckett on Film" (screened in class)

Wednesday July 28
Final Class with mini-final exam and presentation of revision.
Due: Portfolio Review and third essay revision.
University of California, Davis Office of Student Judicial Affairs
How to Cite Sources
One citation method is to identify the source in the text, putting the authors last name and publication year in
parenthesis and giving the page number where the cited information appears. (Hacker, 2003, p. 391). The authors
name links the reader to a list at the end of the paper giving full publishing information. Example:
Sources Cited:
Hacker, D., A Writers Reference, 5
th
Ed. (Bedford/St. Martins Press 2003) pp. 391-2.
Two other methods are footnotes and endnotes, which use raised numbers at the end of an idea or quoted words to link
the reader to the source which is given either at the bottom of the page (footnote) or at the end of the paper (endnote).
For all three methods, you must include the source in a reference list at the end of the paper, fully identifying each
source by authors name, title, publishers name, year of publication, and page numbers. Citations to electronic
resources such as websites should include the exact URL, the date last revised, and any available information about the
writer, publisher and/or creator of the site.
Resources on citation include:
MLA Handbook for Writers of Research Papers, 6
th
ed., J. Gibaldi (Modern Language Assn. 2003)
Publication Manual of the American Psychological Association, 5
th
Ed., American Psychological Association (2001)
UC Berkeley Teaching Library Internet Workshops Style Sheets for Citing Resources (Print & Electronic)
at http://www.lib.berkeley.edu/TeachingLib/Guides/Internet/Style.html
In writing, we draw upon others words and ideas and the intellectual heritage underlying
human progress. Scholarship entails researching, understanding, and building upon the
work of others, but also requires that proper credit be given for any borrowed material.
Under our Code of Academic Conduct, UC Davis students are responsible for ethical
scholarship, and for knowing what plagiarism is and how to avoid it.
Why be concerned about plagiarism?
* If you plagiarize, you are cheating yourself. You dont
learn to write out your thoughts in your own words, and
you wont receive specific feedback from your instructor
geared to your individual needs and skills.
* Plagiarism is dishonest and/or misleading, because it
misrepresents the work of another as your own.
* Plagiarism violates the Code of Academic Conduct
and can lead to Suspension or Dismissal.
* Plagiarism devalues others original work. Using and
submitting a professionals work as your own is taking
an unfair advantage over students who do their own
work.
* It is wrong to take or use property (an authors work)
without giving the owner the credit due. Further,
copyright violations can result in damages, fines, or
worse.
* The reputation of UC Davis affects the value of your
degree; student dishonesty hurts UCDs standing and
can diminish the worth of your diploma.
Avoiding PLAGIARISM
Mastering the Art of Scholarship
What is plagiarism?
Plagiarism means using anothers work without
giving credit. If you use others words, you must
put them in quotation marks and cite your source.
You must also give citations when using others
ideas, even if you have paraphrased those ideas in
your own words.
Work includes the words and ideas of others, as well
as art, graphics, computer programs, music, and other
creative expression. The work may consist of writing,
charts, data, graphs, pictures, diagrams, websites,
movies, TV broadcasts, or other communication
media.
The term source includes published works -- books,
magazines, newspapers, textbooks, websites, movies,
photos, paintings, plays -- and unpublished sources
(e.g., materials from a research service, blogs, class
handouts, lectures, notes, speeches, or other students
papers). Using words, ideas, computer code, or any
work without giving proper credit is plagiarism. Any
time you use information from a source, of any kind,
you must cite it.
UC Davis, Div. of Student Affairs, Office of Student Judicial Affairs, September 2006
Examples
Citing a source for factual information:
In describing the personal circumstances and political beliefs of author
George Orwell at the time he wrote his greatest novel, 1984, I have relied
upon the factual account given in Gordon Bowkers biography Inside
George Orwell.

Here the source is identified in the text, and page citations for any
quotes or ideas can be given at the end of the material used.
Additional citations to the source, with page numbers, are required
to reference facts or quotations used later in the paper.
Paraphrase vs. Plagiarism
Original Source: [A totalitarian] society can never permit either
the truthful recording of facts, or the emotional sincerity, that
literary creation demands. Totalitarianism demands the
continuous alteration of the past, and in the long run a disbelief
in the very existence of objective truth.
3
Student Version A -- Plagiarism
A totalitarian society can never permit the truthful recording of facts;
it demands the continuous alteration of the past, and a disbelief in the
very existence of objective truth.
This is plagiarism; the student has combined copied pieces of the
authors language, without quotation marks or citations.
Student Version B -- Improper paraphrase, also plagiarism
A totalitarian society cant be open-minded or allow the truthful
recording of facts, but instead demands the constant changing of the
past and a distrust of the very existence of objective truth. (Orwell)
This is plagiarism because the student has woven together sentences
and switched a few words (open-minded for tolerant, allow
for permit) has left out some words, and has given an incomplete
and inaccurate citation.
Student Version C -- Appropriate paraphrase, not plagiarism
Orwell believed that totalitarian societies must suppress literature
and free expression because they cannot survive the truth, and thus
they claim it does not exist. (Bowker) pp. 336-337
This student has paraphrased using her own words, accurately
reflecting and citing the authors ideas.
Student Version D -- Quotation with cite, not plagiarism
In his biography of George Orwell, Gordon Bowker discusses the
themes of 1984, quoting a 1946 essay by Orwell: Totalitarianism
demands the continuous alteration of the past, and in the long run
a disbelief in the very existence of objective truth. (Bowker p.
337, quoting Orwell, 1946)
By introducing his source, the student signals that the following
material is from that source. Verbatim words are in quotation
marks, omitted words are marked by ellipses (), and both the
book used and the original source of the quote are cited.
3
Bowker p. 337, quoting Orwell, G., The Prevention of Literature, Polemic, No.
2, January 1946
Getting Help: Read the syllabus and assignment; ask your instructor how to cite sources; and carefully check class rules on citation
format. Use resources such as Brenda Spatts Writing from Sources (Bedford, Freeman & Worth 2003) and Diana Hackers A Writers Reference,
cited above. In addition, contact the UC Davis Learning Skills Center at 530-752-2013 http://www.lsc.ucdavis.edu/ For questions contact
Student Judicial Affairs, (530) 752-1128 or visit http://sja.ucdavis.edu
How can you avoid plagiarism?
Know what plagiarism is: ignorance will not excuse a
violation. Intentional plagiarism, such as deliberate
copying or use of anothers work without credit,
submitting a paper from the Internet as ones own, or
altering or falsifying citations to hide sources is very
serious, likely to result in Suspension. Unintentional
plagiarism may result from not knowing how to cite
sources properly, sloppy research and note-taking, or
careless cutting and pasting from electronic resources
it is still a violation of the Code of Academic Conduct
and subject to discipline.
Guidelines for Avoiding Plagiarism
1
* Use your own words and ideas. Practice is essential to
learning. Each time you choose your words, order
your thoughts, and convey your ideas, you can
improve your writing.
* Give credit for copied, adapted, or paraphrased
material. If you copy and use anothers exact
words, you must use quotation marks and cite the
source. If you adapt a chart or paraphrase a
sentence, you must still cite your source.
Paraphrasing is restating the authors ideas,
information, and meaning in your own words (see
examples).
* Avoid using others work with minor cosmetic
c hanges. Examples: using less for fewer,
reversing the order of a sentence, changing terms in
a computer code, or altering a spreadsheet layout. If
the work is essentially the same as your source, give
credit.
* There are no freebies. Al ways cite words,
information and ideas that you use if they are new to
you (learned in your research). No matter where
you find it even in on the Internet or in an
encyclopedia you cite it!
* Beware of common knowledge. You may not have
to cite common knowledge, but the fact must
really be commonly known. That George Orwell
was the author of the anti-totalitarian allegory
Animal Farm is common knowledge; that Orwell
died at age 46 in 1951 is not.
2
* When in doubt, cite. Better to be safe than not give
credit when you should!
1
See Henderickson, R.J., The Research Paper (Henry Holt and
Company, 1957, xiv-xv; McGill University Student Guide to
Avoid Plagiarism, last updated 8/22/06
http://www.mcgill.ca/integrity/studentguide/
2
Bowker, G., Inside George Orwell (Palgrave MacMillan 2003)
p. 420
C
o
m
p
a
r
a
t
i
v
e

L
i
t
e
r
a
t
u
r
e

E
s
s
a
y

G
r
a
d
i
n
g

R
u
b
r
i
c

b
y

N
a
t
a
l
i
e

S
t
r
o
b
a
c
h



T
h
e

A

p
a
p
e
r

T
h
e

B

p
a
p
e
r

T
h
e

C

p
a
p
e
r

T
h
e

D

p
a
p
e
r

T
h
e

F

p
a
p
e
r

I
d
e
a
s

(
3
5
%
)

E
x
c
e
l
s

i
n

r
e
s
p
o
n
d
i
n
g

t
o

a
s
s
i
g
n
m
e
n
t
.

I
n
t
e
r
e
s
t
i
n
g
,

d
e
m
o
n
s
t
r
a
t
e
s

s
o
p
h
i
s
t
i
c
a
t
i
o
n

o
f

t
h
o
u
g
h
t
.


C
e
n
t
r
a
l

i
d
e
a
/
t
h
e
s
i
s

i
s

c
l
e
a
r
l
y

c
o
m
m
u
n
i
c
a
t
e
d
,

w
o
r
t
h

d
e
v
e
l
o
p
i
n
g
;

l
i
m
i
t
e
d

e
n
o
u
g
h

t
o

b
e

m
a
n
a
g
e
a
b
l
e
.

P
a
p
e
r

r
e
c
o
g
n
i
z
e
s

s
o
m
e

c
o
m
p
l
e
x
i
t
y

o
f

i
t
s

t
h
e
s
i
s
:

m
a
y

a
c
k
n
o
w
l
e
d
g
e

i
t
s

c
o
n
t
r
a
d
i
c
t
i
o
n
s
,

q
u
a
l
i
f
i
c
a
t
i
o
n
s
,

o
r

l
i
m
i
t
s

a
n
d

f
o
l
l
o
w

o
u
t

t
h
e
i
r

l
o
g
i
c
a
l

i
m
p
l
i
c
a
t
i
o
n
s
.

U
n
d
e
r
s
t
a
n
d
s

a
n
d

c
r
i
t
i
c
a
l
l
y

e
v
a
l
u
a
t
e
s

i
t
s

s
o
u
r
c
e
s
,

a
p
p
r
o
p
r
i
a
t
e
l
y

l
i
m
i
t
s

a
n
d

d
e
f
i
n
e
s

t
e
r
m
s
.


A

s
o
l
i
d

p
a
p
e
r
,

r
e
s
p
o
n
d
i
n
g

a
p
p
r
o
p
r
i
a
t
e
l
y

t
o

a
s
s
i
g
n
m
e
n
t
.

H
a
s

c
l
e
a
r
l
y

s
t
a
t
e
d

t
h
e
s
i
s

o
r

i
d
e
a
,

b
u
t

m
a
y

h
a
v
e

m
i
n
o
r

l
a
p
s
e
s

i
n

d
e
v
e
l
o
p
m
e
n
t
.

B
e
g
i
n
s

t
o

a
c
k
n
o
w
l
e
d
g
e

t
h
e

c
o
m
p
l
e
x
i
t
y

o
f

c
e
n
t
r
a
l

i
d
e
a

a
n
d

t
h
e

p
o
s
s
i
b
i
l
i
t
y

o
f

o
t
h
e
r

p
o
i
n
t
s

o
f

v
i
e
w
.

S
h
o
w
s

c
a
r
e
f
u
l

r
e
a
d
i
n
g

o
f

s
o
u
r
c
e
s
,

b
u
t

m
a
y

n
o
t

e
v
a
l
u
a
t
e

t
h
e
m

c
r
i
t
i
c
a
l
l
y
.

A
t
t
e
m
p
t
s

t
o

d
e
f
i
n
e

t
e
r
m
s
,

n
o
t

a
l
w
a
y
s

s
u
c
c
e
s
s
f
u
l
l
y
.

A
d
e
q
u
a
t
e

b
u
t

w
e
a
k
e
r

a
n
d

l
e
s
s

e
f
f
e
c
t
i
v
e
,

p
o
s
s
i
b
l
y

r
e
s
p
o
n
d
i
n
g

l
e
s
s

w
e
l
l

t
o

a
s
s
i
g
n
m
e
n
t
.

P
r
e
s
e
n
t
s

c
e
n
t
r
a
l

i
d
e
a

i
n

g
e
n
e
r
a
l

t
e
r
m
s
,

o
f
t
e
n

d
e
p
e
n
d
i
n
g

o
n

p
l
a
t
i
t
u
d
e
s

o
r

c
l
i
c
h
e
s
.

U
s
u
a
l
l
y

d
o
e
s

n
o
t

a
c
k
n
o
w
l
e
d
g
e

o
t
h
e
r

v
i
e
w
s
.

S
h
o
w
s

b
a
s
i
c

c
o
m
p
r
e
h
e
n
s
i
o
n

o
f

s
o
u
r
c
e
s
,

p
e
r
h
a
p
s

w
i
t
h

s
o
m
e

l
a
p
s
e
s

i
n

u
n
d
e
r
s
t
a
n
d
i
n
g
.

I
f

i
t

d
e
f
i
n
e
s

t
e
r
m
s
,

o
f
t
e
n

d
e
p
e
n
d
s

o
n

d
i
c
t
i
o
n
a
r
y

d
e
f
i
n
i
t
i
o
n
s
.

D
o
e
s

n
o
t

h
a
v
e

a

c
l
e
a
r

c
e
n
t
r
a
l

i
d
e
a

o
r

d
o
e
s

n
o
t

r
e
s
p
o
n
d

a
p
p
r
o
p
r
i
a
t
e
l
y

t
o

t
h
e

a
s
s
i
g
n
m
e
n
t
.

T
h
e
s
i
s

m
a
y

b
e

t
o
o

v
a
g
u
e

o
r

o
b
v
i
o
u
s

t
o

b
e

d
e
v
e
l
o
p
e
d

e
f
f
e
c
t
i
v
e
l
y
.

P
a
p
e
r

m
a
y

m
i
s
u
n
d
e
r
s
t
a
n
d

s
o
u
r
c
e
s
.

D
o
e
s

n
o
t

r
e
s
p
o
n
d

t
o

a
s
s
i
g
n
m
e
n
t
,

l
a
c
k
s

a

t
h
e
s
i
s

o
r

c
e
n
t
r
a
l

i
d
e
a
,

a
n
d

m
a
y

n
e
g
l
e
c
t

t
o

u
s
e

s
o
u
r
c
e
s

w
h
e
r
e

n
e
c
e
s
s
a
r
y
.

O
r
g
a
n
i
z
a
t
i
o
n

&

C
o
h
e
r
e
n
c
e

(
2
0
%
)

U
s
e
s

a

l
o
g
i
c
a
l

s
t
r
u
c
t
u
r
e

a
p
p
r
o
p
r
i
a
t
e

t
o

p
a
p
e
r
'
s

s
u
b
j
e
c
t
,

p
u
r
p
o
s
e
,

a
u
d
i
e
n
c
e
,

t
h
e
s
i
s
,

a
n
d

d
i
s
c
i
p
l
i
n
a
r
y

f
i
e
l
d
.

S
o
p
h
i
s
-
t
i
c
a
t
e
d

t
r
a
n
s
i
t
i
o
n
a
l

s
e
n
t
e
n
c
e
s

o
f
t
e
n

d
e
v
e
l
o
p

o
n
e

i
d
e
a

f
r
o
m

t
h
e

p
r
e
v
i
o
u
s

o
n
e

o
r

i
d
e
n
t
i
f
y

t
h
e
i
r

l
o
g
i
c
a
l

r
e
l
a
t
i
o
n
s
.

I
t

g
u
i
d
e
s

t
h
e

r
e
a
d
e
r

t
h
r
o
u
g
h

t
h
e

c
h
a
i
n

o
f

r
e
a
s
o
n
i
n
g

o
r

p
r
o
g
r
e
s
s
i
o
n

o
f

i
d
e
a
s
.

S
h
o
w
s

a

l
o
g
i
c
a
l

p
r
o
g
r
e
s
s
i
o
n

o
f

i
d
e
a
s

a
n
d

u
s
e
s

f
a
i
r
l
y

s
o
p
h
i
s
t
i
c
a
t
e
d

t
r
a
n
s
i
t
i
o
n
a
l

d
e
v
i
c
e
s
;

e
.
g
.
,

m
a
y

m
o
v
e

f
r
o
m

l
e
a
s
t

t
o

m
o
s
t

i
m
p
o
r
t
a
n
t

i
d
e
a
.

S
o
m
e

l
o
g
i
c
a
l

l
i
n
k
s

m
a
y

b
e

f
a
u
l
t
y
,

b
u
t

e
a
c
h

c
l
e
a
r
l
y

r
e
l
a
t
e
s

t
o

p
a
p
e
r
'
s

c
e
n
t
r
a
l

i
d
e
a
.

M
a
y

l
i
s
t

i
d
e
a
s

o
r

a
r
r
a
n
g
e

t
h
e
m

r
a
n
d
o
m
l
y

r
a
t
h
e
r

t
h
a
n

u
s
i
n
g

a
n
y

e
v
i
d
e
n
t

l
o
g
i
c
a
l

s
t
r
u
c
t
u
r
e
.

M
a
y

u
s
e

t
r
a
n
s
i
t
i
o
n
s
,

b
u
t

t
h
e
y

a
r
e

l
i
k
e
l
y

t
o

b
e

s
e
q
u
e
n
t
i
a
l

(
f
i
r
s
t
,

s
e
c
o
n
d
,

t
h
i
r
d
)

r
a
t
h
e
r

t
h
a
n

l
o
g
i
c

b
a
s
e
d
.

W
h
i
l
e

e
a
c
h

m
a
y

r
e
l
a
t
e

t
o

c
e
n
t
r
a
l

i
d
e
a
,

l
o
g
i
c

i
s

n
o
t

a
l
w
a
y
s

c
l
e
a
r
.

s

h
a
v
e

t
o
p
i
c

s
e
n
t
e
n
c
e
s

b
u
t

m
a
y

b
e

o
v
e
r
l
y

g
e
n
e
r
a
l
,

a
n
d

a
r
r
a
n
g
e
m
e
n
t

o
f

s
e
n
t
e
n
c
e
s

w
i
t
h
i
n

s

m
a
y

l
a
c
k

c
o
h
e
r
e
n
c
e
.


M
a
y

h
a
v
e

r
a
n
d
o
m

o
r
g
a
n
i
z
a
t
i
o
n
,

l
a
c
k
i
n
g

i
n
t
e
r
n
a
l

c
o
h
e
r
e
n
c
e

a
n
d

u
s
i
n
g

f
e
w

o
r

i
n
a
p
p
r
o
p
r
i
a
t
e

t
r
a
n
s
i
t
i
o
n
s
.

s

m
a
y

l
a
c
k

t
o
p
i
c

s
e
n
t
e
n
c
e
s

o
r

m
a
i
n

i
d
e
a
s
,

o
r

m
a
y

b
e

t
o
o

g
e
n
e
r
a
l

o
r

t
o
o

s
p
e
c
i
f
i
c

t
o

b
e

e
f
f
e
c
t
i
v
e
.

s

m
a
y

n
o
t

a
l
l

r
e
l
a
t
e

t
o

p
a
p
e
r
'
s

t
h
e
s
i
s
.

N
o

a
p
p
r
e
c
i
a
b
l
e

o
r
g
a
n
i
z
a
t
i
o
n
;

l
a
c
k
s

t
r
a
n
s
i
t
i
o
n
s

a
n
d

c
o
h
e
r
e
n
c
e
.

S
u
p
p
o
r
t

(
3
0
%
)

U
s
e
s

e
v
i
d
e
n
c
e

a
p
p
r
o
p
r
i
a
t
e
l
y

a
n
d

e
f
f
e
c
t
i
v
e
l
y
,

p
r
o
v
i
d
i
n
g

s
u
f
f
i
c
i
e
n
t

e
v
i
d
e
n
c
e

a
n
d

e
x
p
l
a
n
a
t
i
o
n

t
o

c
o
n
v
i
n
c
e
.

B
e
g
i
n
s

t
o

o
f
f
e
r

r
e
a
s
o
n
s

t
o

s
u
p
p
o
r
t

i
t
s

p
o
i
n
t
s
,

p
e
r
h
a
p
s

u
s
i
n
g

v
a
r
i
e
d

k
i
n
d
s

o
f

e
v
i
d
e
n
c
e
.

B
e
g
i
n
s

t
o

i
n
t
e
r
p
r
e
t

t
h
e

e
v
i
d
e
n
c
e

a
n
d

e
x
p
l
a
i
n

c
o
n
n
e
c
t
i
o
n
s

b
e
t
w
e
e
n

e
v
i
d
e
n
c
e

a
n
d

m
a
i
n

i
d
e
a
s
.

I
t
s

e
x
a
m
p
l
e
s

b
e
a
r

s
o
m
e

r
e
l
e
v
a
n
c
e
.

O
f
t
e
n

u
s
e
s

g
e
n
e
r
a
l
i
z
a
t
i
o
n
s

t
o

s
u
p
p
o
r
t

i
t
s

p
o
i
n
t
s
.

M
a
y

u
s
e

e
x
a
m
p
l
e
s
,

b
u
t

t
h
e
y

m
a
y

b
e

o
b
v
i
o
u
s

o
r

n
o
t

r
e
l
e
v
a
n
t
.

O
f
t
e
n

d
e
p
e
n
d
s

o
n

u
n
s
u
p
p
o
r
t
e
d

o
p
i
n
i
o
n

o
r

p
e
r
s
o
n
a
l

e
x
p
e
r
i
e
n
c
e
,

o
r

a
s
s
u
m
e
s

t
h
a
t

e
v
i
d
e
n
c
e

s
p
e
a
k
s

f
o
r

i
t
s
e
l
f

a
n
d

n
e
e
d
s

n
o

a
p
p
l
i
c
a
t
i
o
n

t
o

p
o
i
n
t

b
e
i
n
g

d
i
s
c
u
s
s
e
d
.

O
f
t
e
n

h
a
s

l
a
p
s
e
s

i
n

l
o
g
i
c
.


D
e
p
e
n
d
s

o
n

c
l
i
c
h
e
s

o
r

o
v
e
r
g
e
n
e
r
a
l
i
z
a
t
i
o
n
s

f
o
r

s
u
p
p
o
r
t
,

o
r

o
f
f
e
r
s

l
i
t
t
l
e

e
v
i
d
e
n
c
e

o
f

a
n
y

k
i
n
d
.

M
a
y

b
e

p
e
r
s
o
n
a
l

n
a
r
r
a
t
i
v
e

r
a
t
h
e
r

t
h
a
n

e
s
s
a
y
,

o
r

s
u
m
m
a
r
y

r
a
t
h
e
r

t
h
a
n

a
n
a
l
y
s
i
s
.

U
s
e
s

i
r
r
e
l
e
v
a
n
t

d
e
t
a
i
l
s

o
r

l
a
c
k
s

s
u
p
p
o
r
t
i
n
g

e
v
i
d
e
n
c
e

e
n
t
i
r
e
l
y
.

M
a
y

b
e

u
n
d
u
l
y

b
r
i
e
f
.

S
t
y
l
e

(
1
0
%
)

C
h
o
o
s
e
s

w
o
r
d
s

f
o
r

t
h
e
i
r

p
r
e
c
i
s
e

m
e
a
n
i
n
g
s

a
n
d

u
s
e
s

a
n

a
p
p
r
o
p
r
i
a
t
e

l
e
v
e
l

o
f

s
p
e
c
i
f
i
c
i
t
y
.

S
e
n
t
e
n
c
e

s
t
y
l
e

f
i
t
s

p
a
p
e
r
'
s

a
u
d
i
e
n
c
e

a
n
d

p
u
r
p
o
s
e
.

S
e
n
t
e
n
c
e
s

a
r
e

v
a
r
i
e
d
,

y
e
t

c
l
e
a
r
l
y

s
t
r
u
c
t
u
r
e
d

a
n
d

c
a
r
e
f
u
l
l
y

f
o
c
u
s
e
d
,

n
o
t

l
o
n
g

a
n
d

r
a
m
b
l
i
n
g
.


G
e
n
e
r
a
l
l
y

u
s
e
s

w
o
r
d
s

a
c
c
u
r
a
t
e
l
y

a
n
d

e
f
f
e
c
t
i
v
e
l
y
,

b
u
t

m
a
y

s
o
m
e
t
i
m
e
s

b
e

t
o
o

g
e
n
e
r
a
l
.

S
e
n
t
e
n
c
e
s

g
e
n
e
r
a
l
l
y

c
l
e
a
r
,

w
e
l
l

s
t
r
u
c
t
u
r
e
d
,

f
o
c
u
s
e
d

t
h
o
u
g
h

s
o
m
e

m
a
y

b
e

a
w
k
w
a
r
d

o
r

i
n
e
f
f
e
c
t
i
v
e
.

U
s
e
s

r
e
l
a
t
i
v
e
l
y

v
a
g
u
e

a
n
d

g
e
n
e
r
a
l

w
o
r
d
s
,

m
a
y

u
s
e

s
o
m
e

i
n
a
p
p
r
o
p
r
i
a
t
e

l
a
n
g
u
a
g
e
.

S
e
n
t
e
n
c
e

s
t
r
u
c
t
u
r
e

g
e
n
e
r
a
l
l
y

c
o
r
r
e
c
t
,

b
u
t

s
e
n
t
e
n
c
e
s

m
a
y

b
e

w
o
r
d
y
,

u
n
f
o
c
u
s
e
d
,

r
e
p
e
t
i
t
i
v
e
,

o
r

c
o
n
f
u
s
i
n
g
.

M
a
y

b
e

v
a
g
u
e

a
n
d

a
b
s
t
r
a
c
t
,

o
r

v
e
r
y

p
e
r
s
o
n
a
l

a
n
d

s
p
e
c
i
f
i
c
.

U
s
u
a
l
l
y

c
o
n
t
a
i
n
s

s
e
v
e
r
a
l

a
w
k
w
a
r
d

o
r

u
n
g
r
a
m
m
a
t
i
c
a
l

s
e
n
t
e
n
c
e
s
;

s
e
n
t
e
n
c
e

s
t
r
u
c
t
u
r
e

i
s

s
i
m
p
l
e

o
r

m
o
n
o
t
o
n
o
u
s
.

U
s
u
a
l
l
y

c
o
n
t
a
i
n
s

m
a
n
y

a
w
k
w
a
r
d

s
e
n
t
e
n
c
e
s
,

m
i
s
u
s
e
s

w
o
r
d
s
,

e
m
p
l
o
y
s

i
n
a
p
p
r
o
p
r
i
a
t
e

l
a
n
g
u
a
g
e
.

M
e
c
h
a
n
i
c
s

(
5
%
)

A
l
m
o
s
t

e
n
t
i
r
e
l
y

f
r
e
e

o
f

s
p
e
l
l
i
n
g
,

p
u
n
c
t
u
a
t
i
o
n
,

a
n
d

g
r
a
m
m
a
t
i
c
a
l

e
r
r
o
r
s
.

M
a
y

c
o
n
t
a
i
n

a

f
e
w

e
r
r
o
r
s
,

w
h
i
c
h

m
a
y

a
n
n
o
y

t
h
e

r
e
a
d
e
r

b
u
t

n
o
t

i
m
p
e
d
e

u
n
d
e
r
s
t
a
n
d
i
n
g
.

C
o
n
t
a
i
n
s

s
e
v
e
r
a
l

m
e
c
h
a
n
i
c
a
l

e
r
r
o
r
s
,

w
h
i
c
h

m
a
y

t
e
m
p
o
r
a
r
i
l
y

c
o
n
f
u
s
e

t
h
e

r
e
a
d
e
r

b
u
t

n
o
t

i
m
p
e
d
e

o
v
e
r
a
l
l

u
n
d
e
r
s
t
a
n
d
i
n
g
.

C
o
n
t
a
i
n
s

e
i
t
h
e
r

m
a
n
y

m
e
c
h
a
n
i
c
a
l

e
r
r
o
r
s

o
r

a

f
e
w

i
m
p
o
r
t
a
n
t

e
r
r
o
r
s

t
h
a
t

b
l
o
c
k

t
h
e

r
e
a
d
e
r
'
s

u
n
d
e
r
s
t
a
n
d
i
n
g

a
n
d

a
b
i
l
i
t
y

t
o

s
e
e

c
o
n
n
e
c
t
i
o
n
s

b
e
t
w
e
e
n

t
h
o
u
g
h
t
s
.

C
o
n
t
a
i
n
s

s
o

m
a
n
y

m
e
c
h
a
n
i
c
a
l

e
r
r
o
r
s

t
h
a
t

i
t

i
s

i
m
p
o
s
s
i
b
l
e

f
o
r

t
h
e

r
e
a
d
e
r

t
o

f
o
l
l
o
w

t
h
e

t
h
i
n
k
i
n
g

f
r
o
m

s
e
n
t
e
n
c
e

t
o

s
e
n
t
e
n
c
e
.


Comparative Literature 4: On the Possibility of Perversion in Western Literature
Winter Quarter 2011

Time: M, W.: 2:10-4:00
Instructor: Natalie Strobach
Office: 86B Hutchinson
Email: nstrobach@ucdavis.edu
Office Hours: 4pm-5pm (M/W) and 2pm-4pm Friday, or email for appointment.

Course Objectives: Through the process of attending class and engaging in discussions of the
required texts, you will: 1) Engage in methods of academic inquiry, interpretation, and
analysis; 2) Read actively and think critically and comparatively; 3) Develop and nourish new
ideas through both discussion and written work; 4) Explore the significance of work from the
mid-20
th
century to today.
This course offers a supportive environment in which you are welcome to question,
debate, and explore various topics. This course provides four credits in Comparative
Literature and does satisfy the university writing requirement. This course offers a broad
variety of important literary works from Western literature after Our primary objective will
be to apply a variety of readingsbe it historical, psychological, or sociological to better
understand the depth of these texts and to ultimately explore the history of perversion. What
does it mean to be perverted? How do we measure perversion? What do we lose with
perversion? What do we gain? What are different techniques for depicting perversion? And
what is the relationship between perversion and writing?

Expectations: You are expected to attend class on time and on a regular basis. More than
three unexcused absences will result in a failing grade. You will be graded on participation
(which includes attendance), quizzes and tests, and reading responses. Late work will be
docked five points for each day late. Quizzes and tests will not be able to be made up unless
there was a documented reason for the absence (such as a doctors note or university-required
event). In the event you do miss a quiz or exam please meet with me during office hours or
another scheduled time to discuss the possibilities. When possible, it is best to notify me in
advance of any absences.

Office Hours: You are required to meet with me outside of class twice this quarter, during
office hours or by special appointment, so that we can become better acquainted and so that
you can receive one-on-one interactive feedback on your work. These meetings must be at
least 15 minutes long, but can go longer if you desire.

Portfolio: For this class you will retain all your in-class writing, essay drafts, and revisions in
order to create a portfolio. Your final grade on your portfolio will be based on a two-page,
single-spaced analysis of your own evaluation your performance and developments in critical
and analytical thinking, alongside of an explication of your progression in understanding the
themes of this course. This review is due on the day of the final along with the full portfolio.

Peer Review Workshop: Because your second and third essays will also have graded
revisions due, we will hold peer review workshops to allow you to work with a partner in
class to revise these essays. You will be graded on your enthusiastic participation in the
review process and completion of the peer review worksheet.

Participation (includes quizzes, in-class assignments): 15%
Essay 1: 15% (1000 words)
Essay 2: 20% (1000 words)
Essay 3: 20% (2000 words)
Revision: 15% (of 2000 words from Essay 3)
Portfolio Review: 10%
Peer Review Workshop: 5%

Required Texts (available at the UC Davis bookstore)
Maus by Art Spiegelman ISBN: 9780679748403
Krspps Last Tape by Samuel Beckett ISBN-978002151346
Nadja by Andre Breton: ISBN: 9780802150264
The Key/Diary of a Madman by Junichiro Tanazaki: ISBN: 1400079004

Digital and Video Materials
Caroline Bergvall http://epc.buffalo.edu/authors/bergvall/amfish/amfish.html
The Perverts Guide to Cinema (2006) by Slavoj !i"ek 150 minutes
The Clockwork Orange (1971) directed by Stanley Kubrick

Graded Participation will include the following:
Contributing (constructively) in class. Part of our discussion will include brief
readings aloud of selected excerpts. We will also work together during close readings
and discussion, for which you should always be prepared to answer questions.
Prompt attendance and limited absences. You must arrive on time and prepared to
discuss all texts and materials listed for that day. Please remember to always bring all
texts listed to class.

Contributing Constructively:
Please remember to be kind to other students and constructive during discussion!
The classroom is a safe haven for all ideas. Respect your peers as equals. We are all
unique individuals entitled to our own opinions and beliefs. Though we may argue (in
a structured, objective manner) any comments, jokes, or remarks that denigrate the
worth of the individual's physical or mental ability, body size, religion, race, creed,
ethnic background, sexual preference, or gender are inappropriate and will not be
tolerated. You may be asked to leave class.
Cell phones and other such devices disrupt class. Turn them off before class. Failure to
do so may affect your participation grade. If at any time your use of such devices
becomes persistent or distracting to other students, you may be asked to leave.
You are encouraged to contact me during my office hours to discuss assignments, the
direction and conduct of the class, or for general discussion. If you cannot come
during my office hours, contact me, and we'll arrange another mutually convenient
time. I check email regularly, so don't hesitate to shoot me a note or question. You are
also responsible for communication through our course SmartSite.

I reserve the right to make changes to this syllabus and schedule.
Com 4 Winter 2011 Schedule Strobach

Monday, January 3, 2011
Intro; Review syllabus & do introductions. Ask: What is perversion? Definitions of
perversion.

Wednesday, January 5, 2011
Freud Three Contributions to the Sexual Theory Part I: The Sexual Aberrations (Reader)

Monday, January 10, 2011
Freud Three Contributions to the Sexual Theory Part 2: The Infantile Sexuality and
Part 3: The Transformation of Puberty. (Reader)

Wednesday, January 12, 2011
Lecture on essay construction and common grammar errors (Essay Basics Packet)
Review what a COM 4 essay looks like.

Monday, January 17, 2011
Martin Luther King Jr. Day No Class, but you should be reading The Key

Wednesday, January 19, 2011
The Key by Tanizaki [You must have read the entire text by this day]
Essay 1 Prompt will be handed out.

Monday, January 24, 2011
Clockwork Orange by Kubrick (Movie screening)
Due: First 1000-word essay. Sample topics will be handed out the week before.
This essay must be in Times New Roman, Arial, or Cochin font size 12. It must
also adhere to MLA formattingwhich we will discuss in class.

Wednesday, January 26, 2011
Maus by Spiegelman, Volume 1: My Father Bleeds History

Monday, January 31, 2011
Maus, Volume 2: And Here My Troubles Began
Essay 2 Prompt will be handed out.

Wednesday, February 2, 2011
The Story of The Eye by Bataille (Reader)

Monday, February 7, 2011
The Perverts Guide to Cinema Part 1 and Part 2 by !i"ek (Movie screening)
Due: Second 1000-word essay. Sample topics will be handed out the week before.
This essay must be in Times New Roman, Arial, or Cochin font size 12. It must
also adhere to MLA formattingwhich we will discuss in class.


Wednesday, February 9, 2011
Right of Inspection by Plissart (Reader)

Monday, February 14, 2011
Goan Atom by Bergvall 1-77 (Entire text)
Peer Review/Workshop

Wednesday, February 16, 2011
Essay 3 Prompt will be handed out.
Nadja by Breton (Entire text)
Due: Revised second essay.

Monday, February 21, 2011
Presidents Day No Class

Wednesday, February 23, 2011
Donkey Gospel by Tony Hoagland (Reader)

Monday, February 28, 2011
Foot Work and excerpt from Choke by Chuck Palahniuk (Reader)

Wednesday, March 2, 2011
The Perverts Guide to Cinema Part 3 and class discussion.

Monday, March 7, 2011
Krapps Last Tape with partial screening.
Due: A 2000-word essay. Sample topics will be handed out the week before. This
essay must be in Times New Roman, Arial, or Cochin font size 12. It must also
adhere to MLA formattingwhich we will discuss in class. This essay will be
revised for finals week.

Wednesday, March 9, 2011
Revision lecture and Peer Review/Workshop.

Monday, March 14, 2011
One-on-one meetings to discuss your revision. Please meet at your assigned time in
Hutchinson 86B.

Friday, March 18, 2011 8am
Final Day of Class- Finals Week
Due: Portfolio Review and 2000-word essay (REVISION). This essay must be in
Times New Roman, Arial, or Cochin font size 12. It must also adhere to MLA
formattingwhich we will discuss in class. You must show up for the final. You
must turn in the original version of the third essay with my graded comments and
the revision. Please have your portfolio prepared for review.

University of California, Davis Office of Student Judicial Affairs
How to Cite Sources
One citation method is to identify the source in the text, putting the authors last name and publication year in
parenthesis and giving the page number where the cited information appears. (Hacker, 2003, p. 391). The authors
name links the reader to a list at the end of the paper giving full publishing information. Example:
Sources Cited:
Hacker, D., A Writers Reference, 5
th
Ed. (Bedford/St. Martins Press 2003) pp. 391-2.
Two other methods are footnotes and endnotes, which use raised numbers at the end of an idea or quoted words to link
the reader to the source which is given either at the bottom of the page (footnote) or at the end of the paper (endnote).
For all three methods, you must include the source in a reference list at the end of the paper, fully identifying each
source by authors name, title, publishers name, year of publication, and page numbers. Citations to electronic
resources such as websites should include the exact URL, the date last revised, and any available information about the
writer, publisher and/or creator of the site.
Resources on citation include:
MLA Handbook for Writers of Research Papers, 6
th
ed., J. Gibaldi (Modern Language Assn. 2003)
Publication Manual of the American Psychological Association, 5
th
Ed., American Psychological Association (2001)
UC Berkeley Teaching Library Internet Workshops Style Sheets for Citing Resources (Print & Electronic)
at http://www.lib.berkeley.edu/TeachingLib/Guides/Internet/Style.html
In writing, we draw upon others words and ideas and the intellectual heritage underlying
human progress. Scholarship entails researching, understanding, and building upon the
work of others, but also requires that proper credit be given for any borrowed material.
Under our Code of Academic Conduct, UC Davis students are responsible for ethical
scholarship, and for knowing what plagiarism is and how to avoid it.
Why be concerned about plagiarism?
* If you plagiarize, you are cheating yourself. You dont
learn to write out your thoughts in your own words, and
you wont receive specific feedback from your instructor
geared to your individual needs and skills.
* Plagiarism is dishonest and/or misleading, because it
misrepresents the work of another as your own.
* Plagiarism violates the Code of Academic Conduct
and can lead to Suspension or Dismissal.
* Plagiarism devalues others original work. Using and
submitting a professionals work as your own is taking
an unfair advantage over students who do their own
work.
* It is wrong to take or use property (an authors work)
without giving the owner the credit due. Further,
copyright violations can result in damages, fines, or
worse.
* The reputation of UC Davis affects the value of your
degree; student dishonesty hurts UCDs standing and
can diminish the worth of your diploma.
Avoiding PLAGIARISM
Mastering the Art of Scholarship
What is plagiarism?
Plagiarism means using anothers work without
giving credit. If you use others words, you must
put them in quotation marks and cite your source.
You must also give citations when using others
ideas, even if you have paraphrased those ideas in
your own words.
Work includes the words and ideas of others, as well
as art, graphics, computer programs, music, and other
creative expression. The work may consist of writing,
charts, data, graphs, pictures, diagrams, websites,
movies, TV broadcasts, or other communication
media.
The term source includes published works -- books,
magazines, newspapers, textbooks, websites, movies,
photos, paintings, plays -- and unpublished sources
(e.g., materials from a research service, blogs, class
handouts, lectures, notes, speeches, or other students
papers). Using words, ideas, computer code, or any
work without giving proper credit is plagiarism. Any
time you use information from a source, of any kind,
you must cite it.
UC Davis, Div. of Student Affairs, Office of Student Judicial Affairs, September 2006
Examples
Citing a source for factual information:
In describing the personal circumstances and political beliefs of author
George Orwell at the time he wrote his greatest novel, 1984, I have relied
upon the factual account given in Gordon Bowkers biography Inside
George Orwell.

Here the source is identified in the text, and page citations for any
quotes or ideas can be given at the end of the material used.
Additional citations to the source, with page numbers, are required
to reference facts or quotations used later in the paper.
Paraphrase vs. Plagiarism
Original Source: [A totalitarian] society can never permit either
the truthful recording of facts, or the emotional sincerity, that
literary creation demands. Totalitarianism demands the
continuous alteration of the past, and in the long run a disbelief
in the very existence of objective truth.
3
Student Version A -- Plagiarism
A totalitarian society can never permit the truthful recording of facts;
it demands the continuous alteration of the past, and a disbelief in the
very existence of objective truth.
This is plagiarism; the student has combined copied pieces of the
authors language, without quotation marks or citations.
Student Version B -- Improper paraphrase, also plagiarism
A totalitarian society cant be open-minded or allow the truthful
recording of facts, but instead demands the constant changing of the
past and a distrust of the very existence of objective truth. (Orwell)
This is plagiarism because the student has woven together sentences
and switched a few words (open-minded for tolerant, allow
for permit) has left out some words, and has given an incomplete
and inaccurate citation.
Student Version C -- Appropriate paraphrase, not plagiarism
Orwell believed that totalitarian societies must suppress literature
and free expression because they cannot survive the truth, and thus
they claim it does not exist. (Bowker) pp. 336-337
This student has paraphrased using her own words, accurately
reflecting and citing the authors ideas.
Student Version D -- Quotation with cite, not plagiarism
In his biography of George Orwell, Gordon Bowker discusses the
themes of 1984, quoting a 1946 essay by Orwell: Totalitarianism
demands the continuous alteration of the past, and in the long run
a disbelief in the very existence of objective truth. (Bowker p.
337, quoting Orwell, 1946)
By introducing his source, the student signals that the following
material is from that source. Verbatim words are in quotation
marks, omitted words are marked by ellipses (), and both the
book used and the original source of the quote are cited.
3
Bowker p. 337, quoting Orwell, G., The Prevention of Literature, Polemic, No.
2, January 1946
Getting Help: Read the syllabus and assignment; ask your instructor how to cite sources; and carefully check class rules on citation
format. Use resources such as Brenda Spatts Writing from Sources (Bedford, Freeman & Worth 2003) and Diana Hackers A Writers Reference,
cited above. In addition, contact the UC Davis Learning Skills Center at 530-752-2013 http://www.lsc.ucdavis.edu/ For questions contact
Student Judicial Affairs, (530) 752-1128 or visit http://sja.ucdavis.edu
How can you avoid plagiarism?
Know what plagiarism is: ignorance will not excuse a
violation. Intentional plagiarism, such as deliberate
copying or use of anothers work without credit,
submitting a paper from the Internet as ones own, or
altering or falsifying citations to hide sources is very
serious, likely to result in Suspension. Unintentional
plagiarism may result from not knowing how to cite
sources properly, sloppy research and note-taking, or
careless cutting and pasting from electronic resources
it is still a violation of the Code of Academic Conduct
and subject to discipline.
Guidelines for Avoiding Plagiarism
1
* Use your own words and ideas. Practice is essential to
learning. Each time you choose your words, order
your thoughts, and convey your ideas, you can
improve your writing.
* Give credit for copied, adapted, or paraphrased
material. If you copy and use anothers exact
words, you must use quotation marks and cite the
source. If you adapt a chart or paraphrase a
sentence, you must still cite your source.
Paraphrasing is restating the authors ideas,
information, and meaning in your own words (see
examples).
* Avoid using others work with minor cosmetic
c hanges. Examples: using less for fewer,
reversing the order of a sentence, changing terms in
a computer code, or altering a spreadsheet layout. If
the work is essentially the same as your source, give
credit.
* There are no freebies. Al ways cite words,
information and ideas that you use if they are new to
you (learned in your research). No matter where
you find it even in on the Internet or in an
encyclopedia you cite it!
* Beware of common knowledge. You may not have
to cite common knowledge, but the fact must
really be commonly known. That George Orwell
was the author of the anti-totalitarian allegory
Animal Farm is common knowledge; that Orwell
died at age 46 in 1951 is not.
2
* When in doubt, cite. Better to be safe than not give
credit when you should!
1
See Henderickson, R.J., The Research Paper (Henry Holt and
Company, 1957, xiv-xv; McGill University Student Guide to
Avoid Plagiarism, last updated 8/22/06
http://www.mcgill.ca/integrity/studentguide/
2
Bowker, G., Inside George Orwell (Palgrave MacMillan 2003)
p. 420
C
o
m
p
a
r
a
t
i
v
e

L
i
t
e
r
a
t
u
r
e

E
s
s
a
y

G
r
a
d
i
n
g

R
u
b
r
i
c

b
y

N
a
t
a
l
i
e

S
t
r
o
b
a
c
h



T
h
e

A

p
a
p
e
r

T
h
e

B

p
a
p
e
r

T
h
e

C

p
a
p
e
r

T
h
e

D

p
a
p
e
r

T
h
e

F

p
a
p
e
r

I
d
e
a
s

(
3
5
%
)

E
x
c
e
l
s

i
n

r
e
s
p
o
n
d
i
n
g

t
o

a
s
s
i
g
n
m
e
n
t
.

I
n
t
e
r
e
s
t
i
n
g
,

d
e
m
o
n
s
t
r
a
t
e
s

s
o
p
h
i
s
t
i
c
a
t
i
o
n

o
f

t
h
o
u
g
h
t
.


C
e
n
t
r
a
l

i
d
e
a
/
t
h
e
s
i
s

i
s

c
l
e
a
r
l
y

c
o
m
m
u
n
i
c
a
t
e
d
,

w
o
r
t
h

d
e
v
e
l
o
p
i
n
g
;

l
i
m
i
t
e
d

e
n
o
u
g
h

t
o

b
e

m
a
n
a
g
e
a
b
l
e
.

P
a
p
e
r

r
e
c
o
g
n
i
z
e
s

s
o
m
e

c
o
m
p
l
e
x
i
t
y

o
f

i
t
s

t
h
e
s
i
s
:

m
a
y

a
c
k
n
o
w
l
e
d
g
e

i
t
s

c
o
n
t
r
a
d
i
c
t
i
o
n
s
,

q
u
a
l
i
f
i
c
a
t
i
o
n
s
,

o
r

l
i
m
i
t
s

a
n
d

f
o
l
l
o
w

o
u
t

t
h
e
i
r

l
o
g
i
c
a
l

i
m
p
l
i
c
a
t
i
o
n
s
.

U
n
d
e
r
s
t
a
n
d
s

a
n
d

c
r
i
t
i
c
a
l
l
y

e
v
a
l
u
a
t
e
s

i
t
s

s
o
u
r
c
e
s
,

a
p
p
r
o
p
r
i
a
t
e
l
y

l
i
m
i
t
s

a
n
d

d
e
f
i
n
e
s

t
e
r
m
s
.


A

s
o
l
i
d

p
a
p
e
r
,

r
e
s
p
o
n
d
i
n
g

a
p
p
r
o
p
r
i
a
t
e
l
y

t
o

a
s
s
i
g
n
m
e
n
t
.

H
a
s

c
l
e
a
r
l
y

s
t
a
t
e
d

t
h
e
s
i
s

o
r

i
d
e
a
,

b
u
t

m
a
y

h
a
v
e

m
i
n
o
r

l
a
p
s
e
s

i
n

d
e
v
e
l
o
p
m
e
n
t
.

B
e
g
i
n
s

t
o

a
c
k
n
o
w
l
e
d
g
e

t
h
e

c
o
m
p
l
e
x
i
t
y

o
f

c
e
n
t
r
a
l

i
d
e
a

a
n
d

t
h
e

p
o
s
s
i
b
i
l
i
t
y

o
f

o
t
h
e
r

p
o
i
n
t
s

o
f

v
i
e
w
.

S
h
o
w
s

c
a
r
e
f
u
l

r
e
a
d
i
n
g

o
f

s
o
u
r
c
e
s
,

b
u
t

m
a
y

n
o
t

e
v
a
l
u
a
t
e

t
h
e
m

c
r
i
t
i
c
a
l
l
y
.

A
t
t
e
m
p
t
s

t
o

d
e
f
i
n
e

t
e
r
m
s
,

n
o
t

a
l
w
a
y
s

s
u
c
c
e
s
s
f
u
l
l
y
.

A
d
e
q
u
a
t
e

b
u
t

w
e
a
k
e
r

a
n
d

l
e
s
s

e
f
f
e
c
t
i
v
e
,

p
o
s
s
i
b
l
y

r
e
s
p
o
n
d
i
n
g

l
e
s
s

w
e
l
l

t
o

a
s
s
i
g
n
m
e
n
t
.

P
r
e
s
e
n
t
s

c
e
n
t
r
a
l

i
d
e
a

i
n

g
e
n
e
r
a
l

t
e
r
m
s
,

o
f
t
e
n

d
e
p
e
n
d
i
n
g

o
n

p
l
a
t
i
t
u
d
e
s

o
r

c
l
i
c
h
e
s
.

U
s
u
a
l
l
y

d
o
e
s

n
o
t

a
c
k
n
o
w
l
e
d
g
e

o
t
h
e
r

v
i
e
w
s
.

S
h
o
w
s

b
a
s
i
c

c
o
m
p
r
e
h
e
n
s
i
o
n

o
f

s
o
u
r
c
e
s
,

p
e
r
h
a
p
s

w
i
t
h

s
o
m
e

l
a
p
s
e
s

i
n

u
n
d
e
r
s
t
a
n
d
i
n
g
.

I
f

i
t

d
e
f
i
n
e
s

t
e
r
m
s
,

o
f
t
e
n

d
e
p
e
n
d
s

o
n

d
i
c
t
i
o
n
a
r
y

d
e
f
i
n
i
t
i
o
n
s
.

D
o
e
s

n
o
t

h
a
v
e

a

c
l
e
a
r

c
e
n
t
r
a
l

i
d
e
a

o
r

d
o
e
s

n
o
t

r
e
s
p
o
n
d

a
p
p
r
o
p
r
i
a
t
e
l
y

t
o

t
h
e

a
s
s
i
g
n
m
e
n
t
.

T
h
e
s
i
s

m
a
y

b
e

t
o
o

v
a
g
u
e

o
r

o
b
v
i
o
u
s

t
o

b
e

d
e
v
e
l
o
p
e
d

e
f
f
e
c
t
i
v
e
l
y
.

P
a
p
e
r

m
a
y

m
i
s
u
n
d
e
r
s
t
a
n
d

s
o
u
r
c
e
s
.

D
o
e
s

n
o
t

r
e
s
p
o
n
d

t
o

a
s
s
i
g
n
m
e
n
t
,

l
a
c
k
s

a

t
h
e
s
i
s

o
r

c
e
n
t
r
a
l

i
d
e
a
,

a
n
d

m
a
y

n
e
g
l
e
c
t

t
o

u
s
e

s
o
u
r
c
e
s

w
h
e
r
e

n
e
c
e
s
s
a
r
y
.

O
r
g
a
n
i
z
a
t
i
o
n

&

C
o
h
e
r
e
n
c
e

(
2
0
%
)

U
s
e
s

a

l
o
g
i
c
a
l

s
t
r
u
c
t
u
r
e

a
p
p
r
o
p
r
i
a
t
e

t
o

p
a
p
e
r
'
s

s
u
b
j
e
c
t
,

p
u
r
p
o
s
e
,

a
u
d
i
e
n
c
e
,

t
h
e
s
i
s
,

a
n
d

d
i
s
c
i
p
l
i
n
a
r
y

f
i
e
l
d
.

S
o
p
h
i
s
-
t
i
c
a
t
e
d

t
r
a
n
s
i
t
i
o
n
a
l

s
e
n
t
e
n
c
e
s

o
f
t
e
n

d
e
v
e
l
o
p

o
n
e

i
d
e
a

f
r
o
m

t
h
e

p
r
e
v
i
o
u
s

o
n
e

o
r

i
d
e
n
t
i
f
y

t
h
e
i
r

l
o
g
i
c
a
l

r
e
l
a
t
i
o
n
s
.

I
t

g
u
i
d
e
s

t
h
e

r
e
a
d
e
r

t
h
r
o
u
g
h

t
h
e

c
h
a
i
n

o
f

r
e
a
s
o
n
i
n
g

o
r

p
r
o
g
r
e
s
s
i
o
n

o
f

i
d
e
a
s
.

S
h
o
w
s

a

l
o
g
i
c
a
l

p
r
o
g
r
e
s
s
i
o
n

o
f

i
d
e
a
s

a
n
d

u
s
e
s

f
a
i
r
l
y

s
o
p
h
i
s
t
i
c
a
t
e
d

t
r
a
n
s
i
t
i
o
n
a
l

d
e
v
i
c
e
s
;

e
.
g
.
,

m
a
y

m
o
v
e

f
r
o
m

l
e
a
s
t

t
o

m
o
s
t

i
m
p
o
r
t
a
n
t

i
d
e
a
.

S
o
m
e

l
o
g
i
c
a
l

l
i
n
k
s

m
a
y

b
e

f
a
u
l
t
y
,

b
u
t

e
a
c
h

c
l
e
a
r
l
y

r
e
l
a
t
e
s

t
o

p
a
p
e
r
'
s

c
e
n
t
r
a
l

i
d
e
a
.

M
a
y

l
i
s
t

i
d
e
a
s

o
r

a
r
r
a
n
g
e

t
h
e
m

r
a
n
d
o
m
l
y

r
a
t
h
e
r

t
h
a
n

u
s
i
n
g

a
n
y

e
v
i
d
e
n
t

l
o
g
i
c
a
l

s
t
r
u
c
t
u
r
e
.

M
a
y

u
s
e

t
r
a
n
s
i
t
i
o
n
s
,

b
u
t

t
h
e
y

a
r
e

l
i
k
e
l
y

t
o

b
e

s
e
q
u
e
n
t
i
a
l

(
f
i
r
s
t
,

s
e
c
o
n
d
,

t
h
i
r
d
)

r
a
t
h
e
r

t
h
a
n

l
o
g
i
c

b
a
s
e
d
.

W
h
i
l
e

e
a
c
h

m
a
y

r
e
l
a
t
e

t
o

c
e
n
t
r
a
l

i
d
e
a
,

l
o
g
i
c

i
s

n
o
t

a
l
w
a
y
s

c
l
e
a
r
.

s

h
a
v
e

t
o
p
i
c

s
e
n
t
e
n
c
e
s

b
u
t

m
a
y

b
e

o
v
e
r
l
y

g
e
n
e
r
a
l
,

a
n
d

a
r
r
a
n
g
e
m
e
n
t

o
f

s
e
n
t
e
n
c
e
s

w
i
t
h
i
n

s

m
a
y

l
a
c
k

c
o
h
e
r
e
n
c
e
.


M
a
y

h
a
v
e

r
a
n
d
o
m

o
r
g
a
n
i
z
a
t
i
o
n
,

l
a
c
k
i
n
g

i
n
t
e
r
n
a
l

c
o
h
e
r
e
n
c
e

a
n
d

u
s
i
n
g

f
e
w

o
r

i
n
a
p
p
r
o
p
r
i
a
t
e

t
r
a
n
s
i
t
i
o
n
s
.

s

m
a
y

l
a
c
k

t
o
p
i
c

s
e
n
t
e
n
c
e
s

o
r

m
a
i
n

i
d
e
a
s
,

o
r

m
a
y

b
e

t
o
o

g
e
n
e
r
a
l

o
r

t
o
o

s
p
e
c
i
f
i
c

t
o

b
e

e
f
f
e
c
t
i
v
e
.

s

m
a
y

n
o
t

a
l
l

r
e
l
a
t
e

t
o

p
a
p
e
r
'
s

t
h
e
s
i
s
.

N
o

a
p
p
r
e
c
i
a
b
l
e

o
r
g
a
n
i
z
a
t
i
o
n
;

l
a
c
k
s

t
r
a
n
s
i
t
i
o
n
s

a
n
d

c
o
h
e
r
e
n
c
e
.

S
u
p
p
o
r
t

(
3
0
%
)

U
s
e
s

e
v
i
d
e
n
c
e

a
p
p
r
o
p
r
i
a
t
e
l
y

a
n
d

e
f
f
e
c
t
i
v
e
l
y
,

p
r
o
v
i
d
i
n
g

s
u
f
f
i
c
i
e
n
t

e
v
i
d
e
n
c
e

a
n
d

e
x
p
l
a
n
a
t
i
o
n

t
o

c
o
n
v
i
n
c
e
.

B
e
g
i
n
s

t
o

o
f
f
e
r

r
e
a
s
o
n
s

t
o

s
u
p
p
o
r
t

i
t
s

p
o
i
n
t
s
,

p
e
r
h
a
p
s

u
s
i
n
g

v
a
r
i
e
d

k
i
n
d
s

o
f

e
v
i
d
e
n
c
e
.

B
e
g
i
n
s

t
o

i
n
t
e
r
p
r
e
t

t
h
e

e
v
i
d
e
n
c
e

a
n
d

e
x
p
l
a
i
n

c
o
n
n
e
c
t
i
o
n
s

b
e
t
w
e
e
n

e
v
i
d
e
n
c
e

a
n
d

m
a
i
n

i
d
e
a
s
.

I
t
s

e
x
a
m
p
l
e
s

b
e
a
r

s
o
m
e

r
e
l
e
v
a
n
c
e
.

O
f
t
e
n

u
s
e
s

g
e
n
e
r
a
l
i
z
a
t
i
o
n
s

t
o

s
u
p
p
o
r
t

i
t
s

p
o
i
n
t
s
.

M
a
y

u
s
e

e
x
a
m
p
l
e
s
,

b
u
t

t
h
e
y

m
a
y

b
e

o
b
v
i
o
u
s

o
r

n
o
t

r
e
l
e
v
a
n
t
.

O
f
t
e
n

d
e
p
e
n
d
s

o
n

u
n
s
u
p
p
o
r
t
e
d

o
p
i
n
i
o
n

o
r

p
e
r
s
o
n
a
l

e
x
p
e
r
i
e
n
c
e
,

o
r

a
s
s
u
m
e
s

t
h
a
t

e
v
i
d
e
n
c
e

s
p
e
a
k
s

f
o
r

i
t
s
e
l
f

a
n
d

n
e
e
d
s

n
o

a
p
p
l
i
c
a
t
i
o
n

t
o

p
o
i
n
t

b
e
i
n
g

d
i
s
c
u
s
s
e
d
.

O
f
t
e
n

h
a
s

l
a
p
s
e
s

i
n

l
o
g
i
c
.


D
e
p
e
n
d
s

o
n

c
l
i
c
h
e
s

o
r

o
v
e
r
g
e
n
e
r
a
l
i
z
a
t
i
o
n
s

f
o
r

s
u
p
p
o
r
t
,

o
r

o
f
f
e
r
s

l
i
t
t
l
e

e
v
i
d
e
n
c
e

o
f

a
n
y

k
i
n
d
.

M
a
y

b
e

p
e
r
s
o
n
a
l

n
a
r
r
a
t
i
v
e

r
a
t
h
e
r

t
h
a
n

e
s
s
a
y
,

o
r

s
u
m
m
a
r
y

r
a
t
h
e
r

t
h
a
n

a
n
a
l
y
s
i
s
.

U
s
e
s

i
r
r
e
l
e
v
a
n
t

d
e
t
a
i
l
s

o
r

l
a
c
k
s

s
u
p
p
o
r
t
i
n
g

e
v
i
d
e
n
c
e

e
n
t
i
r
e
l
y
.

M
a
y

b
e

u
n
d
u
l
y

b
r
i
e
f
.

S
t
y
l
e

(
1
0
%
)

C
h
o
o
s
e
s

w
o
r
d
s

f
o
r

t
h
e
i
r

p
r
e
c
i
s
e

m
e
a
n
i
n
g
s

a
n
d

u
s
e
s

a
n

a
p
p
r
o
p
r
i
a
t
e

l
e
v
e
l

o
f

s
p
e
c
i
f
i
c
i
t
y
.

S
e
n
t
e
n
c
e

s
t
y
l
e

f
i
t
s

p
a
p
e
r
'
s

a
u
d
i
e
n
c
e

a
n
d

p
u
r
p
o
s
e
.

S
e
n
t
e
n
c
e
s

a
r
e

v
a
r
i
e
d
,

y
e
t

c
l
e
a
r
l
y

s
t
r
u
c
t
u
r
e
d

a
n
d

c
a
r
e
f
u
l
l
y

f
o
c
u
s
e
d
,

n
o
t

l
o
n
g

a
n
d

r
a
m
b
l
i
n
g
.


G
e
n
e
r
a
l
l
y

u
s
e
s

w
o
r
d
s

a
c
c
u
r
a
t
e
l
y

a
n
d

e
f
f
e
c
t
i
v
e
l
y
,

b
u
t

m
a
y

s
o
m
e
t
i
m
e
s

b
e

t
o
o

g
e
n
e
r
a
l
.

S
e
n
t
e
n
c
e
s

g
e
n
e
r
a
l
l
y

c
l
e
a
r
,

w
e
l
l

s
t
r
u
c
t
u
r
e
d
,

f
o
c
u
s
e
d

t
h
o
u
g
h

s
o
m
e

m
a
y

b
e

a
w
k
w
a
r
d

o
r

i
n
e
f
f
e
c
t
i
v
e
.

U
s
e
s

r
e
l
a
t
i
v
e
l
y

v
a
g
u
e

a
n
d

g
e
n
e
r
a
l

w
o
r
d
s
,

m
a
y

u
s
e

s
o
m
e

i
n
a
p
p
r
o
p
r
i
a
t
e

l
a
n
g
u
a
g
e
.

S
e
n
t
e
n
c
e

s
t
r
u
c
t
u
r
e

g
e
n
e
r
a
l
l
y

c
o
r
r
e
c
t
,

b
u
t

s
e
n
t
e
n
c
e
s

m
a
y

b
e

w
o
r
d
y
,

u
n
f
o
c
u
s
e
d
,

r
e
p
e
t
i
t
i
v
e
,

o
r

c
o
n
f
u
s
i
n
g
.

M
a
y

b
e

v
a
g
u
e

a
n
d

a
b
s
t
r
a
c
t
,

o
r

v
e
r
y

p
e
r
s
o
n
a
l

a
n
d

s
p
e
c
i
f
i
c
.

U
s
u
a
l
l
y

c
o
n
t
a
i
n
s

s
e
v
e
r
a
l

a
w
k
w
a
r
d

o
r

u
n
g
r
a
m
m
a
t
i
c
a
l

s
e
n
t
e
n
c
e
s
;

s
e
n
t
e
n
c
e

s
t
r
u
c
t
u
r
e

i
s

s
i
m
p
l
e

o
r

m
o
n
o
t
o
n
o
u
s
.

U
s
u
a
l
l
y

c
o
n
t
a
i
n
s

m
a
n
y

a
w
k
w
a
r
d

s
e
n
t
e
n
c
e
s
,

m
i
s
u
s
e
s

w
o
r
d
s
,

e
m
p
l
o
y
s

i
n
a
p
p
r
o
p
r
i
a
t
e

l
a
n
g
u
a
g
e
.

M
e
c
h
a
n
i
c
s

(
5
%
)

A
l
m
o
s
t

e
n
t
i
r
e
l
y

f
r
e
e

o
f

s
p
e
l
l
i
n
g
,

p
u
n
c
t
u
a
t
i
o
n
,

a
n
d

g
r
a
m
m
a
t
i
c
a
l

e
r
r
o
r
s
.

M
a
y

c
o
n
t
a
i
n

a

f
e
w

e
r
r
o
r
s
,

w
h
i
c
h

m
a
y

a
n
n
o
y

t
h
e

r
e
a
d
e
r

b
u
t

n
o
t

i
m
p
e
d
e

u
n
d
e
r
s
t
a
n
d
i
n
g
.

C
o
n
t
a
i
n
s

s
e
v
e
r
a
l

m
e
c
h
a
n
i
c
a
l

e
r
r
o
r
s
,

w
h
i
c
h

m
a
y

t
e
m
p
o
r
a
r
i
l
y

c
o
n
f
u
s
e

t
h
e

r
e
a
d
e
r

b
u
t

n
o
t

i
m
p
e
d
e

o
v
e
r
a
l
l

u
n
d
e
r
s
t
a
n
d
i
n
g
.

C
o
n
t
a
i
n
s

e
i
t
h
e
r

m
a
n
y

m
e
c
h
a
n
i
c
a
l

e
r
r
o
r
s

o
r

a

f
e
w

i
m
p
o
r
t
a
n
t

e
r
r
o
r
s

t
h
a
t

b
l
o
c
k

t
h
e

r
e
a
d
e
r
'
s

u
n
d
e
r
s
t
a
n
d
i
n
g

a
n
d

a
b
i
l
i
t
y

t
o

s
e
e

c
o
n
n
e
c
t
i
o
n
s

b
e
t
w
e
e
n

t
h
o
u
g
h
t
s
.

C
o
n
t
a
i
n
s

s
o

m
a
n
y

m
e
c
h
a
n
i
c
a
l

e
r
r
o
r
s

t
h
a
t

i
t

i
s

i
m
p
o
s
s
i
b
l
e

f
o
r

t
h
e

r
e
a
d
e
r

t
o

f
o
l
l
o
w

t
h
e

t
h
i
n
k
i
n
g

f
r
o
m

s
e
n
t
e
n
c
e

t
o

s
e
n
t
e
n
c
e
.