SYLLABUS
I. Catalogue Course Information
A. Number: FYS101 25
B. Title: First Year Seminar – Spellbound: the Quest for Magic in Speculative Fiction and the Arts
C. Credit: 3
D. Semester Offered: Fall and Spring (Semester one is pre-requisite to semester two)
E. Course Professor: Stephan Laurent
F. Catalogue Description: Throughout the ages, the fascination with the otherworldly, the supernatural, the magical element has been a great source of inspiration for writers, choreographers, musicians, and other artists. From the tales of 1001 Nights to A Midsummer Night’s Dream, from The Lord of the Rings to contemporary fantasy literature, magic is ever-present, sometimes for the good, now and again in the purpose of evil. Similarly, the art of dance abounds with tales of the fantastic; musicians have given a voice to many a fairy tale; and artists have painted or sculpted countless mythological figures. This course will explore the many faces of this quest for magic in an inter-disciplinary way, with selected readings from the genre of fantasy literature, viewings of masterworks of ballet and modern dance, and musical examples from great symphonic and operatic works.
II. Objectives of the Course
- To reflect on big questions revealed by myths and tales in both literature and the arts, and relate them to the self, the community, and the world.
- To develop the capacity to read and think critically.
- To develop the capacity to write clear and persuasive essays.
- To gain an understanding of basic principles of oral communication as they apply to class discussion and to formal presentations.
5. To understand both the Liberal Arts and the Performing Arts as vital and evolving traditions.
6. To develop capacities for careful and open reflection on questions of values and norms.
7. To develop the ability to carry out research for the purpose of inquiry and to support claims.
8. To increase music and dance literacy through exposure to masterworks of these arts.
III. Content of the Course
The first semester will be devoted to the study of two central myths and several literary and performing arts works derived from them.
1. The tale of Sleeping Beauty, from its origins to the familiar versions by Charles Perrault and the Grimm Brothers; to contemporary speculative fiction works by Jane Yolen (Briar Rose), Sherri Tepper (Beauty), and Orson Scott Card (Enchantment); to its adaptations for the screen (Disney’s 1959 animated feature) or the stage (Marius Petipa’s ballet to Tchaikovsky’s score, and the contemporary dance version by Mats Ek).
2. Shakespeare’s immortal comedy A Midsummer Night’s Dream, as adapted for the screen (Max Reinhardt’s 1935 film) and the stage (Frederick Ashton’s ballet The Dream, George Balanchines full-length ballet A Midsummer Night’s Dream, and Benjamin Britten’s opera A Midsummer Night’s Dream).
The second semester will explore two monumental works centered around the theme Two Rings of Power:
1. Richard Wagner’s operatic tetralogy Der Ring des Nibelungen
2. J.R.R. Tolkien’s first book in his trilogy The Lord of the Rings: The Fellowship of the Ring.
IV. Method Used in Teaching the Course
A mix of lectures and class discussions will introduce the diverse topics covered. Students will also be teamed by groups of two to make a formal presentation on a portion of the literary works studied, highlighting the four elements of a novel of speculative fiction (story, characters, world-building, and writing), as well as researching and identifying the “big questions” that are contained in the section presented, and subsequently serving as discussion leaders for the class.
The class will view several adaptations of both Sleeping Beauty and A Midsummer Night’s Dream for the screen and the stage, in the form of videos and DVD projected on large screen, as well as listen to music excerpts centered on those subjects.
Class discussion will be a very important part of the discovery process as we work our ways through the myths and the stories. Please come prepared to share your ideas and reactions generously.
V. Examinations and Assignments
Several papers (eight total) will be required at regular intervals. A term paper, with opportunity for multiple revisions, will be due at semester’s end.
One formal oral presentation, in teams of two, will be required for the novels studied in class.
Active participation in class discussions will be a part of the grade.
A final exam will take place during Finals Week. This will be a multi-media, on-line comprehensive exam.
VI. Attendance Policy:
1. Unexcused absences will affect the grade at the rate of one-third grade point for each multiple of three. Any viewing missed must be made up; students missing a class for any reason will have to make arrangements to view the work individually in the library; a paper summarizing the work can be submitted within ten days of the student’s return to class to erase the absence from the record.
2. Since showings of the works will begin promptly, three late arrivals to class will count as one unexcused absence.
VII. Grading:
Eight papers (8% each, the lowest grade will be eliminated)
One formal class presentation, in teams of two (7%)
Participation in class discussions over the semester (7%)
One term paper (20%)
Final on-line exam (10%)
VIII. Required Texts (first semester)
The Pocket Style Manual (background writing manual book)
Briar Rose, by Jane Yolen
Beauty, by Sherri Tepper
Enchantment, by Orson Scott Card
A Midsummer Night’s Dream, by William Shakespeare
For a list of materials to be viewed in class, see III above.
IX. Requests for Academic Accommodations
It is the policy and practice of Butler University to make reasonable accommodations for students with properly documented disabilities. Written notification from Student Disability Services is required. If you are eligible to receive an accommodation and would like to request it for this course, please discuss it with me and allow one week advance notice for each occasion in which the accommodation will be needed. Otherwise, it is not guaranteed that the accommodation can be received on a timely basis. Students who have questions about Student Disability Services or who have, or think they may have, a disability (psychiatric, attentional, learning, vision, hearing, physical, medical, etc.) are invited to contact Student Disability Services for a confidential discussion in Jordan Hall 136 or by phone at extension 9308.
X. Plagiarism
One important task of FYS101 & FYS102 is for you to master integrating source material correctly and ethically into your own writing. You will have the opportunity to practice summarizing, paraphrasing, directly quoting sources and then integrating the material into your own essays. The research essay (final term paper) is especially assigned so that you will have occasion to generate an original thesis and support it with your own reasoning in addition to secondary sources. The task will be for you to differentiate your original ideas from these sources. Recording source material as though it is your original idea constitutes plagiarism—whether intentional or not. All first-year seminar students are asked to take the “Plagiarism Tutorial” on the Library’s website as well as to complete the “Plagiarism Quiz” available on Blackboard. An essay plagiarized in part or in full will receive an F. Plagiarized work also places a student in jeopardy of failing the entire course. Repeated incidents of Academic Dishonesty result in a student’s suspension from the University. Students should also refer to the Butler University Student Handbook for a full discussion of student rights and responsibilities regarding “Academic Integrity.”
XI. Submission of Essays
Toward the end of each semester, all students enrolled in the First-Year Seminar will be asked to upload one essay submitted for a grade in the course for the purpose of the First-Year Seminar Program Assessment, a task required for university accreditation. The essay you select should demonstrate your best work in the following areas: focused thesis; clear and logical development that demonstrates critical thinking and good reasoning; control of language and its conventions, including grammar, sentence structure and syntax; conventional and ethical handling of research material and sources. This essay is to be uploaded in electronic format. You will receive instructions for this later in the semester.
Syllabus Written by Stephan Laurent
Effective Fall 2011
COURSE CALENDAR
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Wk |
Date | Work studied | Assignment due |
|
1. |
(W) Aug. 24 | Introductions | |
| (F) Aug. 26 |
Multi-Media Presentation: The Quest for Magic |
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2. |
(M) Aug. 29 | Myths & Tales: lecture & discussion | Paper # 1: “The Magic I Have Encountered” |
| (W) Aug. 31 | Elements of a Novel | ||
| (F) Sept. 2 | Elements of Music and Dance | ||
|
3. |
(M) Sept. 5 | LABOR DAY – NO CLASS | |
| (W) Sept. 7 | Library Research Skills – meet at Irwin Library 119 | ||
| (F) Sept. 9 | The Tale of Sleeping Beauty | Finish reading The Pocket Style Manual | |
|
4. |
(M) Sept. 12 | Disney’s film, Part I | Paper # 2: Sleeping Beauty in my Own Words |
| (W) Sept. 14 | Disney’s film, Part II | ||
| (F) Sept. 16 |
Petipa’s Ballet: history & music |
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|
5. |
(M) Sept. 19 |
Petipa’s Sleeping Beauty – Prologue |
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|
|
(W) Sept. 21 |
Petipa’s Sleeping Beauty – Acts I & II |
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|
|
(F) Sept. 23 |
Petipa’s Sleeping Beauty – Act III |
Finish reading Briar Rose |
|
6. |
(M) Sept. 26 | Discussion of Briar Rose | Paper # 3: Critique of Petipa’s balletOral Presentation 1: Briar Rose, first third |
| (W) Sept. 28 | Discussion of Briar Rose | Oral Presentation 2: Briar Rose, second third | |
| (F) Sept. 30 | Discussion of Briar Rose | Oral Presentation 3: Briar Rose, last thirdFinish reading Beauty | |
|
7. |
(M) Oct. 3 | Discussion of Beauty | Paper # 4: Big Questions Raised in Briar RoseOral Presentation 4: Beauty, first third |
| (W) Oct. 5 | Discussion of Beauty | Oral Presentation 5: Beauty, second third | |
| (F) Oct. 7 | Discussion of Beauty | Oral Presentation 6: Beauty, last thirdFinish reading Enchantment | |
|
8. |
(M) Oct. 10 | Discussion of Enchantment | Paper # 5: Big Questions Raised in BeautyOral Presentation 7: Enchantment, first third |
| (W) Oct. 12 | Discussion of Enchantment | Oral Presentation 8: Enchantment, second third | |
| (F) Oct. 14 | READING BREAK – NO CLASS | ||
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9. |
(M) Oct. 17 | Discussion of Enchantment | Oral Presentation 9: Enchantment, last third |
| (W) Oct. 19 | Mats Ek’s ballet Törnrosa | Paper #6: Big Questions Raised in Enchantment | |
| (F) Oct. 21 | Mats Ek’s ballet Törnrosa | ||
|
10. |
(M) Oct. 24 |
Discussion Circle: The Sleeping Beauty Myth |
|
| (W) Oct. 26 |
Shakespeare, Mendelssohn, and A Midsummer Night’s Dream: Introduction |
Oral Presentation #10: MidsummerFinish reading A Midsummer Night’s Dream | |
| (F) Oct. 28 |
Max Reinhardt’s Film |
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11. |
(M) Oct. 31 |
Max Reinhardt’s Film |
|
| (W) Nov. 2 | Max Reinhardt’s Film | ||
| (F) Nov. 4 | Ashton’s ballet The Dream, Part I | Paper # 7: Magic in Shakespeare | |
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12. |
(M) Nov. 7 | Ashton’s ballet The Dream, Part II | |
| (W) Nov. 9 | Balanchine’s ballet, Act I | ||
| (F) Nov. 11 | Balanchine’s ballet, Act I | ||
|
13. |
(M) Nov. 14 | Balanchine’s ballet, Act II | |
| (W) Nov. 16 | Elements of Opera | Paper # 8: Compare Ashton & Balanchine | |
| (F) Nov. 18 | Benjamin Britten’s Opera | First Draft of Term Paper due | |
|
14. |
(M) Nov. 28 | Britten’s Opera | |
| (W) Nov. 30 | NO CLASS | ||
| (F) Dec. 2 | Britten’s Opera | ||
|
15 |
(M) Dec. 5 | Discussion Circle: A Midsummer Night’s Dream | Second Draft of Term Paper due (by e-mail) |
| (W) Dec. 7 | Retrospective | ||
| (F) Dec. 9 | Wrap-up & Course Evaluations | ||
|
16. |
(T) Dec. 13 | FINAL EXAM, 8:00 –10:00 am, LH149 | (Term Paper due on Mon. Dec. 12 by e-mail) |
SEMESTER TWO:
SYLLABUS
I. Catalogue Course Information
A. Number: FYS 102 25
B. Title: First Year Seminar – Spellbound: the Quest for Magic in Fiction and the Arts
C. Credit: 3
D. Semester Offered: Spring (Semester one is pre-requisite to semester two)
E. Course Professor: Stephan Laurent
F. Catalogue Description: Throughout the ages, the fascination with the otherworldly, the supernatural, the magical element has been a great source of inspiration for writers, choreographers, musicians, and other artists. From the tales of 1001 Nights to A Midsummer Night’s Dream, from The Lord of the Rings to contemporary fantasy literature, magic is ever-present, sometimes for the good, now and again in the purpose of evil. Similarly, the art of dance abounds with tales of the fantastic; musicians have given a voice to many a fairy tale; and artists have painted or sculpted countless mythological figures. This course will explore the many faces of this quest for magic in an inter-disciplinary way, with selected readings from the genre of fantasy literature, viewings of masterworks of ballet and modern dance, and musical examples from great symphonic and operatic works.
II. Objectives of the Course
- To reflect on big questions revealed by myths and tales in both literature and the arts, and relate them to the self, the community, and the world.
- To develop the capacity to read and think critically.
- To develop the capacity to write clear and persuasive essays.
- To gain an understanding of basic principles of oral communication as they apply to class discussion and to formal presentations.
5. To understand both the Liberal Arts and the Performing Arts as vital and evolving traditions.
6. To conduct research, including evaluating and citing secondary sources in support of arguments made.
- To increase musical and dance literacy through exposure to masterworks of these arts.
III. Content of the Course
The second semester will be devoted to the study of one central myth: THE RING OF POWER, as developed by two exceptional creators in two different centuries – Richard Wagner (in his opera tetralogy Der Ring des Nibelungen), and J.R.R. Tolkien (in his literary trilogy The Lord of the Ring). The ballet The Willow Maiden, premiered in 2003, will also be studied.
IV. Method Used in Teaching the Course
A mix of lectures and class discussions will introduce the diverse topics covered. Students will make a formal oral presentation on a portion of the literary work studied, highlighting the four elements of a novel of speculative fiction: Story; Characters; World-Building; and Writing. The presentations will be in teams of two.
A research essay, utilizing secondary sources from books available in the library, will be required.
The class will view the works studied in their adaptation for the screen and the stage, in the form of videos and DVD projected on large screen, as well as listen to music excerpts centered on those subjects.
Class discussion will be a very important part of the discovery process as we work our ways through the myths and the stories. Please come prepared to share your ideas and reactions generously.
V. Examinations and Assignments
Several papers, will be required at regular intervals. A term paper, with opportunity for revision, will be due at semester’s end. Formal oral presentations, in teams of two, will take place in mid-semester.
A final on-line exam will take place during Finals Week.
VI. Attendance Policy:
1. Unexcused absences will affect the grade at the rate of one-third grade point for each multiple of three. Any viewing missed must be made up; students missing a class for any reason will have to make arrangements to view the work individually in the library; a paper summarizing the work can be submitted within one week of the student’s return to class to erase the absence from the record.
2. Since showings of the works will begin promptly, three late arrivals to class will count as one unexcused absence.
VII. Grading:
Participation in class discussions (8%)
Seven papers (9% each, the lowest grade will be eliminated)
One formal class presentation (8%)
One term paper (20%)
Final on-line exam (10%)
VIII. Required Texts (second semester)
The Pocket Style Manual (background writing manual book, continuation from semester one)
The Lord of the Rings: The Fellowship of the Ring, by J.R.R. Tolkien
Wagner’s Ring: Turning the Sky Round, by M. Owen Lee
The Nibelung’s Ring, by Peter Bassett
Complete text of Richard Wagner’s Der Ring des Niebelungen, to be downloaded on-line (shareware fee: $5)
For a list of materials to be viewed in class, see III above.
IX. Requests for Academic Accommodations
It is the policy and practice of Butler University to make reasonable accommodations for students with properly documented disabilities. Written notification from Student Disability Services is required. If you are eligible to receive an accommodation and would like to request it for this course, please discuss it with me and allow one week advance notice for each occasion in which the accommodation will be needed. Otherwise, it is not guaranteed that the accommodation can be received on a timely basis. If you have questions about Student Disability Services, you may wish to contact Michele Atterson, Jordan Hall 136, ext. 9308.
X. Plagiarism
One important task of FYS101 & FYS02 is for you to master integrating source material correctly and ethically into your own writing. You will have the opportunity to practice summarizing, paraphrasing, directly quoting sources and then integrating the material into your own essays. The research essay (final term paper) is especially assigned so that you will have occasion to generate an original thesis, and support it with your own reasoning in addition to secondary sources. The task will be for you to differentiate your original ideas from these sources. Recording source material as though it is your original idea constitutes plagiarism—whether intentional or not. All first-year seminar students are asked to take the “Plagiarism Tutorial” on the Library’s website as well as to complete the “Plagiarism Quiz” available on Blackboard. An essay plagiarized in part or in full may receive an F. Plagiarized work also places a student in jeopardy of failing the course. Repeated incidents of Academic Dishonesty result in a student’s suspension from the University. Students should also refer to the Butler University Student Handbook for a full discussion of student rights and responsibilities regarding “Academic Integrity.”
XI. Grading Scale
95-100 = A (4.0)
90-94 = A- (3.67)
85-89 = B+ (3.33)
80-84 = B (3.0)
76-79 = B- (2.67)
72-75= C+ (2.33)
69-71 = C (2.0)
66-68 = C- (1.67)
63-65 = D+ (1.33)
60-62 = D (1.0)
57-59 = D- (0.67)
>56 = F (0)
Syllabus Written by Stephan Laurent
Effective Spring 2012
COURSE CALENDAR
|
|
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|
Wk |
Date | Work studied | Assignment |
|
1. |
(W) Jan. 18 | Introduction | |
| (F) Jan. 20 | Richard Wagner: Poet, Composer, Visionary | ||
|
2. |
(M) Jan. 23 | Wagner – excerpts from the film | Finish reading Lee’s Wagner’s Ring |
| (W) Jan. 25 | Das Rheingold | Read The Nibelung’s Ring, pp. 1-47 and 174-195 | |
| (F) Jan. 27 | Das Rheingold | Paper # 1: If I had a Ring of Power | |
|
3. |
(M) Jan. 30 | Das Rheingold | |
| (W) Feb. 1 | Das Rheingold | Read The Nibelung’s Ring, pp. 49-86 and 196-227 | |
| (F) Feb. 3 | Die Walküre | Paper # 2: The Myth in Das Rheingold | |
|
4. |
(M) Feb 6 | Die Walküre | |
| (W) Feb. 8 | Die Walküre | ||
| (F) Feb. 10 |
Die Walküre |
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|
5. |
(M) Feb. 13 |
Discussion Circle: Rheingold and Walküre |
|
|
|
(W) Feb. 15 |
Siegfried |
Paper # 3: Characters’ Evolution in Die WalküreRead The Nibelung’s Ring,pp. 87-128 and 228-271 |
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|
(F) Feb. 17 |
Siegfried |
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6. |
(M) Feb. 20 |
Siegfried |
|
| (W) Feb. 22 | Siegfried | ||
| (F) Feb. 24 | Götterdämmerung | Read The Nibelung’s Ring,pp.129-164 and 272-310 | |
|
7. |
(M) Feb. 27 | Götterdämmerung | Paper # 4: Is Siegfried a hero? |
| (W) Feb. 29 | Götterdämmerung | ||
| (F) Mar. 2 | Götterdämmerung | ||
|
8. |
(M) Mar. 5 | Discussion Circle: Der Ring des Nibelungen | Read The Nibelung’s Ring, pp.165-171 |
| (W) Mar. 7 | J.R.R. Tolkien: Scholar, Poet, Visionary | Research Essay:Wagner, an Anti-Semitic Artist?Finish reading Fellowship of the Ring | |
| (F) Mar. 9 | Fellowship of the Ring: Prologue;Book I, Chapters 1-2 | Oral Presentation #1-2: Fellowship of the Ring,Prologue & Book I, Ch. 1-2 | |
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9. |
(M) Mar. 19 | Fellowship of the Ring: Book I, Chapters 3-5 | Oral Presentation #3: FotR, Bk I, Ch. 3-5 |
| (W) Mar. 21 |
Fellowship of the Ring: Book I, Chapters 6-8 |
Oral Presentation #4: FotR, Bk I, Ch. 6-8 | |
| (F) Mar. 23 |
Fellowship of the Ring: Book I, Chapters 9-12 |
Oral Presentation #5: FotR, Bk I, Ch. 9-12 | |
|
10. |
(M) Mar. 26 |
Fellowship of the Ring: Book II, Chapters 1-2 |
Oral Presentation #6: FotR, Bk II, Ch. 1-2 |
| (W) Mar. 28 |
Fellowship of the Ring: Book II, Chapters 3-4 |
Oral Presentation #7: FotR, Bk II, Ch. 3-4 | |
| (F) Mar. 30 |
Fellowship of the Ring: Book II, Chapters 5-7 |
Oral Presentation #8: FotR, Bk II, Ch. 5-7 | |
|
11. |
(M) Apr. 2 |
Fellowship of the Ring: Book II, Chapters 8-10 |
Oral Presentation #9: FotR, Bk II, Ch. 8-10 |
| (W) Apr. 4 | Peter Jackson’s Film | Paper # 6: Tolkien’s World | |
| (F) Apr. 6 | Peter Jackson’s Film | ||
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12. |
(M) Apr. 9 | Peter Jackson’s Film | |
| (W) Apr. 11 | Peter Jackson’s Film | ||
| (F) Apr. 13 | The Willow Maiden ballet: Libretto | Paper # 7: The Book and the Film | |
|
13. |
(M) Apr. 16 | The Willow Maiden: Music | |
| (W) Apr. 18 | The Willow Maiden: Act 1 | Draft of Term Paper due | |
| (F) Apr. 20 | The Willow Maiden: Act 2 | ||
|
14. |
(M) Apr. 23 | The Willow Maiden: Act 3 | |
| (W) Apr. 25 | The Willow Maiden: Act 4 | ||
| (F) Apr. 27 | Retrospective | Draft returned | |
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15. |
(M) Apr. 30 | Wrap-up & Course Evaluations | |
| (W) May 2 | Term Paper due by e-mail | ||
| (Th) May 3 | FINAL EXAM, 8:00 –10:00 am, LH149 | ||