In this course you will:

• Explore the meaning of storytelling as a sense-making process.
• Develop an understanding of the basic concepts of narrative theory.
• Apply and critique narrative theory through examination of a variety of stories.
• Explore narrative research methods and conduct original narrative research.
• Develop critical thinking and creative skills through course readings, class discussions, and research assignments

• Jamaica Kincaid. 1988. A Small Place. New York: Plume.
• Ian Phillips. 2002. Lost. New York: Princeton Architectural Press.
• J.K. Rowling. 1997. Harry Potter and the Sorcerer's Stone. New York: Scholastic.
• Andrew Solomon. 2002. The Noonday Demon. New York: Scribner.
• Art Spiegelman. 1986. Maus: A Survivor's Tale: My Father Bleeds History. New York:
  Pantheon.
• Tobias Wolff. 2000. This Boy's Life. New York: Grove.

Course grades will be determined as follows:

Learning is an active process in which we all participate. Viewing learning as an active process implies several significant distinctions between many traditional classroom interactions and what I hope this course will become for us. First, an active process suggests the importance of understanding and experiencing ideas as they relate to our own lives, rather than just remembering a list of facts. This course will provide us plenty of material upon which to reflect as we consider the role of storytelling in our lives.

Second, a process continually evolves with no clear beginning or end. Hence, this course will become a dialogue among all of us as we reflect upon the material presented and its relevance to our experiences. Such a conversation includes responsibilities to which we must all agree. Clearly, our initial responsibility includes being in class regularly. But merely being in class is not enough. Being prepared for class is also necessary. A quick reading of the assigned material will do little to prepare for class. You must come to class prepared to analyze and critique the readings.

An additional important responsibility involves a willingness to be open. Each of us must consider the thoughts and ideas of others in the class. If there are fifteen of us in the classroom, there will be at least fifteen different perspectives. No one experience or viewpoint is more valuable than any other. You may not agree with the views expressed by others in the course, but we must all agree to respect each individual's right to have and share her/his own opinions. Listening to the perspectives of others should do nothing more than create greater understanding of the diversity of experience in contemporary society.

Finally, self-disclosure is not a prerequisite for this class. You will not be expected to share intimate details of your life. But if you feel comfortable doing so, you can expect your classmates (and me) to respect your privacy. Any personal information shared during this class will remain private.

Simply stated, THIS IS YOUR CLASS so your participation is essential! The more voices heard the better. But don't forget, quality matters.

During the first week of class, each student will make a 30 minute life history tape. In this tape, you will tell the story of your life in any way you choose. Your life history tape will be evaluated in terms of its ability to bring the listener into your experience. Your life history should be an evocative, emotional, and detailed account of your life thus far. I encourage you to think about how you craft your story, taking into consideration aspects of narrative including structural complexity, the nonlinear process of memory work, epiphanies (or turning points), and the ethics of storytelling.

I will be collecting these tapes so you must make TWO copies. Remember that this tape will be heard by me and possibly by the whole class. I will always check with you before I allow anyone outside of class to listen to your tape.

Each student will conduct a personal narrative research project and write a 15-20 page (double-spaced, 12 pt font, 1" margins) personal narrative about the project.

This project provides you with the opportunity to critically examine your own experience through a personal narrative which explores a particular turning point in your life, an ephipany that changed you (and your life story) in some fundamental way. Your story of transformation might focus on coming of age, marriage, birth, divorce, illness, loss, spirituality, and/or intellectual growth, and should reflect your developing understanding of narrative theory. You may present your story through the use of written, visual, aural, and/or performance texts. Evaluation of your personal narrative will be based upon criteria that we develop as we analyze and critique course material.

This is a very open-ended project and I expect you to be creative in your approach. Our class meetings will provide you with the opportunity to develop and discuss your projects. We will conduct two writing workshops during the semester to assist you in the writing and revision process. The first one is scheduled for March 24. I must come to class with two copies of your first draft. The second workshop is scheduled for April 14. Please bring two copies of your second draft to this class meeting.

I am always available to address any questions and/or concerns you might have about this project. You are required to turn in a formal project proposal in the seventh week of class. We will discuss this assignment in further detail as the semester progresses.

Over the course of the semester, each student will keep a course journal. Journal entries will give you the opportunity to critically assess the theories and concepts discussed in class meetings and course readings, and experienced in your daily life. I will collect journals at two points during the semester.

There are many approaches to journal entries. You might use your journal to develop ideas discussed in class and in course readings. You might use your journal to explore ideas and perspectives you don=t feel comfortable discussing in class. You might use your journal to consider narrative issues you encounter in daily interactions at home, work, and school, and in the media (films, magazines, newspapers, music, cartoons, the Internet, etc.). Your journal is also a place for discussion of your narrative research project, and in that sense, can act as a space for writing "fieldnotes" about the research process. In short, your journal is a place where you can critically engage the course material and your own research. I expect at least one entry per week.

Your journal may take a variety of forms. You might consider structuring journal entries based on a series of statements: What I did. What I learned. How I can use it. You might also use a journal entry to discuss a particular quote you find compelling. Entries may also be based on your discussion of visual material from the realms of art and advertising. You might also use your artistic talents to create images or music that addresses course material. Finally, I encourage you to think of your journal as a scrapbook that might include written and visual artifacts from popular culture. I don't expect you to cover each of the readings from class, but I do expect you will react to most of them

Please use a notebook or other bound book for your journal. Journals may be handwritten. Journal entries are informal so I will not be correcting grammar, spelling, punctuation, or organization. I am more interested in the seriousness and depth of your critical engagement with course material. Use your discretion and remember that quality matters more than quantity.

Grades are earned based on the following scale:

A (94 and above): Extraordinary
A- (90-93): Exceptional
B+ (87-89): Superior
B (84-86): Great
B- (80-83): Very Good
C+ (77-79): Good
C (74-76): Average/Satisfactory
C- (70-73): Below Average
D+ (67-69): Inferior
D (64-66): Unsatisfactory
D- (60-63): Very Unsatisfactory
F (59 and below): Unacceptable and Failing

1. The use of cell phones or pagers during class is not allowed. Please turn them off for the duration of class meetings.
2. Disruptive conversation is forbidden. If you aren’t talking about course material, you shouldn't’t be talking during class.
3. Please come to class on time. Lateness will not be tolerated.
4. I don't mind if you eat during class as long as you so quietly.
5. Cheating, plagiarism, or other forms of academic dishonesty are strictly forbidden.