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HHIISSTTOORRYY  11  99  99  ::    FFRREESSHHMMAANN  SSEEMMIINNAARR  WWIINNTTEERR  22001155 

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Instructor:   Kevin D. Hatfield       Classroom:          122 McKenzie Hall Office:    120 Living Learning Center    Meeting Time:     UH 2:00‐3:50 Phone:   541‐346‐1977        Class Website:     blackboard.uoregon.edu E‐Mail:   kevhat@uoregon.edu     CRN:         27059      Office Hours:  Tuesdays, 4:00‐5:00pm    Final Exam:      12:30pm, Monday, 3/ 16 Recurring Visiting Scholar: Jennifer O’Neal, University Historian and Archivist 

I  COURSE DESCRIPTION: A HISTORIAN’S APPRENTICESHIP 

Areyoutiredoflearninghistoryfromatextbookandfill‐in‐the‐blanktests?Wouldyoupreferauniquechancetoinvestigateoriginalprimarysources,suchasletters,diaries,photographs,maps,

artifacts,campaignliterature,editorialcartoons,courttranscripts,oralinterviews,andgovernmentpropagandafilmstonameafew?Doesmostofyourknowledgeofthe“OldWest”comefromClintEastwoodfilms,televisionseriessuchasDeadwoodorHellonWheels,orvideogameslikeTheOregonTrailandRedDeadRedemption?Wouldyouenjoytheopportunitytorecovertheforgottenanddis‐rememberedvoicesandexperiencesofrealhistoricalactors,wholivedintheAmericanWest,fromthearchives,fieldtrips,anddynamicguestspeakers?Ifso,thisFreshman

Seminaroffersyoua“hands‐on”apprenticeshipinthehistorian’scraft.

Fornearly150yearstheAmericanWesthasfunctionedasthesynecdoche—thepartthatrepresentsthewhole—fortheUnitedStates.ThepopularcultureconstructionoftheAmericanWesthascometodefineAmericanidentity,character,andexceptionalism—whatisuniquelyandquintessentially“American”isoftenplacedinthecontextoftheWest.WilliamF.CodyarguablybecamethefirstmoderncelebrityduringtheAmericanandEuropeantoursofBuffaloBills“WildWest”fromthe1870sthroughtheearly20thCentury.BuffaloBillperformancesestablishedthetraditionofpopularcultureclaimingandexertingtheprimaryinfluenceofcreatingourcollective“knowledge”oftheAmericanWest.BuffaloBillfamouslycast“real”historicalactorsfromtheWest—SittingBull,KickingBear,RedShirt,AnnieOakley,cowboys—andrighteouslyassertedthathisperformancesrepresented“authentic”and“realistic”historicalre‐enactmentsofeventsfromtheWildWest.BuffaloBillbristledattheuseoftheword“show”forhisacts,believingitfalselydiminishedhisworkastawdry“entertainment”or“recreation”fortheaudience,whenincontrast,hebelievedhedeliveredhisperformancesas“historylessons”andhistroupeasan“educationalinstitution”forgenerationswhowouldnotgrowuponthefrontier.BuffaloBillbecamea“culturalauthority”inhisownrightthroughhisre‐enactmentsofmomentsof“conquest”and“colonization,”suchasthe“Custer’sLastStand”andthe“StageCoachAttack,”andultimatelysetapatternofcredentialingpopularcultureportrayalsoftheAmericanWestthroughthe“incorporation”ofindigenouspeoples—apracticethatwouldseamlesslytransitionfromthefieldandstagetothesilverscreenofsilentfilmandlatertalkiesandtelevision.Consequently,adominantcultureethnocentricandcolonialvisionandrememberingoftheAmericanWesthasmaintainedatenaciousholdonourcollectivememoryandknowledge.ThisportrayaloftheAmericanWesthasconventionally,obscuredthedevelopmentofamulti‐culturalregionthatbecamethecrossroadsforimmigrantsandpeoplesdescendingfromEurope,Asia,CentralAmerica,andAfrica—allofwhomenteredaculturallandscapealreadyoccupiedbydiverseindigenouspeoples.

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ThiscoursewillengagestudentsinaseriesofscaffoldedanalyticalexercisescomparingthispopularcultureportrayaloftheAmericanWestbystage,film,televisionandvoiceactorswiththeactualhistoryoftheAmericanWestasrecountedthroughthefirst‐handexperiencesof“historicalactors”wholivedintheAmericanWest.Theclassdiscussions,small‐groupprimarysourceexercises,andtake‐homemidtermwillpreparestudentsfortheircapstone“Reelv.RealHistory”InquiryProjects,whichwillprobeourcollectivememoryorimaginationofthe“OldWest,”andinterrogatehow20th(and21st)centurynovels,film,television,videogames,duderanches,themeparks,re‐enactments,andotherpopularculturerepresentationshaveconstructedperceptionsoftheAmericanWestthatoftendivergeradicallyfromtherealityofthepast.Thestudents’originalresearchprojectswillbegintounpackthisquestionbyteasingoutfactfromfictioninour“memories”or“knowledge”ofthistimeandplace,andclarifyingtheblurredlinesbetweenhistory,myth,andfolklore.StudentswillcontributetoagrowingbodyofscholarshipandcreativeworkbyNativeandnon‐Nativehistorians,anthropologists,novelists,filmmakers,andartistsactivelydecolonizingthe“BuffaloBill”tradition.Intermsofhowstudentswill“learn”historyinthiscourse,theapprenticeshipwillreorientstudentsfroma"factsfirst"approachor"contentcoverage"modeloflearninghistoryemphasizingthepassiveconsumptionofexpertknowledge,toaninquiry‐based"historicalthinking"modelthatpositionsstudentsasactiveproducersofhistory.Theapprenticeshipwillframehistoryasa“wayofknowing”anda“wayofthinking”ratherthananaccumulationofpastevents.Studentswill“do”history,andbegintopracticetheprocessandmethodologyofthediscipline.Asapprenticehistorians,studentswillperformoriginalresearchintheUniversityofOregonSpecialCollectionsandUniversityArchives(SCUA)andthroughdigitizedprimarysourcescollectedbytheinstructorfromvariouslocal,stateandnationalarchivesandrepositories.Studentswillalsoexperiencethechancetointerpretandauthortheirownnarrativesandexplanationsofthepast.Finally,theapprenticeshipwillintroducestudentstothemethodologyanddisciplinaryexpertiseofacademichistoriansthroughtheanalysisofsecondaryliterature(e.g.scholarlyarticlesandbooks).

II COURSE LEARNING OBJECTIVES Studentscompletingthishistorian'sapprenticeshipwill:

Improvehistoricalthinkingandinquiryskills(See“ANoteonPresentism&thePastastheIrreducibleOther”onpage15ofthissyllabus)

Becomeaccustomedtoreadingandinterpretingprimarysourcematerials,drawingtheirownconclusionsaboutthem,andusingthemtoconstructarguments

Applyhistoriographyandmethodologytohistoricalresearchandanalysisofprimaryandsecondarysources

Performscholarlywritingasaprocessofdisciplinarythinking

Applyhistoricalconcepts(e.g.,causation,agency,contingency,continuity/change)toprimarysourceresearchandanalysis

Strengthenevidence‐basedargumentationandreasoning(e.g.,empirical,inferential,inductive)

Developandstrengthentheirmetacognition—theirconsciousandcriticalself‐reflectiononhowtheyarelearningandbeingtaught

CriticallyengageessentialquestionsandimprovecontentknowledgeofAmericanWesthistory

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III  SUCCEEDING IN THE COURSE 

Itisthestudent'sresponsibilitytoreadallsyllabuscontentcarefully,andconsultwiththeinstructoriftheyhaveanyquestionsorconcernsabouttherequirements,policiesormaterialcoveredintheclass.Thissyllabusisacriticalreferenceguideandresourcefortheentirecourse.Studentsshouldreviewthesyllabusbeforeeveryclasssessionandcontinuallyastheyperformcourserequirements.Successfulstudentshaveregularattendance,completereadingsbeforeattendingclasses,participateactivelyindiscussions,andmakeuseofofficehoursasnecessary.Overallparticipation,effortandanyimprovementsdemonstratedthroughoutthecoursewillbeconsideredwhendecidingfinalcoursegrades.

IV  BOOK AND BOOK CHAPTER READINGS  ScottZesch TheCaptured:ATrueStoryofAbductionbytheIndiansontheTexasFrontier

NewYork,St.Martin’sPress,2004 PhilipJ.Deloria IndiansinUnexpectedPlaces

Lawrence:UniversityPressofKansas,2004 PPRROOVVIIDDEEDDOONNBBLLAACCKKBBOOAARRDD

Excerpt:Introduction&Chapter2“REPRESENTATION:IndianWars,theMovie”

V  EVALUATION  A)   Primary Source Interpretation Exercises & Reports: (2 @ 20 points each)  

Studentswillbegintheirhistorian’sapprenticeshipsandhoningtheirhistoricalcraftskillsandknowledgefortheculminatinghistoricalinquiryprojectbyperformingtwopracticeprimarysourceanalysisexercisesbasedonsmallcollectionsofmaterials.Thesesmallgroupexerciseswillofferworkshopsforstudentstoengageinthinkingcritically,framinghistoricalquestions,interpretingprimarysources,assessingevidence,andwritingexplanatorynarratives.StudentswillperformthefirstexerciseinSpecialCollectionswithoriginalmanuscriptsandartifacts,andenjoytheopportunitytosurveyarangeofpotentialtopicsandsourcesfortheirhistoricalinquiryprojects.Thesecondexerciseembodiesarole‐playing“game”inspiredbytheReactingtothePast(RTTP)curriculum,andstudentswill“enact”aChineseExclusionActTrialbaseduponfirst‐personrecordsofaChineseExclusionActCaseFile.Fullinstructionsforeachexercisewillbeprovidedseparately.Bothprimarysourceexerciseswillbeprefacedwithintroductorylecturescontextualizingthetopics.Theinstructorwilldistributespecificinstructionsandbibliographiesforeachprimarysourceexercise.Studentswillcomposeindividualtwo‐tothree‐pagereports(500to750words)thatpresenttheirnarrativeinterpretationoftheessentialquestionsinvestigatedforeachexercise.Thetwoprimarysourcesetsincludematerialscreatedbymultipleauthors,bearingconflicting,contradictory,andincompleteevidence,aswellasfragmentaryanddiscretenarrativesthatposeacreativechallengetohistorians.Thesecollaborativeexerciseswillallowstudentstoexplorepointsofconsensusanddivergenceregarding:1)thethematicinterpretationofspecificsources—theirauthorship,perspective,language,bias,

ImportantNote:Studentsmustreturnalloptionalmaterials(e.g.,books,DVDs,VHSTapes)borrowedfromtheinstructorBYTHEENDOFTHETERMTORECEIVEAFINALGRADE.

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veracity/authenticity,completeness,andreliability;and2)thebroaderinterpretationoftheoverallsubject—howrepresentativearetheexperiencesofthesehistoricalactors?Theexercisesintroducestudentstotheconceptandprocessof“historiography”—howdohistoriansassignmeaningtopastandreachcontrastinginterpretationsandexplanationswhenanalyzingthesameempiricalevidence?Finally,theexercisescapturetheuncertainty,contingency,andfluidityofthepast.Thesetwoin‐classinquiry‐basedgroupexerciseswillpreparestudentstoperformoriginalon‐sitearchivalresearchforthe“Reelv.RealHistory”inquiryprojects.Consulttheguide,“AdviceonHowtoApproachthePrimarySourceInterpretationExercises”onpage14ofthissyllabus,andpostedinBlackboard.1. EXERCISE1:DiscoveringDisrememberedVoices:ReconstructingthePastofRace,Gender,Class

intheAmericanWest

GroupA:"PioneerMothers:"ReflectionsofWomanhoodandFemininityinOregonTrailDiaries GroupB:SettlerColonialism&ResettlementofIndigenousPeoples:TreatieswiththeUmpquaandKalapuya1854,1855/SiletzReservationMaps GroupC:OregonFreeSoilIdeology,BlackExclusionandAnti‐Slavery:BlackExclusionLaws&CaseFilesofTheophilusMagruderv.JacobVanderpool(1851);RobinHolmesv.NathanielFord(1852–53);andAbnerandO.B.Francis(1851) GroupD:ThePedagogyofEthnocideandAssimilation:ChemawaIndianBoardingSchoolandWarmSpringsReservationSchoolRecords

GroupE:Rodeosandthe"VanishingRace":Romanticizingthe"OldWest"throughtheEyeoftheCamera:WalterS.BowmanPhotographs,1890–1925andLeeMorehousePhotographs,1888–1925

2. EXERCISE2:GamSaan&theUnassimilables:ChineseImmigration,Exclusion&Sinophobia:

ChineseExclusionActTrialofChanChowMow

B)  Group Discussion Facilitators & Written Questions (10 points possible: 5 points for posting; 5 points for discussion facilitation) 

NOTE:Allstudentsmustcompleteallthereadingforeverybookdiscussion,however,thefacilitationgroupwillhelpframethediscussionfortheday. Toexploremajorcoursethemesthroughthesingleassignedbook—ScottZesch’sTheCaptured—theclasswillbearrangedinto“DiscussionFacilitationGroups”comprisingtwotofivestudentstoengagestudentsinreadingdiscussions.Eachgroupwillbeassignedtwochaptersthebook(usuallyabout40‐50pages).Foreachscheduleddiscussion,the“DiscussionFacilitationGroups”forthatdaywilldeliverbriefintroductionsthatframethemajorthemes,arguments,andmethodologyoftheirparticularsection.EachmemberofthefacilitatinggroupwillpreparetwohistoricalquestionstoposetotheclassthroughtherespectiveBlackboardDiscussionForumsavailableforeachbook,nolaterthanthedaypriortotheirdiscussion.Studentswillframebroadlyanalyticalquestionsthatcontemplateprimaryarguments,interpretations,themes,sources,andmethodology,insteadofcontent‐specific,narrowlyfactualquestions.

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C)  Take‐Home Midterm: Comparative Source Analysis: The Captured and The Searchers (30 points possible)  Asinhabitantsofthe21stCentury,ourcollectivememoryofthe“OldWest”oftenreflectsthe20th‐Century“Reel”historyofHollywoodwesterncinemamorethanthe19th‐Century“Real”historyoftheAmericanWest.Thistake‐homemidtermprovidesstudentsanopportunitytocomparethehistoricalreconstructionofinter‐culturalrelationshipsandacculturationasportrayedbydirectorJohnFordinhisfilm,TheSearchers(1956),andhistorianScottZeschinhisaward‐winningbook,TheCatpured.Thetake‐homemidtermalsofunctionsasanotherprogressive“practice”exercisepreparingstudentsfortheirculminatinghistoricalinquiryprojects.Studentswillanswerfouroutofeightquestionsina“short‐answer”format.Eachanswershouldbeapproximatelythreetofourparagraphsinlengthandprovidedabriefanalyticalresponsetothequestionsupportedbyevidencedrawnfromthebook,film,andclassdiscussion.Answersdonotneedtobecomprehensiveintheiranalyticalscopeorfactualcontent.Besuccinctandsubstantive,andpresentthemostillustrativeexampleyouhave.Althoughasuccinctdiscussionofhistoricalaccuracy(actualtruth)orverisimilitude(appearanceoftruth)maycompriseacomponentofyourcommentary,studentsshouldavoidpreparinganexhaustivecatalogofanachronismsanddeviationsfromliteralreality.Instead,yourshortanswersshouldapproachthefilmasadramaticvehicleorartform—grantingthatitisnotanon‐fictionaldocumentary—andfocusonthe“vision,”“imagination,”“perception”or“myth”oftheAmericanWestfashionedbyplotdevelopment,narrativestructure,characterformation,dialoguepresentation,performances,direction,andothercinematictechniques.

D)  Historical Inquiry Project: “Reel versus Real History” (120 points possible)  The“ReelversusRealHistory”historicalinquiryprojectrepresentstheculminatingintellectualexerciseof

thecourse,andintentionallybuildsupontheknowledgeandskillsstudentshavecultivatedas“apprenticehistorians”inpreviousclassdiscussions,theVisitingScholarssession,thetwoPrimarySourceInterpretationExercises,andtheTake‐HomeMidtermcomparativeanalysisofdirectorJohnFord’sfilmTheSearchersandhistorianScottZesch’sTheCaptured.

CinemahasprofoundlyshapedourhistoricalmemoryandcollectiveimaginationoftheAmericanWest.

Hollywoodhasconstructedamodernmythologyofindigeneity,race,class,gender,violence,nationalidentity,Americancharacter,democracy,immigration,landscape,region,frontier,andgeneralprofilesofindividualsandcommunitiesintheWest.Despitethefolkloricpatinaofthemedium,manyfilmsreflectkernelsoftruthregardingboththeerastheydepictandthetimesinwhichtheywerecreated.Forexample,toapresentaudience,JohnFord’sSergeantRutledge(1960)mayrevealmoreaboutColdWarracialtensionsthantheexperiencesofAfrican‐American“buffalosoldiers”servinginthepost‐CivilWarcavalryinthe1870s.

Thisexercisewillalloweachstudenttoselectahistoricaltopicoftheirpassionandcraftauniquehistoricalquestiontoinvestigateaparticularaspectofthistopic.Withtheinstructor’sguidance,studentswillidentifyapopularcultureartifact—typicallyafeaturefilm,televisionseriesepisode(s),orvideogame—andasmallcollectionoforiginalprimarysourcematerialsthatbothengagethestudents’selectedtopic.SimilartotheTake‐HomeMidterm,the“ReelversusReal”historicalinquiryprojectenablesstudentstocriticallyanalyzehowapopularculturedepictionoftheirtopiccompareswithoriginalprimarysourceevidence.Whereas,theTake‐HomeMidtermaskedstudentstocomparethetopicsof“captivity,acculturation,race,andinterculturalcontact/conflict”betweenafilmandthepublishedscholarshipofahistorian,the“ReelversusRealHistory”projectpositionsstudentstocompareapopularcultureartifactwithoriginalprimarysources(ratherthanasimplyabook).Whenpossibletheinstructorwillencouragestudentstopulldifferenttopics

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outofthesamefilm,televisionepisode,orvideogame.Theinstructorwillsharealistoffilmsandtelevisionepisodes,aswellaslistsofpotentialtopics,primarysourcecollections/resources,andpaststudentprojects.TheclasswillalsoperformresearchintheUOLibrariesonseveralfieldresearchtripsunderthementorshipoftheinstructorandassistancefromlibrarians,archivists,andspecialcollectionsstaff.Thisprojectisnotintendedtorepresentafull‐scaleresearchpaper,butratherafocusedcomparativeanalysisofaspecificfilmwithspecificprimarysources/sourcecollection.

Theinstructorhasorganizedthe“ReelVersusRealHistory”projectintosevensteps.Eachstepfunctionsasa

milestoneorcheck‐inpointduringtheresearchandwritingprocess,andfostersacriticalfeedbackloopbetweenthestudentandinstructorthroughsubstantivewrittencommentaryandone‐on‐onetutorialadvising.Despitetheconsecutiveorderofthesteps,studentsareencouragedtoapproachhistoricalresearchandwritingasareciprocal,ratherthanstrictlylinear,exercise.Thestepsrepresentthebuildingblocksor“work‐in‐progress”iterationsoftheoverallresearchproject,andnotdiscrete“finalproducts.”Muchofthewritingperformedforthesestepswillultimatelybeincorporatedinthefinaloralpresentationsandpapers.Forexample,itisexpectedthatfurtherprimarysourceresearchwillinformandre‐fashiontheinitialhistoricalquestion,whereasprogressivewritingwillidentifygapsinprimarysourceanalysisandnecessitateadditionalresearchandthediscoveryofnewsources.Ultimately,thestepsintendtoreinforcea“metacognitiveconsciousness”amongstudentsaslearners,practitioners,andproducersofhistory,andremainreflectiveandself‐awareoftheirthinkingandreasoning.

Step One: Selecting the Topic & Film [10 Points]

DUE:One‐page(250words)proposalexplainingselectionoftopicandfilmInstructions:Studentsconferringwiththeinstructor,andpreferablycollaboratinginsmallgroupsofthreetofivememberswillidentifyaneffectivefilm(s)/televisionepisode(s)/videogamefortheirinquiryproject,andwillhaveanopportunitytoperformaninitialviewingoftheirpopularcultureartifactinclass.Ultimately,eachstudent/groupmemberwillexamineaunique,yetcomplementarythemebycomparingacomponentofthefilmwithspecificprimarysourcematerialsandevidence.Eachstudentwillsubmitaone‐page(250words)proposalidentifyingtheirfilmandtopic.

Studentsandgroupsmaybegintheirresearchbyperusingfilmreviewscomposedbycontemporaryfilmcritics,andhistoricalessayscritiquingthefilmwrittenbyacademichistorians.Theinstructorwilldistributealistoffilms/televisionepisodesavailableinhisprivatecollectionforuseintheclass.Theinstructorwillalsopurchasefilms/televisionseriesasneededfortheclass.Theinstructordoesnothaveavideogamecollection.Studentsshouldbeawareofthefollowingresources:

InternetMovieDatabase(imdb.com) JournalofAmericanHistory(availableinfull‐texton‐line)[filmreviewsection] Kilpatrick,CelluloidIndians:NativeAmericansandFilm Marubbio,KillingtheIndianMaiden:ImagesofNativeAmericanWomeninFilm Slotkin,GunfighterNation Carnes,ed.PastImperfect:HistoryAccordingtotheMovies Collins&O’Connor,eds.Hollywood’sWest:TheAmericanFrontierinFilm,Television,&History Cowie,JohnFordandtheAmericanWest Coyne,TheCrowdedPrairie:AmericanNationalIdentityintheHollywoodWestern Roquemore,HistoryGoestotheMovies

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Step Two: Framing Historical Questions & Identifying Primary Sources [20 Points]

DUE:One‐page(250words)narrativeofhistoricalquestion(s)[10points];ANDone‐page(nowordcount)annotatedbibliography(minimumoffivesources)[10points]Instructions:

i. HistoricalQuestions

BasedonthetopicchoseninStepOne,studentswillbegincraftinganeffectivehistoricalquestiontoguidetheirprimarysourceresearchandfilm/televisionepisode/videogameanalysis.Studentswillcomposeatwo‐tothree‐paragraph(approximately250words)historicalquestion.First,beginthisprocessbyfocusingthetopicintoamorerefinedhistoricalinquirybytighteningthegeographic,chronological,and/orthematic/theoreticalscope.Avoidquestionsthatareeithertoonarrowortoobroadtoanswereffectively.Studentmayalsobegintoarticulatetheirworkinghypothesis,argument,orinterpretationinresponsetoyourquestion.Ultimately,questionsshouldlinktheoriginalprimarysourceresearchtothefilm/televisionepisode/videogame.Seeexamplesbelow:

WhatfactorscausedvigilanteviolenceintheAmericanWest? Whatwasthedifferencebetweena“lynching”anda“hanging?” Whywerelynchingsandhangingspublicspectacles? Whatroledidrace,class,andgenderplayinviolence? Whywerevictimsoflynchingsoftentorturedbeforedeathandtheircorpsesmutilated

postmortem? Howwasmasculinityconstructedthroughsuchviolence? HowdospecificincidentsofvigilantejusticeintheAmericanWestcomparetothedepiction

ofunjustexecutioninWilliamWellman’s1943film,TheOx‐BowIncident? Whyareraceandviolence/torturedownplayedbyWellman?

ii. AnnotatedBibliography

Eachstudent/groupmemberwillfindsufficientprimarysourcestoconducttheircomparativeanalysis(consultyourclasshandoutforexplanationofprimary/secondarysources).Sourcesmayincludegovernmentdocuments,personalletters/diaries,memoirs/autobiographies,courtrecords,historicalnewspapers/magazines,photographs,maps,oralinterviews,sheetmusic,soundrecordings,andnumerousotherprimarysources.Studentswillprepareaannotatedbibliographywithaminimumoffivesourcecitations.Anannotatedbibliographyoffersyourreaderthesourcecitationandadditionalinformationandcommentaryaboutthesourcesyoucite(e.g.sourcetype,creator/author),andclarifieshowthecontentofthesourcematerialisrelevanttoyourresearch.Researchersshouldcreatetheirannotatedbibliographiesconcurrentwiththeperformanceoftheirprimarysourceresearch,andusethebibliographyasaworkingresourcetodocumentandtracktheirexaminationofprimaryandsecondarysources.Theinstructorwilldistributeacitationguidetoassiststudentswithformattingtheannotatedbibliography.

ThedisciplineofhistoryfollowstheChicagoManualofStyle(CMS)(nowinits16thedition)citationandeditorialsystem.MosthistoryundergraduateandgraduatestudentsconsultanabbreviatedversionoftheCMSauthoredbyKateL.Turabiantitled,AManualforWritersofResearchPapers,Theses,andDissertations8thEd.(Chicago:UniversityofChicagoPress,2013).ForthoseofyoupursuingadegreeinhistoryIwouldencourageyoutopurchaseacopyofthisinvaluablereference.

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Step Three: Paper Outline/Concept Map [5 points] DUE:One‐page(nowordcount)outlineofpaperInstructions:Studentswillprepareaone‐page(nowordcount)schematicoutlineoftheirpaper.Thecognitiveprocessof“outlining”assistsresearcherswithorganizingtheirthinkingandreasoning,andthetranslationofprimaryandsecondarysourceevidenceintoacoherentnarrative.Outlinesmayrevealdeficienciesinempiricaldataorincompleteanalysis.Althoughsomestudentsmaychoosetoperformtheiroutlineinaconventionalhierarchicalstructureofheadingsandsubheadingstodemonstraterelationshipsandorderingofideas,studentsarewelcometouseanyformatthatbestmatchestheircreativeprocess.ConceptMaps,IdeaMapsorothervisualthinkingtoolsthatdiagramthestructureofcontentandanalysisarewelcome.

Step Four: Peer Evaluation [10 points] DUE:FirstDraftofFinalPaper(fourtofivepages/1,000to1,250words)[SubmittoPeerEvaluator); ANDPeerCritiqueofPartnersPaperIncludingeditorialmarksanda150‐to200‐wordCritiqueInstructions:

i. PaperDraftsToensurestudentsreceivethemosteffectiveevaluationsfromtheirpeers,paperdraftsshouldaspiretoincludethefollowingelements:

1. Introduction

Theintroductionofthepaperiscriticaltoitsoverallcoherenceandclarity.Theintroductionfunctionsastheinitialhookanddirectoryforthereader—itsimultaneouslydrawstheminandbeginstoguidethemthroughyourresearchandanalysis.Studentsareencouragedtoperformtwoself‐teststodetermineiftheintroductioniswellorganizedandclearlyarticulated.First,readtheintroductionoutloudandconsiderwhetherthefourelementshavebeenaddressed.Second,afterthecompletionofthefirstdraftofthepaper,readthefirstsentenceofeachsubsequentparagraphoutloudandconsiderwhetherthepaperstillmakessense—hasthepaperfollowedthenarrative/analyticalpathsetoutbytheintroduction?

2. SubheadingsandTopicSentences

Theelementsincorporatedthroughouttheessaywillserveassignpoststhatcontinuetonavigatethereadertowardtheconclusion.Theauthor’soverridingresponsibilityistopilotthereaderthroughthenarrative.Afterreadingtheintroduction,thereadershouldfirmlygraspthefollowing:1)thegeneraltopic;2)thehistoricalquestion;3)thethesis,oranswerto/interpretationofthequestion;and4)principalcomparativepoints.

3. Quotations

Incorporatingquotationsfromyourprimarysourcematerialsanddialoguefromfilms,televisionepisodes,orvideogameswillprovideanopportunityforyourpeerevaluatortoassessthecontentandeffectivenessofthisimportantcomponentofyourpaper.Quotationscanconveythevoiceofhistoricalactorfromyourprimarysourcesandtheatrical/voiceactorsformyourfilm,televisionepisode,videogamethatcapturesamood,tone,oridiosyncrasiesthatwouldbemutedorlostthroughparaphrasing.Theycanalsopresentevidenceinasuccinctmanner.

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4. Footnotes

Thepeerevaluatorwillneedtoknowthesourceofyourevidenceanddirectquotations.Theinclusionoffootnotesinthedraftwillalsoprovideanopportunityforthepeerevaluator(andinstructor)toofferfeedbackonformattingandmissingcitationdata.

ii. PeerEvaluation

Studentswillformpairsandexchangethefirstdraftsoftheirpaperswiththeirpeerevaluator.StudentswillemailtheirfirstdraftstotheirpartnerandtheinstructorinMSWordformattoenablethepeerevaluatortoperformeditsin“TrackChanges”modeandincludetheirnarrativecritiqueatthebottomofthepaper.Peerevaluatorswillreadtheirpartner’spapercarefullyandprovideajudiciousbalanceofdirectiveandfacilitativefeedbackthroughcopyeditingmarks,marginalcomments,andaformalone‐pagecritique(150–200words).Directivefeedbackwillofferprescriptiveinstructionsforspecificchangesandimprovements,suchascorrectionstospelling,punctuation,grammar,andformatting.Facilitativefeedbackwillsharesuggestivequestionsandcommentarythatengagebroaderanalyticalpointsregardingorganization,arguments,sources,analysis,clarity,andstructure.Peerevaluatorsshouldapplyparticularattentiontotheintroduction,thesis,andtopicsentences.Additionally,peerevaluatorsshouldscrutinizetheuseofevidencefromthefilmandprimarysources.Howeffectivelyhasthewriterparaphrasedorquotedprimarysources?Howconsistentlyandfullyhasthewritercitedprimarysourcedataintheirfootnotes/endnotes?Finally,doestheconclusionreassertandstrengthenthethesisstatement?Everystudentmustcompleteapeercritique.ThisexerciseassignspointstothePeerEvaluatorNOTtheevaluatee.Peerevaluatorswillreturntheeditedpapersandnarrativecritiqueviaemailtotheirpartnersandcopytheinstructor.

Step Five: Presentation Outline (Group or Individual) [5 points] DUE:PresentationOutline(100–200words)Instructions:Studentswilldraftascriptoroutlineforafinaloralpresentation(fivetosixminutesinduration)oftheirhistoricalinquiryprojectstotheclass.Presentationswillscreenaselectedsceneorscenecompilation,sharetheirprimarysources,andexplaintheirfindings/analysis.StudentsareencouragedtoprepareaPowerPoint,Keynote,Preziorothermultimediapresentationwithembeddedfilmscenesanddigitalimagesofprimarysources.Presentationswillalsoallowtimeforquestionsfromtheclass.Studentselectingtopresentwithpeerssharingacommonfilm/televisionseries/videogamewillcoordinatetheorderoftheirpresentationsandareencouragedtocompiletheirindividualpresentationsintoonePowerPointfileifpossible.PresentationoutlineswillincludeALLthefollowingelements:

1. Statementofgroup’s/individual’stopic(s)orhistoricalquestion(s)

2. Descriptionofeachgroupmember’sfilmsceneandfilmicelementanalyzed

3. Descriptionandcitationofeachgroupmember’sprimarysources

4. Summaryofeachgroupmember’scomparativeanalysisbetweenthefilmandprimarysources

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5. Cues(startandstoptimes)forscreeningfilmscenes(ifnotembeddedinPowerPointpresentationorcompiledinseparatemovingimagefile)

Step Six: Final Oral Presentation [10 points] DUE:OralPresentation(5–6minutesmaximum)Instructions:Studentswillshowcasethefindingsoftheirhistoricalinquiryprojectsduring5–6minuteindividualpresentations.Everystudentwilldeliveranoralpresentationnolongerthan6minutes.Somestudentsmaychoosetopresentwithpeerssharingacommonfilm/televisionseries/videogame,however,eachstudentisstillrequiredtopresentindividuallyfor5to6minutes.ThepresentationswillbescheduledforDeadWeekandFinalsWeek.Theinstructorwilldistributeanoralpresentationevaluationrubrictostudents.

Step Seven: Individual Analysis Paper [50 points]

DUE:IndividualAnalysisPaper(seespecificrequirementsbelow)Instructions:Studentswillcomposeafour‐to‐fivepageresearchpaperthatoffersacomparativeanalysisoftheirhistoricaltopicandhistoricalquestionbetweentheirselectedfilm/televisionepisode/videogameandprimarysourcematerials.Essayswillpresentacriticalanalysisofaparticularquestionortheme,andnotsimplysummarizeordescribecontent.Essayswillalsoincorporatequotesfromthefilmandprimarysourcestocapturethevoicesoffictionalandhistoricalactors.Studentswillalsoprovidefullcitationsforallsourcesandcitealldirectquotes.PleasefindbelowastructuraloutlineforyourfinalIndividualAnalysisEssay.Thisisasuggestedoutline,andyouarewelcometoadoptanalternateformat:

1. Introduction.Clarifytopic,thesis,andprincipalpointsofcomparison.2. Briefsummaryoffilm/televisionseries/videogame.Focusonkeyelementsrelevanttoyour

question.3. Briefsummaryofprimarysourceresearch.Whatwasthestructureoftheresearch—casestudy;

historicalactor;historicalevent—andwhattypesofsourceswereresearched?4. Comparativeanalysis.Thisisthebody/coreoftheessay.Analyzethespecificprimarysources

youexaminedandthespecificscenes/filmicelementfocusedupon.Assertyourkeyarguments,interpretations,findings.

5. Conclusion.Reassertyourthesisandunderscoreyouranalysisofthemainthemeoftheproject.

Allfinalversionsofpaperswillconformtothefollowingformatrequirements:

EditorialStyle: ChicagoManualofStyle(CMS)/Turabian

Length: 4to5pages(1,000to1,250words)

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Margins: 1”left,right,topandbottomFontSize: 11or12pointLineSpacing: double‐spacePagination: pagenumbersrequired;placementisauthor’schoiceCitations: footnotesorendnotes(parentheticalreferencesnotaccepted)TitlePage: includepapertitle/subtitle,authorname,date,course,instructornameDeliveryFormat: electronicMSWordfileformat

Quotes: quotationslongerthanfourlinesoftextwillbeblockformatted;seeTurabianfor

blockquoteformattinginstructions E) Participation & Tutorial Meeting with Professor (10 points possible)  

Thesuccessofthisseminardependsontheregularattendanceandactiveparticipationofallstudentstofosterpeercommunity,stimulateintellectualcuriosity,sustaindialogue,andengageincollaborativeresearch.Anyunacceptable,non‐documentedabsences(seesection“VIPolicyonMissedDeadlines,Absences&Incompletes”below)ofthreesessionsandabovewillresultinthereductionofyourfinalcoursegradebyonecompletegrade.Eachstudentwillalsoscheduleaone‐on‐onetutorialappointmentwiththeinstructorbytheendofweekfivetodiscusstheinquiryproject.

TToottaall PPoossssiibbllee PPooiinnttss ffoorr EEnnttiirree CCoouurrssee == 220000 ppooiinnttss

FFiinnaall CCoouurrssee GGrraaddee BBrreeaakkddoowwnn PPooiinnttss:: 117777 aanndd aabboovvee == AA PPooiinnttss:: 115522 –– 115566 == BB-- PPooiinnttss:: 112277 –– 113322 == DD++ 117711 –– 117766 == AA-- 114466 –– 115511 == CC++ 111199 –– 112266 == DD 116655 –– 117700 == BB++ 113399 –– 114455 == CC 111144 –– 111188 == DD-- 115577 –– 116644 == BB 113333 –– 113388 == CC-- 111133 aanndd bbeellooww == FF

 

VI  COURSE BLACKBOARD SITE  TheBlackboardSiteforHistory199offersseveralvaluableinstructionalfunctions.First,theinstructorwillpostallcoursematerials,includingthesyllabus,lectureoutlines,powerpointslideshows,andotherhandoutsinthe“CourseDocuments”sectionofBlackboard.TheBlackboardsitewillalsohosttheforumsfortheZeschDiscussion,aswellasthegradebookforthecourse. 

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VII  UNIVERSITY ACADEMIC MISCONDUCT POLICY  Allworksubmittedinthiscoursemustbeyourownandproducedexclusivelyforthiscourse.Youmustacknowledgeanddocumenttheideasandwordsofothers.Thepresentationofun‐citedorun‐acknowledgematerialacquiredfromanysource—written,verbal,online—isdefinedasplagiarism.Violationsaretakenseriouslyandarenotedonstudentdisciplinaryrecords.Pleaseconsulttheinstructorifyouhavemorespecificquestionsaboutthedefinitionofplagiarism.TheStudentConductCodefor“AcademicMisconduct”isavailableforreview:http://uodos.uoregon.edu/StudentConductandCommunityStandards/AcademicMisconduct/tabid/248/Default.aspxVIII  POLICY ON MISSED DEADLINES, ABSENCES & INCOMPLETES Toensureequitabilityintheevaluationofallstudents,allwrittenassignmentsaredueinclass,ormustbepostedinBlackboardatthestateddeadlinesinthissyllabus,unlessstudentshaveadocumentedacceptableexcuse(seebelow).Studentsmaynotmake‐upthefollowingassignments:bookdiscussionfacilitation&Blackboarddiscussionforumquestions,primarysourceanalysisexercises&reports,researchprojectpresentationassignment.Anywrittenassignmentnotsubmittedinhardcopyformatbythespecifieddeadlinewillresultinthepenaltyofanautomaticdeductionofhalfofthetotalpossiblepoints(i.e.,20pointpaperisworthonly10points)thatmaybeearned.Writtenassignmentssubmittedmorethan24hourslatewillnotbeaccepted.Writtenassignmentsturnedinbye‐mailwillreceivenopoints.Itisthestudent’sresponsibilitytoinitiatecontactwiththeinstructor.Thefinalgradereportedtotheregistrarwillbebasedupontheworkthestudenthascompletedbytheendoftheterm,whichmaywellresultinafailinggrade.A) ExceptionalEmergencySituations

Thefollowingareunforeseen/incontrollableexceptionalemergencysituationsthatareacceptableexcusesformisseddeadlinesorabsenceswithoutpenalty,andissuanceofincomplete(I)finalgradesattheendofthecourse:1)documentedseriousillness/injury;2)documentedimmediatefamilyemergency.Studentsshouldplantheirschedulesaccordinglyasabsencesand/orinabilitytomeetassignmentdeadlinesduetopersonal(e.g.,familyreunions/visits,weddings,work‐schoolconflicts)ortechnological(e.g.,savedpaperis"missing"orwillnotopen,printerranoutofink)reasonswillnotbeexcused.

B) IssuanceofanIncompleteGrade

InaccordancewiththepolicyoftheUniversityofOregon,amarkofI(incomplete)maybereportedonlywhenthequalityofworkissatisfactorybutaminoryetessentialrequirementofthecoursehasnotbeencompleted.An“incomplete”willbegrantedin‐lieuoflettergradesonlyinexceptionalemergencysituationsasstipulatedabove,tostudentswhohavecompletedatleast85%ofallcourserequirementswithagradeofC+andabove,aswellas100%attendance(exceptionswillbegrantedforacceptableabsencesduetodocumentedexcusesasstipulatedabove).Studentsmustinformtheinstructorandalsosubmitdocumentedproofbeforetheendofthetermtoobtainanincompleteforthecourse.Theinstructorwillthennegotiatewiththestudenttodraftacontractontherequirementsanddeadlineforcompletionofcourserequirementsnecessarytocleartheincompletegrade.

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IX      ACCESSIBLE EDUCATION POLICY  Theinstructoriscommittedtocreatinganinclusive,respectful,andaccommodatinglearningenvironmentforallstudentsinthecourse.Pleasenotifytheinstructorifthereareaspectsoftheinstructionordesignofthiscoursethatresultindisability‐relatedbarrierstoyourparticipation.StudentsarealsoencouragedtocontacttheAccessibleEducationCenter(formerlyDisabilityServices)in164OregonHallat346‐1155oruoaec@uoregon.edu,orvisittheirwebsiteataec.uoregon.edu/index.html.

**       GUIDANCE  ON  SUCCEEDING   IN  THIS  COURSE        ** 

Guide:HowtoApproachtheSecondarySourceReadingsWhenyouengagethesecondarytextsforthiscourse,KilpatrickandZeschyoumayneedtoreorientyourapproachto"learning"history.Thiscoursedoesnotmeasurecognitiveandskillsdevelopmentwithinthedisciplineofhistoryby"testing"students'masteryofcontentknowledge—inotherwordshowmuchfactualinformationstudentscantemporarilymemorizeandreciteonamultiplechoice,matching,fill‐in‐the‐blank,orshort‐answerexamination.

Instead,thecourseassessesstudents'progressandfluencywiththe"process"ofproducinghistory—suchastheframinghistoricalquestions;formulatinghypothesisandarguments;composinganddefendingevidence‐basedinterpretations;examiningprimarysourcematerials;critiquingsecondarysources/scholarship;performingacademicwritingasaprocessofdisciplinarythinking(thinkinglikeahistorian).

WhenreadingthesecondarysourcesIwouldrecommendthefollowingstrategies:

1) Readthebookwithahistoriographical/methodologicallensratherthanacontentmemorizationlens.

2) Focusparticularattentionontheprologueand/orintroductionwheretheauthorarticulateshis/heressentialquestion,thesis,themes,methodology,andhistoriographicalapproach.

3) Skimmingcanbeausefultechniqueforsomelearningstyles.Scrutinizetheopeningandclosingparagraphsofeachchapter,andthefirstsentencesofeachparagraph.

4) Annotate!Ifyoudon'tplanonsellingyourbooksback,Iwouldhighlyencourageyoutowritemarginalcommentsthatdon'tsimplyrepeatthetext,butengageit!Posequestions,challengeconclusions,inspectsources.Writingortypingyourideas,orevenshortquotes,demonstratesamorecomplexcognitive

5) Donotreadthebookpassively—interactwiththebookasifitwereaconversationwiththeauthor.Also,ifyouemployahighlighter,dosowithgreatdiscretionandrestraint.Ifthepagesappearasifaflorescentyellowslugtrailhascoveredmostorallofthetext,thisisaclearindicationthatasareaderyoustillhaveonthe"contentmemorization"lens,andyouneedtochangecognitivespectacles.Highlightonlykeyanalyticalorinterpretivepoints,oraspecificquoteyouintendtowriteaboutinadiscussionforumoryourpaper.

6) Remember,secondarysourcesarereferencetoolsforthehistorian,andyoucanalwaysreturntothebookifyouneedtoretrievespecificdata/facts.Possessinganeideticorphotographicmemoryandtheabilitytorecallencyclopediclevelsoffactualdataisnotaprerequisiteskillsforhistorians.Infact,thisnotionisthestereotypicaldefinitionofhistoryandhistoriansthatemergesfromthepassiveand

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reductionistmodelofhistoryassimplythememorizationandrecitationoffacts.Unfortunately,manyofuswereconditionedtolearnhistoryinthismodelandhavedevelopedpassivereading,writing,andlearninghabits.

7) Donotignorethefootnotesorendnotes.Thedocumentationsystem(citingspecificsourcestosupporttheprimarythesis/interpretation)isthefoundationtoallsecondaryliteratureandacademicscholarship.Italsorevealstheauthor's"process"ofreconstructingthepast.Asthereader,youneedtoscrutinizethesesourcessoyoucandeterminehowpersuasiveortenabletheauthor'sargumentorinterpretationmaybe.

8) Finally,whenyoucompetereadingasecondarysourceyoushouldhavenoproblemacutelydistillingandtellinganotherprospectivereaderpreciselywhattheauthor'sprincipalquestionandthesiswas,thestrengthsandweaknessesoftheirprincipalquestionandthesis,whatsourcestheyreliedupon,andwhetheryourwereconvincedbytheirthesis/interpretation.Thisisaneasiertasktoaccomplishifyoudonthose"historiographical"lensesandreorientyourapproachtoreadingthebook.

Itwilltakepracticetobreakoutof"contentcoverage"habits,andeachofthehistorianswewillreadthistermembracedifferentmethodologiesandphilosophyofhistory.Goodluck!

Guide:HowtoApproachthePrimarySourceInterpretationExercisesTheprimarysourceexercisesintendtoassiststudentswithframingacademicwritingasaprocessofdisciplinarythinking,andhelpstudentsbegintodeveloptheirvoicesashistoriansthroughtheprocessofinterpretingthe“voices”ofhistoricalactorsinthepast.Studentsalsobegintolearnthepracticalstepsofcriticallyengagingtextualandvisualprimarysources.Ratherthanreadingonlytomemorizecontent,thisexercisechallengesstudentstobeginthescholarlyworkofsharedorcollaborativeannotation.

Iamsureyouhaveallpurchasedusedbooksthathaveexcessivehighlightingofpassages,insomecaseschangingentirepagestoneonyellowororange.Thesepreviousreadersattemptedtoannotatethetextasamemoryaidormnemonicdevice,however,thepervasivehighlightingdemonstratestheyhadnotlearnedhowtoengageatextcritically.

Incontrast,youhaveprobablyalsopurchasedusedbooksthathaveselectivehighlights—identifyingkeypointsandarguments.Moreimportantly,youmayhavealsofoundinsightfulcommentarywritteninthemarginsthatraisequestions,ideas,theories,andcriticismthatenrichthebook,begintocreatenewknowledge,andactuallyenhanceyouranalysisofthebookasadownstreamreader.

Theseannotatorshavegonefarbeyondmemoryaids,toengagethetextandcritiquetheauthor’sarguments,sources,methodology,andevenwritingstyle.Theannotationsormarginaliaarethewrittenexpressionofthecognitiveprocessofcriticalreadingandanalysis—analogoustoshowingyourworkinmathleadingtothesolutionofaproblem.

Theannotatorhasbeguntoreorganize,interpret,andassignmeaningtothetext—especiallywhenthisprocessisappliedtoprimarysources.Annotationbecomesaformofscholarshiporscholarlypracticeinandofitself.

Iencourageallofyoutoengageinthissharedannotationandknowledgecreation.Thiswillbeessentialifyouhopetopresentthemostpersuasiveargument.Engagetheevidence.Reworkthedata.Constructatimelineofevents.Assembleaglossaryoftermsandnames.Craftaspreadsheetcomparingcontradictoryevidence.Ultimately,youwillneedtodevelopyourownthesisbyorganizingthehistoricaldataintothemostconvincingandcrediblenarrativeexplanationofevents.

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X      COURSE SCHEDULE AND ASSIGNMENTS 

 Note: It is imperative that students complete weekly assigned readings before in‐class discussions 

DATE DUE AGENDAWEEK1 DeconstructingtheAmericanWest:AnImaginedPlace&ProcessU1/6

ThoughtExperiment:Whatdoyouknow?Howdoyouknowit?Howdidyoulearnit?

FilmSession/DiscussionI:TheColonialLens:ImaginingandRe‐EnactingtheOldWestThroughStage&Film1872–1950s

R1/8 FilmSession/DiscussionII:TheDecolonizingLens:Indigeneity&Re‐ImaginingtheOldWestThroughIndianandSettlerSocietyAllyVoices,1960s‐2014

Discussion:RoadmaptoYour11Apprenticeship(Syllabus&CourseStructureReview)

WEEK2U1/13

1/12

ReadingDiscussionA:Deloria,"Introduction"andChapter2:"REPRESENTATION:IndianWars:TheMovie”Presentation:TheClosingFrontier?TheWorld’sColumbianExposition,FrederickJacksonTurner’s“FrontierThesis”andAntimodernismDUE:DiscussionAQuestionsPostedinDiscussionForum

R1/15 FieldTrip:ClassMeetsatSpecialCollections&UniversityArchives(SCUA)

Presentation:DiscoveringDisrememberedVoices:ReconstructingthePastofRace,Gender,andClassintheAmericanWest(ContextforPrimarySourceExercise)

WEEK3

U1/20

PrimarySourceExercise1,Day1:IntroductiontoSCUAbyJenniferO'Neal,UniversityHistorianandArchivistandLindaLong,ManuscriptsLibrarian;MeetinSpecialCollectionsandUniversityArchivesGroupA:"PioneerMothers:"ReflectionsofWomanhoodandFemininityinOregonTrailDiaries

GroupB:SettlerColonialism&ResettlementofIndigenousPeoples:TreatieswiththeUmpquaandKalapuya1854,1855/SiletzReservationMaps

GroupC:OregonFreeSoilIdeology,BlackExclusionandAnti‐Slavery:BlackExclusionLaws&CaseFilesofTheophilusMagruderv.JacobVanderpool(1851);RobinHolmesv.NathanielFord(1852–53);andAbnerandO.B.Francis(1851)

GroupD:ThePedagogyofEthnocideandAssimilation:ChemawaIndianBoardingSchoolandWarmSpringsReservationSchoolRecords

GroupE:Rodeosandthe"VanishingRace":Romanticizingthe"OldWest"throughtheEyeoftheCamera:WalterS.BowmanPhotographs,1890–1925;andLeeMorehousePhotographs,1888–1925

R1/22 M1/26

PrimarySourceExercise1,Day2;MeetinSpecialCollectionsandUniversityArchives

Day2:GroupPresentationsandDiscussion

DUE:PrimarySourceExercise1Reports

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DATE DUE AGENDAWEEK4 U1/27 ReadingDiscussionB:Zesch,TheCaptured

GroupA:Prologue&Chapter1GroupB:Chapters2–3GroupC:Chapter4–5GroupD:Chapters6–7

[distributeTake‐HomeMidterm]

R1/29F1/30

F1/30

FilmScreening:TheSearchers (1956)Introduction&first90minutes

DUE:ResearchProjectStepOne:ResearchTopicStatement(IncludingFilmSelection)

WEEK5

U2/3 FilmScreening:TheSearchers (1956)final30minutes

Discussion:CritiquingTheSearchersasaPrimaryandSecondarySource

R2/5

M2/2–F2/6

DiscussionC:Zesch,TheCapturedGroupE:Chapters8–9GroupF:Chapters10–11GroupG:Chapters12–13

TutorialMeetingstoDiscussResearchProjectinLLC120(throughoutWeek5)

WEEK6

U2/10 U2/11

PrimarySourceExercise2,Day1:TheTrialofChanChowMow(RoleAssignment)

Presentation:GamSaan&theUnassimilables:ChineseImmigration,Exclusion&Sinophobia

TrialPreparation&TeamMeetings,Day1

DUE:Take‐HomeMidterm

R2/12 M2/9–F2/13

PrimarySourceExercise2,Day2:TheTrialofChanChowMow

TheTrial&Debrief,Day2

TutorialMeetingstoDiscussResearchProjectinLLC120(throughoutWeek6)

WEEK7 FieldTrip:The“HiddenHistory” TourofUOCampus:TheColonialandDecolonialLandscapenarratedbyKevinandJennifer

U2/17 U2/17 DUE:PrimarySourceExercise2Reports

R2/19 ResearchProject:Independent FieldResearchSession1:SpecialGuest:JenniferO'Neal;MeetinSpecialCollections&UniversityArchives

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DATE DUE AGENDAWEEK7     

F2/20 F2/20  DUE:ResearchProjectStepTwo:HistoricalQuestion&AnnotatedBibliography

 

WEEK8    

U2/24   ResearchProject: IndependentFieldResearchSession2inKnightLibrary;MeetinKnightLibrary122

R2/26   ResearchProject: IndependentFieldResearchSession3inKnightLibrary;MeetinKnightLibrary122 

F2/27 F2/27  DUE:ResearchProjectStepThree:PaperOutline/ConceptMap

WEEK9U3/3

  ResearchProject:IndependentFieldResearchSession4inKnightLibrary;MeetinKnightLibrary122 

  R3/5   ResearchProject:IndependentFieldResearchSession5inKnightLibrary;Meetin

KnightLibrary122

F3/6 F3/6  DUE:ResearchProjectStepFour:AnalysisPaperFirstDraftSubmittedtoPeerEvaluator&Instructor

WEEK10    

U3/10 U3/10

ResearchProject:ClassWorkshop &PresentationRehearsalsDUE:ResearchProjectStepFive:PresentationOutline

R3/12 R3/12

ResearchProject:OralPresentations(PARTONE)

DUE:ResearchProjectStepFour:PeerEvaluatorsReturnEditedDraftstoPartners

WEEK11 FINALS

M3/16 12:30PMFINALTIME:ResearchProject:OralPresentations(PARTTWO)

R3/19 R3/19 DUE:ResearchProjectStepSeven:FinalPapers