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Final projects have been graded and posted to Angel, and final grades have been turned in.  Your final grade (including class participation) is the same as your cumulative grade in Angel. If you’re not sure what that means in terms of a letter grade, check the chart on your syllabus (

If you’d like the comment page on your web project but didn’t submit the project through Angel, email me after January 12 and I’ll send it to you. I won’t be checking email regularly until classes begin again.

Thanks for a great class, and have a great break!

Paper 4 Websites

Beau Pocklington, Tara Nolan, and Sean Allen

Ana Schmidt and Alex Dankers

Mikayla Kennaugh and Larissa Gilman

Kelley Chaves and Maria Young:

Ryan Olson, Spencer Nee, Everett Klodt, Josh Zaborowski

Brooke Gray, Bailey Fierling, Jon Scott:

Ashley Olson, Brooke Sutcliffe, Amanda Teter:

Claire Welch, Katie Covey, Katie Lipp & Sophia Stephens

Hayley Turner, Sydney Bushnell, Emily Epker:

Of interest but not required: Wilde in America

The New York Times reviews a new book about Oscar Wilde:

An excerpt is below; you can read the rest at the link.

Chances are you’ll never have a conversation as scintillating as the one Oscar Wilde was overheard conducting at a gathering in San Francisco in 1882. At the time, the 27-year-old Irish upstart had yet to write any of the works that would earn his fame. Undercredentialed as Wilde then was, his verbal verve and outlandish dress (satin breeches, velvet jackets, black cape) had made him a sought-after dinner guest in London and prompted a 10-month American tour, where his brio met with an ecstatic reception. “It was a superb performance, a masterpiece of sparkling wit and gaiety,” wrote one audience member in an account of the event. “Never before, or since, have I heard anything that compared to it.” Who was Wilde’s lucky interlocutor? It was a dressmaker’s dummy: The man was, in essence, talking with himself.

Wilde captivated an even unlikelier audience at the bottom of a mine shaft in Leadville, Colo., when he regaled a dozen silver miners with chat of Cellini and Renaissance metal working, then drank them under the table. By his own account, “I brilliantly performed, amidst unanimous applause.” Lest you underestimate the dramatist’s (self-dramatist’s?) powers, keep in mind that Wilde also won over Walt Whitman, who invited him to his Camden, N.J., home for elderberry wine. Whitman approved Wilde’s mission of bringing the British aesthetic movement to the Yanks. “You are young and ardent,” Whitman told him. “The field is wide, and if you want my advice,” he added, “go ahead.” Wilde didn’t need to be told twice.

Without Wilde’s aptitude for self-­promotion, there might have been no Andy Warhol, no Paris Hilton, no Kim Kardashian. In his new biography of the Irish playwright, novelist and provocateur, “Wilde in America,” the journalist and cultural historian David M. Friedman argues that Wilde was among the very first to realize that celebrity could come before accomplishment. “Fame would launch Wilde’s career,” Friedman explains, “not cap it.” Wilde’s choice of America as his rocket platform was serendipitous, but in hindsight it seems prescient; our country’s revved-up reporters furnished Wilde’s jet pack. “No one before Wilde had used the press so skillfully to establish a claim to renown,” Friedman argues, ably proving his point by following his subject from ­interview to interview, state to state, charting the shrewd steps Wilde took to build his brand, “devising a formula for creating fame that other modern celebrities — all of them far more shallow than he — are using today, whether they know it or not.”

Oscar Wilde projects “the self-possessed attitude of a young artist” in a portrait by Napoleon Sarony, 1882.CreditOtto Sarony/New York Public Library, via Associated Press


Paper 3 and Paper 4

Dear English 372 students,

Because many of you have indicated that you’re doing web projects, and web projects can’t be uploaded to Angel, for Paper 4 you can choose any one of these ways to submit your work.

1. If you want to turn in a hard copy of your paper, turn it in at the beginning of class tomorrow.

2. If you want to turn in an electronic version of your paper, upload it to Angel by 9 p.m. tomorrow.

3. If you are doing a web project, you can either submit the rationale (along with the link to your page and all group members) to Angel under Paper 4 *or* email me the rationale along with the link.

Please be sure that the names of all your group members are on everything, including the web site and the rationale. You can post the rationale on your web site.

Some of you have asked about whether the extension policy applies to Paper 4.  Yes, it does apply. If you have not taken an extension before but need to do so for Paper 4, email me before tomorrow’s class.

Also, if you wrote Paper 3 but weren’t able to open or read the comments on the version I returned to you, please email me right away ( or reply to this message) so that I can upload another version.

See you in class,

Dr. Campbell

Final Projects Presentation Schedule

Here’s the presentation schedule for your final projects:

Some days may have been adjusted from your signup preference because of the need to schedule enough time slots for groups. If you were absent today, you’ve been assigned a slot.

  • 1 person =  1 slot
  • 2-3 people = 2 slots
  • 4 people = 3 slots

Note: Final projects are due December 4, but the first presentations will be December 2.  This means that you may be presenting on your project before officially turning it in.