FMS 350 : Indigenous Film & Media Course Change Request · 5. ARTS Final Approval 6. Registrar 7....

9/20/2019 FMS 350: Indigenous Film & Media

https://next.catalog.ku.edu/courseleaf/approve/ 1/2

Course Change Request

Also listed as: ISP 355

Academic Career Undergraduate, Lawrence

Subject Code FMS Course Number 350

Academic Unit Department Film and Media Studies

School/College School of the Arts, CLAS

Locations

Title Indigenous Film & Media

Transcript Title Indigenous Film & Media

Effective Term Fall 2019

CatalogDescription

Prerequisites

Cross ListedCourses:

Credits 3

Course Type

Grading Basis A-D(+/-)FI (G11)

Is this course part of theUniversity Honors Program?

No

Are you proposing thiscourse for KU Core?

No

Typically Offered Once a Year, Usually Spring

Repeatable forcredit?

No

Principal CourseDesignator

CourseDesignator

H - Humanities

No

Yes

Which Program(s)? Program Code - Name

In Workflow1. ARTS

UndergraduateProgram andCourseCoordinator

2. CUSASubcommittee

3. CUSA Committee4. CAC5. ARTS Final

Approval6. Registrar7. PeopleSoft

Approval Path1. 09/09/19 11:49 am

Rachel Schwien(rschwien):Approved forARTSUndergraduateProgram andCourseCoordinator

2. 09/18/19 9:10 amRachel Schwien(rschwien):Approved forCUSASubcommittee

New Course ProposalDate Submitted: 05/29/19 3:35 pm

Viewing: FMS 350 : Indigenous Film & Media

Last edit: 09/09/19 11:49 amChanges proposed by: kmconrad

Lawrence

Do you intend to offer any portion of this course online?

No

This course offers a survey of global Indigenous cultures, theory and aesthetics in cinema and digital media. Itestablishes an Indigenous media optics by examining media practices across a broad contemporary spectrum—

including music videos and social media platforms, podcasting and video games. As the course moves geographically, students learnhow media practices in diverse communities situate identity and experience in related but unique contexts. Through weekly readings,screenings and design workshops, students build the critical tools necessary for an examination of the wide range of practices that lendthemselves to Indigenous media sovereignty. This course is offered at the 300 and 700 level with additional assignments at the 700level. Not available to students with credit in FMS 750/ISP 755.

None

Code Title

ISP 355 Indigenous Film & Media

Lecture (Regularly scheduled academic course) (LEC)

Are you proposing that the course count towards the CLAS BA degree specific requirements?

Will this course be required for a degree, major, minor, certificate, or concentration?

mailto:[email protected];%[email protected];%[email protected]



mailto:[email protected];%[email protected];%[email protected];%[email protected]



mailto:[email protected]

9/20/2019 FMS 350: Indigenous Film & Media


(FMS-BA/BGS) Film and Media Studies, B.A./B.G.S.

Describe how: This course fulfills a media studies requirement within the FMS B.A./B.G.S. degree.

Rationale forCourse Proposal

SupportingDocuments

KU CoreDocuments

Course ReviewerComments

Key: 13031

This course has been taught three times over the past three years and is part of the development of a media studies cluster within theundergraduate curriculum. This course is open to majors and non-majors and is the only course offered in the FMS Department that

teaches global Indigenous film and media theory and aesthetics.

FMS 350_Miner.pdf

https://next.catalog.ku.edu/courseadmin/13031/FMS%20350_Miner.pdf

Haida Raid 3: Save Our Waters (Kinnie Star, Ja$e ElNino; dir. Amanda Strong)

FMS 302/702: Seminar in

Native/Indigenous Film and Media T/R 11:00a-12:15p

SUM 403

Instructor: Prof. Joshua Miner Email: [email protected]

Office: 118C Summerfield Office hours: W 5:00p-6:30p / R 12:30p-2:00p, by appointment

There has always been a rich tradition of Native media-makers working alongside and against media institutions’ problematic representations of beaded and feathered warriors and medicine men. This course offers an introduction to the history and theory of such global Indigenous cinemas and media, with North America as our starting point. We will explore the emergence of Indigenous film cultures and learn their representative movements and filmmakers, as well as learn to recognize several Indigenous aesthetic and narrative practices. In establishing an Indigenous media “optics,” we will survey Indigenous media practices from across the planet and across a broad generic spectrum—from documentary, animation and horror films to music videos and other video content; from

alternative media outlets and cyberculture to social media platforms, tactical media, and street art; and even craft arts. We will examine the ways that artists merge the “traditional” with the “new,” where new modes of Indigenous expression have surfaced in the last few decades. As we explore the geographic, we will look to understand how media (and media access) in reservation communities situates identity and experience in related but unique contexts to urban Indigenous media. Through weekly readings, screenings, and media workshops, we will build the critical tools necessary for an examination of the wide range of practices that lend themselves toward an Indigenous media sovereignty.

Four basic questions will guide our exploration of Indigenous film and media:

How does Native/Indigenous film position itself against mainstream cinema, in its images, discourses, and narratives? How can we situate it historically? (1)

How have Indigenous filmmakers developed distinct cinematic/media aesthetics, by drawing on

traditional forms as well as adopting non-Indigenous techniques, motifs, and genres? (2)

Why has documentary served as an important genre for Indigenous people, and what institutions and discourses do Indigenous documentarians engage with in their work? (3)

How have Indigenous artists, particularly those working in new media and transmedia, position

themselves relative to mainstream media practices and political institutions? (4) Course Procedures Preview the contents of our Blackboard website—especially the syllabus—to be sure you understand ahead of time what content you need to access and what kinds of assignments you will turn in. Each week’s readings and any additional media will be uploaded to their respective content folders. You should expect to take notes on weekly readings and during screenings, whether in class or at home, for writing your reviews and final assignment. You should also expect to participate in class and online discussions, for the benefit of each student. All assignments should be uploaded to Blackboard. Course Texts: Beyond the required course book, all readings and other media will be provided through Blackboard. In addition, there are several recommend texts, depending on your interests and fields of study.

Required Books • Pamela Wilson, Global Indigenous Media: Cultures, Poetics, and Politics (2008)

Recommended Books • Kristin Dowell, Sovereign Screens: Aboriginal Media on the Canadian West Coast (2013) [elibrary] • Laurel Dyson et al., Indigenous People and Mobile Technologies (2015) • Sigurjón Hafsteinsson & Marian Bredin, Indigenous Screen Cultures in Canada (2010) • Hokowhitu & Devadas, The Fourth Eye: Maori Media in Aotearoa New Zealand (2013) • Marubbio & Buffalohead, Native Americans on Film: Conversations, Teaching, and Theory (2013) • Marubbio, Killing the Indian Maiden: Images of Native American Women in Film (2006) • Pearson & Knabe, Reverse Shots: Indigenous Film and Media in an International Context (2015) • Michelle H. Raheja, Reservation Reelism: Redfacing, Visual Sovereignty, and Representations of

Native Americans in Film (2010) • Lee Schweninger, Imagic Moments: Indigenous North American Film (2013) [elibrary] • Beverly Singer, Wiping the War Paint Off the Lens: Native American Film and Video (2001)

Assignments: Weekly Synthesis Questions (10) Film/Media Reviews (2; 1000 words each) Design Projects (3)

Film/Media Presentation Final Project (w/ Annotated Bibliography)

Synthesis Questions (10): Due on Tuesdays Each week that you do not have another major assignment due, you will submit a synthesis question for discussion on that week’s discussion forum on Blackboard and be prepared to discuss it in class. Your question need not be a paragraph—let’s say 50 words minimum, to keep us honest—but it must attempt to synthesize at least two ideas from that week’s readings and pose some critical question that we may then use to interpret the film/media content of the week. Film/Media Reviews (2): Due on Thursdays This semester, each of you will write two reviews—one film review and one media review. These are designed to move you past spectatorship: while reading and watching leads you to examine aspects of texts that most interest you, and discussion provides an intellectual melting pot where your ideas may simmer together, the reviews will allow you to practice critical writing. These may be written in the form of traditional reviews (from a strictly textually interpretive approach) or may venture out into the “paratext” of the film. Bottom line, your review must be critical—it must be interpretive. These reviews should be thoughtfully rendered, despite how short the length requirement might seem. They may be written creatively, but they must put forth an explicit interpretation of the film or media text you’ve chosen to examine. Each review should be at least 1000 words long. I will return class feedback, as well as personal comments if I feel you need help with specific interpretive or writing skills. Use these reviews to think ahead: one of these might become the seed for your final research assignment. Here are some possible questions to start with: 1. How does the film/media text fit into the context of the course or section theme, or how may it be interpreted in relationship to others we’ve read/seen/heard? 2. How does the text conflict with or problematize a given way of thinking, either about Indigenous film history or Indigenous social/political history more broadly? 3. What were students’ differing interpretations of the text within discussion, and what is it about this text that inspired such disagreement? 4. How has the text helped you understand some aspect of Indigenous culture(s) or politics? Film/Media Presentation During the course of the semester, each of you will present to the class on one major film/filmmaker, media outlet or organization, or the media coverage of some event significant to Indigenous social and political life. My advice: choose your subject(s) wisely by tying them to your final project, thereby cutting your research time significantly. These presentations should be informal and brief (5min) but thorough, and well-researched enough that you can answer a few questions your fellow students may have afterward. We will schedule these presentations later in the semester. Final Project As part of your final, you will compose an annotated bibliography (5 entries, 150 words each) and a a critical-creative media project (no restriction on medium). Your project will critically interpret some Indigenous film/media text or media theory, relative to some Indigenous social, cultural, or aesthetic context. You will first submit a proposal, a brief description of the project as you imagine it, so that I can both approve the project and provide any extra resources or direction to help you along.

Grading Philosophy Cinema, like all media, is an integral part of the cultural web that shapes our lives, whether we like it or not. Honing the skills of interpretation will make you more effective readers, more talented content creators, and more ethical human beings in general. I admire those who show a willingness to learn about themselves and the world around them, and by extension take ownership of their intellectual and ethical development. Like culture, community is an unavoidable component of human experience; each of us has a responsibility to facilitate the growth of those communities we belong to. Anyway, helping others helps you. Q: Bottom line, what can I do to get a good grade in this class? A: Let’s be honest: I am the gatekeeper for the “A” you’re coveting. Here’s what I like to see: A student who receives an “A” has probably 1) come to every class; 2) contemplated and communicated with me about her progress, and given feedback on how my teaching methods might be adjusted to facilitate her learning; 3) invested herself in readings, discussions, responses and other assignments; 4) understood other students’ role in her growth and contributed sincerely during discussions and workshops; and finally, 5) submitted assignments on time, in appropriate formats, and so forth. Course Grade Breakdown Class Attendance and Engagement 20% Synthesis Questions (10) 10% Film / Media Reviews (2) 20%

Design Projects (3) 24% Project Presentation 6% Final Project / Bibliography 20%

Plagiarism I expect you to work together in the formation of your ideas and the early development of your work. However, I ask that you do not use someone else’s words without acknowledging it. “Plagiarism” may apply to material taken from a book, article, or the Internet, or even in conversation. Paraphrasing another writer, substituting words, or rearranging sentences from the work of another also constitutes plagiarism. Remember, plagiarism is easily detected with databases and search engines. Plagiarism is academic misconduct and is a violation of rules and regulations of the University of Kansas. Penalties for academic misconduct range from failure of the assignment to expulsion from the University. In this course, plagiarism on an assignment will result in an F for that assignment, and any additional plagiarism will result in failure of the course and possible further penalties. If you disagree with a charge of academic misconduct, you may request a review by Continuing Education. Please visit the following KU webpage for more comprehensive guidance on academic integrity: https://studentaffairs.ku.edu/academic-integrity. Students with Special Needs The Academic Achievement & Access Center (AAAC) coordinates accommodations and services for all KU students who are eligible. If you have a disability for which you wish to request accommodations and have not contacted the AAAC, please do so as soon as possible. Their office is located in 22 Strong Hall; their phone number is (785) 864-4064 (V/TTY). Information about their services can be found at http://disability.ku.edu. Please contact me privately in regard to your needs in this course. Sexual Harassment Sexual harassment does nothing but demonstrate a complete lack of consideration for others and for yourself. It is contrary to the ethics of this course. You will not regret valuing and respecting others, so please do so while in my class.

Course Calendar

Intro to Native/Indigenous Film & Media Week 1 (Jan 22): Introductions

Screenings: Electric Earthquake (1942, 9min), Horse Hare (1960, 7min) Week 1 (Jan 24): What is “Indigenous Media”?

Screenings: Nanook of the North (1922, clips), Reel Injun (2009, clips) Readings: Gerald Vizenor, “"Edward Curtis: Pictorialist and Ethnographic Adventurist" [Blackboard]; Wiping the War Paint Off the Lens, Introduction & Chs. 1-3 (pp1-32) [Blackboard]

Synthesis Question due

Indigenous Hollywood (U.S.) Week 2 (Jan 29 & 31)

Screening: Powwow Highway (1989, 87min) Readings: Imagic Moments, Introduction & Chs. 6-7, 9 [library]; Houston Wood, “Dimensions of

Difference in Indigenous Film” [Blackboard] Additional Viewing: Dance Me Outside (1994), Naturally Native (1998), Smoke Signals (1998)

Synthesis Question due Week 3 (Feb 5 & 7)

Screening: Four Sheets to the Wind (2007, 84min) Readings: Imagic Moments, Chs. 4, 10-1 & 13 [library] Additional Viewing: The Doe Boy (2001), Skins (2002), Barking Water (2009), Winter in the Blood

(2013) Synthesis Question due

Indigenous Animation Week 4 (Feb 12)

Screenings: The Visit (2009, 4min) [Blackboard], Nunavut Animation Lab: The Bear Facts (2010, 4min) [Blackboard], Neil Discovers the Moon (2014, 1min) [Blackboard], First Contact (2015, 2min) [Blackboard]

Readings: Global Indigenous Media, Introduction (pp1-35) and Ch. 4, “Indigenous Animation: Educational Programming, Narrative Interventions, and Children’s Cultures” (p89-108)

Week 4 (Feb 14)

Screenings: Little Thunder (2009, 3min) [Blackboard], Walk-in-the-Forest (2009, 3min) [Blackboard], Dancers of the Grass (2009, 2min) [Blackboard], We Prayed In Water (2012, 5min) [Blackboard], [Blackboard]

Film Review Due

Indigenous Hollywood 2 (Canada) Week 5 (Feb 19 & 21)

Screening: Rhymes for Young Ghouls (2013, 88min)

Readings: Imagic Moments, Ch. 12 (pp188-201), Sovereign Screens: Aboriginal Media on the Canadian West Coast, Introduction (pp1-20) [library]

Additional Viewing: Tkaronto (2007), Frozen River (2008), The Lesser Blessed (2012) Synthesis Question due

Week 6 (Feb 26 & 28)

Screening: Before Tomorrow (2008) Readings: Cache Collective, “Cache: Provisions and Productions in Contemporary Igloolik Video”

(Global Indigenous Media Ch. 3, pp74-88); Michelle Raheja, “Reading Nanook’s Smile: Visual Sovereignty, Indigenous Revisions of Ethnography, and Atanarjuat: The Fast Runner”

Additional Viewing: Atanarjuat: The Fast Runner (2001), Inuk (2010/12), On the Ice (2011) Synthesis Question due

Indigenous Cinema in Australia and New Zealand (Aotearoa) Week 7 (Mar 5 & 7): Aotearoa

Screening: Ngati (1987, 10min) [Blackboard], Two Cars, One Night (2004, 11min), Boy (2010, 88min) Readings: Global Indigenous Media Ch. 2 (pp58-73); Andrew Horton, “Indigenous Stories Reaching

out to the World: New Zealand Māori & Native American Cinemas”; Ruth Brown, “Closing the Gaps: Once Were Warriors from Book to Film and Beyond”

Additional Viewing: Once Were Warriors (1994, 102min), Whale Rider (2002) Design Project 1 Due

Week 8 (Spring Break): NO CLASS Week 9 (Mar 19 & 21): Aboriginal Australia

Screening: Ten Canoes (2006, 92min) Readings: Tom Crosbie, “Critical Historiography in Atanarjuat the Fast Runner and Ten Canoes”;

Adrian Martin, “Adrian Martin Measures the Distance of Australia’s Rootlessness, in Search of a Native Cinema”

Additional Viewing: Rabbit-Proof Fence (2002), Samson & Delilah (2009) Synthesis Question due

Indigenous Documentary Film & Media

Week 10 (Mar 26 & 28)

Guest: Sterlin Harjo (Creek-Seminole), Visiting Artist, Indigenous Arts Initiative Screenings: Kanehsatake: 270 Years of Resistance (1993, 119min) [Blackboard], Forgotten Warriors

(1997); Haida Raid 3: Save Our Waters (2014, 6min) [Blackboard] Readings: Steven Leuthold, “Rhetorical Dimensions of Native American Documentary,” “Historical

Representation in Native American Documentary,” and “An Indigenous Aesthetic? Two Noted Videographers: George Burdeau and Victor Masayesva”; Jennifer Gauthier, “Dismantling the Master’s House: The Feminist Fourth Cinema Documentaries of Alanis Obomsawin and Loretta Todd”

Additional Viewing: You Are On Indian Land (1969) [Blackboard], Bastion Point: Day 507 (1980), Incident at Restigouche (1984) [Blackboard], Imagining Indians (1992), Qimmit: A Clash of Two Truths (2012), This May Be the Last Time (2014)

Synthesis Question due

Week 11 (Apr 2 & 4)

Screenings: The Land Belongs to Those Who Work It (2005, 16min) [Blackboard] and TBA Readings: Global Indigenous Media Chs. 1, 8 & Pt. III (pp39-57, 160-180 & 183-249); Erica Wortham,

“Between the State and Indigenous Autonomy: Unpacking Video Indígena in Mexico” Additional Viewing: Laberinto Verde (2011) [Blackboard] Synthesis Question due

Indigenous Internet and New Media

Week 12 (Apr 9 & 11): Indigenous Web Media

Readings: Laurel Dyson et al., Information Technology and Indigenous People [Blackboard]; Lisa Nakamura and Peter Chow-White, Race After the Internet [Blackboard]

Synthesis Question due Week 13 (Apr 16 & 18): Indigenous New Media and Digital Art

Screenings: TBA Readings: Coded Territories: Tracing Indigenous Pathways in New Media Art [Blackboard] Design Project 2 Due

Week 14 (Apr 23 & 25): Indigenous Social & Computational Media

Event: Indigenous Meme Design Readings: Global Indigenous Media Ch. 6 & Pt. IV (pp128-144, 253-305) Media Review Due

Week 15 (Apr 30 & May 2): Indigenous Computational Media 2: Videogames Screenings: TBA Readings: TBA Synthesis Question due

Week 16 (May 7 & 9): Presentations

Design Project 3 Due Week 17 (May 14): Final Due

9/20/2019 GEOL 563: Tectonics and Regional Geology




Subject Code GEOL Course Number 563

Academic Unit Department Geology

School/College College of Lib Arts & Sciences

Locations

Title Tectonics and Regional Geology

Transcript Title Tectonics and Regional Geology


CatalogDescription

Prerequisites


Credits 3

Course Type



No


No

Typically Offered Once a Year, Usually Fall


No


NE - Earth Sciences

CourseDesignator

N - Natural Sciences

No

No


KU CoreDocuments


In Workflow1. CLAS


2. CUSASubcommittee

3. CUSA Committee4. CAC5. CLAS Final



Rachel Schwien(rschwien):Approved forCLASUndergraduateProgram andCourseCoordinator

2. 09/20/19 12:48pmRachel Schwien(rschwien):Approved forCUSASubcommittee


Viewing: GEOL 563 : Tectonics and Regional GeologyLast edit: 09/11/19 10:21 amChanges proposed by: stearns

Lawrence


No

Topics vary with demand and include fundamental features of plate tectonics, interpretation and distribution ofregional geology of mountain belts with emphasis on tectonic setting and processes, regional geology, and tectonics

of selected mountain belts. This course is offered at the 500 and 700 level with additional assignments at the 700 level. Not open tostudents with credit in GEOL 763.

GEOL 562, GEOL 512, or GEOL 331, and GEOL 572.




This course is taught with GEOL 763, but encourages enrollment from undergraduates who shy away from registering from 700-levelcourses.

Leigh Stearns (stearns) (08/28/19 12:37 pm): I tried to cross-list this with GEOL 763, but kept getting an error message.Rachel Schwien (rschwien) (09/10/19 2:55 pm): Same as GEOL 763








9/20/2019 GEOL 563: Tectonics and Regional Geology


Key: 13084

Rachel Schwien (rschwien) (09/12/19 4:11 pm): GEOL 763 already approved course

9/20/2019 GIST 304: Globalization & Afro-Brazilian Culture




Subject Code GIST Course Number 304

Academic Unit Department Global & International Studies


Locations

Title Globalization & Afro-Brazilian Culture

Transcript Title Globl & Afro-Brazilian Culture

Effective Term Spring 2020

CatalogDescription

Prerequisites


Credits 3

Course Type

Grading Basis A-D(+/-)FP (G13)


No


No

Typically Offered Once a Year, Usually Spring


No


CourseDesignator

W - World Culture

No

No


SupportingDocuments

In Workflow1. CLAS


2. CUSASubcommittee







Viewing: GIST 304 : Globalization & Afro-Brazilian CultureLast edit: 09/10/19 2:59 pmChanges proposed by: f409w960

Lawrence


No

During this study abroad experience, students will explore how Afro-Brazilian cultural elements, such as themusic of Afro groups, the art form/martial art/dance capoeira, and the candomblé religion became realities around

the world. Guest lecturers will present on topics such as Brazilian history, music, religion, dance, education, Carnival, and tourism.Planned site visits include temples of Afro-Brazilian religions such as candomblé and syncretic Catholic churches such as the Church ofOur Lady of the Black Rosary. The program is based in Salvador, one of the Brazilian cities where African influence is the most visibleand celebrated. This course and study abroad program is open to all majors.

None




This study abroad course has been taught the last several winter terms, and it is of interest to our students, so we are giving itpermanent numbers.

AfroBrazilian_wb20 redesign.pdf








https://next.catalog.ku.edu/courseadmin/13093/AfroBrazilian_wb20%20redesign.pdf

9/20/2019 GIST 304: Globalization & Afro-Brazilian Culture


KU CoreDocuments


Key: 13093

WINTER BREAK 2020

*updated 8/23/19

GLOBALIZATION& AFRO-BRAZILIAN MUSIC & CULTURE

Salvador, Brazil

Learn about the history, music, and culture of the African diaspora in Brazil and the impact of the globalization of Afro-Brazilian culture in music, religion, race relations, and other art forms.

Luciano Tosta, Associate Professor Department of Spanish & Portuguese2630 Wescoe Hall785.864.1133 [email protected]

Dylan Bassett, Lecturer School of Music785.864.3436 [email protected]

Study Abroad & Global Engagement1410 Jayhawk Blvd.Lippincott HallRoom 108Lawrence, KS [email protected]

DATESDepart U.S.: January 2, 2020Arrive Brazil: January 3, 2020Depart Brazil: January 18, 2020Arrive U.S.: January 19, 2020

Minimum 2.5 GPA required (exceptions considered after submission of a petition). The program is open to students of any major. There is no language requirement, though students with previous exposure to Portuguese or Spanish will find it helpful.

ELIGIBILITY

CHILE

PARAGUAY

PERU

ARGENTINA

Salvador

Brasilia

Rio de Janiero

Sao Paulo

BRAZIL

PROGRAM OVERVIEW DEADLINES, FUNDING & FEES

LOCATION

HOUSING

ACADEMIC PROGRAM

LIFE ABROAD

Program Application Deadline: October 1, 2019

Scholarship Application Deadline: October 1, 2019

Apply Online: studyabroad.ku.edu

Study Abroad & Global Engagement provides personalized financial aid and scholarship advising for students. Please visit 108 Lippincott Hall or call 785-864-3742 to set up an appointment.

KU students who qualify for financial aid in the form of Stafford and/or other loans, federal grants, and KU or outside scholarships may apply the aid to the cost of a study abroad program.

Limited KU Study Abroad supplemental scholarships are available to KU degree seeking students. Applications are available online.

For additional scholarship opportunities visit: studyabroad.ku.edu/other-scholarship-opportunities

TUITION & FEES

PROGRAM FEE

ESTIMATEDADDITIONAL EXPENSES

TBDKU Students

TBDAll Students

TBDKU Students

TBDNon-KU Students

TBDNon-KU Students

NOTE: All dates, costs, and program information are subject to change. For itemized program costs visit studyabroad.ku.edu.

Students will explore how Afro-Brazilian cultural elements such as the music of Afro groups, the art form/martial art/dance capoeira, and the candomblé religion became realities around the world. The program is based in Salvador, one of the Brazilian cities where African influence is the most visible and celebrated. Students will earn three credits and the program is open to all majors.

Brazil is the largest country in South America and is often compared to the U.S. due to its colonial past and racial makeup. It is known for its natural beauty, music, talent for sports, and growing economy. Salvador, located in the state of Bahia, is the third largest city in the country and is home to the largest Afro-Brazilian population. Its architecture, food, music, religions, and culture have fused European, African, and indigenous elements. The city’s historic center is famous for its beautiful cobble-stone streets and colonial buildings in Renaissance, Baroque, and Art Deco styles. UNESCO declared it a World Heritage Site in 1985.

Students will be placed in host families and the family will provide three meals daily. Students will walk or take public transportation to class.

Three hours of academic credit are granted by the University of Kansas upon successful completion of the program and will be posted to the students’ Spring transcript. The course title is Globalization and Afro-Brazilian Music and Culture in Salvador, Brazil. Undergraduate students will enroll in one of the following courses: AAAS 496 (meets KU Core Goal 6.1), GIST 550, LAA 302, MUS 300, or PORT 300 (meets KU Core Goal 4.2). Graduate students will enroll in either MUS 800 or PORT 785.

Students will meet four times before going to Brazil and once upon return to gain background knowledge regarding globalization, Afro-Brazilian history, and their interaction. Readings include essays about slavery in Brazil and Bahia’s African roots and legacy.

Cultural activities will enhance the students’ understanding of the rich Afro-Brazilian culture in Brazil, and especially Salvador. Guest lecturers will present on topics such as Brazilian history, music, religion, dance, education, Carnival, and tourism. Planned site visits include temples of Afro-Brazilian religions such as candomblé and syncretic Catholic churches such as the Church of Our Lady of the Black Rosary. The group will also take music classes from Afro-Brazilian percussion groups, visit the Afro-Brazilian museum, and attend capoeira, samba, and other Afro-Brazilian dance classes and concerts. Each of these activities will happen with a focus on globalization, the transnationalization of Afro-Brazilian culture, and its influences on the local culture of Salvador.

Planned activities include a guided tour of Salvador, an excursion to the city of Cachoeira to learn about its African heritage, and to the beach at Praia do Forte.

Estimated undergraduate tuition and fees for 3 credit hours based on the standard resident tuition rate. Actual expenses for KU students will vary based on the student’s individual tuition compact. Graduate students will pay the graduate resident tuition rate. Fees include KU orientation, emergency medical evacuation and repatriation services, and administrative fees.

Estimated additional costs include airfare, passport and visa fees, books and supplies, local transportation, and personal expenses.

Program fee includes host family accommodations with three meals daily, cultural activities, excursions, and some group meals.

9/20/2019 LWS 443: Theoretical Foundations of Law & Society



Programsreferencing thiscourse

PUAD-BA/BGS: Law and SocietyPUAD-MIN: Law and Society


Subject Code LWS Course Number 443

Academic Unit Department Public Affairs & Adm, School


Locations

Title Theoretical Foundations of Law & Society

Transcript Title Theoret Foundatns of Law & Soc

Effective Term Summer 2020

CatalogDescription

Prerequisites


Credits 3

Course Type



No


No

Typically Offered Typically Every Semester


No


CourseDesignator

S - Social Sciences

No

Yes

In Workflow1. CLAS


2. CUSASubcommittee





2. 09/20/19 12:48pmRachel Schwien(rschwien):Approved forCUSASubcommittee

New Course ProposalDate Submitted: 08/09/19 11:15 am

Viewing: LWS 443 : Theoretical Foundations of Law & SocietyLast edit: 09/03/19 8:49 amChanges proposed by: dianak

Edwards


No

Provides advanced examination of the major theoretical traditions in the field. Addresses classic as well ascontemporary studies in these traditions, and considers how these traditions may be applied to enhance

understanding of current issues in the field. This course is offered at the 400 and 700 level with additional assignments at the 700 level.Not available to students with credit in LWS 743.

LWS 330.




https://next.catalog.ku.edu/programadmin/?key=477

https://next.catalog.ku.edu/programadmin/?key=543








9/20/2019 LWS 443: Theoretical Foundations of Law & Society



(PUAD-BA/BGS) Law and Society

Describe how: Part of Law and Society major


KU CoreDocuments


Key: 13042

Changing some 600-level PUAD courses to be split between 400 & 700 levels to clarify the difference in course expectations betweenundergrad & graduate levels.

9/20/2019 POLS 648: Western European Politics




Subject Code POLS Course Number 648

Academic Unit Department Political Science


Locations

Title Western European Politics

Transcript Title Western European Politics


CatalogDescription

Prerequisites


Credits 3

Course Type



No


No

Typically Offered Every Two Years


No


CourseDesignator

W - World Culture

No

No


KU CoreDocuments

In Workflow1. CLAS


2. CUSASubcommittee







Viewing: POLS 648 : Western European PoliticsLast edit: 09/19/19 9:43 amChanges proposed by: kennedy1

Lawrence


No

This class is an introductory course to European politics which pursues three goals. First, the class is designed tointroduce you to a variety of different aspects of European political systems, their main political actors, and basic

historical traditions. A second objective consists of discussing the enormous transformation of European politics that is currentlyunderway in Europe. Third, you will become acquainted in some detail with the institutions and operating procedures of four politicalsystems that we focus on: France, Germany, Great Britain, and the European Union. These systems represent the range of traditionswe encounter in Western and Central Eastern Europe so they serve as an example of how European polities work.

POLS 150




There is a demand for a specific POLS undergraduate course on Western Europe. This will also meet with Western Europeanlanguages and cultures need for non-language related courses.








9/20/2019 POLS 648: Western European Politics



Key: 13054

Rachel Schwien (rschwien) (09/11/19 11:59 am): One of the rationals for the class is meeting the needs for non-language relatedcourses. For example, the German Language BA requires "A minimum of 14 credit hours at the 300, 400, and 500 levels must be

completed beyond the required [language] courses." In addition, the Foreign Language and Area Studies (FLAS) fellowships require non-language classes aswell. There is also a need for the this course in Political Science.

9/20/2019 PSYC 250: Human Development



Also listed as: ABSC 250


Subject Code PSYC Course Number 250

Academic Unit Department Psychology


Locations

Please ExplainThis is a new course that will be taught as an 8-week on-line course.

Title Human Development

Transcript Title Human Development

Effective Term Spring 2020

CatalogDescription

Prerequisites


Credits 3

Course Type



No


No



No


CourseDesignator

S - Social Sciences

No

No

In Workflow1. CLAS


2. CUSASubcommittee



Approval Path1. 09/10/19 3:10 pm




Viewing: PSYC 250 : Human Development

Last edit: 09/16/19 8:39 amChanges proposed by: mvitevit

Lawrence


Yes

This course examines the psychological, social, and physical development of humans across the lifespan fromconception through infancy, childhood, adolescence, adulthood and death. The course will explore the broad array

of factors that contribute to development including cognitive, emotional, social, neurological, physical, genetic, and environmentalinfluences.

PSYC 104 or PSYC 105

Code Title

ABSC 250 Human Development











9/20/2019 PSYC 250: Human Development



KU CoreDocuments


Key: 13055

We currently offer PSYC 333 Child Development, which covers from conception until the end of adolescence. A number of Pre-professional programs require students to take a course that covers the entire lifespan, so PSYC 333 does not count for those students.

These students ultimately take a development course at another institution. We wish to provide KU students with a required course at KU.

Rachel Schwien (rschwien) (09/11/19 11:47 am): ABSC (F. DiGennaro Reed) approves of this course and may cross list pending facultyvote

9/20/2019 PSYC 210: Statistics in Psychological Research




Subject Code PSYC Course Number 210

Academic Unit Department Psychology


Title Statistics in Psychological Research

Transcript Title Statistics Psychological Rsrch

Effective Term Summer 2017

CatalogDescription

Prerequisites


Credits 3

Course Type



No


Yes No



No


CourseDesignator

S - Social Sciences

Yes No

In Workflow1. CLAS


2. CUSASubcommittee


Approval6. Registrar7. PeopleSoft8. UCCC CIM

Support9. UCCC Preliminary

Vote10. UCCC Voting

Outcome11. SIS KU Core

Contact12. Registrar13. PeopleSoft

Approval Path1. 08/23/19 10:23

amRachel Schwien(rschwien):Approved forCLASUndergraduateProgram andCourseCoordinator


History1. May 25, 2017 by

Smana Hitt(s364h085)

Date Submitted: 07/23/19 3:32 pm

Viewing: PSYC 210 : Statistics in Psychological ResearchLast approved: 05/25/17 4:32 amLast edit: 07/23/19 3:40 pmChanges proposed by: mvitevit


No

An introduction to statistical concepts and methods as they relate to analysis and interpretation of psychologicaldata.

PSYC 104.



Justification for counting this course towards the CLAS BA

In this course students learn about and apply statistical analyses to problems that are of interest to psychological andsocial scientists. A final class project requires students to present in a "poster session" the results of 2 different statisticalanalyses that they computed using data collected from the students during the class (e.g., correlation between #of hoursworking outside job, and GPA, etc.). Please see attached documents.

How does this course meet the CLAS BA requirements?

Quantitative Reasoning (QR)

Catalog Pagesreferencing thiscourse

BA in Applied Behavioral Science with concentration in BasicResearchBA in Applied Behavioral Science with concentration inConceptual FoundationsBA in Human Biology with concentration in Psychology








mailto:[email protected];%[email protected]






https://next.catalog.ku.edu/liberal-arts-sciences/applied-behavioral-science/ba-bgs/ba-basic-research/index.html

https://next.catalog.ku.edu/liberal-arts-sciences/applied-behavioral-science/ba-bgs/ba-conceptual-foundations/index.html

https://next.catalog.ku.edu/liberal-arts-sciences/biology/ba-human-biology/psychology/index.html



Yes No


(PSYC-BA/BGS) Psychology, B.A./B.G.S.

Describe how: This course is a previously approved requirement for the BA/BGS in PSYC andthe BS in Behavioral Neuroscience. We are simply requesting the course now beallowed to count as an option for the Quantitative Reasoning requirement and KUCore 1.2 (recognizing that the course can be used by a student to complete 1 butnot both).


SupportingDocuments

Yes No

Name of person givingdepartmental approval

Mike Vitevitch Date of Departmental Approval 09/10/2018

Selected Goal(s)

Do all instructors of this course agree to include content that enables students to meetKU Core learning outcome(s)?

Yes

Do all instructors of this course agree to develop and save direct evidence thatstudents have met the learning outcomes(s)?

Yes

Provide an abstract (1000 characters maximum) that summarizes how this coursemeets the learning outcome.

All of the following criteria are met by this course:1) Focus on solving problems using functions and numerical techniques.--Variousstatistical tests are taught (see syllabus).2) Require students to apply mathematical or statistical principles to organize orprocess numerical information.--Students apply these principles in homework and finalproject.3) Require students to use specific quantitative methods to solve problems, and chooseappropriate methods for given problems.--Part of the assessment of the final project isuse of the right statistic for the question. 4) Evaluate student performance in the tasks above and use this evaluation for asupermajority of the final course grade.--See instructions & rubric for final project aswell as syllabus for weighting of assignments.

Selected Learning Outcome(s):

Goal 1, Learning Outcome 2


We are requesting the course be allowed to count as an option for the Quantitative Reasoning requirement and KU Core 1.2(recognizing that the course can be used by a student to complete 1 but not both). The attached documents demonstrate that the course

meets criteria for inclusion as QR and Core 1.2.

INSTRUCTOR EVALUATION – POSTER PRESENTATION.pdf Course Schedule_Psych210_Fa2019.docx

Syllabus_Psych 210_Fa2019.docx 1 Call for Research Project Proposals.docx 2 Poster Instructions.docx 3 Poster Roles handout.pdf

KU Core InformationHas the department approved the nomination of this course to KU Core?

State how your course uses discussion and course assignments to teach students to solve problems using mathematical functionsand numerical techniques. (Please limit responses to 1000 characters.)

Homework assignments in the class focus on the statistic being taught that week. The final poster presentation is a final capstone-like project that requires students to select the statistics that best address the research questions their group comes up with.

https://next.catalog.ku.edu/courseadmin/6094/INSTRUCTOR%20EVALUATION%20%E2%80%93%20POSTER%20PRESENTATION.pdf

https://next.catalog.ku.edu/courseadmin/6094/Course%20Schedule_Psych210_Fa2019.docx

https://next.catalog.ku.edu/courseadmin/6094/Syllabus_Psych%20210_Fa2019.docx

https://next.catalog.ku.edu/courseadmin/6094/1%20Call%20for%20Research%20Project%20Proposals.docx

https://next.catalog.ku.edu/courseadmin/6094/2%20Poster%20Instructions.docx

https://next.catalog.ku.edu/courseadmin/6094/3%20Poster%20Roles%20handout.pdf



KU CoreDocuments


Key: 6094

State what aspects of your course or educational experience require students to apply mathematical or statistical principles toorganize or process numerical information. (Please limit responses to 1000 characters.) *

In this course students learn about and apply statistical analyses to problems that are of interest to psychological and socialscientists. A final class project requires students to present in a "poster session" the results of 2 different statistical analyses that theycomputed using data collected from the students through out the class (e.g., correlation between #of hours working outside job, andGPA, etc.).

State how your course or educational experience will use assignments, readings, class discussion, and lecture to require students touse specific quantitative methods to solve problems and to choose appropriate methods for given problems. (Please limit responsesto 1000 characters.) *

See above and attached materials.

Indicate the weight of the evidence that will be used to evaluate student performance in the tasks above and how you will use thisevaluation for a supermajority (greater than or equal to 60%) of the final course grade. (Please limit responses to 1000 characters.) *

“LearningCurve” quizzes and Online Activities (15% of Final Grade),Pre-class Quizzes (10% of Final Grade),Homework Assignments(15% of Final Grade),Unit Exams (20% of Final Grade),Group Research Project (20% of Final Grade),,TOTAL = 80%

INSTRUCTOR EVALUATION – POSTER PRESENTATION.pdf Course Schedule_Psych210_Fa2019.docx

Syllabus_Psych 210_Fa2019.docx 1 Call for Research Project Proposals.docx 2 Poster Instructions.docx 3 Poster Roles handout.pdf

Rachel Schwien (rschwien) (09/03/19 1:09 pm): Tabled due to time

https://next.catalog.ku.edu/courseadmin/6094/INSTRUCTOR%20EVALUATION%20%E2%80%93%20POSTER%20PRESENTATION.pdf

https://next.catalog.ku.edu/courseadmin/6094/Course%20Schedule_Psych210_Fa2019.docx

https://next.catalog.ku.edu/courseadmin/6094/Syllabus_Psych%20210_Fa2019.docx

https://next.catalog.ku.edu/courseadmin/6094/1%20Call%20for%20Research%20Project%20Proposals.docx

https://next.catalog.ku.edu/courseadmin/6094/2%20Poster%20Instructions.docx

https://next.catalog.ku.edu/courseadmin/6094/3%20Poster%20Roles%20handout.pdf

PSYC 210: Statistics in Psychological Research Fall 2019 Syllabus

Teaching Team: Instructor: Teaching Assistant: Email: Email: Office: Office: Office Hours: Office Hours: Time and Location: Section XXXX M/W/F 9:00-9:50am FR 119 Section XXXX M/W/F XXXX FR 119 Section XXXX M/W/F XXXX FR 119

Course Description: This course is an introduction to statistical concepts and methods as they relate to analysis and interpretation of psychological data. Course Objectives:

To gain an understanding of the basic concepts underlying statistics, especially those utilized in the social sciences

To conduct different statistical procedures in order to test various research questions

To organize, summarize, interpret, and present results obtained from research studies

To become a more knowledgeable consumer of behavioral research through understanding of statistical methods used both in research and in everyday life

Course Format: This class is designed as a hybrid course. “Hybrid” means it is structured so that learning and instruction occur both in class and via online, out-of-class work. What this means for students is:

Greater personal responsibility for learning material. You will read and interact with the material and complete quizzes on it before it is discussed in class.

Possibly less time spent physically in class. There will be weeks when we will not meet all three days for class. This flexibility allows you time to work with the material so that you will be prepared to engage with it more deeply during class meetings.

Research has shown that the hybrid course format results in better learning outcomes for students as compared to a traditional lecture format. When students come to class prepared and then engage in activities and discussion in the classroom, they are better able to understand, remember, and apply the information that is covered in this class. Expectations for Students:

Come to class prepared for discussion and active contribution each week

Be willing and prepared to try new and different activities, even if that means stepping out of your comfort zone

Work with and support each of your class members for the duration of the class

Be a responsible, reliable, and equal participant in the group research project throughout the semester

Course Materials

Online textbook and learning platform: We will be using an online textbook that is built into the learning platform created by the publisher. Instructions for purchasing access to these materials can be found on Blackboard. Learning platform: LaunchPad (required for this course) Textbook: Essentials of Statistics for the Behavioral Sciences (3rd ed.) by Nolan & Heinzen (optional)

There are two options for purchasing access to LaunchPad/the textbook at the KU Bookstore:

LaunchPad only (with eBook built in)

LaunchPad + loose leaf copy of the textbook

Calculator: A basic 4-function calculator or scientific calculator is required for this class (NO cell phone calculators are allowed). SPSS Access: We will be doing some calculations in the statistical software SPSS. You can learn about your options for accessing SPSS by clicking here: http://technology.ku.edu/software/spss#top. You can also use SPSS in any of the KU computer labs on campus. Course Website: This course uses Blackboard (http://courseware.ku.edu). You will use Blackboard for any of the following: linking to LaunchPad and the eBook, seeing the course syllabus and schedule, accessing assignments, submitting work, taking quizzes and/or exams, viewing grades, receiving announcements, and emailing the instructor. Email: A valid KU email address is required for this course. This email is tied to your Blackboard account and will be used to communicate with you outside of our class meeting time. You are expected to check your email daily.

Course Grading

Grading for the course falls into one of two categories: Effort and Performance. Effort represents your engagement in activities that further your understanding of a given topic. Performance represents your competence on that topic. Both of these areas are important in computing your grade in this course. Effort (45% Total) In Class Contribution (20% of Final Grade): The knowledge and skills you will gain in this course highly depend upon your level of contribution to the class. As you must be present to contribute, attendance is a required part of your contribution grade. You are expected to attend class, participate in class discussions, and be energetically involved in class activities. If you are going to miss class for any reason, please communicate with your instructor as early as possible before class. Contribution will be assessed by turning in activities that are completed during class. “LearningCurve” quizzes and Online Activities (15% of Final Grade): Points are earned by completing the “LearningCurve” quizzes and other assigned online activities through LaunchPad. These are intended to encourage your interaction with the material so that you come to class prepared for our activities. Pre-class Quizzes (10% of Final Grade): There will be a pre-class quiz in Blackboard for each chapter that must be completed prior to the first class period when that material will be discussed. These quizzes are designed to assess your basic understanding of the material and to ensure that you come to class prepared so that you can actively participate in class discussions and activities. You can take these quizzes as many times as you wish prior to the deadline and your highest score will count toward your grade.

http://technology.ku.edu/software/spss#top

http://courseware.ku.edu/

Performance (55% Total) Homework Assignments (15% of Final Grade): There will be five homework assignments throughout the semester. These assignments will help you to practice the materials and to prepare for exams. Each homework assignment consists of an online portion and a written portion and can be found in Blackboard. Unit Exams (20% of Final Grade): There will be four unit exams over the course of the semester. Group Research Project (20% of Final Grade): There will be a group research project due at the end of the semester. We will collect data from all students taking PSYC 210 at the beginning of the semester and will use that data to answer research questions by doing statistical analyses and presenting results during a poster presentation at the end of the semester.

Assignment % of Course Grade Grading Scale

EFFORT (45%)

In Class Contribution 20% 90 – 100% = A

LearningCurve eBook quizzes & Online Activities 15% 87 – 89% = B+

Pre-class Quizzes 10% 80 – 86% = B

PERFORMANCE (55%) 77 – 79% = C+

Homework Assignments 15% 70 – 76% = C

Unit Exams 20% 67 – 69% = D+

Group Research Project 20% 60 – 66% = D

0 – 59% = F

There are many different types of work in this class and all are important in computing your final grade. Below is a visual representation of the table above. As you can see, you need to be attentive to all areas of grading in order to succeed in this course. This fairly even distribution of points among the various types of work offers you many opportunities to excel and show your strengths.

In Class Contribution

20%

Learning Curve/Online

Activities15%

Homework Assignments

15%

Group Research Project

20%

Unit Exams20%

Pre-class Quizzes

10%

How your grade is computed:

Course Policies Academic Deadlines

In the event that this is not the right course for you, the last day to drop this course without a grade is September 16. The last day to withdraw from this course is November 20.

Electronic Devices Our classroom is a “distraction free zone” so that everyone can fully engage with the material and participate in class activities. This means that all electronic devices, including cell phones and accessories, must be turned off and put away during class. You need to bring a basic calculator so that you do not have to rely on your cell phone for computations. You may be asked to bring a computer for SPSS analyses for some classes. You will be notified in advance of those days. If you have an extenuating circumstance where you need to monitor your phone during class, let your instructor know in advance. Otherwise, the use of electronic devices during class may result in loss of that day’s contribution points or being asked to leave class.

Policy for Late Assignments: Because there are many opportunities to earn points in this class, it is not possible to make up most work once the due date has passed. Specifically, Pre-class Quizzes, Online Activities, and LearningCurve quizzes cannot be completed after the deadline. However, if you miss an Exam or Homework Assignment, you will be allowed to complete that work for partial credit (80% of the points earned) if you complete it within one week of the original due date. After one week, no credit can be earned. Please see me if you have an extreme extenuating circumstance (e.g., death in the family, hospitalization) with documentation.

Academic Misconduct Statement (From the University Senate Rules and Regulations): Academic misconduct by a student shall include, but not be limited to, disruption of classes; threatening an instructor or fellow student in an academic setting; giving or receiving of unauthorized aid on examinations or in the preparation of notebooks, themes, reports or other assignments; knowingly misrepresenting the source of any academic work; unauthorized changing of grades; unauthorized use of University approvals or forging of signatures; falsification of research results; plagiarizing of another's work; violation of regulations or ethical codes for the treatment of human and animal subjects; or otherwise acting dishonestly in research. An instructor may, with due notice to the student, treat as unsatisfactory (1) any student work that is a product of academic misconduct, or (2) a student's performance for a course when there are severe or repeated instances of academic misconduct.

Commercial Note-Taking: Pursuant to the University of Kansas’ Policy on Commercial Note-Taking Ventures (http://policy.ku.edu/provost/commercial-note-taking), commercial note-taking is not permitted in this class. Lecture notes and course materials may be taken for personal use, for the purpose of mastering the course material, and may not be sold to any person or entity in any form. Any student engaged in or contributing to the commercial exchange of notes or course materials will be subject to discipline, including academic misconduct charges, in accordance with University policy. Please note: note-taking provided by a student volunteer for a student with a disability, as a reasonable accommodation under the ADA, is not the same as commercial note-taking and is not covered under this policy.

Students with Disabilities: The Academic Achievement and Access Center (AAAC) coordinates academic accommodations and services for all eligible KU students with disabilities. If you have a disability for which you wish to request accommodations and have not contacted the AAAC, please do so as soon as possible. They are located in 22 Strong Hall and can be reached at 785-864-4064 (V/TTY). Information about their services can be found at http://www.disability.ku.edu. Please contact me privately in regard to your needs in this course.

Statement on Diversity & Inclusion: As a premier international research university, the University of Kansas is committed to an open, diverse and inclusive learning and working environment that nurtures the growth and development of all. KU holds steadfast in the belief that an array of values, interests, experiences, and intellectual and cultural viewpoints enrich learning and our workplace. The promotion of and support for a diverse and inclusive community of mutual respect require the engagement of the entire university.

Weapons Policy: Individuals who choose to carry concealed handguns are solely responsible to do so in a safe and secure manner in strict conformity with state and federal laws and KU weapons policy. Safety measures outlined in the KU weapons policy specify that a concealed handgun:

Must be under the constant control of the carrier.

Must be out of view, concealed either on the body of the carrier, or in a backpack, purse, or bag that remains under the carrier’s custody and control.

Must be in a holster that covers the trigger area and secures any external hammer in an un-cocked position.

Must have the safety on, and have no round in the chamber.

http://policy.ku.edu/provost/commercial-note-taking

http://policy.ku.edu/provost/commercial-note-taking

http://www.disability.ku.edu/

http://concealedcarry.ku.edu/information

http://policy.ku.edu/provost/weapons-on-campus

Student Resources

AAAC Tutoring Services Wescoe Hall, Room 4017 http://tutoring.ku.edu/ 785-864-7733

Center for Civic and Social Responsibility

Strong Hall, Room 150 https://ccsr.ku.edu/about-service-learning 785-864-0960

Center for Sexuality and Gender Diversity

Kansas Union, Rm 400 http://silc.ku.edu/sgd 785-864-2497

Center for Undergraduate Research

Strong Hall, Room 151 https://ugresearch.ku.edu/ 785-864-5733

Counseling and Psychological Services

Watkins Memorial Health Center, Room 2100

http://caps.ku.edu/ 785-864-2277

Emily Taylor Center for Women & Gender Equity

Rm 400 Kansas Union http://emilytaylorcenter.ku.edu/ 785-864-3552

Financial Aid & Scholarships KU Visitor Center http://affordability.ku.edu/ 785-864-4700

Information Technology 2nd Floor of Daisy Hill Commons

http://technology.ku.edu/ 785-864-8080

International Student Services Strong Hall, Room 2 http://iss.ku.edu/ 785-864-3617

KU Psychological Clinic Fraser Hall, Rm 340 http://psych.ku.edu/psychological_clinic/ (785) 864-4121

KU Recreation Services David A. Ambler Student Recreation Fitness Center

http://recreation.ku.edu/ 785-864-3546

KU Writing Center Anschutz Learning Studio, 4th Floor

http://writing.ku.edu/ 785-864-2399

Office of Multicultural Affairs 1299 Oread Avenue http://oma.ku.edu/ 785-864-4350

Office of the University Registrar

Strong Hall, Room 121 http://registrar.ku.edu/ 785-864-4422

Student Access Services Strong Hall, Room 22 http://disability.ku.edu/ 785-864-4064

Student Involvement & Leadership Center

Kansas Union, Rm 400 http://silc.ku.edu/ 785-864-4861

Undergraduate Advising Center

Strong Hall, Room 126 http://advising.ku.edu/ 785-864-2834

University Career Center 320 Anschutz Library http://career.ku.edu/ 785-864-3624

University of Kansas Libraries 1425 Jayhawk Blvd http://lib.ku.edu/ 785-864-8983

Veterans Services (Military-Affiliated Student Center)

345 Summerfield Hall http://veterans.ku.edu/ 785-864-2458

Watkins Health Services 1200 Schwegler Drive http://studenthealth.ku.edu/ 785-864-9500

http://tutoring.ku.edu/

https://ccsr.ku.edu/about-service-learning

http://silc.ku.edu/sgd

https://ugresearch.ku.edu/

http://caps.ku.edu/

http://emilytaylorcenter.ku.edu/

http://affordability.ku.edu/

http://technology.ku.edu/

http://iss.ku.edu/

http://psych.ku.edu/psychological_clinic/

http://recreation.ku.edu/

http://writing.ku.edu/

http://oma.ku.edu/

http://registrar.ku.edu/

http://disability.ku.edu/

http://silc.ku.edu/

http://advising.ku.edu/

http://career.ku.edu/

http://lib.ku.edu/

http://veterans.ku.edu/

http://studenthealth.ku.edu/

Course Schedule – PSYC 210 Fall 2019

Week:

(Beginning Monday)

Class Days

Topics

Assignments Due

Week 1: 8/26

M W

Syllabus Ch. 1 Introduction

LC-1/OA-1/PQ-1 due midnight 8/27 (Tue)

Week 2: 9/2

W F

Ch. 2 Frequency Distributions SPSS (histograms) Ch. 3 Visual Displays of Data (online only) Mon (9/2) no class (Labor Day)

LC-2/OA-2/PQ-2 due midnight 9/3 (Tue) OA-3 due midnight 9/5 (Thurs) Group Project Survey due 9/6 (Fri) SPSS Ch-2 work due 9/6 (Fri) LC-4/OA-4/PQ-4 due midnight 9/8 (Sun)

Week 3: 9/9

M W

Ch. 4 Central Tendency & Variability

HW1 (Ch. 1 & 2) due in class 9/9 (Mon)

Week 4: 9/16

M W

Ch. 4 Central Tendency & Variability SPSS (descriptive stats) Ch. 13 Correlation (*pp. 363-373 only)

SPSS Ch-4 work due 9/17 (Tue) LC-13/OA-13/PQ-13 due midnight 9/17 (Tue) Group Project CATME survey due 9/20 (Fri)

Week 5: 9/23

M W F

Ch. 13 Correlation (*pp. 363-373 only) SPSS (correlation) Exam Review

HW2 (Ch. 4 & 13) due in class 9/23 (Mon) SPSS Ch-13 work due 9/24 (Tue) Exam 1 on 9/27 (Fri) – Chapters 1, 2, 4, 13* LC-5/OA-5/PQ-5 due midnight 9/29 (Sun)

Week 6: 9/30

M W (F)

Ch. 5 Sampling & Probability Group Project: Assign groups, discussion of research questions/variables of interest/descriptive stats/correlations SPSS (GP descriptive stats/correlations)

SPSS Ch-5 work due 10/4 (Fri) LC-6/OA-6/PQ-6 due midnight 10/6 (Sun)

Week 7: 10/7

M W F

Ch. 6 The Normal Curve, z-Scores SPSS (z scores)

HW3 (Ch. 5 & 6) due in class 10/11 (Fri) SPSS Ch-6 work due 10/11 (Fri)

Week 8: 10/14

W F

Exam Review Mon (10/14-15) no class (Fall Break)

Exam 2 on 10/18 (Fri) – Chapters 5 & 6 LC-7/OA-7/PQ-7 due midnight 10/20 (Sun)

Week 9: 10/21

M W

Ch. 7 Hypothesis Testing/z-Tests

LC-8/OA-8/PQ-8 due midnight 10/27 (Sun)

Week 10: 10/28

M W

Ch. 8 Confidence Intervals, Effect Size, Power

Group Project Proposal due 11/1 (Fri)

Week 11: 11/4

M W F

Ch. 7 & 8 combined Exam Review

HW4 (Ch. 7 & 8) due in class 11/4 (Mon) Exam 3 on 11/8 (Fri) – Chapters 7 & 8 LC-9/OA-9/PQ-9 due midnight 11/10 (Sun)

Week 12: 11/11

M W

Ch. 9 Single Sample & Paired Samples t-Tests SPSS (single and paired t)

SPSS Ch-9 work due 11/14 (Thurs) LC-10/OA-10/PQ-10 due midnight 11/17 (Sun)

Week 13: 11/18

M W

Ch. 10 Independent Samples t-Test SPSS (independent t)

SPSS Ch-10 work due 11/21 (Thurs) OA-11/PQ-11 due midnight 11/24 (Sun)

Week 14: 11/25

M

Ch. 11 One-Way ANOVA (*pp. 273-283 only) Wed-Fri (11/27-29) no class (Thanksgiving)

HW5 (Ch. 9 & 10) due in class 11/25 (Mon)

Week 15: 12/2

M

Group Project Work—meet during class on Mon and then as needed the rest of the week in order to complete your project and get it submitted for printing

Week 16: 12/9

M W

Exam Review Fri (12/13) no class (Stop Day)

Posters due for printing 12/9 (Mon) by midnight Poster file due on Bb 12/9 (Mon) by midnight Exam 4 on 12/11 (Wed) – Chapters 9, 10, 11*

Finals: 12/16

FINALS WEEK

Group Project Poster Presentation Session 12/19 (Thurs) 4:30-7:00pm Location: Kansas Union Ballroom

Assignment Key: LC = LearningCurve quiz for each chapter that is administered through LaunchPad OA = Online Activities that are administered through LaunchPad PQ = Pre-class Quiz for each chapter that is administered through Blackboard HW = Homework assignment (both online and written portions) accessed in Blackboard

PSYC 210: STATISTICS IN PSYCHOLOGICAL RESEARCH INSTRUCTOR EVALUATION – POSTER PRESENTATION

Presenting Group: _______________________________ Evaluator ___________________________ POSTER PRESENTATION

Criteria 2 1 0 Comments Title SCORE:

Prominently displayed, approximately 10 words or less.

Title provided but may be incorrect length (too long or short) and/or missing key details.

None

Authors SCORE:

Complete. All names listed with affiliations/team roles.

Partial or incomplete (e.g., only first names or no affiliations/roles listed).

None

Abstract SCORE:

Abstract provided and is the proper length (50-150 words). Concise summary of the research conducted.

Abstract provided but may be incorrect length (too long or short) and/or missing key details needed for summary.

None

Participants SCORE:

Participants described using appropriate demographic information.

Demographic information is lacking in some way.

None

Criteria 4 2 0 Comments

Statement of the Problem SCORE:

Rationale of study is identified. Variables used in analysis are identified. Hypothesis and research questions are clearly stated.

Needs more clarity on rationale, variables, or hypothesis and research questions.

None

Procedure SCORE:

Lists methods used in analysis. Lists statistical procedures used.

Partial or incomplete. Not enough information to comprehend method or statistical procedures.

None

Results/ Discussion SCORE:

Relevant results presented and interpretation provided. Support or contradictions of hypothesis discussed. Implications identified.

Results/Discussion section lacking in some way.

None

Limitations/ Directions SCORE:

Explicitly labeled. Offers limitations and future directions for research based on the results found.

Present, but not explicit. A summary is given but some key details missing (e.g., talks about limitations but offers no future direction for research).

None

Poster Aesthetics SCORE:

Aesthetically pleasing. Sequence and flow of project is apparent. Font size is appropriate. Has appropriate illustrations depicting data visually.

Somewhat aesthetically appealing, or is lacking in some way. Illustrations present, but challenging to understand.

Cluttered or sloppy. Solid mass of text & graphics. Disconnected pieces. None or poor illustrations.

VERBAL PRESENTATION Criteria 2 1 0 Comments

Statement of the Problem SCORE:

Main goal of study is identified. Hypothesis and research questions are stated.

Does not state clearly one or more of the main elements.

Is missing one or more of the main elements.

Procedure SCORE:

Sample is briefly described. Method is briefly described.

Difficulty describing sample or method.

Does not describe sample and/or method.

Results/Discussion SCORE:

Findings are explained and discussed. Limitations are mentioned. Directions for future research are discussed.



Delivery SCORE:

Uses clear language. Important areas of research are discussed. Answers questions skillfully. Summary is approximately 2 minutes.



Additional Comments:

Poster Presentation Total: / 28 pts

Verbal Presentation Total: / 8 pts

Overall Total: / 36 pts

Call for Research Project Proposals You are requested to submit a research proposal for the Numbers to Knowledge Summit at the University of Kansas. This event will feature research projects, presented in a poster and presentation format, for those students enrolled in PSYC 210, Statistics in Psychological Research. For the final project in PSYC 210, you will be displaying the results of your data analysis project in an interactive poster and presentation session. Your team’s poster will graphically display the results of your project, and you should prepare a 1-2 minute verbal summary to explain these results to those visiting your display. A Research Project Proposal is due on Friday, November 1, 2019. The text of the proposal should be 250-500 words and needs to include the following:

I. Title: Limit titles to approximately 10 words or fewer. II. Authors: List the members of your team, and the roles each member will hold.

III. Statement of the problem: Provide the rationale for your study, and describe the variables you will be analyzing. IV. Research question and Hypotheses: State the research question you will be testing, as well as the hypotheses

that correspond to each of your levels of analysis. (Guidelines are below.) V. Procedure: Describe the statistical procedures you will be using to analyze your data.

For questions or concerns, please contact your instructor.

Research Question/Hypothesis Guidelines

For your project, you need to identify one research question that you will investigate at three levels of analysis. Each level of analysis will use progressively more complex or in depth statistics in order to answer your research question. You will need to develop hypotheses about each level of analysis that will explain your expected outcome for that analysis. The three levels of analysis are:

I. Interpret correlations between variables to identify potential relationships of interest II. Evaluate descriptive statistics for the sample/participants as well as for the variables you are analyzing III. Test for significant mean differences between groups (or between levels of a particular variable) using

appropriate procedures

Poster Instructions Your research project has been scheduled in a poster session during the KU Numbers 2 Knowledge Summit this year. By facilitating informal discussions between presenters and their audience, poster sessions provide a more intimate forum for exchange than do regular paper presentations. Ideally, a well-constructed poster will be self-explanatory and free you from answering obvious questions so that you are available to supplement and discuss particular points of interest. Successful poster presentations are those that achieve both coverage and clarity. Foam board backings will be placed on tables, and you may clip or pin your poster on the board displayed on the table. Foam backings have a surface of 3’ x 4’, and are placed in rows in a large hall. At least one representative from each research team should be at their assigned poster board during the entire length of the poster session. You will also be circulating around the room, examining and providing peer review for your classmates’ projects, so plan with your team accordingly. At the top of your poster, include (a) the title of your project and (b) the author(s). The lettering for this section should not be less than 1” (72 point) high. Prepare an abstract (50-150 words) in large typescript (at least 3/8” or 27 point). The abstract should be posted in the upper left-hand corner of the poster. Bear in mind that your illustrations will be viewed from distances of 3’ or more. All lettering should be at least 3/8” (27 point) high, preferably in a very readable font. Be sure to provide a clear label for each section of your poster. Online templates for creating posters can be found at: http://www.posterpresentations.com/html/free_poster_templates.html The size of the printed posters for this class will be 36 x 48. See instructions on Bb about how to format your poster to the correct size through PowerPoint. Your team’s poster will graphically display the results of your project, and you should prepare a 1-2 minute verbal summary to explain these results to those visiting your display. Your final presentation will be during finals week, as noted in the Course Schedule. Please arrive at least 10-15 minutes early to set up. Printing Posters: Please note that posters can be no more than 36 inches tall by 48 inches wide, so make sure your poster is formatted to fit those measurements. Instructions for how to format your poster to this size are available on Blackboard. Posters can be printed for free using these procedures:

1. Save your poster to PDF format through PowerPoint. Select "Save As" and choose PDF as the format. Make sure the PDF looks right before you submit it for printing. Each team can print one poster for free so double check before submission!

2. Submit your poster to Jayhawk Ink on the 2nd floor of the Kansas Union. You can take it there on a flash drive or email it to [email protected]. For questions, you can call 864-6348 or go to www.kubookstore.com/c-370-print-services.aspx where there is a chat function during business hours.

3. When you submit your poster, make sure to tell them it is for a research project for PSYC 210 and that it should be billed to the Dean's Office.

4. They will contact you once your poster is ready for pick-up.

http://www.posterpresentations.com/html/free_poster_templates.html

Poster Criteria

Please see the detailed evaluation rubrics which are posted on Blackboard for a full description of what is expected for your printed poster and verbal presentation. Below are the categories that will be assessed. Title area: The title of your project should be prominently displayed, and should give visitors an idea of what your research is about. Limit title to 90 characters including spaces, or 10 words or fewer. Authors: The author area should also list the project authors (your team members), as well as the institution that sponsored this research (University of Kansas, and official logos can be accessed at http://identity.ku.edu/logos/downloads.shtml, if you want to include that). Abstract: The text of the abstract should be 50-150 words. It should be a brief, complete synopsis of the poster, and describe relevant findings. Participants: This section should briefly describe the participants in this study by offering appropriate demographic statistics relevant to your project. Statement of the Problem: This section should identify the rationale of your study, define the variables you chose to analyze, and describe your research question and hypotheses. Procedure: This section should present the methods used in your analyses, and have appropriate illustrations depicting data visually. Results/Discussion: All relevant results should be presented, as well as whether they support or disprove your hypotheses. Implications of the research should be identified. Limitations/Directions for Future Research: Details about limitations of your research project should be discussed, as well as ways this research could be expanded/adapted/improved in future projects. Poster Aesthetics: Indicate clearly the sections and sequence of your material. A casual observer should be able to understand your major findings after a quick perusal of your materials. Keep it simple!

Verbal Presentation Criteria Statement of the Problem: Identify main goal of study, and clearly present research question and hypotheses. Procedure: Describe sample and outline method. Results/Discussion: Explain findings and implications. Identify limitations and direction for future research. Delivery: Use clear language, conversational delivery, and emphasize important areas of your research. Answer relevant questions skillfully.

http://identity.ku.edu/logos/downloads.shtml

Team Roles & Responsibilities

All Team Members

MEET to brainstorm, identify research question(s) of interest, identify relevant variables, create hypotheses, decide on appropriate analyses

MEET to incorporate instructor feedback for research proposal into project plan and finalize details for the project

MEET to go over final poster version, give feedback to GD on any final changes, and to prepare the team’s verbal presentation for use at the poster session

Research Development

Write Statement portion of research proposal with QC Write Statement of Problem portion of poster with QC Write title/Authors portion of poster Submit written text to QC for proofreading Use finished poster text to write Abstract for poster, send to GD for inclusion Finalize verbal presentation for poster session with DA after final team meeting

Data Analysis Write Procedure portion of research proposal Perform appropriate analyses to test research question & compile necessary demographic data

to describe participants Send all analyses to Quality Control to be checked for accuracy and approved Write Participants and Procedures portions of poster Submit written text to QC for proofreading Finalize verbal presentation for poster session with RD after final team meeting

Graphic Design Write Hypothesis/Research Question portion of research proposal Construct figures, tables, etc. to display data Write Results & Discussion portion of poster Submit written text to QC for proofreading Use approved poster text to construct/lay out the actual poster, collect Abstract from RD for

inclusion Print final version of the poster with QC after final team meeting

Quality Control Write Statement of research proposal with RD Compile research proposal text from other team members, proofread and submit it by the

deadline to instructor Check accuracy of analyses/approve/send to all team members for use in writing poster text Write Statement of Problem portion of poster with RD Write Limitations/Future Directions portion of poster Collect and proofread all poster text. Once approved, send all text to GD & RD Print final version of the poster with GD after final team meeting

RESEARCH DEVELOPMENTResearch methods, write research

statement/abstract

DATA ANALYSISCompile data, SPSS analyses, write

participants & procedures

GRAPHIC DESIGNPowerPoint/Excel, write results &

discussion, visual presentation

QUALITY CONTROLDetail-oriented, communication lead, write research statement/limitations

Team meets to brainstorm, identify research question(s) of interest, identify relevant variables, create hypotheses, and decide on appropriate analyses.

Write Statement portion of research proposal with QC

Compile proposal/submit final draft to instructor

Team meets to incorporate instructor feedback into project plan and finalize details. Once this has been done, individual work can begin on the project.

Perform appropriate analyses to test question(s) & compile demographic

data to describe participants

Check accuracy of analyses and approve/send to all team members

for use in writing poster text

Construct figures, tables, etc. to display data. Write Results & Discussion portion of poster

Team meets to go over final poster version, give feedback to Graphic Design on any final changes, and to prepare verbal presentation for use at the poster session.

Print final version of posterFinalize verbal presentation for poster session

Write Statement portion of research proposal with RD

Write Procedure portion of research proposal

Write Hypothesis/Research Question portion of research proposal

Write Statement of Problem portion of poster with QC

Write Statement of Problem portion of poster with RD

Write Participants and Procedure portions of posterWrite Title/Authors portion

of posterWrite Limitations/Future

Directions portion of poster

All written portions of poster are submitted to Quality Control for proofreading. Once done, QC sends poster text to Graphic Design & Research Development.

Construct PosterWrite Abstract for poster and

submit to GD for inclusion

9/20/2019 FREN 380: The Middle Ages in the Modern Imagination




Subject Code FREN Course Number 380

Academic Unit Department French, Francophone, and Italian Studies


Please ExplainThis class will be offered online in conjunction with CODL

Title The Middle Ages in the Modern Imagination

Transcript Title Middle Ages in Modern Imagnatn


CatalogDescription

Prerequisites


Credits 3

Course Type



No


Yes No

Typically Offered Every Three Semesters


No


CourseDesignator

H - Humanities

No

No


SupportingDocuments

In Workflow1. CLAS


2. CUSASubcommittee


Approval6. Registrar7. PeopleSoft8. UCCC CIM

Support9. UCCC Preliminary

Vote10. UCCC Voting

Outcome11. SIS KU Core

Contact12. Registrar13. PeopleSoft

Approval Path1. 08/29/19 3:21 pm


2. 09/03/19 1:09 pmRachel Schwien(rschwien):Approved forCUSASubcommittee

History1. May 2, 2019 by

Paul Scott(pascott)

Date Submitted: 08/28/19 9:23 am

Viewing: FREN 380 : The Middle Ages in the Modern ImaginationLast approved: 05/02/19 4:33 amLast edit: 09/09/19 12:08 pmChanges proposed by: c668b037


Yes

Presents authentic French and non-French medieval literary and cultural content in the context of reflection on itsrole in modern popular culture. Themes may include Joan of Arc, Arthurian legend, the Chronicles of Narnia, Game

of Thrones, and troubadour lyric. Taught in English.

None




This course aims to contribute to the University's growing online program. It is being offered for the first time in Fall 2018 and providesFFIT with an important opportunity to reach students not normally able to take upper-level courses, which are typically offered in

French/Italian. It is our hope that, if approved for CORE Goal 2.1, it could serve students more fully in their degree programs.

FREN 380_syllabus_2.docx FREN 380_syllabus_CORE.pdf














https://next.catalog.ku.edu/courseadmin/12983/FREN%20380_syllabus_CORE.pdf



Yes No

Name of person givingdepartmental approval

Bruce Hayes Date of Departmental Approval February 2,2019

Selected Goal(s)

Do all instructors of this course agree to include content that enables students to meetKU Core learning outcome(s)?

Yes

Do all instructors of this course agree to develop and save direct evidence thatstudents have met the learning outcomes(s)?

Yes

Provide an abstract (1000 characters maximum) that summarizes how this coursemeets the learning outcome.

FREN 380 is a text-centered class for which 90% of the final grade is determined byinquiry-based writing. Through guided reading and viewing assignments, students areasked to analyze the rhetorical use of language with a focus on comparing narrativelysimilar documents from different time periods, institutional contexts, and ideologicalstandpoints. They are then asked to put these analytical skills to use in their own writingassignments. They produce 7 different types of writing assignment with differentaudiences in mind (structured journal entries, "writing lab" activities, discussion posts,an encyclopedia entry, self-reflection activities, a peer-editing activity, and an analyticalpaper) for a total significantly over 2,000 words. Structured feedback is delivered ateach stage and students are taught to reflect on their own writing. The final paper putsall these skills to use through incremental feedback from the instructor and a guidedpeer editing exercise.

Selected Learning Outcome(s):

Goal 2, Learning Outcome 1

KU Core InformationHas the department approved the nomination of this course to KU Core?

State what aspects of your course or educational experience will include instruction in how to: (Please limit responses to 1000characters.) a) Analyze how language and rhetorical choices vary across texts and different institutional, historical, and/or publiccontexts. b) Demonstrate rhetorical flexibility within and beyond academic writing, c) Revise and improve their own writing.

We compare texts written on a single topic based on the historical and/or ideological differences they display. For example, in a uniton Joan of Arc, students read a short biography of Joan written during her lifetime, watch a movie on Joan's life, and read a 20th-century play which treats Joan's life story as an allegory for WWII. "Writing labs" throughout the semester encourage the developmentof an explicit thought process around the work of writing. This work is put into practice through class discussion boards and journalingactivities as well as the "Joan of Arc Encyclopedia" entry. All of this builds toward a scaffolded final paper, which brings students througha meticulous process of topic-development, drafting, editing and polishing.

State what writing assignments (a minimum of 2000 words/course) in English will include at least three different types of writing fordifferent purposes, audiences, or media. (Please limit responses to 1000 characters.)

The major writing assignments in this course are: (1) seven journal entries; (2) "Writing Lab" activities (3) six protracted discussionposts ; (4) the "Joan of Arc Encyclopedia" assignment; (5) two participation portfolios; (6) A peer editing activity ; and (7) A final paper(including not only the paper itself but a brainstorming activity and an extended outline).

State how your course will deliver structured feedback to students that leads to revision and sequential improvement of their texts (forexample, through the revision of successive drafts). (Please limit responses to 1000 characters.)

Each of the above assignments is accompanied by a grading rubric which assesses clarity and quality of written expression so thatstudents receive structured feedback on their writing every week. Journals are designed to encourage logical rigor. They follow aspecific format which is designed to mimic the logical rigor of a well-constructed paragraph. Repetition of this activity with feedback ateach juncture supports improvement over time and prepares students to take on longer assignments. Students reflect on their successin constructing discussion posts through participation portfolios which ask them to evaluate the quality of their contributions. The finalpaper is broken into four discrete stages: (1) a brainstorming activity which will help students identify a topic and formulate a thesis; (2)an extended outline, which students must complete following a set format ; (3) a guided peer editing activity; and (4) a final draft,including an activity designed to support revision.



KU CoreDocuments


Key: 12983

State how you will evaluate the quality of students'' written communication and how you will use this evaluation for a supermajority(greater than or equal to 60%) of the final course grade. (Please limit responses to 1000 characters.)

Grading rubrics for each of the seven major writing assignments include dimensions designed to assess mechanical aspects ofwritten expression, argument structure, and the analytical quality of content. ,,With this application I have included all materials relativeto the scaffolded preparation of the final paper. ,,The final paper for this course is set between 1,200 and 1,600 words. Journal activities,of which there are 7, are set between 200-250 words. A student who meets only the minimum of each of these activities, then, wouldalready have written a total of 2,600 words. This does not even begin to account for the other important activities in this course,including discussion posts, writing lab activities, the Joan of Arc Encyclopedia, discussion portfolios, and peer editing activities. Takentogether, the seven major writing assignments identified above account for 90% of the total grade.

Final_Paper_FREN_380_CORE.pdf Reading_&_Writing_FREN_380_CORE.pdf

FREN 380_syllabus_CORE_rev.pdf FREN 380_Schedule_CORE.docx

Rachel Schwien (rschwien) (09/03/19 1:17 pm): CUSA subcommittee felt this course may not meet the rigor of Goal 2.1. Seemed to belacking a sustained writing component.

Rachel Schwien (rschwien) (09/06/19 11:32 am): supplemental material from department attachedRachel Schwien (rschwien) (09/09/19 12:09 pm): updated syllabus and schedule of readings/writings attached

https://next.catalog.ku.edu/courseadmin/12983/Final_Paper_FREN_380_CORE.pdf

https://next.catalog.ku.edu/courseadmin/12983/Reading_%26_Writing_FREN_380_CORE.pdf

https://next.catalog.ku.edu/courseadmin/12983/FREN%20380_syllabus_CORE_rev.pdf

https://next.catalog.ku.edu/courseadmin/12983/FREN%20380_Schedule_CORE.docx

FREN 380: THE MIDDLE AGES AND THE MODERN IMAGINATION DEPARTMENT OF FRENCH, FRANCOPHONE, AND ITALIAN STUDIES

UNIVERSITY OF KANSAS FALL 2019

Instructor: Professor Christine V. Bourgeois Office: 2059 Wescoe Hall Office Hours: Tuesday & Thursday 11:00-12:00 and by appointment Email address: [email protected] Students are encouraged to maintain regular contact with the instructor during office hours, on appointment or by email.

COURSE DESCRIPTION From Game of Thrones to the Lord of the Rings, the fantastical universe of the Middle Ages has had an enormous impact on the modern imagination. In this course, we will reflect on the role that the medieval period has played in twentieth and twenty-first century high and popular culture by pairing authentic examples of medieval narrative culture with a variety of modern rewritings, in order to explore the impact of medieval culture on a broad cross-section of historical moments over the course of the twentieth and twenty-first centuries. By deeply analyzing the rhetorical, political, and epistemological stakes of medieval texts we will come to a nuanced appreciation of the place that medieval forms – both real and imagined–have had on the belief systems espoused within our own cultural context. *Please note that although offered under the auspices of the French department, this course will be conducted entirely in English and will not normally count toward the requirements of the French major.

Upon completing this course, the student will be able to… • Identify and describe the rhetorical and thematic elements of literary text

• Use this knowledge to analyze similarities and differences between modern and medieval narrative traditions

• Compare similarities and differences identified between and across historical periods in order to assess overarching patterns of compatibility and/or incompatibility between and among medieval and modern epistemes

• Identify topics and formulate questions for productive inquiry; propose a thesis statement and defend it with evidence from the literary work(s)

• Use instructor feedback appropriately to improve writing through revision. Students should demonstrate an ability to revise for content and to edit for stylistic clarity and grammatical accuracy

COURSE DELIVERY METHOD

This course is designed in a sixteen-week format and conducted fully online through KU Blackboard (https://courseware.ku.edu/) based *on the U.S. Central Standard Time Zone (CST). All course related materials, activities and course interactions will be all distributed entirely in the Blackboard environment. You will not be physically come to the campus. “Getting Started” is the start-point of the course. It contains useful information and the instructor’s welcome message. Make sure to review “Getting Started” when you sign in to the course first time. From this point onward, you will access course material in “Weekly Material”. After you finish with “getting started”, you will need to move immediately to the course binder for Week 1 in “Weekly Material”. You will have assignments due the first week. If you experience technical difficulties using Blackboard, please check the tab “Students: BbHelp” in the course site. You can also contact KU Information Technology (785) 864-8080 or email KU Blackboard Support ([email protected])

DISCIPLINARY READINGS Posted to Blackboard

Anouilh, Jean. The Lark. Trans. Christopher Fry. London: Methuen, 1955.

Christine de Pizan. The Tale of Joan of Arc. Trans. Renate Blumenfeld-Kosinski and Kevin Brownlee. The Selected Writings of Christine de Pizan. Ed. Renate Blumenfeld-Kosinski. New York: W. W. Norton, 1997.

Gopnik, Adam. “Prisoner of Narnia”. The New Yorker. November 21, 2005.

Marie de France, “Biscavret”. Trans. Edward J. Gallaghar. Indianapolis : Hackatt, 2010

- - -. “Lanval. Trans. Edward J. Gallaghar. Indianapolis : Hackatt, 2010

Morgan, Gwendolyn. “Medieval Mystics, Modern Saints”. Film and Fiction: Reviewing the

Middle Ages. Ed. Tom Shippey & Martin Arnold. Cambridge: Boydell & Brewer, 2003.

Pierre de Beauvais. Bestiary. Trans. Guy R. Mermier. Lewiston: The Edwin Mellen Press.

Trilling, Renée R. “Medievalism and its discontents”. Postmedieval 2.2 (2011): 216-24.

“Tyolet”. Trans. Margo Vinney. The Lays of Marie de France. Ed. Edward J. Gallaghar. Indianapolis : Hackatt, 2010.

Walker, Jeanne Murray. “The Lion, the Witch, and the Wardrobe as rite of passage”. Children’s Literature in Education. 16.3 (September 1985): 177-88. To be Purchased Independently: Lewis, C.S. The Lion the Witch and the Wardrobe.

You may use any version you chose of this book as reading will be divided by chapters. At the time this syllabus was written, it was available on Amazon Prime in Kindle edition and in paperback. I will be working from the paperback edition: https://www.amazon.com/Lion-Witch-Wardrobe-Chronicles-Narnia/dp/0064404994/ref=sr_1_1?keywords=the+lion+the+witch+and+the+wardrobe+book&qid=1551361672&s=books&sr=1-1

** Please note: Additional readings and assignments will be posted on Blackboard in the course

binder corresponding to the week for which they appear on the syllabus** REQUIRED FILMS /TV SHOWS

• Les Visiteurs (Jean-Marie Poiré, 1993) Available for streaming on Blackboard in the corresponding course binder

• The Messenger: The Story of Joan of Arc (Luc Besson, 1999)

Available for rental at: o Amazon: https://www.amazon.com/gp/video/detail/B003F1FXSK/ref=atv_dl_rdr

o Vudu : https://www.vudu.com/content/movies/details/The-Messenger-The-Story-

of-Joan-of-Arc/15442

o YouTube: https://www.youtube.com/watch?v=sa5ZvvraTw0

o iTunes: https://itunes.apple.com/us/movie/the-messenger-the-story-of-joan-of-arc/id308078199

o Google Play: https://play.google.com/store/movies/details?id=sa5ZvvraTw0

• Game of Thrones, Season 1, Episode 1, “Winter is Coming” (Tim Van Patten, 2011)

Available for purchase on: o Amazon Prime at:

https://www.amazon.com/gp/video/detail/B007HJ84ZK/ref=atv_dl_rdr

o YouTube at: https://www.youtube.com/watch?v=vxByZAPvRJA

o iTunes at: https://itunes.apple.com/us/tv-season/winter-is-

coming/id482730236?i=494877461 WRITING RESOURCES

This course draws on and often adapts materials from a variety of writing manuals which can fruitfully be consulted at greater length as you work through the semester. They can all be found and consulted at the KU Writing Center:

• Ballenger, Bruce & Michelle Payne. The Curious Reader: Exploring Personal and Academic Inquiry. 2nd Ed. New York: Pearson, 2006.

• Barnet, Sylvan, Pat Bellanca & Marcia Stubbs. A Short Guide to College Writing. New York: Longman, 2002.

• Greene, Stuart & April Lidinsky. From Inquiry to Academic Writing: A Text and Reader. New York: Bedford/ St. Martins, 2008.

• Lunsford, Andrea A. and John J. Ruszkiewicz. Everything’s an argument. New York: Macmillan, 2016.

The KU Writing Center can be a precious resource as you work through this course. They are located on the 4th floor of Anchutz Library and are open M-TR 9:00 AM – 8:00 PM; F 9:00 AM – 5:00PM and on Sunday between 1:00 PM and 5:00 PM. You may also make use of this resource remotely since they provide videoconferencing and eTutoring services every day except Saturday. For more, visit their website at: http://writing.ku.edu ONLINE LEARNING TECHNOLOGY REQUIREMENTS

• a working computer • a stable internet connection • a compatible internet browser • Microsoft office Word, PowerPoint • Adobe Acrobat PDF reader • a working headset or speakers for playing video/audio content

COURSE COMMUNICATION TOOLS

My Announcements: Course announcements will be posted in the Blackboard course on a regular basis. Each new announcement can be located in "Course Homepage" that is also a landing page when you sign-in to the course. They can also be sent through emails to the class simultaneously. You are strongly encouraged to check the course announcements regularly because it may contain the critical information for learning contents, instructions, projects and other course related important time sensitive materials. Email: In this course, we use email to communicate on a regular basis. You can search other class members’ emails by clicking “Send Email” from the navigation panel on the left. You can send the email from all users to single select users. The instructor's email also can be found in the

navigation panel: “Syllabus”, “Instructor Information” and “Send Email”. The instructor will respond to all emails within a 48-hours of receiving the email sent between 9:00 AM and 5:00 PM Monday- Friday. Email sent during early morning or evening hours as well as on weekends may not be received until the next business day. I will also be away from email over the Thanksgiving holiday (November 27- December 1). Q&A Discussion Forum: In this course, each class member can use a “common place” to ask or answer any course-related questions. This common place is located in each weekly learning module page – “Questions?”, or you can click the “Discussion Board” menu link to access the forum. This Q&A discussion forum is designed to serve as the class helping ground. It is not only the instructor who will check these discussion forums often but also individual class members who are encouraged and reply to questions to which they feel able to provide appropriate solutions and information. Note: if the questions needs to be addressed in a timely manner, you are strongly recommended to contact / email the instructor directly. Virtual Office Hours: By appointment only, we will use Zoom to conduct virtual meetings, or to schedule phone meetings. However, I am also teaching my regular in-person courses this semester and you may take advantage of my regular office hours. If you have a complex question about course material or would like to discuss readings further, you should make an appointment for either in-person or virtual office hours. Email should be used for process questions and time-sensitive communication only. Feedback Timeframe: All course-related emails, discussions, and assignments will be reviewed and feedback provided within 72 hours of the time they are received / posted. The exception to this rule are is the final paper. The instructor will provide feedback within a week after the assignment due date.

EVALUATION

Assignment

Percentage of Grade

Journal Entries (7) 15% Quizzes (3) 10% “Writing Lab” Activities (6) 10% Joan of Arc Encyclopedia Entry 10% Participation Regularity 5% Participation Portfolios (2) 10% Final Paper Brainstorming Activity 5% Final Paper Outline 5% Final paper Peer Editing Activity 5% Final paper: Finished Product 25%

STUDENT RESPONSIBILITIES Reading/Viewing Guides – not graded

Most readings and films are accompanied by reading or viewing guides. I will not be collecting these. However, these guides contain the important information you will need to participate in discussion and journaling activities. Questions in these guides are designed to prepare you for the more complex interpretation that I expect in your graded work. They are also there to help you figure out if you have any questions for me. If you can’t figure out how to answer any of the questions on the reading/viewing guides, you should post your question on the common space for questions in the weekly binder. In this way, although each reading/viewing guide is not individually graded, whether you are completing them or not will rapidly become apparent in your graded work. It is my basic expectation that you are working through guides carefully and that you are answering questions carefully and following up with me if you cannot. Failure to do so will have a similar impact on your grade as consistently showing up to a discussion section in an in-person course or handing in interpretative work without having done the reading. Journal Entries – 15%

Over the course of the semester, you will be asked to keep a reading journal recording your reactions to assigned readings. With the exception of your bestiary entry, journals must always be written according to a specific prompt which you will find in the corresponding course binder. This may be an argument that I ask you to prove or disprove, a question I would like you to answer, a set of comparisons I would like you to analyze. This is a low stakes assignment in that each individual journal entry will be worth less than 2% of your final grade. It is intended to provide you with regular practice and targeted feedback in the work of literary and rhetorical analysis and the parallel work of constructing fact-based interpretations in writing. For this reason, each journal entry should follow the following clearly-defined structure, which is designed to roughly mimic the structure of a well-constructed essay paragraph: Journals must be 200-250 words and should include the following elements:

• Three observations about the way in which the text we are reading addresses the

assigned topic. Ex. While the White witch in The Lion the Witch and the Wardrobe represents both masculine and feminine characteristics, her femininity appears to be particularly dangerous. For example, she is described as being very beautiful and she combines this beauty with a patina of material care, dispensing food and drink to Edmund, in order to trick him into helping her.

• One general conclusion this reflection prompts you to draw about the work in question

Ex. The role of women in The Lion the Witch and the Wardrobe is at best ambivalent. While the White Witch occupies a clearly demonic role, her power is undone by the figure of Lucy who saves the kingdom of Narnia from her spell by acting as a privileged mediator for the power of Aslan.

• One open-ended (i.e. NOT a “yes or no”) question your journaling has raised

Ex. One wonders if a more meaningful parallel might be drawn between Lucy and Edmund’s respective behavior in the face of fantastical creatures of the opposite sex. Does sexuality play a significant role in representing morality in Narnia?

This should NOT be constructed as a list, i.e. “I have three observations, the first is that…, the second is that…”. It MUST be written out as a paragraph. This will involve adding some connective tissue between each of your observations and your conclusion in order to produce an elegantly-written and cohesive text. All course material is designed to help you write a convincing journal. In each journal entry you should show engagement with more than one course component for the week. When I grade, one of the things I will be actively looking for is proof that you have done your readings, including reading guides, reflected on assigned questions, and watched relevant video, including lectures. Finally, please note that journals should not be based on your opinion but rather construct an opinion based on the content of the text. If you only respond to questions as they relate to your personal belief system and fail to back up your arguments with facts from the text, your grade will suffer significantly.

Quizzes – 10% Over the course of the semester, you will take three quizzes which are integrated into the corresponding module binder. Quizzes will follow a multiple-choice format and will be designed to verify knowledge content knowledge. • The Syllabus quiz will test your knowledge of this syllabus in order to prepare you to

successfully complete this course • The Quotation quiz will cover material on correct methods of citation according to MLA

style. Before taking this quiz, you will be responsible for all material covered in the accompanying reading guide.

• The 100-years war quiz will cover the video lecture on the 100-years war. Students

should be prepared to repeat essential factual information about this conflict • The WWII quiz will cover the video lecture on WWII. Students should be prepared to

repeat essential factual information about this conflict.

“Writing Lab” Activities – 10% Writing Lab activities are designed to hone your writing skills by making you more sensitive to the rhetorical choices of the authors we read and making you more explicitly aware of the stylistic and rhetorical options open to you as you write. Each writing lab contains a reading as well as a set of short exercises which must be handed in.

This activity is essential to the successful completion of additional work assigned throughout the week and throughout the semester as you will be called upon to both make use of and reflect upon the concepts they present and the skills they develop.

Joan of Arc Encyclopedia Entry – 10%

Joan of Arc is a figure that has been used by many different groups and many different artists over the centuries to represent personal, political, and/or aesthetic value systems. Your job with this assignment is to select one example from the sign-up list on Blackboard, to research this example and to present it to the rest of the class. You should use video, audio, and/or images in order to bring this example to life. You must present this material with a short blurb of 250-300 words contextualizing the historical moment of your example and/or explaining its cultural importance to the setting in which it was created. You should also contextualize your example within previously-discussed material on Joan of Arc. You must post your entry by Wednesday, October 23. You must react to a minimum of three other entries by Friday, October 25. The quality of your reactions will be worth 5% of the total grade of this assignment. This should represent a carefully researched and well-written reflection on the relationships between modern and medieval culture.

Participation – 15%

Your regular and thoughtful participation in online discussion is a vital part of your success in this course. You are expected to participate meaningfully in every single discussion activity assigned this semester. In order to encourage accountability in this matter and reward good performance, your participation grade has been split into two components:

• 5% of your participation grade will be based on the regularity with which you participate in discussion board activities. In order to earn full points in this dimension, you will share an insight and respond to another person’s question or observation at least once on each discussion board activity. Your participation in each component will be graded each time a discussion is assigned for the basic elements of: promptness, grammatical correctness, relevance, and quality of expression.

• 10% of your participation grade will be based on the quality of your comments. On two occasions you will be asked to submit a Participation Portfolio, with each portfolio worth 5%, using the template posted to Blackboard. This will involve selecting your two best comments for the half of the semester covered by the assignment as well as two of your best responses to a peer’s comments. In other words, your first participation portfolio must present comments made between August 26-October 11. Your second participation portfolio must present comments made between October 12 -December 12. You will be assessed for the level of your intellectual engagement with course materials and class discussion, the quality of

your written expression, as well as your ability to critically assess your previous contributions.

Please note that all course material is designed to help you participate successfully in discussion. In each participation activity should show engagement with more than one course component for the week. When I grade, one of the things I will be actively looking for is proof that you have done your readings, including reading guides, reflected on assigned questions, and watched relevant video, including lectures.

Final Paper: Preparation Activities – 15%

The final paper is the single most important component of your course work this semester. Therefore, we will put significant attention into the work of establishing overarching course themes, determining appropriate arguments, choosing potential evidence, and evaluating essay structure and construction methods. This work has been broken down into three activities which will ask students to refine both the content and expression of their ideas by working with increasingly long and increasingly complex forms of the paper:

• Brainstorming Activity (5%): No topic suggestions will be provided in this course. On the contrary, students will be asked to devise their own topics by following the brainstorming activity posted to Blackboard in order to simply the material and ideas presented over the course of the semester into a broad interpretation which nevertheless appropriately reflects the scope of the assigned final paper. The instructor will review brainstorming activities and return comments which the student is expected to consider when moving on to complete the outline.

• Extended Outline (5%): Adhering carefully to the sample outline posted to Blackboard, students will elaborate a clear plan for their final paper. Here they must write out a complete introductory paragraph, carefully outline their supporting arguments, and select specific proof from primary and secondary text(s) which they plan to use in order to defend their arguments. They will also be responsible for a brief conclusion. This should not represent the full conclusion of the paper because the project should evolve through its successive iterations. However, it should provide some hypothesis of how arguments presented in the paper may end up fitting into a cogent and complex interpretation. The instructor will review brainstorming activities and return comments which the student is expected to consider when moving on to complete the first draft.

• Peer Editing Activity (5%): As with the final paper, students will be asked to submit

a complete first draft so that essays may undergo a peer editing activity. This will mean filling in the material absent from the extended outline in order to have a complete initial version of the paper ready for review.

You will be expected to submit a complete draft to the instructor by Friday December 6 by 5:00 PM who will then pair you with a peer reviewer. Students will be assigned to groups on a first come first served basis. Therefore, if you submit your paper past the deadline, you may not be able to benefit from this activity and will

receive a grade of 0% on this assignment. Each peer reviewer will be asked to complete the questionnaire posted to Blackboard designed to provide constructive feedback to the peer author whose work they are reviewing. This must be submitted both to instructor and peer author no later than Thursday, December 12 at 5:00 PM.

Final Paper - 25%

Your final paper will be written on any topic of relevance to course material which you will define in consultation with the instructor through your Brainstorming and Extended Outline activities. The final paper should be between 1,200 and 1,600 words and should have an appropriately formatted MLA style Works Cited page, mentioning at least one primary source. The final version of your paper must show evidence of significant editing with respect to the version you submitted for peer review. You are expected to carefully consider your peer editor’s suggestions before deciding whether to accept or reject them and you must also work of your own initiative to improve the clarity and expression of your argument. Failure to make changes between the draft and the final paper will result in a failing grade on this assignment. NB. The full process we will go through for writing your final paper from Brainstorming to Finished product may be found with deadlines in the Final Paper tab. You can also find the assignment here, or, if you prefer in the binder for Week 16, although it is not due until the end of finals week (i.e. December 20th).

GRADING SCALE

A 94%-100%

C 74%-77%

A- 90% - 93%

C- 70%-73%

B+ 88% - 89%

D+ 68%-69%

B 84%-87%

D 64%-67%

B- 80%-83%

D- 60%-63%

C+ 78%-79%

F 0%-59%

Please note that all course materials (handouts, PowerPoint documents, review sheets, quizzes, etc.) are for your personal use only in this class. You may not distribute or sell them, post them on any websites, or use them for other purposes without departmental permission All graded components of this course have an accompanying rubric. You are encouraged to familiarize yourself with the rubrics before beginning work on an assignment. You may find

these rubrics by going to the “My Grades” tab where is each assignment is listed along with its due date and accompanying grading rubric.

DEPARTMENTAL INFORMATION

Plagiarism and Cheating

The department adheres strictly to the following policy on plagiarism and cheating: "Plagiarism and cheating are serious academic offenses that should be brought to the attention of the Chairperson or Language Coordinator. Whenever a student is caught the instructor will inform the Chairperson of the Department, who-upon concurring with the instructor-will forward a 'CHARGE OF ACADEMIC MISCONDUCT FORM' to the College of Liberal Arts with a recommendation for the appropriate sanction"

Assistance with Assignments

Students may use their textbooks, dictionaries, and grammar references in preparing any assignments. However, with the exception of help from the student's instructor and/or in- class activities such as peer editing, any outside assistance (that is, tutors, friends, native speakers, computer/internet translation programs, assignments submitted in previous courses, etc.) is NOT allowed on homework/assignments being turned in for a grade. These things are considered cheating and will result in a grade of zero on the assignment, as well as a charge of academic misconduct, which may entail further sanctions. The student should be certain that all of the work submitted in this course his/her own.

About the use of translation programs

The use of computer or on-line translation programs is NOT permitted in any French or Italian course and is considered cheating. As opposed to dictionaries and grammar references, these programs are not a learning tool because they simply provide a translation, rather than allowing you to choose among various words/tenses/etc. to come up with the best translation on your own. Moreover, translation programs produce bizarre and incorrect translations that are notoriously easy to identify. Students will learn far more by doing their own work than by risking serious academic consequences.

Grade definitions according to the University Senate rules and regulation

2.2.1.1. The grade of A will be reported for achievement of outstanding quality. 2.2.1.2. The grade of B will be reported for achievement of high quality. 2.2.1.3. The grade of C will be reported for achievement of acceptable quality. 2.2.1.4. The grade of D will be reported for achievement that is minimally passing but at less than an acceptable quality.

Consult with individual teachers concerning the calculation of grades

Study time according to the University Senate rules and regulations

"One semester hour means course work is normally represented by an hour of class instruction and two hours of study a week for one semester, or an equivalent amount of work. The concept may vary according to the level at which instruction is offered."

Students with disabilities "Any student in this course who has a disability that may prevent him/her from fully

demonstrating his/her abilities should contact me personally as soon as possible so that we can discuss class accommodations necessary to ensure full participation and facilitate the educational opportunity." The Department of French & Italian works closely with the Academic Achievement and Access Center to provide accommodations to students with learning and/or physical disabilities. The AAAC coordinates accommodations and services for all students who are eligible. If you have a disability for which you wish to request accommodations and have not contacted the AAAC, please do so as soon as possible: 22 Strong Hall; 785-864-2620 (V/TTY). Information about their services can be found at http://www.disability.ku.edu/. Please also contact your instructor privately in regard to your needs in this course.

Religious observances

"Where examinations and tests other than final examinations conflict with religious observations of a generally recognized nature, a student under obligation to participate in such religious observances shall, upon request to the instructor involved, which shall be made at least a week in advance of the scheduled examination or test, be accorded the opportunity to take the examination or test at some other time not in conflict with his (or her) religious obligations."

Attendance

Attendance in language, literature, and culture classes is essential for mastering materials, improving communication skills, and participating in discussions. Consult with individual teachers for their specific policy on attendance and make-up work.

COURSE SCHEDULE

Weekly tasks are also listed on Blackboard in the order in which they ought to be completed For fast reference you should also consult the “Weekly Schedule” document

Module 1: Introduction to the Middle Ages Week 1: August 26- 30

• Intro to the Course: Video intro • Read syllabus & Weekly schedule carefully • Discussion: Introduce yourself by Wednesday at 5:00 • Writing Lab 1: The Habit of Inquiry (adapted from Ballenger and Payne) by Friday at

5:00 • Syllabus quiz by Friday at 5:00

Week 2: September 2-6

• Viewing Guide • Les Visiteurs • Discussion 1: them and us by Wednesday at 5:00 • Video lecture: Some debunking • Journal 1: Medieval Stereotypes by Friday at 5:00 • React to Discussion by Friday at 5:00


• Reading: “Medievalism and its discontents” • Writing Lab 2: Introduction to rhetorical analysis (adapted from Greene and Lidinsky) by

Wednesday at 5:00 • Game of Thrones Ep. 1 • Journal 2 Entry: Fears and Desires by Friday 5:00


• Video lecture: Marie de France • Reading Guide • Marie de France, “Bisclavret” • Journal 3: Who is the monster? By Friday 5:00

Module 2: War and National Identity Week 5: September 23-27

• Video Lecture: Joan of Arc and the 100-years war • 100-years war quiz by Wednesday at 5:00 • Reading Guide • Christine de Pizan, The Tale of Joan of Arc • Discussion 2: Joan as political symbol for Christine by Wednesday at 5:00 • React to discussion by Friday at 5:00

Week 6: September 30 – October 4

• Viewing Guide • Film: The Messenger: The Story of Joan of Arc • Writing Lab 3: Markers of Bias (adapted from Lunsford & Ruskiewicz) by Wednesday at

5:00 • Gwendolyn Morgan, “Modern Mystics, Medieval Saints” in Film and Fiction: Reviewing

the Middle Ages • Journal 4: Truth & Fiction by Friday at 5:00

Week 7: October 7-11

• Reading Guide • Jean Anouilh, The Lark: Part I • Journal 5: The making of a hero by Friday at 5:00 • Participation Portfolio1 by Friday at 5:00


• Video lecture, The Second World War and French Identity • WWII Quiz by Wednesday at 5:00 • Reading Guide • Jean Anouilh, The Lark: 2nd half • Journal 6: follow one character (assigned) by Friday at 5:00 • Sign up for Joan of Arc Encyclopedia entry by Friday at 5:00


• The Encyclopedia of Joan of Arc, class project • Post by Wednesday at 5:00 • React to at least three entries other than your own by Friday at 5:00 • Writing Lab 4: The Paragraph (adapted from Barnet et al.) by Friday at 5:00

Module 3: Growing up medieval Week 10: October 28- November 1

• Reading Guide • Pierre de Beauvais - Bestiary • Discussion 3: is it science? By Wednesday at 5:00 • Respond to discussion by Friday at 5:00 • Writing Lab 5: Idea-generation (adapted from Barnet et al.) by Friday at 5:00

Week 11: November 4-8

• Video Lecture: What is Allegory? • The Lion, the Witch and the Wardrobe , Chapters 1-5 inclusively • Reading Guide • Adam Gopnik: “Prisoner of Narnia”, The New Yorker November 21, 2005 • Discussion 4: C.S. Lewis and the “Culture Wars” by Wednesday at 5:00 • Respond to discussion by Friday at 5:00

• Brainstorming activity due by Friday at 5:00 Week 12: November 11-15

• The Lion, the Witch and the Wardrobe, Chapter 6-12 inclusively • Jeanne Murray Walker, “The Lion, the Witch, and the Wardrobe as Rite of Passage” • Discussion 5: Coming of age narratives by Wednesday at 5:00 • Writing Lab 6: Thesis formation & effective citation (adapted from Greene and Lidinsky)

by Friday at 5:00 • Respond to discussion by Friday at 5:00

Week 13: November 18-22

• The Lion the Witch and the Wardrobe reading Chapter 12-17 inclusively • Reading Guide • Marie de France: Lanval • Journal 7: Escaping reality by Friday at 5:00 • Extended outline of final paper due by Wednesday at 5:00

Week 14: November 25-29 [Thanksgiving break 27-Dec.1] Week 15: December 2-6

• Tyolet Reading guide • “Tyolet”, anonymous lay • Discussion 6: Adulthood and normativity by Wednesday at 5:00 • Respond to discussion by Friday at 5:00 • Draft of final paper due by Friday at 5:00

Week 16: December 9-12 [Stop day: December 13] • Peer editing complete by Thursday at 5:00 • Participation Portfolio 2 by Thursday at 5:00

Finals Week: December 16-20 Final paper due by Friday December 20 at 5:00; N.B. this includes the Revision Checklist (adapted from Barnet et. Al)* *These assignment can be found in the Week 16 binder

HAPPY HOLIDAYS!!!

FREN 380: The Middle Ages in the Modern Imagination

FREN 380 – Weekly Schedule

Department of French, Francophone & Italian Studies

Fall 2019

Week/ Dates Readings /Viewings Writing Assignments & Due Dates

Week 1 August 26-30

Review “Getting Started”

Read Syllabus & Weekly Schedule

Excerpted passage from The Critical Reader

Discussion: Introduce yourself by Wednesday at 5:00 PM

Take the syllabus quiz by Friday at 5:00 PM

Writing Lab 1: “The Habit of Inquiry” by Friday at 5:00 PM

Respond to discussion by Friday at 5:00 PM

Week 2 September 2-6

Review the viewing guide

Watch Les Visiteurs

Watch the Debunking video lecture

Discussion 1: “Them and Us” by Wednesday at 5:00 PM

Journal 1: “Medieval Stereotypes” by Friday at 5:00 PM



“Medievalism and its discontents”

Excerpted passage from From Inquiry to Academic Writing

Game of Thrones Season 1, Episode 1

Writing Lab 2: “Introduction to Rhetoric” by Wednesday at 5:00 PM

Journal 2: “Fears and Desires” by Friday at 5:00 PM


Video Lecture: Marie de France

Reading Guide

Marie de France,“Bisclavret”

Journal 3: “Who is the Monster?” by Friday at 5:00 PM


Video Lecture: Joan of Arc & the Hundred Years War

Reading Guide

The Tale of Joan of Arc

Discussion 2: “Joan as political symbol” by Wednesday at 5:00 PM


Week 6 September 30-October 4

Viewing Guide

Watch The Messenger

Writing Lab 3: “Markers of Bias” by Wednesday at 5:00 PM

Excerpted passage from Everything’s an argument

Gwendolyn Morgan, “Modern Mystics, Medieval Saints”

Journal 4: “Truth & fiction” by Friday at 5:00 PM

Week 7 October 7-11

Reading Guide

The Lark, Part I

Journal 5: “The making of a hero” by Friday at 5:00 PM

Participation Portfolio 1 by Friday at 5:00 PM

Week 8 October 14-18

Video lecture: The Second World War

Reading Guide

The Lark, Part II

Journal 6: “Follow one character” by Friday at 5:00 PM

Sign up for Joan of Arc Encyclopedia by Friday at 5:00 PM

Week 9 October 21-25

Excerpted passage from A Short Guide to College Writing

Your personal research

Writing Lab 4: “The Paragraph” by Wednesday at 5:00

Post your Joan of Arc Encyclopedia entry Wednesday at 5:00 PM

React to at least three other entries by Friday at 5:00 PM

Week 10 October 28-November 1

Reading Guide

Pierre de Beauvais, Bestiary

Excerpted passage from A Short Guide to College Writing

Discussion 3: “Is it science?” by Wednesday at 5:00 PM

Writing Lab 5: “Idea Generation” by Friday at 5:00


Week 11 November 4-8

Video lecture: What is Allegory?

The Lion, the Witch, and the Wardrobe, Ch. 1-5 (inclusively)

Adam Gopnik, “Prisoner of Narnia”

Discussion 6: “C. S. Lewis & the Culture wars” by Wednesday at 5:00 PM


Brainstorming activity by Friday at 5:00 PM



Discussion 5: “Coming of age narratives” by Wednesday at 5:00 PM

Jeanne Murray Walker, “The Lion, the Witch, and the Wardrobe as Rite of Passage”

Excerpted passage from From Inquiry to Academic Writing

Writing Lab 6: “Thesis formation & Citation” by Friday at 5:00 PM




Reading guide

“Lanval”

Journal 7: “Escaping Reality” by Friday at 5:00 PM

Extended outline by Friday at 5:00 PM


Thanksgiving break: No Assignments due

Thanksgiving break: No Assignments due

Week 15 December 2-6

Reading guide

“Tyolet”

Discussion 6: “Adulthood and Normativity?” by Wednesday at 5:00 PM


Draft of your final paper by Friday at 5:00 PM

Week 16 December 9-12

Work on your paper Complete Peer editing Thursday at 5:00 PM

Participation Portfolio II by Thursday 5:00 PM

Finals Week December 16-20

Work on your paper Final paper due by Friday at 5:00 PM

Revision Checklist by Friday at 5:00 PM

FREN 380 The Middle Ages in the Modern Imagination

SUMMARY OF READING & WRITING ASSIGNMENTS

I - Required Disciplinary Reading: Anouilh, Jean. The Lark. Trans. Christopher Fry. London: Methuen, 1955. Christine de Pizan. The Tale of Joan of Arc. Trans. Renate Blumenfeld-Kosinski and Kevin Brownlee. The Selected Writings of Christine de Pizan. Ed. Renate Blumenfeld-Kosinski. New York: W. W. Norton, 1997. Gopnik, Adam. “Prisoner of Narnia”. The New Yorker. November 21, 2005. Lewis, C.S. The Lion, the Witch, and the Wardrobe. (Any edition accepted). Marie de France, “Biscavret”. Trans. Edward J. Gallaghar. Indianapolis : Hackatt, 2010 - - -. “Lanval. Trans. Edward J. Gallaghar. Indianapolis : Hackatt, 2010 Morgan, Gwendolyn. “Medieval Mystics, Modern Saints”. Film and Fiction: Reviewing the Middle Ages. Ed. Tom Shippey & Martin Arnold. Cambridge: Boydell & Brewer, 2003. Pierre de Beauvais. Bestiary. Trans. Guy R. Mermier. Lewiston: The Edwin Mellen Press. Trilling, Renée R. “Medievalism and its discontents”. Postmedieval 2.2 (2011): 216-24. “Tyolet”. Trans. Margo Vinney. The Lays of Marie de France. Ed. Edward J. Gallaghar. Indianapolis : Hackatt, 2010. Walker, Jeanne Murray. “The Lion, the Witch, and the Wardrobe as rite of passage”. Children’s Literature in Education. 16.3 (September 1985): 177-88. II - Required Viewing (to be analyzed from a disciplinary perspective):

• Les Visiteurs. Jean-Marie Poiré (1993) – feature film

• Game of Thrones, Season 1 : Episode 1, Tim Van Patten (2011) – TV show

• The Messenger: The Joan of Arc Story, Luc Besson (1999) – feature film III - Writing Labs: Please note, writing labs contain a brief reading component from a style or writing manual as well as a practical writing component, analyzing or putting into use the concepts described in the reading component.


• Week 1: “The Habit of Inquiry” Required Reading from: Ballenger, Bruce and Michelle Payne. The Curious Reader: Exploring Personal and Academic Inquiry. 2nd

Ed. New York: Pearson, 2006 Writing Assignment: Self-assessment activity designed by the instructor on reading with curiosity, previous practices and new insights based on reading.

• Week 3: “Introduction to Rhetorical Analysis”

Required Reading from: Greene, Stuart and April Lidinsky. From Inquiry to Academic Writing: A Text and Reader. New York: Bedford/St. Martins, 2008. Writing Assignment: Rhetorical analysis of the article, “Medievalism and its discontents”, designed by instructor

• Week 6: “Markers of Bias”

Required Reading from: Lunsford, Andrea A. and John J. Ruskiewicz. Everything’s an argument. New York: Macmillan, 2016. Writing Assignment: Comparative analysis activity of bias in three depictions of Joan of Arc, designed by instructor

• Week 9: “The Paragraph” Required Reading from Barnet, Sylvan, Pat Bellanca and Marcia Stubbs. A Short Guide to College Writing. New York: Longman, 2002 Writing Assignment: Critique and composition of paragraphs, activity designed by instructor

• Week 10: “Idea Generation”

Required Reading from Barnet, Sylvan, Pat Bellanca and Marcia Stubbs. A Short Guide to College Writing. New York: Longman, 2002 Writing Assignment: Mock brainstorming activity, designed by instructor

• Week 12: “Thesis Formation and effective citation” Required Reading from: Greene, Stuart and April Lidinsky. From Inquiry to Academic Writing: A Text and Reader. New York: Bedford/St. Martins, 2008. Writing Assignment: Critique and mock production of thesis and citation, activity designed by instructor


IV - Journal Schedule: Journals are structured and analytical assignments as detailed on the syllabus though which students practice the basics of integrating proof from disciplinary readings in to the formation of written arguments.

• Week 2: Medieval Stereotypes • Week 3: Fears and Desires • Week 4: Who is the Monster? • Week 6: Truth and Fiction • Week 7: The Making of a Hero • Week 8: Follow one character (assigned by instructor) • Week 13: Escaping Reality

Sample Prompt from Week 3:

In “Medievalism and its discontents”, Renée Trilling argues that the depiction of medieval culture in modern media displays a kind of “nostalgia”, that is to say a “longing for a home that has been lost” (217). Drawing explicit examples from Trilling’s argument, how is it that the first episode of Game of Thrones is or is not an example of this nostalgia? Some things you might think of reflecting on include but are not limited to:

o Do social conventions seem relaxed in the GoT universe with respect to modern life? o What kinds of distinctions are drawn between people of different social classes? o What kinds of distinctions are drawn between people and monsters? o How do different ethnic groups interact? Are some portrayed as superior to others?

As you write, you should try to come to a broader interpretation of how Game of Thrones and its nostalgia (or lack of nostalgia) for the medieval past speaks to the values, fears, and or/desires of its modern viewers?

V - Research Report Practice: The “Encyclopedia of Joan of Arc” Class project (Week 9). Students research and present a cultural depiction of Joan of Arc not already studied in class, identifying its rhetorical elements and describing the way in which it constructs or avoids political or social arguments. Students must also provide written reflection on at least three of their peers’ reports. VI - Practice in Written Argument Formation:

• Week 2: Discussion Board Activity – “Them and us” • Week 5: Discussion Board Activity – “Joan as Political symbol” • Week 10: Discussion Board Activity – “Is it science?” • Week 11: Discussion Board Activity - “C.S. Lewis and the ‘Culture Wars’” • Week 12: Discussion Board Activity – “Coming of Age Narratives” • Week 15: Discussion Board Activity – “Adulthood and Normativity”


Sample prompt from Week 5: In Christine de Pizan’s Tale of Joan of Arc [this is a concise biography of Joan of Arc written during her lifetime by a woman] Joan is used as a symbol for France. One of the major sentiments that Christine communicates through this poem is her pride to be French at a time when the kingdom is once again becoming glorious [students will already have learned about the 100-years war through instructor-created video and a corresponding quiz]. This week, I would like you to consider how national pride plays itself out in this work. What values is Joan made to espouse? How does she demonstrate these values? And what do these values reveal about Christine’s notion of French culture more broadly speaking? Some areas you might consider include but are not limited to:

o Colonization and/or territorial expansion o Divine rights and /or religious allusion o Gender roles o Kingship o Local customs

VII - Self-Evaluation of the Written Argument-Formation:

• Participation Portfolio 1 (Week 7) • Participation Portfolio 2 (Week 16)

VIII - Writing Exercises Leading to Final Paper N.B. All components of this process have been included with this application as an attachment

• Week 11: Structured Brainstorming Activity • Week 13: Extended Outline • Week 15: Submission of full draft for Peer Editing • Week 16: Structured Peer Editing Assignment • Week 17: Submission of final paper (1,200- 1,600 words) along with revision check-list activity

*Please note that list this does not include other pedagogical components such as a short series of instructor-created videos, quizzes, and required reading guides which orient students to assigned readings.

Table of Contents

Scaffolding of Final Paper: FREN 380

1. Overview of the Paper-writing process……………………………………………………….2

2. Brainstorming Activity……………………………………………………………………….5

3. Grading Rubric: Brainstorming Activity………………………………………………………8

4. Sample Outline…………………………………………………………………………….10

5. Grading Rubric: Extended Outline………………………………………………………….13

6. Peer Editing Activity……………………………………………………………………….14

7. Grading Rubric: Peer Editing Activity……………………………………………………….16

8. Revision Questionnaire and Check-list……………………………………………………....18

9. Grading Rubric: Final Paper (finished product)……………………………………………....20

Final Paper: Project Overview

At the end of the semester, you will author an extended analytical paper. This paper may be on any topic related to course content. This could mean many things, including but not limited to:

• A comparison between 2-3 medieval works studied over the course of the semester • A comparison between 2-3 modern works studied over the course of the semester • A comparison between a medieval and a modern work studied over the course of the

semester • A consideration of a particular theme in one work studied over the course of the

semester • A consideration of a particular theme in 2-3 works studied over the course of the

semester • A consideration of 1-2 works studied over the course of the semester in its broader

context (e.g. “Bisclavret” in comparison to another or several other of Marie de France’s Lays, that we did not read in class, an analysis of a modern cultural product not studied in class according to the theories of medievalism studied in class)

Please note that your topic must be at least 50% devoted content covered in class. If, for example, you want to write about werewolves in the Twilight series as a re-boot of a medieval trope, you will need to devote at least half your paper to contextualizing this topic in our class content (e.g. “Bisclavret”, “Medievalism and its Discontents”, etc.) You do not need to select one of these paper structures. These are just suggestions. However, you will need to devise your topic on your own in consultation with the instructor. In fact, everything you do this semester is designed to prepare you to take on this and, to cap it all off, we will work together to build toward the completed paper over the course of several weeks. Key timeline:

Due in Week 11 Brainstorming activity Description: No topic suggestions will be provided for the final paper. On the contrary,

students will be asked to devise their own topics by following the brainstorming activity posted to Blackboard in order to simply the material and ideas presented over the course of the semester into a broad interpretation which nevertheless appropriately reflects the scope of the assigned final paper. The instructor will review brainstorming activities and return comments which the student is expected to consider when moving on to complete the outline.

3

In order to complete this assignment, students must fill in the template provided in the Brainstorming assignment link.

Due date: Friday November 8 at 5:00 PM

Due in Week 13 Extended Outline Description: Adhering carefully to the sample outline posted to Blackboard, students will

elaborate a clear plan for their final paper. Here they must write out a complete introductory paragraph, carefully outline their supporting arguments, and select specific proof from primary and, if desired, secondary text(s) which they plan to use in order to defend their arguments. They will also be responsible for a brief conclusion. This should not represent the full conclusion of the paper because the project should evolve through its successive iterations. However, it should provide some hypothesis of how arguments presented in the paper may end up fitting into a cogent and complex interpretation. The instructor will review extended outlines and return comments which the student is expected to consider when moving on to complete the first draft.

At this stage, it is strongly recommended that you review the Checklist for

revising the final version of your paper to familiarize yourself with the goals you will be aiming to attain with this project.

Due date: Friday November 22 at 5:00 PM

Due in Week 15 Full first draft Description: In order for essays to undergo the peer editing process, students will be asked to

submit a complete first draft so that essays may undergo a peer editing activity. This does not mean a version of the extended outline but a completed first version of the paper, including a conclusion.

Due date: Friday December 6 at 5:00 PM

Due in Week 16: Peer editing Description: You will be expected to submit a complete draft to the instructor who will then

pair you with a peer reviewer. Students will be assigned to groups on a first come first served basis. Therefore, if you submit your paper past the deadline, you may not be able to benefit from this activity and will receive a grade of 0% on this assignment. Each peer reviewer will be asked to complete the questionnaire posted to Blackboard designed to provide constructive feedback

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to the peer author whose work they are reviewing. This must be submitted both to instructor and peer author no later than Thursday, December 12 at 5:00 PM.

Due date: Thursday December 12 at 5:00 PM

Due at the end of Finals week Final Paper, Finished Product Description: The final paper should be between 1,200 and 1,600 words and should have an

appropriately formatted MLA style Works Cited page, mentioning at least one primary source. The final version of your paper must show evidence of significant editing with respect to the version you submitted for peer review. You are expected to carefully consider your peer editor’s suggestions before deciding whether to accept or reject them and you must also work of your own initiative to improve the clarity and expression of your argument. Failure to make changes between the draft and the final paper will result in a failing grade on this assignment.

Along with your final paper, you must complete the Questionnaire and Checklist

for Revising your paper. It is suggested that you use the self-study section to begin the process and the checklist portion once you have finished polishing the draft. Be sure to leave enough time to make any necessary changes.

Due date: Friday December 20 at 5:00 PM NOTE: Use the “Final Paper” from the navigation panel to access instructions, grading rubrics and assignment-submit links Or click “Weekly Content” and select Week 11, Week 13, Week 15, and Week 16 to access this same assignment information.

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Brainstorming Activity

I - What is the general subject of your paper? At this stage it could be very general (e.g. the role of women in the Middle Ages, monstrosity in the Middle Ages vs. the modern day) General Subject:

II – How has this broad topic been illustrated in our reading this semester? Make a list of at least 6 examples of ways in which these topics have been relevant in our readings this semester. They could be drawn from the plot line of texts we have read, from their imagery, their rhetorical structure, the kinds of metaphor they use. For example, suppose your broad topic is “women in the Middle Ages”. You might write note that Bisclavret’s wife, in spite of being an important character, is not given a name. This suggests that her individual identity is of lesser importance than that of her husband. These Examples should not be drawn only from class discussion.

1.

2.

3.

4.

5.

6.

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III – Now, try to get a more specific argument and some ways you could prove it An argument, remember, is something that can be proved or disproved by the evidence you provide. For example: From the Middle Ages to the modern period, Joan of Arc has often served as a representation of anti-establishment sentiment You must offer at least four ways you might prove your argument. You may provide more if you wish. Main Argument:

Evidence #1: Evidence #2: Evidence #3 Evidence #4

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IV – Finally, make a list of things you have learned by completing the previous two activities. Have you developed new insight into course material? Have you developed a new way of thinking about structuring your paper? You must list at least four things you have learned. You may list more if you wish. 1. 2. 3. 4.

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Good (4)

Adequate (3)

Poor (2)

Inadequate (1)

Absent (0)

Idea Generation Develops a problem or challenge that requires a creative solution and is able to explain the significance of the problem or challenge and define its limitations, guidelines and/or restrictions

Develops a problem or challenge that requires a creative solution and is able to describe aspects of the problem or challenge (e.g. context, characteristics, requirements).

Identifies a problem or challenge that requires a creative solution but is not able or only partially able to describe aspects of the problem or challenge (e.g. context, characteristics, requirements)

Identifies a problem or challenge in a familiar context or setting that does not require much creative thinking to solve.

Is unable to develop a problem to be solved or does not complete assignment.

Idea Design & Refinement

Identifies information necessary to solve the problem or meet the challenge (e.g. what information is known, what is unknown, would needs to be learned, etc.). And is able to order this information logically

Identifies information necessary to solve the problem or meet the challenge (e.g. what information is known, what is unknown, would needs to be learned, etc.) and makes some gesture toward logical ordering

Identifies some of the information necessary to solve the problem or meet challenge (e.g. what information is known, what is unknown, would needs to be learned, etc.) but struggles to distinguish relevant from irrelevant information and fails to put ideas in logical order

Demonstrates only superficial understanding of information necessary to solve the problem or meet the challenge (e.g. what information is known, what is unknown, would needs to be learned, etc.) and does not provide any notion of logical progression

Does not demonstrate awareness of the steps required to solve problem or meet challenge (e.g. what information is known, what is unknown, would needs to be learned, etc.). Does not gesture toward a logical progression of ideas

Taking risks Actively seeks out and follows through on untested and potentially risky directions or approaches to the assignment in the final product

Incorporates new directions or approaches to the assignment in the final product.

Considers new directions or approaches without going beyond the guidelines of the assignment.

Stays strictly within guidelines of the assignment

Cannot meet creative guidelines of assignment

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Quality of Written Expression

Student expresses him/herself clearly and concisely using correct spelling and clear syntax

Student expresses him/herself clearly with some areas of difficulty. Some grammatical and syntactical errors occur but never obscure meaning. Ideas show evidence of some logical thought.

Student expresses him/herself in writing with difficulty. Grammatical and syntactical errors occur and meaning is sometimes obscured.

Student expresses him/herself in writing with difficulty. Grammatical and syntactical errors occur and meaning is often obscured.

Student expresses him/herself in writing with great difficulty. Grammatical and syntactical errors are frequent and meaning is often obscured.

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Sample Outline WORKING TITLE: This beast has reason and understanding: Monstrosity in “Bisclavret” Introduction: Marie de France’s twelfth-century lay, “Bisclavret” recounts what seems at first glance to be a familiar story: a young woman discovers that her husband has a dark secret, she manages to escape his clutches, remarries and move on to what promises to be a more peaceful life. This text, however, is not the story of the young woman but of her husband, the valorous knight, Bisclavret, who as his wife finds out, is in reality a werewolf. In light of this animal identity, the wife’s reaction may seem to be well-founded. After all, as Marie herself warns in the prologue to this lay, werewolves are fearsome creatures. “So long as they are in this state”, she writes, “they wander about in vast forests, devouring men and doing great harm (29). Contrary to the expectations elicited by this expository interlude, however, Bisclavret is anything but monstrous. On the contrary, his courtly and profoundly human behavior throughout the text, works to slyly reverses the definition of monstrosity supplied by the narrator and incorrectly applied by the protagonist’s wife, as it is her intact human body, and not the repellant animal form of her estranged husband, which reveals itself to conceal the only truly monstrous soul in the work. ARGUMENT 1: Bisclavret does not meet the basic definition of “werewolf” supplied by the narrator. Proof: • The narrator’s definition presents three major components to “werewolf” identity: (1) They wander

through the forest, (2) they eat men, and (3) they are fearsome creatures

• The narrative, however, is at pains to show that Bisclavret meets none of these conditions fully • (1) Although Bisclavret tells his wife that when he is a wolf, he “…lives in the thickest woodlands of

the vast forest” (30), he spends the vast majority of his life as a wolf living at the royal court (31-32). In fact, the narration glosses over the year he spent in the woods without revealing any of his activities, as though they are of no importance to the text: “And so a whole year went by until the king went hunting…” (31). It is almost as though Bisclavret’s story is frozen from the moment of his transformation to the moment of his return to society.

• (2) Society is, in fact very important to Bisclavret’s story. The only time Bisclavret is being depicted

as eating, he is being fed from a kitchen like a pet: “[The king] ordered all his retainers to take care of the beast for love of the king and not to harm him in any way, nor was he to be hit by any one of them, but was to be given food and drink” (32)

• (3) Bisclavret is thought of by the king and his entire court as a very gentle animal. When he attacks

his wife’s new husband, “Many of those at court were astonished because Bisclavret had never done anything like this before to any man he had encountered (31-32). In fact, this violence is so out of character that “[e]veryone in the household said that the beast had hardly done what he had done

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without cause. The knight must have mistreated Bisclavret in some way for him to seek such vengeance” (32).

• (3.1) Similarly, when Bisclavret’s attacks his wife, his behavior is justified by members of the court

due to the human intelligence they attribute to him (32) CONCLUSION: The opening definition appears to be present merely to exclude Bisclavret from the category of werewolf ARGUMENT 2: Not only does Bisclavret fall short of the opening definition of monstrosity, his behavior is consistently depicted as so human that it goes beyond raw intelligence; he is clearly skillful in the practice of courtly ritual Proof

• Bisclavret is discovered by the King in the highly ritualized context of the hunt • His immediate reaction to this figure of political power is that of an educated noble: “As soon as he

saw he king, he ran toward him to beg for mercy” (3) • His service to the king throughout his time at court, in fact, demonstrates his understanding of the

responsibilities of nobility: “Wherever the king went, the beast was anxious to serve him. He followed the king every day” (31). The use of the word “serve” suggests more than canine affection but human deference to the sovereign.

• On the basis of this behavior, the reigning social powers - the king and his barons – bestow upon Bisclavret the seal of humanity: “It has human intelligence […] This beast has reason and understanding” (31)

• He is thus given the benefit of

CONCLUSION: Bisclavret’s behavior is not simply condoned by society; his humanity confirms the power of the socio-political powers. In this way, he remains profoundly integrated throughout his animal life, in the complex activity of human life. ARGUMENT 3: Thanks to the laws of this society, Bislavret’s outer monstrosity is reversible whereas his wife is branded as a monster

• At the end of the text, Bisclavret is able to regain his human form and human role in society. In fact, his social power is only increased thanks to the exceptional courtliness he displayed as a werewolf: “As soon as the knight had recovered, the king resorted all his lands to him; he gave him even more than I can say” (33)

• The wife, however, is unable to hide her violation of the laws of marriage. Bisclavret tears off her nose as punishment for her betrayal. In this way, her inner ugliness is written on her face

• This monstrosity, moreover, cannot be undone. Not only is it a part of the wife’s physical appearance for the rest of her life, it is imprinted upon her identity and she passes it, as though genetically, to all of her female offspring (33).

• This physical enactment of monstrosity is accompanied by the wife’s rejection by society: “His wife was driven from the country and sent into exile” (33)

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CONCLUSION: True monstrosity in this text is imposed by behavior. Bisclavret, by behaving as a good person and dutiful member of society is restored at the end to a state of physical beauty and worldly power whereas his wife is reduced, through her selfishness and disregard for social obligation, to a state of ugliness and exile WORKING CONCLUSION Bisclavret may be read as an allegorical lesson in the importance of observing the rule of law as Bisclavret’s outer appearance of monstrosity is negated by his performance of courtliness and his wife’s outer beauty is negated by her inability to respect her social-imposed role. While, this appears to promote a notion of “inner beauty” very much in line with modern moral standards, in a longer analysis, it would be worth exploring the way in which this social status quo favors the male member of the couple and excludes the female one. The circumstances of the wife’s sudden change of heart with respect to a man she once loved, after all, is troublingly opaque and an allegorical reading of this narrative could well yield an abusive behavioral component to Bisclavret’s werewolf persona.

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Excellent

(4) Good (3)

Acceptable (2)

Poor (1)

Topic Selection

Identifies a creative, focused and manageable topic that promises to address potentially significant aspects of the topic

Identifies focused and manageable topic that promises to appropriately address relevant aspects of the topic

Identifies a topic that while manageable is too narrowly-focused to promise an appropriate result.

Identifies a topic that is far too general and wide-ranging to be manageable.

Design process

All elements of methodology or theoretical framework are skillfully developed.

Critical elements of the methodology or theoretical framework are appropriately developed. However, more subtle elements are ignored or unaccounted for.

Critical elements of the methodology or theoretical framework are missing, incorrectly developed, or unfocused

Inquiry design demonstrates a misunderstanding of the methodology or theoretical framework

Selection of Evidence

Synthesizes in-depth information from relevant a source or sources representing various points of view/approaches

Presents in-depth information from a relevant source or sources representing various points of view/ approaches

Presents information from a relevant source or sources representing limited points of view / approaches

Presents information from an irrelevant source or sources or interprets source in irrelevant manner, representing a limited point of view / approaches


Student expresses him/herself clearly and concisely using correct spelling and clear syntax. Ideas follow a clear logical order.

Student expresses him/herself clearly and concisely using mostly correct spelling and grammar; errors never obscure meaning. Ideas follow a clear and logical order


Student expresses him/herself in writing with difficulty. Grammatical and syntactical errors occur and meaning is sometimes obscured. Ideas show little evidence of logical thought

Conclusions States a conclusion that is a logical extrapolation from the inquiry findings and includes some gesture toward the implications of these findings

States a conclusion focused solely on the inquiry findings. The conclusion arises specifically from and responds specifically to inquiry findings but fails to account for further implications.

Presents relevant and supported limitations and implications, though not a fully formulated conclusion

Presents limitations and implications but they are possibly irrelevant and unsupported.

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Peer Editing Worksheet Read through your peer’s paper once without thinking about the questions below. And then, answer the following questions, referring to the paper and re-reading as needed. Remember you will need to submit this to both the instructor and the peer whose paper you are editing.

STEP 1: MIRRORING What is the main point of this paper? Summarize it in no more than three sentences. Why do this? It will help your peer know if they are making their point clearly.

STEP 2: BELIEVING Accept the writer’s point of view and try to extend the paper’s argument – provide additional examples, suggest questions that might provoke further thought, bring up parallels with other aspects of course material. Why do this? It will help your peer see resonances between their paper and the broader kinds of arguments we have brought up this semester. This may help them support their argument or compose their introduction and/or conclusion

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STEP 3: DOUBTING Provide counter-evidence and counter-arguments for the author. Pretend that you don’t accept the argument. What objections might you raise? Suggest at least two counter-arguments at length and provide constructive possible solutions to each. Why do this? It will help your peer see gaps in his or her argument and you can help him or her think of ways s/he might refine his/her argument in order to address these potential issues.

STEP 4: SUGGESTING Based on your experience as a writer, what suggestions might you give this author? Does the paper contribute to or repeat material presented previously in the course? Are there any places where you lose the thread of the argument? If so where, and why? Remember that for any problem you raise, you must suggest a constructive solution. Why do this? This will help alert the author to areas that need attention and help him/her see the paper with fresh eyes.

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Excellent (3)

Good (2.5)

Adequate (2)

Poor (1.5)

Unacceptable (1)

Absent (0)

Comprehension Recognizes possible implications of the text for contexts, perspectives, or issues beyond the assigned task within the classroom or beyond the author’s explicit message (e.g. able to recognize broader issues at play, able to pose relevant challenges to the author’s message and presentation)

Uses the text, general background knowledge, and/or specific knowledge of the author’s context to draw more complete inferences about the author’s message and attitude.

Evaluates how textual features (e.g. sentence and paragraph structure or tone) contribute to the author’s message; draws basic inferences about context and purpose of text.

Apprehends argument appropriately to paraphrase or summarize the information the text communicates but no more.

Fails to apprehend even the basic components of the argument and is unable to summarize information in the text.

Has not attempted this component of the assignment

Editor’s voice Discusses texts with an independent intellectual and ethical disposition so as to further or maintain disciplinary conversations.

Elaborates on text through interpretation or questioning so as to deepen or enhance an ongoing discussion.

Discusses text in way that is reliant exclusively on prompt questions and in ways that contribute to a basic shared understanding.

Comments about text in ways that preserve the author’s meanings and link them to the assignment but fails to provide constructive feedback for further development.

Fails to comment on the text in a way that shows understanding of author’s meaning or of its relationship to the assignment. Fails to provide constructive feedback for further development.

Has not attempted to complete this element of the assignment.

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Ability to Articulate Limitations & Implications

Insightfully discusses in detail relevant and supported limitations and implications.

Discusses relevant and supported limitations and implications.

Presents relevant and supported limitations and implications.

Presents limitations and implications, but they are possibly irrelevant and unsupported.

Fails to present limitations and implications.


Analysis Evaluates strategies for relating ideas, text, structure, or other textual features in order to build insight within and across texts and/or themes studied.

Identifies relations among ideals, text structure, or other textual features, to evaluate how they support an advanced understanding of the text as a whole.

Recognizes relations among parts or aspects of a text or texts such as effective or ineffective arguments or literary features, in considering how these contribute to a basic understanding of the text as a whole.

Identifies aspects of a text (e.g. content, structure, or relations among ideas) as needed to respond to at a superficial level to questions posed by assigned task.

Fails to identify aspects of the text at a basic level and unable to respond to questions posed by assigned task in productive manner.



Student expresses him/herself clearly and concisely using correct spelling and clear syntax. Ideas follow a clear logical order.

Student expresses him/herself clearly and concisely using mostly correct spelling and grammar; errors never obscure meaning. Ideas follow a clear and logical order


Student expresses him/herself in writing with difficulty. Grammatical and syntactical errors occur and meaning is sometimes obscured. Ideas show little evidence of logical thought

Student expresses him/herself in writing with great difficulty. Grammatical and syntactical errors are frequent and meaning is often obscured. Ideas show now evidence of logical thought.

The student has failed to hand in an assignment

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Questionnaire and Checklist for Revising your Paper

I-Self Study Please answer these questions in complete sentences. It is suggested that you begin the revision process by working through this initial section

1. What’s the most important thing about my subject?

2. Why do I think this subject is important? Will a reader think this paper is worth reading?

3. What verb explains what I am trying to do in this paper? (tell a story, compare X and Y, describe Z)

4. Does my first paragraph answer questions 1-3?

5. Does my title clearly indicate the scope and focus of my essay?

6. What is my thesis? Do I state it early on and keep it in view?

7. What is the topic idea of each paragraph? Will it be easy for the reader to find it?

Checklist Please be sure that you have met all the following conditions to the best of your ability. It is suggested that you use this checklist to initiate your final polishing process

8. This essay makes use of concrete examples to illustrate its point.

9. Generalizations backed up by sufficient evidence.

10. Evidence introduced sufficiently analyzed, not simply cited.

11. My argument develops logically from one paragraph to another.

12. There is a clear connection between each paragraph and my main point

13. Each paragraph is linked, by transition or repetition, to the previous paragraph

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14. Each paragraph makes one clear point.

15. Each paragraph develops its point according to some pattern (e.g. moving from cause to effect or evidence to conclusion).

16. My conclusion closes the discussion while also enriching it (e.g. by making a new but related point or opening up a question for further inquiry).

17. This essay has been spell-checked and proofread and contains no spelling or grammatical errors I can see.

18. I cite my primary sources correctly in the text and on a Works Cited page.

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Excellent (5)

Good (4)

Adequate (3)

Poor (2)

Unacceptable (1)

Absent (0)

Context and purpose of writing

Demonstrates a thorough understanding of context, audience, and purpose that is responsive to the assigned task and focuses all elements of the work

Demonstrates adequate consideration of context, audience, and purpose as well as a clear focus on the assigned task (i.e. the task aligns with the audience, purpose, and context

Demonstrates awareness of context, audience, purpose, and the assigned task

Demonstrates minimal attention to context, audience, purpose or to the assigned task (i.e. expectation of the instructor as audience)

Shows no awareness of context, audience, purpose, or the assigned task (i.e. expectation of the instructor as audience)

Is unable to respect the basic expectations of formality of the essay format

Content development

Uses appropriate, relevant, and compelling content to illustrate mastery of the subject, conveying the writer’s understanding and shaping of the whole work

Uses appropriate, relevant and compelling content to explore ideas within the context of the discipline and shape the whole work

Uses appropriate and relevant content to develop and explore ideas through most of the work.

Uses appropriate and relevant content to develop simple ideas in some parts of the work.

Uses inappropriate and irrelevant content to develop ideas in some parts of the work.

Does not attempt to support arguments

Explanation of Issue(s)

Issue / problem to be considered critically is stated clearly and described comprehensively, delivering all relevant information necessary for full understanding

Issue / problem to be considered critically is stated, described, and clarified so that understanding is not seriously impeded by omissions.

Issue / problem to be considered critically is stated but description leaves some terms undefined, ambiguities unexplored, boundaries undetermined, and / or backgrounds unknown

Issue / problem to be considered critically is stated without clarification or description

Some attempt is made to set out issue / problem to be considered critically but it is convoluted or difficult to understand

No attempt is made to clearly define a problem to be considered critically

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Use of evidence

Demonstrates skillful use of high-quality, relevant sources to develop ideas that are appropriate for the scope of the assignment

Demonstrates consistent use of relevant sources to support ideas that are situated within the scope of the assignment

Demonstrates an attempt to use credible and/or relevant sources to support ideas that are appropriate for the scope of the assignment

Demonstrates an attempt to use sources to support ideas in writing but often using irrelevant sources to support argument

Makes rare use of source material to support argument; when it is used it is consistently irrelevant; often presents opinion as fact

Makes no use of source material to support argument; simply presents opinion as fact

Analysis Organizes and synthesizes evidence to reveal insightful patterns, difference, or similarities related to focus

Organizes evidence to reveal important patterns, differences, or similarities related to focus

Organizes evidence, but the organization is not effective in revealing important patterns, differences or similarities

Lists evidence but is not organized and/or is irrelevant in focus.

Fails to organize evidence in cogent manner

Fails to use evidence

Conclusions States a conclusion that is a logical extrapolation from the inquiry findings and includes some gesture toward the implications of these findings

States a conclusion focused solely on the inquiry findings. The conclusion arises specifically from and responds specifically to inquiry findings but fails to account for further implications.

Presents relevant and supported limitations and implications, though not a fully formulated conclusion

Presents limitations and implications but they are possibly irrelevant and unsupported.

Attempts to provide limitations and implications but they are too convoluted to follow clearly

Fails to provide any discussion of limitations and implications shown by arguments.

Control of Syntax and Mechanics

Uses graceful language that skillfully communicates meaning to readers with clarity, fluency, and is virtually error-free

Uses straightforward language that generally conveys meaning to readers. The language has few errors

Uses language that generally conveys meaning to readers with clarity, although writing may include some errors.

Uses language in a way that sometimes impedes meaning because of errors in usage

Uses language in a way that systematically impedes meaning because of errors in usage

Uses language in a way that is opaque or otherwise difficult to understand

FMS 350 : Indigenous Film & Media Course Change Request · 5. ARTS Final Approval 6. Registrar 7....

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