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URSULINE STUDIES 351
INTRODUCTION TO CULTURE
Our first task in approaching another people, another culture, another religion,
is to take off our shoes,
for the place we are approaching is holy.
Else we may find ourselves treading on another’s dream;
more seriously still, we may forget that God was there before our arrival.
Author unknown
COURSE DESCRIPTION
US 351, a continuation of the 350 seminar, presents the cultures of selected cities
around the globe at significant times in their histories and focuses on the humanities
to provide insight into these cultures. The course seeks to increase awareness of
cultural diversity, inculcate a sense of the past, and provide lessons for thinking and
acting in the increasingly interdependent world of today. It continues attention to the
research process with reinforcement of the intellectual and mechanical skills needed
for academic composition.
In extending US 350, the course invites an investigation of culture as it develops
among increasingly dense populations of urban areas, including the ways in which
industrialization and technological progress affect human society. US 351 explores
Paris at the time of the Enlightenment, a moment of hope and promise founded on
the “rediscovery” of classical riches; New York at the turn of the twentieth century, a
model of the modern city; and Harlem during the flowering of African American
creativity known as the Harlem Renaissance. Together, these cities provide a
backdrop for understanding–and critiquing–the postmodern world.
INSTRUCTIONAL MATERIALS
Facilitator will choose from among such resources as: (Check with the
bookstore or with your advisor to know which books you need)
Lewis, David Levering. The Portable Harlem Renaissance Reader. New York:
Penguin Books, 1995.
Claire de Duras. Ourika. Trans. John Fowles. New York: Modern Language
Association, 1994.
Fiero, Gloria K. The Humanistic Tradition. Book 4. Faith, Reason, and Power in
the Early Modern World. 5th ed. New York: McGraw-Hill, 1998.
Fitzgerald, F. Scott. The Great Gatsby. New York: Scribner’s, 1980.
Lester, James D. and James D. Lester, Jr. Writing Research Papers: A
Complete Guide. 12th edition. New York: Longman.
Introduction to Culture: US 351 Articles G, H, I
Readings from poetry of the Harlem Renaissance, available online at websites
such as:
http://www.nku.edu/~diesmanj/poetryindex.html (08/08/01)
http://www.geocities.com/Athens/Forum/4722/index.html (08/08/01)
INSTRUCTIONAL OBJECTIVES
Knowledge
The student will . . .
1. Define the determinants, essence, and significance of culture.
2. Understand the meaning of the city as a social organization that embodies
cultural traditions and possesses the capacity to express new cultural forms.
3. Become familiar with representative artifacts and ideas that are testimonies to
the cities under study.
Skills
The student will . . .
1. Develop powers of perception and analysis in order to understand the visual and
performing arts and literature better.
2. Improve inductive reasoning capacity by studying selected artifacts and ideas for
their illumination of a given city’s culture.
3. Develop and discern perspectives of society that recognize the themes of
“values” and “social responsibility” as a means of providing coherence in
understanding the cultures under study.
4. Develop thinking capacity and writing skills through various writing assignments.
5. Develop research skills by designing and writing a research paper.
6. Practice delivering oral presentations with insight, coherence, and poise.
Attitudes
The student will . . .
1. Approach diverse cultures with an open mind.
2. Contribute to the positive learning environment through collaboration with peers.
3 Appreciate the significance of using appropriate research techniques and writing
conventions in academic work.
Values
The student will . . .
1. Value the richness of pluralism.
2. Appreciate the objects under study as commentaries on the life and thought of
the time.
3. Value the lessons learned from a study of diverse cultures in history for their
influence on their own culture.
4. Respect the work of an author and value crediting it when reporting research.
CRITERIA FOR ASSESSMENT
The facilitator will make clear the specific means of evaluation, with reference to such
criteria as:
1. Participation in class activities and peer-group collaboration
2. Quizzes and in-class responses
3. Formal and informal class presentations
4. Written assignments, including a full-length research paper of approximately 8
pages, composed in steps that carry the process from pre-writing through to final
draft
5. A culminating experience/presentation
COURSE EXPECTATIONS
1. Active engagement in class discussion, willing participation in activities, and
thorough preparation of readings and assignments become the hallmarks of
students responsible for their own learning. Please read carefully the “Learning
Methodology” section of Important Information for UCAP Students.
2. Students entering US 351 are expected to have a subjective awareness of their
own culture as well as some experience with other historical and modern
cultures; one of the goals of the course is to reinforce one’s ability to view oneself
in relationship to a multiplicity of others. Please read the “Ethics Statement”
section of Important Information for UCAP Students.
3. The nature of the course requires a commitment to class meetings. Please read
carefully the “Class Attendance” section of Important Information for UCAP
Students. If emergency circumstances warrant an absence, you must contact
the facilitator; coverage of missed material will be at her/his discretion.
4. Because of the writing-intensive nature of US 351, you are encouraged to make
use of all available support systems for learning: texts, peer groups, individual or
group conferences with the facilitator, the office of Academic Support and
Disability Services (440 646 8123), etc. Please read carefully the “Written
Assignments and Workload” section of Important Information for UCAP
Students. See also the “Characteristics of Effective Writing” and the “Writing
Evaluation Guidelines” pages at the end of this module.
AMERICANS WITH DISABILITIES ACT PROVISION
Students with documented disabilities, including those with learning disabilities, may
be entitled to reasonable accommodations for this course. Students who would like
to request testing or other accommodation because of a disability need to make an
appointment with the facilitator as soon as possible to discuss their situation and
possible needs. Effectively and timely communication will allow us to work with the
office of Academic Support and Disability Services, if necessary, to arrange for an
appropriate response.
SESSION 1
TO BE COMPLETED PRIOR TO THE SESSION:
1. Review entire module packet. Pay particular attention to the Important
Information for UCAP Students section found at the front of the module.
2. Check with your facilitator to see if any modifications have been made to the
module.
3. Thoughtfully read the following sections from Fiero, The Humanistic Tradition,
Vol. 4, as preparation for class discussion of Parisian culture during the
Enlightenment:
¾ Section on absolutism from Ch. 21 “Absolute Power and the Aristocratic
Style” (25-45)
¾ Ch. 23 “The Scientific Revolution and the New Learning” (75-93)
¾ Ch. 24: “The Promise of Reason” (95-113)
¾ Ch. 25: “The Limits of Reason” (114-138)
Consider all the above material with these questions in mind:
a.) What were the major successes of the Enlightenment?
b.) What were its most significant failures?
c.) In what ways is the United States a product of the Enlightenment?
4. Begin to assimilate the overall culture of the Enlightenment and prepare your
thoughts for discussion by jotting quick responses and/or recall tips for the items
listed on the worksheet in Appendix A: The Enlightenment.
5. Review Appendix B: Fieldtrip to the Cleveland Museum of Art and make preliminary
plans for your visit. Bring the signed Liability Release form with you to class for
collection.
6. Continue work on the research project by reading Chapters 8, 10, and 11 in Writing
Research Papers and continuing to take notes.
SESSION 1
COURSE INTRODUCTION and
THE CULTURE OF PARIS DURING THE ENLIGHTENMENT
OUTCOMES:
Upon completion of this session, students should be able to:
1. Define key terms and identify key historical figures from the Enlightenment.
2. Recognize the historical, social, political, and philosophical basis for the
Enlightenment culture of Paris.
3. Appreciate the transcultural nature of Enlightenment thought.
4. Acknowledge the need for academic integrity in a community of learners.
5. Integrate direct quotations and reference material into the research project.
CHOICE OF ACTIVITIES:
1. Introduction
2. Overview of US 351 and its goals as part of the Ursuline Studies Program
3. Combined lecture and discussion of eighteenth-century Paris, based on assigned
readings
4. Small-group reflection on the outcomes of the Ursuline Studies Program and their
relationship to the goals of the Enlightenment (see Appendix C: Ursuline Studies
Longitudinal Study)
5. Discussion of independent fieldtrip (see Appendix B), to be completed prior to
Session 4
6. Review of a creative synthesis writing exercise, to be completed prior to Session 2
(see Appendix D: Enlightenment Website or Appendix F: “Enlightened” Writing)
7. Research Workshop on outlining and the integration of quotations and reference
materials into a research project. (Appendix H: Effective Use of Quotations)
APPENDIX A: THE ENLIGHTENMENT
The following words and phrases can be found in the selections from Fiero to be read
prior to Session 1. Briefly identify, define, and note the significance of each item.
1. Absolutism
2. Louis XIV (the Sun King)
3. Versailles
4. Enlightenment
5. Thomas Hobbes
6. Social contract
7. John Locke
8. Charles Louis de Secondat Montesquieu
9. Republicanism
10. Adam Smith
11. Laissez-faire
12. Salons
13. Philosophes
14. Denis Diderot
15. Gottfried Wilhelm Leibniz
CONTINUED
16. Antoine Nicolas de Condorcet
17. Alexander Pope
18. Olaudah Equiano
19. Satire
20. Jonathan Swift
21. Voltaire
22. Candide
23. Dr. Pangloss
24. Li Ruzhen
25. William Hogarth
26. Jean Jacques Rousseau
27. Noble savage
28. Immanuele Kant
29. Transcendental idealism
30. Third Estate
31. Bastille
32. Reign of Terror
APPENDIX B: FIELDTRIP TO
THE CLEVELAND MUSEUM OF ART
As a means of integrating personal experience and reflection with the classroom and
textbook resources of US 351, you will visit the Cleveland Museum of Art with two
purposes in mind:
A. To enjoy examples of the visual arts produced during the
Enlightenment, in connection with your study of eighteenth-century
Paris
B. To discover a means of comparing visual and verbal fields of
expression, in connection with your study of the Harlem Renaissance
You will need to allow approximately sixty minutes for each project, perhaps combining
them into a two-hour visit that can accomplish both purposes.
You may want to make use of the museum’s “Sight & Sound” CD audio tours, available
for a nominal charge, as a way of enhancing your gallery visit. The programs provide a
concise commentary on hundreds of pieces in the collections, each coded and
accessed by number.
Ursuline College needs a signed copy of the following Liability Release form on file for
this field trip. Please turn in your copy before making these trips to the museum.
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LIABILITY RELEASE, WAIVER, DISCHARGE AND COVENANT NOT TO SUE
Adult ∗
This is a legally binding Release of Liability made by me, _________________________,
Full Legal Name of Adult
whose address is _______________________________________________, to Ursuline College (the
“College”), 2550 Lander Road, Pepper Pike, Ohio 44124. I am at least eighteen (18) years of age and
fully competent to sign this Release; and I execute this release for full, adequate, and complete
consideration fully intending to be bound by the same. I acknowledge that I am a (Please check one)
Student or Employee Guest participating in the UCAP US 351 Fieldtrip (“Activity”), and plan to
enjoy the full benefits thereof.
I fully recognize that there are dangers and risks to which I may be exposed by participating in the
Field Trip (“Activity”). I fully understand and appreciate the significant dangers, hazards and risks
associated with this Activity, including bodily injury, accident, loss of life or limb. These dangers and risks
include those within every facet of the Activity.
I agree to assume and take on myself all of the risks and responsibilities in any way associated
with this Activity. In consideration of and return for the services, facilities, and other assistance provided
to me by the College in this Activity, I release, waive, forever discharge and covenant not to sue the
College, its employees, administrators, board members, agents and insurers (“Releasees”) from any and
against all liability, claims, demands, actions, causes of action, costs and expenses that may arise from
harm, injury, damage, claims, demands, causes of action, costs and expenses of any nature which may
occur or which may hereafter accrue to me arising out of or related to any loss, damage or injury that may
be sustained by me or by any property belonging to me. I understand that this Release covers liability,
claims and actions caused entirely or in part by any acts or failures to act of the College (or its board,
employees, or agents), including but not limited to negligence, mistake, or failure to supervise by the
College while participating within any stage of the Activity.
I understand that the College does not have medical personnel available at the location of the
Activity. I understand and agree that the Releasees are granted permission to authorize emergency
medical treatment, if necessary, and that such action by Releasees shall be subject to the terms of this
Agreement. I understand and agree that Releasees assume no responsibility for any injury or damage
that might arise out of or in connection with such authorized emergency medical treatment.
I recognize that this Release means I am giving up, among other things, rights to sue the College,
its employees, administrators, board members, agents and insurers for injuries, damages, or losses I may
incur. I also understand that this Release binds my heirs, executors administrators, and assigns, as well
as myself.
I have read this entire Release and agree to be legally bound by it.
THIS IS A RELEASE OF YOUR RIGHTS. READ AND BE CERTAIN YOU UNDERSTAND
BEFORE SIGNING.
_________________________________
Signature
_______________________________
Name (Please Print)
_________________________________
∗
This form is to be used by all adult students, employees
10
Witness
Date
A. SELF-GUIDED TOUR OF THE 18th-CENTURY FRENCH & GERMAN GALLERIES
1. Go to the second floor, to the 18th-century gallery (223). Find the large painting
of a fountain in a garden.
A. Name its artist:
B. Describe two features of the painting that mark it as rococo (i.e., ornate,
embellished, frilly, flowery, grotesque):
2. Find one chair from the Louis XIV period and two from the Louis XV period. The
latter have been constructed to accommodate hoop skirts. What two features of the
chairs suggest they have been “shaped by” this new women’s fashion?
3. From here, go into the next room, Gallery 223A. Locate the clock by Andre
Charles Boulle. Notice its size (due partly to the fact that craftspeople were still
perfecting timepiece mechanisms, which were quiet large). Note that the
decorations on the front of the clock stand are intarsia, composed of multiple colored
pieces carefully cut and arranged.
4. Notice the raised platforms in this gallery (223A), along the wall below the clock,
across the other side of the room, and in the center under the writing table. These
platforms are believed to be original floors from the palace of Versailles.
5. On the wall near the hallway into the next gallery hangs a small painting called “Still
Life with Herring” by Jean-Baptiste-Simeon Chardin. Take notes on its content and
style. When you get home, compare it to the painting “The Kitchen Maid” by the
same artist in your textbook (Fiero 149).
Notes on “Still Life with Herring”:
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Notes on “The Kitchen Maid”:
6. Go into Gallery 223B to view the “luxury arts” collection. Study the silver soup
tureen in the center. It was designed by Juste-Aurele Meissonier, who is credited
with “creating” the rococo style. He constructed it of silver, and scholars think he
used real birds, crayfish, and lettuce as molds. Where on this piece do you see the
designs of “shells” or “pebbles” that give “rococo” art its name?
7. Explore the shadow-box galleries on either side of 223B. Notice the vessels,
utensils, and figurines. List at least 8 different kinds of items on display.
8. Go to Gallery 222. Find the painting “A Hare and a Leg of Lamb” by Jean Baptiste
Oudry. How does it compare with the “Still Life with Herring” by Chardin that you
observed in #5?
9. Find Gallery 224. Note Marie Antoinette’s bed, a work by Georges Jacob. The bed
is short because, to accommodate elaborate wigs and hairstyles, people slept
reclining with their heads on either a pillow or a block of wood.
Also notice the table at the foot of this bed. Compare its style (describe size, shape,
lines, decorative elements, etc.) to that of the bed.
The rococo bed:
12
neoclassical table:
10. Near the bed are two display areas that showcase many items from this period,
particularly the music room and the cases along the wall past the head of the bed.
From either of these display areas, choose one piece and tell what it is and who its
artist is:
Describe its appearance:
Tell how it reflects the culture of the day:
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B. COMPARISON OF POETRY AND THE VISUAL ARTS
The riches of the Cleveland Museum will also provide you with the basis for a second
assignment, an exercise in creative comparison and contrast. Here your task is to draw
a connection between any item on display in the museum and any selection of Harlem
Renaissance poetry. Your goal is to comment on both the visual and the verbal art in a
way that demonstrates insight, imagination, and a thorough understanding of the art, the
artist, and the context for the work.
Prepare your analysis in the format specified by your facilitator:
¾ A Two-page reflection paper
¾ A script for oral delivery in class
¾ Other
Be sure to have the text of the poem available and also to describe the visual artwork in
enough detail for your audience to understand the comparisons you wish to draw.
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APPENDIX C: URSULINE STUDIES LONGITUDINAL STUDY
(Summary of Findings, 1992-97)
1. Collaborative Learning: Collaborative learning was a powerful, positive experience
for most students. It helped them to see things from a variety of perspectives. After
graduation, students referred to an increased ability to work well with others and to
be effective members of problem-solving teams.
2. Cultural Differences: Many students grew to value and respect cultural and
religious differences due to exposure in classes. Similarly, they experienced an
increased awareness of and sensitivity to prejudice. In later interviews, subject
commented that their classwork dealing with diversity made them better prepared for
the diversity they encountered in professional/work situations.
3. Self-Confidence: The majority of students experienced an increase in selfconfidence, especially with regard to expressing their opinions and speaking in front
of groups.
4. Learning Environment: The overall learning environment was a significant factor in
students’ growth. They repeatedly referred to peer support, instructor support, and
collaborative learning as vehicles for growth in self-confidence and awareness of
differences. They are strikingly appreciative of what Ursuline did for them.
5. Liberal Arts/USP: A number of students acknowledged that the USP had increased
their appreciation of the liberal arts. A few, however, were still interested only or
primarily in their majors. There was more discussion of transferring liberal learning
to professional and life situations in later interviews.
6. Women: The emphasis on women was mentioned both positively and negatively by
students in early years. Some were grateful to be sensitized to the issues; some
thought the emphasis was excessive or problematic. In later interviews, references
to women were more positive.
7. Real-World Experiences: Real-world experiences such as student teaching, field
experience, clinicals, and internships gave students opportunities to practice more
advanced levels of knowing (procedural and constructed). Students were able to
recognize and articulate the growth the real-world experiences promoted in them. In
later interviews, these comments referred to professional/work experiences after
graduation.
8. Voice: A significant number of students mentioned finding a voice, being able to
speak in a personal voice, and using voice as a means of expressing commitments.
Especially in later interviews, there was a refined sense of being able to use voice
effectively.
9. Social Responsibility/Social Advocacy: A few students who were rated at
constructed knowing seemed to have taken the notion of social responsibility to the
point of advocacy. They were conscious of social issues and needs, and they were
willing to speak out in favor of just solutions to social problems.
10. Growth: There was not a uniform pattern of growth. Some progressed steadily;
others showed a mixed movement. Some regressed when entering the workplace.
The pattern might be cyclic, with students retreating to earlier stages when faced
15
with new situations. The stage that seemed most crucial is subjective knowing. It
appears necessary to go through this stage in order to experience procedural and
constructed knowing.
16
APPENDIX D: ENLIGHTENMENT WEBSITE
The leaders of the Enlightenment, energized by an optimistic opinion about human
potential, sought to use rational means to rid society of its evils and elevate everyone's
standard of living. Promulgation of their ideas was essential to their movement. If the
technology had been available to them in the eighteenth century, surely they would
have used the Internet. Your assignment here is to come to the aid of the philosophes.
Go back to an eighteenth-century Parisian salon, taking your computer with you, and
help the philosophes design a WEB page that captures the essence of the
Enlightenment. What key words, phrases, images (pictures and/or symbols) would you
choose as primary? Provide a one sentence definition/clarification for each of these.
¾ For each key word, phrase, or image, list the links and
sublinks that you would choose. (It is not necessary to
include definitions/clarifications for the links or sublinks.) In
this hypothetical design you may also use audio sites and
video sites if you wish; copyright restrictions are not an
issue. If you want to go commercial and include ads, fine-just make them relevant to the eighteenth-century surfer.
The purpose of this assignment is to help you logically organize your thinking about the
unit. It is not a test of your computer skills or your artistic layout capabilities. You are
simply designing an Enlightenment Home Page, not executing one.
Your first page should include the topics you think are primary along with their
definitions. Your second and third pages will provide the links and sublinks for those
topics. Limit yourself to two additional pages (for a total of 3), please!
To get started, review any of your favorite websites or study the Ursuline College home
page located at www.ursuline.edu. A sample web page plan for Athens--instead of
Paris--is included here to give you some idea of the scope of the assignment
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WHY STUDY THE GREEKS?
THEY ARE HUMAN BEINGS LIKE US,
WE HAVE A GREAT DEAL IN COMMON,
WE CAN LEARN FROM THEM
BECAUSE THEY DID IT FIRST!
What do we human beings do that the Greeks did before us?
(click on image)
Socrates
Thucydides
Speaker
1. We think, question, and draw conclusions
2. We remember and record
3. We communicate
Plato’s cave
4. We explore the unknown
Doric column
5.We are attracted to the good, the true, and the beautiful
Parthenon
6. We build
Olympic athlete
7. We function as individuals
Agora
8. We function as a group
Warriors
9. We function in relationship to others outside our group
Athena
10. We acknowledge our relationship to a higher power
Landscape
11. We relate to nature
Creon at play’s end 12. We make mistakes
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WHAT CAN WE HUMAN BEINGS DO?
1. WE THINK, QUESTION, AND DRAW CONCLUSIONS.
Philosophy, the love of wisdom, began with the Greeks.
Socrates, who believed that the unexamined life was not worth living,
enjoyed using the dialectic method with his friends.
Plato believed that an ideal government would be headed by a
philosopher king who had reached an understanding of the Forms.
Aristotle supported an empirical approach to learning and
encouraged the avoidance of extremism
2. WE REMEMBER AND RECORD.
History began with the Greeks.
Thucydides wrote the history of the Peloponnesian Wars
“Pericles’ Funeral Speech” ( RealAudio)
3. WE COMMUNICATE.
Every citizen had to be able to express himself convincingly in the Assembly.
Sophists basic premise that truth is relative.
4. WE EXPLORE THE UNKNOWN.
In thought, government, and the arts, the Greeks were innovators who sought
to excel.
For thought, see Philosophy.
For government, see Democracy
For arts, see Drama and Visual Arts
“Sophocles; Antigone” (video segment of first confrontation
of Antigone and Creon)
5. WE ARE ATTRACTED TO THE GOOD, THE TRUE AND THE BEAUTIFUL
The order and proportion of Classical style reached their pinnacle during the
Age of Pericles. Form and function and beauty were fused in a way that
has been imitated through the centuries
6. WE BUILD
Visual arts: Ceramic vessels, Sculpture, Acropolis, Parthenon, theater
(Image of black figure amphora, Polycleitus Doryphorus, the bust of
Pericles, Acropolis, Parthenon, segment of north frieze of Parthenon,
theater at Epidaurus)
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7. WE FUNCTION AS INDIVIDUALS.
The quality of human life and the importance of the individual were
fundamental to Athenian pride and optimism. The Greek sought to
achieve excellence in all things.
Individualism
Humanism
Arete
Excerpt from the Iliad
Olympic Games
8. WE FUNCTION AS A GROUP
Athens developed the first and only direct democracy. Although not all were
citizens, those who were had both voice and vote when the Assembly met
in the Agora, the resulting polis was a model of self-government.
9. WE FUNCTION IN RELATIONSHIP TO OTHERS OUTSIDE OUR GROUP.
Athenians were sometimes in conflict with their neighbors.
Persian Wars
Peloponnesian War
Sparta
Battle of Marathon
Battle of Salamis
10. WE FUNCTION IN RELATIONSHIP TO A HIGHER POWER
Mythology played an important role in the lives of the Athenians who were
dedicated to the goddess Athena
Panathenaic festival
11. WE RELATE TO NATURE
The lay of the land, scarcity of rainfall and fertile land, and proximity to the
sea all influenced lifestyle decisions.
Map
12.WE MAKE MISTAKES
The Delian League was a prime example of hubris.
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APPENDIX F: “ENLIGHTENED” WRITING
As you immerse yourself in the Enlightenment, you may find yourself picking up some of
its literary styles in either of these exercises.
Letter from an 18th-Century American in Paris
Imagine that you are an American in 18th-century Paris, and write a letter to a cousin
back home. Describe the salon you attended the prior evening. At this salon, Diderot
complained about the painting of Boucher, two nobles bitterly debated the theories of
Hobbes and Locke, and Voltaire openly mocked Diderot’s “philosophical optimism” and
the power of the Catholic church.
Your letter should address the conversations described above, with reference to
politics, painting, and philosophy/religion. (In place of painting, you may describe
the physical surroundings of the hotel in which the salon was held.)
An Attempt at Satire
In Fiero, you encountered the writings of Jonathan Swift and Voltaire, two masters of
satire, a literary genre that used the weapons of wit, irony, overstatement, and
understatement to criticize social ills. Identify examples of these techniques in the
excerpt from Swift’s “A Modest Proposal” (117) or Voltaire’s “Candide” (121).
Wit
Line number:
Example:
Irony
Line number:
Example:
Overstatement
Line number:
Example:
Understatement
Line number:
Example:
Now that you can recognize these techniques, try your hand at satire writing. Choose a
problem from contemporary society and write a short (2- to 3-page) satirical essay that
highlights the issue. If you have trouble beginning your essay, start by imagining an
outrageous solution to the issue, as in Swift’s “A Modest Proposal.”
21
SESSION 2
TO BE COMPLETED PRIOR TO THE SESSION:
1. Carefully read Ourika, the first European novel to feature an African female as hero
and narrator. Include the Introduction (vii-xxi) as a source of historical background.
Use the following questions to guide your reflections; record your thoughts in
notebook or journal.
¾ In what ways is Ourika a story of difference and inequality?
¾ In what ways is it a story of common human bonds?
2. Thoughtfully read the following section from Fiero, The Humanistic Tradition, Vol. 4,
as preparation for continued class discussion on Paris during the Enlightenment:
¾ Ch. 26: “Eighteenth-Century Art, Music, and Society” (139-166)
In a similar fashion, read the following material:
¾ “Estrangement Between Paris and France” (47-59) in US 351
Article G, “The Paris of the Philosophers”)
Consider all the above material with this question in mind:
In what ways do the arts reflect the philosophical basis of the Enlightenment?
1. Prepare your creative synthesis writing exercise (Enlightenment Website or
“Enlightened” Writing). Note that additional resource material may be found
throughout US 351 Article G.
2. Update your working thesis statement to reflect the status of your research.
3. Create an outline for the research project.
4. Read Chapter 12 in Writing Research Papers.
SESSION 2
THE CULTURE OF PARIS DURING THE ENLIGHTENMENT
OUTCOMES:
Upon completion of this session, students should be able to
1. Discuss the key themes of Ourika as a reflection of Enlightenment thought.
2. Relate the chief philosophical premises of the Enlightenment to its expression in art,
architecture, music, and literature.
3. Trace in general outline the “end” of the Enlightenment.
4. Take efficient research notes for summary, paraphrase, and quotation.
5. Create a final thesis for the research project.
6. Begin writing the research project.
CHOICE OF ACTIVITIES:
1. Small- and large-group analysis of Ourika
Potential in-class writing activity:
The force of the novel derives from Ourika’s discovery of radical difference.
At the same time, this sharp awareness of difference is itself an experience
common to many people’s lives, with emotional overtones that range from the
very positive to, as for Ourika, the very negative. Describe a personal
experience of difference--a time or place in which you felt apart from a group-and your response to it.
2. Discussion of assigned readings from Fiero and US 351 Article G, leading with this
transition question:
In what ways does Ourika reveal the best and the worst of Enlightenment
culture?
3. Pair-share reading of prepared creative synthesis writing exercise (Appendix F)
4. Simulation exercise in Appendix G: Aristocrats and Peasants
5. Peer editing of outlines and thesis statement.
6. Research Workshop on writing introductions, bodies, and conclusions. (Lester, Chp.
12).
APPENDIX G: ARISTOCRATS AND PEASANTS
Population of 1879 France
Total population of France:
Urban
Non-agricultural
Peasants
26,000,000
2,500,000 (Of these, 650,000 were in Paris.)
1,500,000 (These included nobles, artisans*, and
clergy.)
22,000,000
26,000,000
*Artisans would include persons engaged in work
such as shoemaking, iron working, mercantiles, etc.
Today, these persons might be businesspeople or
members of trade unions.
Together, urban dwellers and others of the aristocratic/non-agricultural
population comprised only about 4,000,000 of the total population. Thus, the
ratio of peasants to aristocracy was 5:1. In other words, among an average
group of 6, there would be only 1 member of the upper classes–nobles, artisans,
and clergy–and 5 peasants.
Simulation Experience
Using the proportion above, draw lots and break into two groups, aristocrats and
peasants. Refer to Article G to develop statements on each of the following topics.
1. Describe your lot in life, your attitudes, and your typical day.
2. Explore ways in which the arts reflect the philosophical basis of the time and
conditions in which you live.
3. Defend your interest in changing or maintaining the status quo.
4. Indicate what might influence your decision to take action or not to take action.
Members of the peasantry are invited to take a break from working or begging in order
to share a snack of soda crackers and water while they complete the assignment.
Members of the aristocracy are invited to interrupt their gambling and gaming to enjoy
cake while they complete the assignment.
At the conclusion of the experience, both groups are asked to select one member as
spokesperson to deliver the statements developed.
26
SESSION 3
TO BE COMPLETED PRIOR TO THE SESSION:
1. Carefully read The Great Gatsby, with attention to the images and descriptions that
reveal the city of New York as key to character and action in the novel. Use the
following questions to guide your reflection; record responses in notebook or journal:
¾ In what ways does Gatsby represent the “Everyperson” of modern
New York?
¾ What capitalist attitudes do the novel’s characters and settings
reveal?
2. Thoughtfully read the following resources as preparation for class discussion on
New York:
¾ US 351 Article H, “New York City: The Crisis of the Metropolis”
Consider the above material with this question in mind:
How does modern New York City reflect the values of a capitalist culture?
3. Review sample style sheets—Chapters 14-17 in Writing Research Papers.
4. Create a draft of the Bibliography or Works Cited page for your research project.
27
SESSION 3
THE CULTURE OF MODERN NEW YORK
OUTCOMES
Upon completion of this session, students should be able to:
1. Discuss the key themes of The Great Gatsby and their relationship to the city of New
York.
2. Recognize the historical, political, and philosophical basis for the modern capitalist
city.
3. Identify key historical figures and developments from early twentieth-century New
York.
4. Create a Works Cited or Bibliography page according to MLA format.
CHOICE OF ACTIVITIES
1. Small- and large-group analysis of The Great Gatsby
Potential in-class writing activities:
a. Prepare a 100-word obituary for Jay Gatsby. Supply not only personal
history and family background but also major accomplishments,
characteristic attitudes, and commentary on his life and death.
b. Create a new ending for the novel (see Appendix I: The Great Gatsby
Today).
2. Discussion of assigned readings from US 351 Article H and additional resources
3. Research Workshop: Peer Editing of Works Cited or Bibliography pages.
28
APPENDIX H: EFFECTIVE USE OF QUOTATIONS
INTEGRATING QUOTATIONS INTO YOUR TEXT
FULL-SENTENCE QUOTATIONS
The narrator, as he arrives at Usher's house, admits, "I know not how it was--but
with the first glimpse of the building a sense of insufferable gloom pervaded my
spirit" (136).
"Ah, distinctly I remember, it was in the bleak December and each separate dying
ember wrought its ghost upon the floor," Poe writes, his setting conveying a sense of
dreary cold (6).
Irving depicts her as a stereotypical brutish, nagging wife when he announces, "She
was a tall termagant, fierce of temper, loud of tongue and strong of arm" (107).
NOTE: You can also announce a quotation with a full sentence (in which case
you usually end your introduction with a colon).
William Morris called this a golden rule: "Have nothing in your houses that you do
not know to be useful, or believe to be beautiful" (111).
QUOTATIONS THAT ARE NOT FULL SENTENCES BY THEMSELVES
Although a raven is an innocent animal, Poe’s narrator views it as a "thing of evil"
(91).
Irving situates his story "about the year 1727, just at the time that earthquakes were
prevalent in New England" (106).
BRACES
Use rectangular braces to make any necessary minor changes, such as in verb tense or
capitalization.
"[I]t was sooner than he had anticipated," the narrator notes, "but if he was to meet
her at all, it had to be Tuesday" (332).
Jacobs records that, in the antebellum South, "[s]laveholders pride[d] themselves
upon being honorable men" (374).
29
CONTINUED
Also use braces to identify information necessary in order for a reader to make sense of
your quotation. Often this means inserting braces to explain an idea or tell the referent
of a pronoun.
Saunderson insists that "the real point [of Huckleberry Finn] isn't what happens to
the characters; it's what happens to the reader" (102).
"Not every adult," warns psychologist Sigmund Freeze, "is automatically qualified for
it [parenthood]" (33).
ELLIPSES
Ellipses (three spaced periods to show text has been omitted) are generally never
needed at the beginning of a quotation, because the quotation can be selected to begin
anywhere in a sentence.
Ellipses are used if material is omitted in the middle of a sentence.
"No one was yet ready to speak . . . because each person was wrapped in thought,
still processing what had been announced," the narrator notes of the long silence
after Jethro had sat down (45).
If ellipsis is used at the end of a sentence (either to show that the end of the sentence
itself or a full sentence following it has been omitted), four periods are needed, with the
first immediately after the last word.
Garraty admits both sides took opposite views of the matter, writing, "Few
Americans were willing to concede that Parliament had the right to tax them. . . . To
most people in Great Britain, however, the colonial protest against taxation without
representation seemed a hypocritical quibble" (55).
GENERAL RULES FOR PUNCTUATING QUOTATIONS
1. Use a comma to set off your acknowledgment from the quotation. [See exception
above for full-sentence acknowledgments introduced by a colon.] Note the 3 variations
of this example:
Jacques Delille wrote, "Fate chooses our relatives, but we choose our friends" (345).
30
"Fate chooses our relatives, but we choose our friends," wrote Jacques Delille (345).
"Fate chooses our relatives," wrote Jacques Delille, "but we choose our friends"
(345).
CONTINUED
31
2. The period that ends a sentence with a quotation follows the parentheses that give
the page number.
3. If a quotation ends with a question mark or exclamation point, include that inside the
quotation marks, before you add your acknowledgment. Do not use a comma with the
question mark or exclamation point.
"I am not a crook!" Nixon insisted to his television audiences (361).
Similarly, include the question mark or exclamation point inside the quotation marks
before you add the page number parentheses.
Nixon insisted on screen, "I am not a crook!" (361).
4. Capitalize the first word of a quotation when you use it as an independent sentence
(as in the above examples for #1). Do not capitalize it when you incorporate it into your
own sentence.
St. Paul wrote, "Love is patient, love is kind" (1 Corinthians 13:4).
St. Paul taught us that "[l]ove is patient, love is kind" (1 Corinthians 13:4).
5. Note also that you do not use a comma after your introduction if you integrate the
quotation as part of your own sentence.
Nanika Whitson argues convincingly that parents must become the "first teachers
and best role models" for their children (44).
The sound of a wind that “howls like a freight train” often marks the onset of a
tornado, meteorologists warn (Krippin 65).
6. If you summarize or paraphrase material by indirect quotation, do not use any
quotation marks or commas to set it off from the rest of your sentence. Note the
differences in comma/quotation mark usage below.
Full-Sentence Quotation:
Henry Ford scoffed, "History is more or less bunk" (38).
Quotation Integrated into Your Own Sentence:
Henry Ford insisted that "[h]istory is more or less bunk" (38).
Indirect Quotation (Paraphrase):
32
Henry Ford felt that history was nonsense (38).
CONTINUED
33
7. If you are quoting material already in quotation marks in the text (e.g. in dialogue or
in a quotation your source has included), use the customary double quotation marks at
the beginning and end of the selected material and single quotation marks for internal
quotation.
“The goal of Mother Teresa’s life,” writes her biographer Anna Gables, “was to ‘see
God in the face of every person’” (149).
QUOTATION VOCABULARY VARIETY
Try some of these variations to avoid repetitious use of SAYS or NOTES to
acknowledge your quotation sources. Be careful to check the tone of these suggestions
as well as their meaning so that you use them effectively.
agrees
disagrees
imagines
contends
states
believes
rejects
claims
speaks of
observes
34
proclaims
admits
affirms
voices
denies
describes
counters
suggests
calls for
asserts
continues
defines
recalls
concludes
announces
responds
hopes for
resists
reports
APPENDIX I: THE GREAT GATSBY TODAY
The year is 20**. The Great Gatsby is being updated for a contemporary readership.
Advances in science, medicine, and how we think about gender roles suggest multiple
new twists to the story.
In small groups, take into consideration ONE of the following scenarios. Then write a
new ending to this novel.
$ Daisy is pregnant. If DNA tests show that the child is not a Buchanan, the newborn
would be the only known child of Jay Gatsby.
$ The bullet that killed Jay Gatsby is not from the same gun as the one that killed
George B. Wilson. This suggests that a second killer was present at the murder
scene.
$ The little dog that Myrtle purchased in New York is found in the freezer of the
apartment over the garage where she lived with her husband. An autopsy of the
puppy reveals startling information.
$ Tom Buchanan visits a doctor because he is presenting symptoms that suggest he
may have contracted a sexually transmitted disease. He isn’t sure how he got it.
$ The new butler at the Normandy mansion has a criminal record. Prior to his
employment by Jay Gatsby, he worked for Meyer Wolfshiem.
$ Gatsby’s boarder Mr. Klipspringer is not the penniless fellow he pretends to be. In
fact, his assignment is to gather information on Jay Gatsby.
$ An autopsy of Jay Gatsby reveals that he wasn’t a human; he was an alien. When
he extended his arms toward Long Island Sound and its green light, he was reenergizing his body from a power source emanating from his space vehicle.
$ Digital photos of the late Myrtle Wilson and Tom Buchanan appear in a tabloid
publication. Photographer Chester McKee was one of Myrtle’s old high school
friends, and in an attempt at revenge for her broken nose, Myrtle hoped to use the
photos to blackmail Tom . However, he refused to be intimidated.
$ Meyer Wolfshiem’s friend, Herman Rosenthal, was killed after refusing to sell his
small drug stores to the large-chain giants. Forensic analysis of the bullet that killed
Rosenthal matches the bullet that killed Gatsby . . . but not the bullet that killed
George B. Wilson.
$ The staff at the Gatsby mansion wasn’t fired; they’re missing–except for the
35
gardener, who has been quite busy lately, obsessed with perfecting a new miracle
plant formula.
36
SESSION 4
TO BE COMPLETED PRIOR TO THE SESSION
1. Thoughtfully read the following material:
¾ US 351 Article I, “The Social and Political Background”
¾ Additional resources as assigned
2. Read and thoughtfully react to various poetry of the Harlem Renaissance as
assigned. Keep a record of personal responses in notebook or journal. See
Appendix J: Harlem Renaissance Poetry for one approach to reflection.
3. Complete fieldtrip to Cleveland Museum of Art (see Appendix B). Follow the
directions of your facilitator in completing a written reflection or preparing your
insights for class discussion.
4. Draft (or continue drafting) body of research paper. Submit to facilitator as required
prior to coming to class. Revise accordingly. Bring two copies of the revised draft to
class for peer editing.
5. Begin (or continue) remote preparation for oral presentation of research during
Session 5.
6. Read Chapter 13 in Writing Research Papers.
37
SESSION 4
THE HARLEM RENAISSANCE
OUTCOMES
Upon completion of this session, students should be able to:
1. Explain the historical, social, economic, and political foundations for the Harlem
Renaissance.
2. Identify Harlem Renaissance artists from such fields as literature and the visual
and performing arts.
3. Draw creative connections between the disparate fields of visual and poetic arts.
4. Revise research project based on peer responses.
CHOICE OF ACTIVITIES
1. Small- and large-group interpretation of representative Harlem Renaissance poetry
Potential in-class writing activity:
Take on the role of a present-day talk-show host preparing to interview one of
the Harlem Renaissance poets for your television audience. Choose your
favorite artist and write a brief series of pithy questions you would like to ask.
2. Mini-lecture and discussion based on assigned readings
3. Pair-share reflection on fieldtrip experiences
4. If time permits: videotape
5. Workshop session and peer editing for drafted research papers.
6. Preparation time for presentations during Session 5
38
APPENDIX J: HARLEM RENAISSANCE POETRY
A great deal can be learned about Renaissance Harlem by reading the poetry of the
time. One can gain not only factual data but also a holistic appreciation for the
experience of the people who lived and wrote during that time of excitement,
opportunity, optimism, and racial pride.
As you reflect on the selections available to you, choose ten poems, one for each of the
statements listed below. Jot down the title and poet for each of your choices, and be
ready to share the poem with members of your class. In each case, select a poem that
brings new light to you about the real impact of the statement.
In all your work with the artists of the Harlem Renaissance, remember that poetry is
meant to be read aloud. Hear the rhythm of the words, see the images, feel the
emotion, and attempt to experience vicariously what the poet has experienced.
1. Some African Americans experienced great injustices, indignities, and
disappointments.
2. Some responded with rage, aggression, or bitterness.
3. Some were deeply saddened.
4. Some simply told their stories in vivid imagery so the listener would become
more aware.
5. Some experienced nostalgia for a lifestyle left behind years ago. (Or, possibly,
their publishers called for this kind of nostalgic perspective.)
6. Some had a clear vision of a better tomorrow and were determined to reach it.
7. Some had a keen sense of self-worth and personal dignity.
8. Some became philosophical, asked challenging questions, or offered wise
advice.
39
9. Some expressed a deep religious faith.
10. Some expressed themselves in humor, irony, or satire.
SESSION 5
TO BE COMPLETED PRIOR TO THE SESSION
1. Complete drafting, revision, and editing of research paper. Submit to facilitator as
required. Revise accordingly. Print final copy and submit.
2. Prepare presentation of research to the group.
3. Complete Appendix K: Analyzing the Research Process.
SESSION 5
CULMINATING EXERCISE
OUTCOMES
Upon completion of this session, students should be able to
1. Assess their own growth in terms of the objectives of US 351.
2. Synthesize learning from a variety of cultures during US 351.
3. Report the fruits of individual research in a poised and polished oral presentation.
CHOICE OF ACTIVITIES
1. 3-minute free-write on completing the research process (“Horrors and Highlights”)
2. Pair-share on analysis of the research process (see Appendix K)
3. In-class essay:
Your study of various cultures in US 351 invites you to appreciate them as
separate and unique moments in the history of civilization; at the same time, it
calls on you to view them in relationship to each other, all part of a common
human past. Your creative task for this final composition is to synthesize what
you have discovered about these city cultures by finding a thematic focus that
draws them together. You might consider individualism, social
responsibility, or technological progress as thought-starters, but feel free
to explore other ideas that come to mind. Provide examples from a variety of
resources to support your argument for the over-arching theme that you
discover.
4. Research presentations (see Appendix L: Research Presentation for a possible
evaluation form)
5. Closing reflection: Appendix M: Meeting the Goals of US 351
APPENDIX K: ANALYZING THE RESEARCH PROCESS
BACKGROUND
1. What kind of practice with research writing did you have prior to this course, either
in school or in your professional career?
2. What kind of research writing are you doing for other UCAP courses?
FUTURE PLANS
1. Now that you have completed this research paper, are there any parts of the
research paper that you would do differently in the future?
2. Are there any topics you would like to research and write about, given the
opportunity?
3. After this experience, what recommendation would you give someone just learning
the research process? Do you have a “motto for success” that you’d offer
him/her?
CONTINUED
REFLECTIVE ANALYSIS
1. Rank the following aspects of the research process in terms of their helpfulness in
completing your paper successfully:
Least Helpful
a. Draft of MLA bibliography
N/A
b. Use of notes/notecards
N/A
c. Appendix I on quotations
1
Most Helpful
2
3
4
1
2
3
4
N/A
1
2
3
4
d. Written draft of paper
N/A
1
2
3
4
e. Peer editing
N/A
1
2
3
4
f. Writer’s Brief Handbook
N/A
1
2
3
4
g. Class workshop sessions
N/A
1
2
3
4
h. Other _________________
N/A
1
2
3
4
2. What do you think is the greatest strength of the paper you’ve written now?
3. What was the most difficult part of the research/writing process for this paper?
4. In doing this paper,
A. What did you learn about the research process?
B. What did you learn about yourself?
APPENDIX L: RESEARCH PRESENTATION
(20)
Connection to Colleagues
*
*
*
Evidence of collaborative spirit
Cohesiveness of group presentation
Ability to balance time among all presenters
_______
Connection to Subject Matter
(20)
Research
*
*
*
*
(20)
Solidity/validity of material
Connection to course focus
Ability to process and evaluate information
Evidence of reflection
_______
Organization
*
*
*
Clear opening/introduction
Logical presentation of material
Recognizable conclusion
_______
Connection to Audience
(20)
Delivery
*
*
*
*
(20)
Poise
Voice level and eye contact
Sense of audience presence
Timing
_______
Overall Effectiveness
*
*
Interest level
Evidence of care in preparation
_______
APPENDIX M: MEETING THE GOALS OF US 351
1. The goals of US 350/351 cover a range of content areas, skills, and values. Please
rank order the lists below in terms of how successfully you feel you have mastered
each topic. Begin with 1 to indicate the highest level of mastery in each section.
Specific Content Areas Studied
_____ Athens in the Golden Age of Greece
_____ Heian Kyo in the tenth century
_____ Florence during the Renaissance
_____ Paris during the Enlightenment
_____ New York City
_____ Harlem Renaissance
_____ Other ____________________
_____ Other ____________________
Thinking/Writing Skills
_____ analysis of cultural artifacts
_____ ability to identify cultural values
_____ ability to synthesize information from a variety of sources
_____ research skills
_____ thesis development; ability to reason and present an argument
_____ writing skills (clarity, style, mechanics)
_____ oral communication skills (discussions, presentations)
Attitudes/Values
_____ ability to recognize and respond to beauty
_____ openness to diversity
_____ willingness to take responsibility for society
_____ contribution to a positive learning environment
_____ contribution to collaborative efforts
_____ respect for authors’ original work and the need to give credit in research
citations
2. What connections--in content, thinking/writing skills, or attitudes/values--do you see
between US 350/351 and your other UCAP courses?
CONTINUED
47
3. What connections--in content, thinking/writing skills, or attitudes/values--do you see
between US 350/351 and your professional work?
4. The three stages of the Ursuline Studies program parallel the growth patterns
outlined in Women’s Ways of Knowing (Belenky, Clinchy, Goldberger, and Tarule).
Where among the following stages do you recognize yourself now? Why? Does
this position represent any growth/change since you began at Ursuline?
Received Knowing:
Knowledge is accepted passively from others; parents, teachers, published
authors, etc. are the authority figures whose knowledge is seldom challenged.
Subjective Knowing:
Knowledge and attitudes are based on one’s own feelings; personal opinions
and/or gut responses form the basis for decision-making.
Procedural Knowing:
Knowledge is seen in relation to a broad context of contributing factors; it is
important to evaluate various perspectives in order to judge.
Constructed Knowing:
Knowledge that one produces can contribute to the understanding of others;
original work can be integrated with that of others; values statements and
personal commitment can be based on this knowledge.
48