queerly figured in history

Some figures having the most impact on individuals' thinking in European-based cultures - on the neural pathways encoding how we perceive and the associations we make - were queerly deviant from their society's dominant erotic norms: Oscar Wilde, Virginia Woolf, Alan Turing, John Maynard Keynes, Andy Warhol, and Michel Foucault. We shall study their articulations through our own performances to enact their/our "artistic revolutions." Each person's own space will be protected in this seminar so straight-lesbigay, male-female and Euro-Asian-African-American can safely participate.

Books at the Bookstore for this course
These have all been ordered at the Bookstore but one copy should also be available on 3 day Reserve as a back up for the class. These are in the regular stacks, not at the Reserve Desk. Three-day reserve is for those books not everyone will use.

Oscar Wilde. 1995 The Importance of Being Earnest and other plays. New York: Oxford University Press.

PR6045 O72 O7 Virginia Woolf. 1928. Orlando: A Biography.

New York: Harcourt Brace & Company

Books on Reserve at the Librasry for this course

Reference books for short term use - 2 hour reserve at the Reserve Desk:

suggestions on writing :

PE1408 .T696 1996 Lynn Troyka. Simon and Schuster Handbook for Writers

Englewood Cliffs, New Jersey: Prentice Hall (ISBN 0-13-809476-4)
This is excellent for checking mechanical details of writing: use of commas and hyphens, underlining, capitalizing the first word of quotations, etc. and topics are easy to find! This is also available at the Bookstore in the reference section and in the Writing Center in Gifford Annex.

PE1479.C7 B3 Sylvan Barnet A Short Guide to Writing about Literature

1985 HarperCollins (ISBN 0-673-39191-4)

This offers good examples of essays on poems, etc. and includes discussion of writing about films, poetry, drama, fiction, reviews and research papers. This is also available at the Bookstore in the reference section and in the Writing Center in Gifford Annex.

PE1429.M27 Richard Marius A Writer's Companion 2'nd ed. 1991

New York: McGraw-Hill (ISBN 0-07-557252-4)

This gives a good discussion on writing essays: how to begin and beginnings to avoid, alternative structures for paragraphs and ways to make arguments. This is in the Library and is available at the Writing Center in Gifford Annex.

PR1175.P3572 Jay Parini An Invitation to Poetry 1987

Englewood Cliffs, New Jersey: Prentice-Hall (ISBN 0-13-505546-6 pbk.)

An easy guide to reading, writing about and writing your own poetry.

general reference for queerly figured

B804 E84 1997 Everdell, William R. The first moderns:

profiles in the origins of twentieth-century thought. Chicago: University of Chicago.

AZ101.F6913 1994 Foucault, Michel. Order of Things:

An Archaeology of the Human Sciences. New York: Vintage Books.

AZ101. F69 Foucault, Michel. Les Mots et les choses. 1966

PN56.H57 S43 1993 Sedgwick, Eve Kosofsky Tendencies

Duke University Press.

PR478.H65 B75 1995 Bristow, Joseph Effeminate England:

homoerotic writing after 1885. Columbia University Press.

PR5823.C64 1992 Ed Cohen Talk on the Wilde Side:

Toward a Genealogy of a Discourse on Male Sexualities. New York: Routledge.

PR5818 D3 1964 Wilde, Oscar De profundis

Avon Books, 1964

PR6045 O72 Z893 Majumdar, Robin and Allen McLaurin (eds)

Virginia Woolf : the critical heritage. Routledge & Kegan Paul, 1975.

PR6045.O72 Z8674 1979 Rosenthal, Michael. Virginia Woolf.

New York: Columbia University Press.

PR6045.O72 Z8926 1997 Eileen Barrett and Patricia Cramer (eds) Virginia Woolf:

Lesbian Readings. New York Univ Press, 1997.

NX90 .S54 1993 Whitney Chadwick and Isabelle de Courtivron (eds) Significant others :

creativity & intimate partnership. New York : Thames and Hudson.

PR6073.I558 A8 Winterson, Jeanette Art objects :

essays on ecstasy and effrontery. 1996 New York: Alfred A. Knopf.

HB103.K47 E76 1995 Escoffier, Jeffrey John Maynard Keynes.

1995 New York: Chelsea House Publishers

HB103.K47 M563 1992 Moggridge, D. E. (Donald Edward) Maynard Keynes :

an economist's biography. Routledge, 1992

HB171 K44 1971 v.10 Keynes, John Maynard The collected writings

of John Maynard Keynes, 1883-1946. New York: St. Martin's Press.

PR6045 O72 Z653 1984 Gordon, Lyndall. Virginia Woolf, a writer's life.

New York: W. W. Norton.

PR6045 O72 Z613 1989 DeSalvo, Louise. Virginia Woolf:

The Impact of Childhood Sexual Abuse on Her Life and Work. Boston: Beacon Press.

MCTR 4202V John Fuegi. The War Within:

A Portrait of Virginia Woolf. video on reserve in Sunderland - 53 min. Narrator: Ian Redford; voices: Anna Massey, Juliet Nicolson. Includes a recreation of the furor around the 1910 and 1912 post-Impressionist exhibits, documentation of the Woolfs' contribution to the creation of the League of Nations, the recently discovered letters of Virginia Woolf to Vita Sackville-West and the actual Gestapo arrest list of 1940 that shows the Nazis's intention to arrest both Leonard and Virginia Woolf.

QA29 T8 H63 1983 Hodges, Andrew. Alan Turing : the enigma.

Simon and Schuster.

PR6073.H577 B7 1987 Whitemore, Hugh. Breaking the code.

Oxford : Amber Lane.

HQ76.8.U5 D45 1983 John D'Emilio. Sexual Politics, Sexual Communities:

The Making of a Homosexual Minority in the United States 1940-1970.

HQ76.2.U52N53 1994 George Chauncey. Gay New York:

Gender, Culture, and the Making of the Gay Male World, 1890-1940. Basic Books

PS338.P6 S28 1992 David Savran. Communists, cowboys, and queers :

the politics of masculinity in the work of Arthur Miller and Tennessee Williams. University of Minnesota Press.

NX512 W37 P66 1996 Jennifer Doyle, et al Pop Out: Queer Warhol.

Durham: Duke University Press.

HQ76.25.L48 1993 Henry Abelove, Michele Aina Barale, David M. Halperin

Lesbian and Gay Studies Reader. New York: Routledge.

PN771 S62 Sontag, Susan. Against interpretation, and other essays.

Farrar, Straus & Giroux, 1966.

N6537.W28 B63 1989 Bockris, Victor. The life and death of Andy Warhol.

Bantam Books.

ML420 R299 B6 1994 Bockris, Victor. Transformer: The Lou Reed Story.

New York: Simon & Schuster 1994. This is on reserve at Starr Library, even though it is usually in the Music Library in the Art Center.

N6537 W28 A4 1989 Kynaston McShine (ed.) Andy Warhol: A Retrospective.

Boston: Bullfinch/Little Brown (Museum of Modern Art)

N6537 W28 U58 1996 John O'Connor and Benjamin Liu. Unseen Warhol.

New York: Rizzoli.

N6537 W28 A4 1995 John Cheim (ed.) Andy Warhol Nudes.

Woodstock, NY: Overlook Press.


videos about Warhol on reserve at Sunderland:

MCTR 3511V Andy Warhol. (79 min.)

A London Weekend Television South Bank Show co-production with RM Arts. Home Vision, c1987. This was shown in class.

MCTR 2567V Superstar. (91 min.)

Live Distributing, 1990. Contrast with #3511 above.

Five experimental films by Warhol (and Paul Morrissey):

MCTR 87V Andy Warhol's Frankenstein. (95 min.)

Joe Dallesandro, Monique Van Vooren. Based on novel Frankenstein by Mary W. Shelley.

MCTR 1075v Flesh. (90 min.)

Joe Dallesandro (also on cover of Rolling Stones "Sticky Fingers"), Geraldine Smith, Patti D'Arbinville.

MCTR 122v Heat. (102 min.) Joe Dallesandro.

MCTR 214v Mixed blood. (98 min.)

Marilia Pera, Richard Ulacia and Linda Kerridge.

MCTR 1086v Trash. (110 min.)

Joe Dallesandro, Geri Miller, Bruce Pecheur, Michael Sklar.


Additional references which are NOT on reserve

These may help if you want to explore an alternative to one of the three essays on W, W, W.

Georgia O'Keeffe

N6537.O39 H64 1992. Hogrefe, Jeffrey. O'Keeffe: The Life of an American Legend

New York: Bantam Books.

N6537.O39 P65 1988. Pollitzer, Anita. A Woman on Paper: Georgia O'Keeffe

New York: Simon & Schuster.

N6537.O39 R64 1989. Robinson, Roxana. Georgia O'Keeffe : a life

Harper & Row, 1989.

ND237.O5 F76 1992. Christopher Merrill & Ellen Bradbury (eds.)

From the faraway nearby : Georgia O'Keeffe as icon Addison-Wesley Pub. Co. 1992.

N6537.O39 P48 1991. Peters, Sarah Whitaker. Becoming O'Keeffe:

The Early Years. Abbeville Press. 1991.

MCTR 793v Georgia O'Keeffe. (60 min. - This IS on reserve in Sunderland)

(VHS) produced and directed by Perry Miller Adato Chicago, Ill. : Home Vision, c1977.

Except for Hogrefe (pp. 125-6, 133-4, 143), NONE of these are very insightful about Georgia O'Keeffe's erotic and spiritual motivations and interpersonal connections and how these may (or may not) have influenced her very distinctive contributions to our visual language. Most treat her erotic orientation as unspeakable (except, of course, to reassure us repeatedly that she had a husband who was, indeed, very important as a "producer" for her work but who was also much older than she was and with whom she lived as "wife" for only four years), ignoring the pressures imposed on her (and on them and their readers) by heteronormativity. The recent opening of the Georgia O'Keeffe Museum in Sante Fe, New Mexico stimulated many such reviews, two of which I have available (and you may be able to find more revealing ones): Michael Kimmelman, "An Adobe Home for Icons: A New Museum Holds O'Keeffe's Imagery and Image." New York Times. 17 July 1997: B1. Steven Henry Madoff. "O'Keeffe Enshrined: The Southwest's matron saint of the brush gets a musem of her own." Time. 28 July 1997: 75.

Jean Genet

PQ2613 E53 M512 Jean Genet. Miracle of the Rose.

New York: Grove Press. 1965.

PQ2613.E53 1951 Jean Genet. Miracle de la rose.

1946. Paris: Marc Barbezat - L'Arbalète (Gallimard).

MCTR 1755v Poison. (85 min. - This IS on reserve in Sunderland.)

film (VHS) by Todd Haynes; Edith Meeks, Larry Maxwell, Susan Gayle Norman, Scott Renderer, James Lyons. Director of photography, Maryse Alberti; black and white camerawork, Barry Ellsworth; music, James Bennett; editors, James Lyons, Todd Haynes; producer, Christine Vachon; writer/director, Todd Haynes. Zeitgeist Films ; Bronze Eye Productions in association with Arnold A. Semlor. New York : Fox Lorber Home Video, 1992.
Inspired by "Miracle de la Rose" by Jean Genet.

Alfred Kinsey

James H. Jones. "Dr. Yes: In his reports on America's sexual behavior,

Alfred Kinsey hoped to free society of Victorian repression. But what really inspired the author's crusade was his own secret life." The New Yorker. August 25 & September 1, 1997:98-113.
This "outs" Kinsey and uses this to weaken the credibility of Kinsey's work and to mock him for not being "honest" about who he was, again ignoring the pressures imposed on him and on us by heteronormativity and by America's Queer Panic at the time Kinsey did his work. This piece INVITES being queerly deconstructed. Hint: see Martin Duberman's piece, "Kinsey's Urethra." in The Nation 3 November 1997. 40-43.


SCHEDULE of READINGS

0. Sept 2 how is this class queer ?

The Dandy Warhols, "Not If You Were The Last Junkie On Earth,"

The Dandy Warhols Come Down. 1997. Capitol Records.

Lou Reed. "Walk on the wild side," Transformer 1972.

New York : RCA Victor.

intro to queer theory: Is language merely a transparent veil ??

1. Sept 9-11 the importance of being . . . ?

1. class reading: you orchestrate class performances

from Wilde's Importance of Being Earnest

2. class reading: AGAIN you orchestrate class performances

from Wilde's Importance of Being Earnest

2. Sept 16-18 the rise of queer

1. readings due:
Eve Kosofsky Sedgwick, "Tales

of the avunculate: queer tutelage in The Importance of Being Earnest" pp. 52-72 in Eve Kosofsky Sedgwick, Tendencies. 1993 Durham: Duke University Press.

Joseph Bristow, part II of "Wilde's fatal effeminacy," pp. 22-29

in Effeminate England: Homoerotic Writing after 1885. 1995. New York: Columbia University Press.

2. reading due:
Ed Cohen, "Prologue" (pp. 1-6) and ch. 4-6

and Epilogue (pp. 97-214) in Cohen's Talk on the Wilde Side: Toward a Genealogy of a Discourse on Male Sexualities. 1993 New York: Routledge.

3. Sept 23-25 consequences of this english queer panic

1. class readings:
"Ballad of Reading Gaol" with video clip from

Rainer Fa�binder's version of Jean Genet's Querelle.

Stephen Fry, "Playing Oscar," 82-88 in

The New Yorker June 16, 1997.

"Hubert Fichte interviews Jean Genet," pp. 69-94 in

Gay Sunshine Interviews Winston Leyland (ed.) 1978 San Francisco: Gay Sunshine Press.

2. readings due (seeking "natural" causes):

William Everdell, "Introduction: What modernism is and what it probably isn't,"

ch. 1, pp. 1-12 and "Discontinuous Epilogues: Heisenberg and Bohr, G�del and Turing, Merce Cunningham and Michel Foucault," ch. 22, pp. 346-360 in The First Moderns : Profiles in the Origins of Twentieth-century Thought. 1997 Chicago: University of Chicago Press.

Foucault, Michel, Order of Things: Archeology of the Human Sciences. 1966.

4. Sept 30-Oct 2 getting into a transgender fantasy ?

1. reading due: you orchestrate class performances from Virginia Woolf.

1928. Orlando: A Biography.

2. reading due: AGAIN your performances from Virginia Woolf's Orlando.

## Oscar Wilde essay due Thursday, October 2.

5. Oct 7-9 Does ignoring lgbtq sexuality "profoundly weaken" this writing ?

1. readings due:
J. C. Squire, "'Prose-de-Société'"

review of Orlando written for The Observer 21 October 1928, p. 6. This, along with other contemporaneous reviews, is in Robin Majumdar and Allen McLaurin (eds.) Virginia Woolf: The Critical Heritage. 1975. Boston: Routledge & Kegan Paul Ltd. on pp. 227-229, ch. 71.

Michael Rosenthal, "Orlando," pp. 128-141, ch. 9 in Virginia Woolf.

1979. New York: Columbia University Press.

Louise DeSalvo, "'Tinder-and-Flint:' Virginia Woolf & Vita Sackville-West,"

ch. 5, pp. 83-95 in Whitney Chadwick and Isabelle de Courtivron, Significant Others: Creativity & Intimate Partnership. 1993. New York: Thames and Hudson.

Leslie Kathleen Hankins. "Orlando: 'A Precipice Marked V'

between 'A Miracle of Discretion' and 'Lovemaking Unbelievable: Indiscretions Incredible'" pp. 180-202 in Eileen Barrett and Patricia Cramer (eds.) Virginia Woolf: Lesbian Readings. 1997. New York: New York University Press.

Jeanette Winterson, "A Gift of Wings (with reference to Orlando)"

pp. 61-77 in Art Objects: Essays on Ecstasy and Effrontery. 1996 New York: Alfred A. Knopf.

2. readings due:
Jeffrey Escoffier, "One of the Apostles"and "Bloomsbury, 1909-14,"

pp. 27-55, ch. 2-3 in John Maynard Keynes 1995 New York: Chelsea House Publishers.

J. Maynard Keynes, "My early beliefs." pp. 433-450, ch. 39

in The Collected Writings of John Maynard Keynes, Vol. X, Essays in Biography. 1972. St. Martin's Press (Macmillan).

D. E. Moggridge, Maynard Keynes 1992 pp. 112-142,

esp. last appendix on D. H. Lawrence's visit with Keynes.

6. Oct 14-16 another take on Orlando and Woolf

1. video in class: Orlando - 1 videodisk (93 min.)

written and directed by Sally Potter. Tilda Swinton as Orlando, Billy Zane, Lothaire Bluteau, John Wood, Charlotte Valandrey, Heathcote Williams, Quentin Crisp; Originally produced as motion picture in 1992. Burbank, Calif.: Columbia TriStar Home Video, [1994] MCTR 3255L

2. readings due:
Vanessa Evangelista and Tara Brabazon, "Something queer is going on here:

a binary outlaw's tour through Orlando" pp. 113-128 in Critical inQueeries. 1 (1) Sept. 1995.

Lyndall Gordon, "A Public Voice,"

ch. 14, pp. 249-283 in Virginia Woolf: A Writer's Life, 1984. New York: W. W. Norton & Company.

Oct 16-19 Fall Recess

7. Oct 21-23 an american queer panic

1. video in class: Alan Turing: Breaking the Code(90 min)

with Derek Jacobi, shown on PBS in January, 1997 based on Hugh Whitemore's play which stems from Andrew Hodges' Alan Turing: The Enigma.

2. readings due:
John D'Emilio, "The Bonds of Oppression: Gay Life in the 1950s," ch. 3,

pp. 40-53 in D'Emilio's Sexual Politics, Sexual Communities: The Making of a Homosexual Minority in the United States 1940-1970.

George Chauncey, "The exclusion of homosexuality from

the public sphere in the 1930s," pp. 331-354, ch. 12 in Chauncey's Gay New York: Gender, Urban Culture, and the Making of the Gay Male World, 1890-1940. 1994 New York: BasicBooks (HarperCollins)

Jonathan Katz, "The art of code: Jasper Johns &

Robert Rauschenberg," ch. 11, pp. 189-207 in Whitney Chadwick and Isabelle de Courtivron, Significant Others: Creativity & Intimate Partnership. 1993. New York: Thames and Hudson.

David Savran, "By coming suddenly into a room

that I thought was empty," pp. 76-88 in Communists, Cowboys and Queers: The Politics of Masculinity in the Work of Arthur Miller and Tennessee Williams. 1992 Minneapolis, MN: University of Minnesota Press.

## Virginia Woolf essay due Friday, October 24.

8. Oct 28-30 queerly performing in this american panic

1. video in class: Andy Warhol (79 min)

Producer and director, Kim Evans; editor and presenter, Melvyn Bragg. A profile of Andy Warhol's life and work since his death in February 1987 examines a career that spanned painting film, publishing, rock music and television. A London Weekend Television "South Bank Show" co-production with RM Arts. Home Vision, c1987. MCTR 3511V

2. readings due:
Michael Moon, "Screen Memories, or,

Pop Comes from the Outside: Warhol and Queer Childhood," pp. 78-100 in Pop Out: Queer Warhol

Eve Kosofsky Sedgwick, "Queer Performativity:

Warhol's Shyness / Warhol's Whiteness," pp. 134-143 in Pop Out: Queer Warhol.

9. Nov 4-6 popping queerly: making manifest the artifice of identity

1. video in class: "Flesh" (90 min): with Joe Dallesandro,

Geraldine Smith, Patti D'Arbinville MCTR 1075v

2. reading due:
Jennifer Doyle, "Tricks of the Trade: Pop Art / Pop Sex,"

191-209 in Pop Out: Queer Warhol

Simon Watney, "Queer Andy," 20-30 in Pop Out: Queer Warhol

Thomas Waugh, "Cockteaser," 51-77 in Pop Out: Queer Warhol

10. Nov 11-13 poetic revolution: going, in velvet, underground

1. reading due:
David E. James, "I'll Be Your Mirror Stage:

Andy Warhol in the Cultural Imaginary," 31-50 in Pop Out: Queer Warhol

2. workshop in Library to find contemporaneous pieces about Warhol

11. Nov 18-20 camp(ing) culture

1. reading due:
Sasha Torres, "The Caped Crusader of Camp:

Pop, Camp, and the Batman Television Series," 238-255 in Pop Out: Queer Warhol

2. reading due:

D. A. Miller. "Sontag's Urbanity."

ch. 14, pp. 212-220 in Henry Abelove, Mich�le Aina Barale, David M. Halperin. The Lesbian and Gay Studies Reader. 1993. New York: Routledge.

Susan Sontag. "Notes on 'Camp' "

in Against Interpretation. New York: Delta. 1979.

Nov 25-30 Thanksgiving Recess

12. Dec 2-4 queering other categories of social identity ?

1. video in class: "Basquiat" (106 min)

with Jeffrey Wright playing Jean-Michel Basquiat, David Bowie playing Andy Warhol and Dennis Hopper as the art dealer, Bruno Bischofberger.

2. reading due:

José Estaban Munoz, "Famous and Dandy Like B. 'n Andy:

Race, Pop, and Basquiat," 144-179 in Pop Out: Queer Warhol

Monday, Dec 8 Final portfolio of all your work due.

Andy Warhol essay due Monday, December 8 as part of your Final Portfolio.

GRADING

"work" for this class:

1. weekly "notes" on the reading assigned for that week, say 1-2 pages long

due: 5PM Friday in my box in Econ Office (313 Munroe)

These weekly notes are the heart of all meetings of this seminar

except for the FIVE classes where videos take up more than the whole classtime. You will present/perform these weekly notes in the seminar. For this purpose, it is good to collaborate and present/perform things together, though each person must hand in a separate piece of paper of her/his own writing. It may be helpful and even instructive in these weekly notes to explore any parallels you see between your own individual or family experiences and those which "queered" the perspectives on WWW (Wilde, Woolf or Warhol) expressed by others.

These can be of two types, depending on what the assigned reading is:

a. In weeks 1 and 4, classes are devoted to your guiding us

in reading selections from Importance of Being Earnest and Orlando. For these weeks, your notes should be written as an introduction to the viewer/reader of the passage you selected to transport the reader's mind into that passage. There are many possibilities here:

more pedestrian:

why you chose this passage,
what precedes/follows this passage,

more inventive:

write an alternative prequel for this passage
write an alternative sequel for this passage

b. In the remaining weeks, the readings are commentaries

on WWW's work or are intended to mark out the queering of english and american cultures which occurred in the past hundred years. For these weeks, the weekly note should be an essay (i.e., essayer, probieren, try out) where you grapple with the ideas which you found stimulating in this week's reading. The goal here is to convince me you have slid your mind up against many of the ideas you found to be significant. You may or may not "agree" with these ideas. If you choose to address this, fine, but you need not take a position of agreeing or disagreeing with them. The argumentation-pose is only one of several discursive poses you might adopt. You might chose to mock them, to write a mock newspaper or webpage or alternative-funky-punky-rock review of them, . . . Just don't forget to convince me that you hit your mind against them in a significant way (show me your cognitive wounds).

2. Three longer essays, say 5-10 pages

due: one week after completing each main historical figure
a. Oscar Wilde essay due Thursday, October 2.
b. Virginia Woolf essay due Friday, October 24.
c. Andy Warhol essay due Monday, December 8 as part of your Final Portfolio

In these essays you may find it fun and personally instructive to explore how you have (or have not) been "queered" in some way by the society(ies) in which you have grown up and learned/absorbed discursive structures. This need not be at the same level of abjection experienced by WWW (which would be a "difficult" comparison to make, in any case), but you may find it useful to explore ways in which Other exists as an invisible (typically) backdrop against which "normal" is defined. Searching for this in your own lifestory may also spur insights on the stories and lessons you can get from our readings. You may or may not be comfortable having others in the seminar know about these parallels which you find insightful. I will not show these longer essays you give me to others without first checking with you to see if this is OK with you.

Guidelines for essays:

i. Try to catch simple expositional errors.

More than one per page moves you, in my mind, from the category of humble human, not trying to be demigod, over to the category of sloppy person, sloughing off this seminar. Careful corrections by pen on the printout are OK.

ii. Add PAGE NUMBERS to everything longer than one page.

They are useful for my references to passages in your work.

iii. Please follow the form suggested in

Sylvan Barnet's A Short Guide to Writing about Literature (on 2 hour reserve at the Library - PE 1479.C7 B3):

page 4: imagining an audience: this Seminar!
pages 11-13: distinction between explication and analysis
page 23: analysis analyzed
page 66: corrections on final copy: read your essay after you print it and make any necessary corrections carefully by pen;
pages 75-83,121,174: list of works cited: follow Barnet's form
footnote citations: follow Barnet's form

3. Your FINAL PORTFOLIO

The final portfolio is due no later than Monday, December 8. It should contain:

a. a table of contents indicating:

i. everything you have included
ii. which of these pieces you have chosen to revise, if any.
The goal here is to make it easy for me to find my way around your Portfolio!

b. ALL of your drafts of ALL of your writing for this class

along with my comments and those of classmates

Grading this work

I shall grade the weekly notes each week and shall grade the first two essays shortly after you give them to me. Those grades can then be revised upward (only) if you choose to seriously revise them when you put them all together in the Final Portfolio (mere applying "bandaids" at spots where I had indicated a problem may not lead to an upward revision of the grade).

These pieces then determine the course grade according to the following formula:

Twelve weekly notes (10 points each) . . . . . . . . . . . 120 points
Three essays (60 points each) . . . . . . . . . . . . . . . 180
Total . . . . . . . . . . . . . . . . . . . . . . . . . . . . 300

Grades will be assigned to the total score according to:

a total score of at least: . . . . implies a grade of at least:

270 . . . . . . . . . . . A-
240 . . . . . . . . . . . B-
180 . . . . . . . . . . . C-
150 . . . . . . . . . . . D

Back to list of queer theory classes

Back to my home page