{"id":244,"date":"2012-05-13T20:43:51","date_gmt":"2012-05-14T00:43:51","guid":{"rendered":"http:\/\/blogs.butler.edu\/fys\/?page_id=244"},"modified":"2012-05-13T20:43:51","modified_gmt":"2012-05-14T00:43:51","slug":"spellbound","status":"publish","type":"page","link":"http:\/\/blogs.butler.edu\/fys\/sample-syllabi\/contemporary-lit-visiting-writers\/the-imagination\/spellbound\/","title":{"rendered":"Spellbound"},"content":{"rendered":"

SYLLABUS<\/p>\n

 <\/p>\n

I.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Catalogue Course Information<\/strong><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 A.\u00a0\u00a0\u00a0\u00a0 Number:<\/strong>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 FYS101 25<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 B.\u00a0\u00a0\u00a0\u00a0\u00a0 Title:<\/strong>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 First Year Seminar \u2013 Spellbound: the Quest for Magic in Speculative Fiction and the Arts<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 C.\u00a0\u00a0\u00a0\u00a0\u00a0 Credit:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/strong>3<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 D.\u00a0\u00a0\u00a0\u00a0 Semester Offered:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/strong>Fall and Spring (Semester one is pre-requisite to semester two)<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 E.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Course Professor:<\/strong>\u00a0 Stephan Laurent<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 F.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Catalogue Description:<\/strong>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 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<\/em> to A Midsummer Night\u2019s Dream<\/em>, from The Lord of the Rings<\/em> 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.<\/p>\n

 <\/p>\n

 <\/p>\n

II.\u00a0\u00a0\u00a0\u00a0\u00a0 Objectives of the Course<\/strong><\/p>\n

    \n
  1. 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.\n
      \n
    1. To develop the capacity to read and think critically.<\/li>\n
    2. To develop the capacity to write clear and persuasive essays.<\/li>\n<\/ol>\n<\/li>\n
    3. To gain an understanding of basic principles of oral communication as they apply to class discussion and to formal presentations.<\/li>\n<\/ol>\n

      5.\u00a0\u00a0\u00a0\u00a0\u00a0 To understand both the Liberal Arts and the Performing Arts as vital and evolving traditions.<\/p>\n

      6.\u00a0\u00a0\u00a0\u00a0\u00a0 To develop capacities for careful and open reflection on questions of values and norms.<\/p>\n

      7.\u00a0\u00a0\u00a0\u00a0\u00a0 To develop the ability to carry out research for the purpose of inquiry and to support claims.<\/p>\n

      8.\u00a0\u00a0\u00a0\u00a0\u00a0 To increase music and dance literacy through exposure to masterworks of these arts.<\/p>\n

       <\/p>\n

       <\/p>\n

      III.\u00a0\u00a0\u00a0\u00a0 Content of the Course<\/strong><\/p>\n

      The first semester will be devoted to the study of two central myths and several literary and performing arts works derived from them.<\/p>\n

      1. The tale of Sleeping Beauty<\/em>, from its origins to the familiar versions by Charles Perrault and the Grimm Brothers; to contemporary speculative fiction works by Jane Yolen (Briar Rose<\/em>), Sherri Tepper (Beauty<\/em>), and Orson Scott Card (Enchantment<\/em>); to its adaptations for the screen (Disney\u2019s 1959 animated feature) or the stage (Marius Petipa\u2019s ballet to Tchaikovsky\u2019s score, and the contemporary dance version by Mats Ek).<\/p>\n

      2. Shakespeare\u2019s immortal comedy A Midsummer Night\u2019s Dream<\/em>, as adapted for the screen (Max Reinhardt\u2019s 1935 film) and the stage (Frederick Ashton\u2019s ballet The Dream<\/em>, George Balanchines full-length ballet A Midsummer Night\u2019s Dream<\/em>, and Benjamin Britten\u2019s opera A Midsummer Night\u2019s Dream<\/em>).<\/p>\n

      The second semester will explore two monumental works centered around the theme Two Rings of Power<\/em>:<\/p>\n

      1. Richard Wagner\u2019s operatic tetralogy Der Ring des Nibelungen<\/em><\/p>\n

      2. J.R.R. Tolkien\u2019s first book in his trilogy The Lord of the Rings<\/em>: The Fellowship of the Ring<\/em>.<\/em><\/p>\n

       <\/p>\n

      IV.\u00a0\u00a0\u00a0 Method Used in Teaching the Course<\/strong><\/p>\n

      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 \u201cbig questions\u201d that are contained in the section presented, and subsequently serving as discussion leaders for the class.<\/p>\n

      The class will view several adaptations of both Sleeping Beauty<\/em> and A Midsummer Night\u2019s Dream<\/em> 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.<\/p>\n

      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.<\/p>\n

       <\/p>\n

      V.\u00a0\u00a0\u00a0\u00a0 Examinations and Assignments<\/strong><\/p>\n

      Several papers (eight total) will be required at regular intervals. A term paper, with opportunity for multiple revisions, will be due at semester\u2019s end.<\/p>\n

      One formal oral presentation, in teams of two, will be required for the novels studied in class.<\/p>\n

      Active participation in class discussions will be a part of the grade.<\/p>\n

      A final exam will take place during Finals Week. This will be a multi-media, on-line comprehensive exam.<\/p>\n

       <\/p>\n

       <\/p>\n

      VI.\u00a0\u00a0\u00a0 Attendance Policy: <\/strong><\/p>\n

      \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/strong>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<\/span>; 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\u2019s return to class to erase the absence from the record.<\/p>\n

      2. Since showings of the works will begin promptly, three late arrivals<\/span> to class will count as one unexcused<\/span> absence<\/span>.<\/p>\n

       <\/p>\n

      VII.\u00a0\u00a0 Grading: <\/strong><\/p>\n

      \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Eight papers (8% each, the lowest grade will be eliminated)<\/strong><\/p>\n

      \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 One formal class presentation, in teams of two (7%)<\/strong><\/p>\n

      \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Participation in class discussions over the semester (7%)<\/strong><\/p>\n

      \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 One term paper (20%)<\/strong><\/p>\n

      \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Final on-line exam (10%)<\/strong><\/p>\n

       <\/p>\n

      VIII.\u00a0 Required Texts (first semester)<\/strong><\/p>\n

      The Pocket Style Manual<\/em> (background writing manual book)<\/p>\n

      Briar Rose<\/em>, by Jane Yolen<\/p>\n

      Beauty<\/em>, by Sherri Tepper<\/p>\n

      Enchantment<\/em>, by Orson Scott Card<\/p>\n

      A Midsummer Night\u2019s Dream<\/em>, by William Shakespeare<\/p>\n

      For a list of materials to be viewed in class, see III above.<\/p>\n

       <\/p>\n

      IX.\u00a0\u00a0\u00a0\u00a0 Requests for Academic Accommodations<\/strong><\/p>\n

      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.<\/p>\n

      \u00a0<\/strong><\/p>\n

      X.<\/strong>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Plagiarism<\/strong><\/p>\n

      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.\u00a0 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\u2014whether 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\u2019s suspension from the University. Students should also refer to the Butler University Student Handbook for a full discussion of student rights and responsibilities regarding \u201cAcademic Integrity.\u201d<\/p>\n

       <\/p>\n

      XI.\u00a0\u00a0\u00a0\u00a0 Submission of Essays<\/strong><\/p>\n

      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.<\/p>\n

      \u00a0<\/strong><\/p>\n

      \u00a0<\/strong><\/p>\n

      Syllabus Written by Stephan Laurent<\/em><\/p>\n

      Effective Fall 2011<\/h1>\n


      \n<\/em><\/p>\n

      COURSE CALENDAR<\/strong><\/h1>\n

       <\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
      \n

      \u00a0<\/span><\/strong><\/p>\n<\/td>\n

      		\u00a0<\/span><\/strong><\/td>\n\u00a0<\/span><\/strong><\/td>\n\u00a0<\/span><\/strong><\/td>\n<\/tr>\n
      \n

      Wk<\/span><\/strong><\/p>\n<\/td>\n

      		Date<\/span><\/strong><\/strong><\/td>\nWork studied<\/span><\/strong><\/strong><\/td>\nAssignment due<\/span><\/strong><\/td>\n<\/tr>\n
      <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
      \n

      1.<\/p>\n<\/td>\n

      		(W) Aug. 24<\/td>\nIntroductions<\/td>\n<\/td>\n<\/tr>\n
      <\/td>\n(F) Aug. 26<\/td>\n\n
      Multi-Media Presentation: The Quest for Magic<\/em><\/h6>\n<\/td>\n
      		<\/td>\n<\/tr>\n
      <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
      \n

      2.<\/p>\n<\/td>\n

      		(M) Aug. 29<\/td>\nMyths & Tales: lecture & discussion<\/td>\nPaper # 1: \u201cThe Magic I Have Encountered\u201d<\/em><\/td>\n<\/tr>\n
      <\/td>\n(W) Aug. 31<\/td>\nElements of a Novel<\/td>\n\u00a0<\/em><\/td>\n<\/tr>\n
      <\/td>\n(F) Sept. 2<\/td>\nElements of Music and Dance<\/td>\n\u00a0<\/em><\/td>\n<\/tr>\n
      <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
      \n

      3.<\/p>\n<\/td>\n

      		(M) Sept. 5<\/td>\nLABOR DAY \u2013 NO CLASS<\/td>\n<\/td>\n<\/tr>\n
      <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
      <\/td>\n(W) Sept. 7<\/td>\nLibrary Research Skills – meet at Irwin Library 119<\/td>\n<\/td>\n<\/tr>\n
      <\/td>\n(F) Sept. 9<\/td>\nThe Tale of Sleeping Beauty<\/em><\/td>\nFinish reading The Pocket Style Manual<\/em><\/td>\n<\/tr>\n
      <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
      \n

      4.<\/p>\n<\/td>\n

      		\u00a0(M) Sept. 12<\/td>\nDisney\u2019s film, Part I<\/td>\nPaper # 2: Sleeping Beauty in my Own Words<\/em><\/td>\n<\/tr>\n
      <\/td>\n(W) Sept. 14<\/td>\nDisney\u2019s film, Part II<\/td>\n<\/td>\n<\/tr>\n
      <\/td>\n(F) Sept. 16<\/td>\n\n
      Petipa\u2019s Ballet: history & music<\/h5>\n<\/td>\n
      		<\/td>\n<\/tr>\n
      <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
      \n

      5.<\/p>\n<\/td>\n

      		(M) Sept. 19<\/td>\n\n
      Petipa\u2019s Sleeping Beauty \u2013 Prologue<\/h5>\n<\/td>\n
      		<\/td>\n<\/tr>\n
      \n

      \u00a0<\/em><\/p>\n<\/td>\n

      		(W) Sept. 21<\/td>\n\n
      Petipa\u2019s Sleeping Beauty \u2013 Acts I & II<\/h5>\n<\/td>\n
      		<\/td>\n<\/tr>\n
      \n

      \u00a0<\/em><\/p>\n<\/td>\n

      		(F) Sept. 23<\/em><\/td>\n\n
      Petipa\u2019s Sleeping Beauty \u2013 Act III<\/h5>\n<\/td>\n
      		Finish reading Briar Rose<\/em><\/td>\n<\/tr>\n
      <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
      \n

      6.<\/p>\n<\/td>\n

      		(M) Sept. 26<\/td>\nDiscussion of Briar Rose<\/em><\/td>\nPaper # 3: Critique of Petipa\u2019s balletOral Presentation 1: Briar Rose<\/em>, first third<\/td>\n<\/tr>\n
      <\/td>\n(W) Sept. 28<\/td>\nDiscussion of Briar Rose<\/em><\/td>\nOral Presentation 2: Briar Rose<\/em>, second third<\/em><\/td>\n<\/tr>\n
      <\/td>\n(F) Sept. 30<\/td>\nDiscussion of Briar Rose<\/em><\/td>\nOral Presentation 3: Briar Rose<\/em>, last thirdFinish reading Beauty<\/em><\/td>\n<\/tr>\n
      <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
      \n

      7.<\/p>\n<\/td>\n

      		(M) Oct. 3<\/td>\nDiscussion of Beauty<\/em><\/td>\nPaper # 4: Big Questions Raised in<\/em> Briar Rose<\/em>Oral Presentation 4: Beauty<\/em>, first third<\/td>\n<\/tr>\n
      <\/td>\n(W) Oct. 5<\/td>\nDiscussion of Beauty<\/em><\/td>\nOral Presentation 5: Beauty<\/em>, second third<\/em><\/td>\n<\/tr>\n
      <\/td>\n(F) Oct. 7<\/td>\nDiscussion of Beauty<\/em><\/td>\nOral Presentation 6: Beauty<\/em>, last thirdFinish reading Enchantment<\/em><\/td>\n<\/tr>\n
      <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
      \n

      8.<\/p>\n<\/td>\n

      		(M) Oct. 10<\/td>\nDiscussion of Enchantment<\/em><\/em><\/td>\nPaper # 5: Big Questions Raised in<\/em> Beauty<\/em>Oral Presentation 7: Enchantment<\/em>, first third<\/td>\n<\/tr>\n
      <\/td>\n(W) Oct. 12<\/td>\nDiscussion of Enchantment<\/em><\/td>\nOral Presentation 8: Enchantment<\/em>, second third<\/td>\n<\/tr>\n
      <\/td>\n(F) Oct. 14<\/td>\nREADING BREAK \u2013 NO CLASS<\/td>\n<\/td>\n<\/tr>\n
      \n

      \u00a0<\/em><\/p>\n<\/td>\n

      		\u00a0<\/em><\/td>\n<\/td>\n<\/td>\n<\/tr>\n
      \n

      9.<\/p>\n<\/td>\n

      		(M) Oct. 17<\/td>\nDiscussion of Enchantment<\/em><\/td>\nOral Presentation 9: Enchantment<\/em>, last third<\/td>\n<\/tr>\n
      <\/td>\n(W) Oct. 19<\/td>\nMats Ek\u2019s ballet T\u00f6rnrosa<\/em><\/td>\nPaper #6: Big Questions Raised in<\/em> Enchantment<\/td>\n<\/tr>\n
      <\/td>\n(F) Oct. 21<\/td>\nMats Ek\u2019s ballet T\u00f6rnrosa<\/em><\/td>\n<\/td>\n<\/tr>\n
      <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
      \n

      10.<\/p>\n<\/td>\n

      		(M) Oct. 24<\/td>\n\n
      Discussion Circle: The Sleeping Beauty Myth<\/h5>\n<\/td>\n
      		<\/td>\n<\/tr>\n
      <\/td>\n(W) Oct. 26<\/td>\n\n
      Shakespeare, Mendelssohn, and A Midsummer Night\u2019s Dream: Introduction<\/h5>\n<\/td>\n
      		Oral Presentation #10: Midsummer<\/em>Finish reading A Midsummer Night\u2019s Dream<\/em><\/td>\n<\/tr>\n
      <\/td>\n(F) Oct. 28<\/td>\n\n
      Max Reinhardt\u2019s Film<\/h5>\n<\/td>\n
      		<\/td>\n<\/tr>\n
      <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
      \n

      11.<\/p>\n<\/td>\n

      		(M) Oct. 31<\/td>\n\n
      Max Reinhardt\u2019s Film<\/h5>\n<\/td>\n
      		<\/td>\n<\/tr>\n
      <\/td>\n(W) Nov. 2<\/td>\nMax Reinhardt\u2019s Film<\/td>\n\u00a0<\/em><\/td>\n<\/tr>\n
      <\/td>\n(F) Nov. 4<\/td>\nAshton\u2019s ballet The Dream<\/em>, Part I<\/td>\nPaper # 7: Magic in Shakespeare<\/em><\/td>\n<\/tr>\n
      <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
      \n

      12.<\/p>\n<\/td>\n

      		(M) Nov. 7<\/td>\nAshton\u2019s ballet The Dream<\/em>, Part II<\/td>\n<\/td>\n<\/tr>\n
      <\/td>\n(W) Nov. 9<\/td>\nBalanchine\u2019s ballet, Act I<\/td>\n<\/td>\n<\/tr>\n
      <\/td>\n(F) Nov. 11<\/td>\nBalanchine\u2019s ballet, Act I<\/td>\n<\/td>\n<\/tr>\n
      <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
      \n

      13.<\/p>\n<\/td>\n

      		(M) Nov. 14<\/td>\nBalanchine\u2019s ballet, Act II<\/td>\n<\/td>\n<\/tr>\n
      <\/td>\n(W) Nov. 16<\/td>\nElements of Opera<\/td>\nPaper # 8: Compare Ashton & Balanchine<\/em><\/td>\n<\/tr>\n
      <\/td>\n(F) Nov. 18<\/td>\nBenjamin Britten\u2019s Opera<\/td>\nFirst Draft of Term Paper due<\/td>\n<\/tr>\n
      <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
      \n

      14.<\/p>\n<\/td>\n

      		(M) Nov. 28<\/td>\nBritten\u2019s Opera<\/td>\n<\/td>\n<\/tr>\n
      <\/td>\n(W) Nov. 30<\/td>\nNO CLASS<\/td>\n<\/td>\n<\/tr>\n
      <\/td>\n(F) Dec. 2<\/td>\nBritten\u2019s Opera<\/em><\/td>\n<\/td>\n<\/tr>\n
      \n

      15<\/p>\n<\/td>\n

      		(M) Dec. 5<\/td>\nDiscussion Circle: A Midsummer Night\u2019s Dream<\/em><\/td>\nSecond Draft of Term Paper due (by e-mail)<\/td>\n<\/tr>\n
      <\/td>\n(W) Dec. 7<\/td>\nRetrospective<\/td>\n<\/td>\n<\/tr>\n
      <\/td>\n(F) Dec. 9<\/td>\nWrap-up & Course Evaluations<\/td>\n<\/td>\n<\/tr>\n
      <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
      <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
      \n

      16.<\/p>\n<\/td>\n

      		(T) Dec. 13<\/td>\nFINAL EXAM<\/span>, 8:00 \u201310:00 am, LH149<\/td>\n(Term Paper due on Mon. Dec. 12 by e-mail)<\/td>\n<\/tr>\n
      <\/td>\n<\/td>\n\u00a0<\/span><\/td>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

       <\/p>\n

       <\/p>\n

       <\/p>\n

      SEMESTER TWO:<\/p>\n

       <\/p>\n

      SYLLABUS<\/p>\n

       <\/p>\n

      I.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Catalogue Course Information<\/strong><\/p>\n

      \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 A.\u00a0\u00a0\u00a0\u00a0 Number:<\/strong>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 FYS 102 25<\/p>\n

      \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 B.\u00a0\u00a0\u00a0\u00a0\u00a0 Title:<\/strong>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 First Year Seminar \u2013 Spellbound: the Quest for Magic in Fiction and the Arts<\/em><\/p>\n

      \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 C.\u00a0\u00a0\u00a0\u00a0\u00a0 Credit:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/strong>3<\/p>\n

      \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 D.\u00a0\u00a0\u00a0\u00a0 Semester Offered:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/strong>Spring (Semester one is pre-requisite to semester two)<\/p>\n

      \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 E.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Course Professor:<\/strong>\u00a0 Stephan Laurent<\/p>\n

      \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 F.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Catalogue Description:<\/strong>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 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<\/em> to A Midsummer Night\u2019s Dream<\/em>, from The Lord of the Rings<\/em> 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.<\/p>\n

       <\/p>\n

       <\/p>\n

      II.\u00a0\u00a0\u00a0\u00a0\u00a0 Objectives of the Course<\/strong><\/p>\n

        \n
      1. 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.\n
          \n
        1. To develop the capacity to read and think critically.<\/li>\n
        2. To develop the capacity to write clear and persuasive essays.<\/li>\n<\/ol>\n<\/li>\n
        3. To gain an understanding of basic principles of oral communication as they apply to class discussion and to formal presentations.<\/li>\n<\/ol>\n

          5.\u00a0\u00a0\u00a0\u00a0\u00a0 To understand both the Liberal Arts and the Performing Arts as vital and evolving traditions.<\/p>\n

          6.\u00a0\u00a0\u00a0\u00a0\u00a0 To conduct research, including evaluating and citing secondary sources in support of arguments made.<\/p>\n

            \n
          1. To increase musical and dance literacy through exposure to masterworks of these arts.<\/li>\n<\/ol>\n

             <\/p>\n

             <\/p>\n

            III.\u00a0\u00a0\u00a0\u00a0 Content of the Course<\/strong><\/p>\n

            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<\/em>), and J.R.R. Tolkien (in his literary trilogy The Lord of the Ring<\/em>). The ballet The Willow Maiden<\/em>, premiered in 2003, will also be studied.<\/p>\n

             <\/p>\n

            IV.\u00a0\u00a0\u00a0 Method Used in Teaching the Course<\/strong><\/p>\n

            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.<\/p>\n

            A research essay, utilizing secondary sources from books available in the library, will be required.<\/p>\n

            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.<\/p>\n

            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.<\/p>\n

             <\/p>\n

            V.\u00a0\u00a0\u00a0\u00a0 Examinations and Assignments<\/strong><\/p>\n

            Several papers, will be required at regular intervals. A term paper, with opportunity for revision, will be due at semester\u2019s end. Formal oral presentations, in teams of two, will take place in mid-semester.<\/p>\n

            A final on-line exam will take place during Finals Week.<\/p>\n

             <\/p>\n

            VI.\u00a0\u00a0\u00a0 Attendance Policy: <\/strong><\/p>\n

            \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/strong>1. Unexcused absences will affect the grade at the rate of one-third grade point for each multiple of three<\/span>. Any viewing missed<\/span> must be made up<\/span>; 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\u2019s return to class to erase the absence from the record.<\/p>\n

            2. Since showings of the works will begin promptly, three late arrivals<\/span> to class will count as one unexcused<\/span> absence<\/span>.<\/p>\n

             <\/p>\n

            VII.\u00a0\u00a0 Grading: <\/strong><\/p>\n

            \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Participation in class discussions (8%)<\/strong><\/p>\n

            \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Seven papers (9% each, the lowest grade will be eliminated)<\/strong><\/p>\n

            \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 One formal class presentation (8%)<\/strong><\/p>\n

            \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 One term paper (20%)<\/strong><\/p>\n

            \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Final on-line exam (10%)<\/strong><\/p>\n

             <\/p>\n

            VIII.\u00a0 Required Texts (second semester)<\/strong><\/p>\n

            The Pocket Style Manual <\/em>(background writing manual book, continuation from semester one)<\/em><\/p>\n

            The Lord of the Rings: The Fellowship of the Ring<\/em>, by J.R.R. Tolkien<\/p>\n

            Wagner\u2019s Ring: Turning the Sky Round<\/em>, by M. Owen Lee<\/p>\n

            The Nibelung\u2019s Ring<\/em>, by Peter Bassett<\/p>\n

            Complete text of Richard Wagner\u2019s Der Ring des Niebelungen<\/em>, to be downloaded on-line (shareware fee: $5)<\/p>\n

            For a list of materials to be viewed in class, see III above.<\/p>\n

             <\/p>\n

            IX.\u00a0\u00a0\u00a0\u00a0 Requests for Academic Accommodations<\/strong><\/p>\n

            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.<\/p>\n

            \u00a0<\/strong><\/p>\n

            X.<\/strong>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Plagiarism<\/strong><\/p>\n

            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.\u00a0 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\u2014whether 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\u2019s suspension from the University. Students should also refer to the Butler University Student Handbook for a full discussion of student rights and responsibilities regarding \u201cAcademic Integrity.\u201d<\/p>\n

             <\/p>\n

            XI.\u00a0\u00a0\u00a0\u00a0 Grading Scale<\/strong><\/p>\n

            95-100 = A (4.0)<\/p>\n

            90-94 = A- (3.67)<\/p>\n

            85-89 = B+ (3.33)<\/p>\n

            80-84 = B (3.0)<\/p>\n

            76-79 = B- (2.67)<\/p>\n

            72-75= C+ (2.33)<\/p>\n

            69-71 = C (2.0)<\/p>\n

            66-68 = C- (1.67)<\/p>\n

            63-65 = D+ (1.33)<\/p>\n

            60-62 = D (1.0)<\/p>\n

            57-59 = D- (0.67)<\/p>\n

            >56 = F (0)<\/p>\n

            \u00a0<\/strong><\/p>\n

            Syllabus Written by Stephan Laurent<\/em><\/p>\n

            Effective Spring 2012<\/h1>\n

             <\/p>\n

            COURSE CALENDAR<\/strong><\/p>\n

             <\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
            \n

            \u00a0<\/span><\/strong><\/p>\n<\/td>\n

            		\u00a0<\/span><\/strong><\/td>\n\u00a0<\/span><\/strong><\/td>\n\u00a0<\/span><\/strong><\/td>\n<\/tr>\n
            \n

            Wk<\/span><\/strong><\/p>\n<\/td>\n

            		Date<\/span><\/strong><\/strong><\/td>\nWork studied<\/span><\/strong><\/strong><\/td>\nAssignment<\/span><\/strong><\/td>\n<\/tr>\n
            <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
            \n

            1.<\/p>\n<\/td>\n

            		(W) Jan. 18<\/td>\nIntroduction<\/td>\n<\/td>\n<\/tr>\n
            <\/td>\n(F) Jan. 20<\/td>\nRichard Wagner: Poet, Composer, Visionary<\/td>\n<\/td>\n<\/tr>\n
            <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
            \n

            2.<\/p>\n<\/td>\n

            		(M) Jan. 23<\/td>\nWagner<\/em> – excerpts from the film<\/td>\nFinish reading Lee\u2019s Wagner\u2019s Ring<\/em><\/td>\n<\/tr>\n
            <\/td>\n(W) Jan. 25<\/td>\nDas Rheingold<\/em><\/td>\nRead The Nibelung\u2019s Ring<\/em>, pp. 1-47 and 174-195<\/em><\/td>\n<\/tr>\n
            <\/td>\n(F) Jan. 27<\/td>\nDas Rheingold<\/em><\/td>\nPaper # 1: If I had a Ring of Power<\/em><\/td>\n<\/tr>\n
            <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
            <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
            \n

            3.<\/p>\n<\/td>\n

            		(M) Jan. 30<\/td>\nDas Rheingold<\/em><\/td>\n<\/td>\n<\/tr>\n
            <\/td>\n(W) Feb. 1<\/td>\nDas Rheingold<\/em><\/td>\nRead The Nibelung\u2019s Ring<\/em>, pp. 49-86 and 196-227<\/td>\n<\/tr>\n
            <\/td>\n(F) Feb. 3<\/td>\nDie Walk\u00fcre<\/em><\/td>\nPaper # 2: The Myth in Das Rheingold<\/em><\/td>\n<\/tr>\n
            <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
            \n

            4.<\/p>\n<\/td>\n

            		(M) Feb 6<\/td>\nDie Walk\u00fcre<\/em><\/td>\n\u00a0<\/em><\/td>\n<\/tr>\n
            <\/td>\n(W) Feb. 8<\/td>\nDie Walk\u00fcre<\/em><\/td>\n<\/td>\n<\/tr>\n
            <\/td>\n(F) Feb. 10<\/td>\n\n
            Die Walk\u00fcre<\/h5>\n<\/td>\n
            		<\/td>\n<\/tr>\n
            <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
            \n

            5.<\/p>\n<\/td>\n

            		(M) Feb. 13<\/td>\n\n
            Discussion Circle: Rheingold and Walk\u00fcre<\/h5>\n<\/td>\n
            		<\/td>\n<\/tr>\n
            \n

            \u00a0<\/em><\/p>\n<\/td>\n

            		(W) Feb. 15<\/td>\n\n
            Siegfried<\/h5>\n<\/td>\n
            		Paper # 3: Characters\u2019 Evolution in Die Walk\u00fcre<\/em>Read The Nibelung\u2019s Ring<\/em>,pp. 87-128 and 228-271<\/td>\n<\/tr>\n
            \n

            \u00a0<\/em><\/p>\n<\/td>\n

            		(F) Feb. 17<\/em><\/td>\n\n
            Siegfried<\/h5>\n<\/td>\n
            		<\/td>\n<\/tr>\n
            <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
            \n

            6.<\/p>\n<\/td>\n

            		(M) Feb. 20<\/td>\n\n
            Siegfried<\/h5>\n<\/td>\n
            		<\/td>\n<\/tr>\n
            <\/td>\n(W) Feb. 22<\/td>\nSiegfried<\/em><\/td>\n\u00a0<\/em><\/td>\n<\/tr>\n
            <\/td>\n(F) Feb. 24<\/td>\nG\u00f6tterd\u00e4mmerung<\/em><\/td>\nRead The Nibelung\u2019s Ring<\/em>,pp.129-164 and 272-310<\/td>\n<\/tr>\n
            <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
            \n

            7.<\/p>\n<\/td>\n

            		(M) Feb. 27<\/td>\nG\u00f6tterd\u00e4mmerung<\/em><\/td>\nPaper # 4: Is Siegfried a hero?<\/em><\/td>\n<\/tr>\n
            <\/td>\n(W) Feb. 29<\/td>\nG\u00f6tterd\u00e4mmerung<\/em><\/td>\n\u00a0<\/em><\/td>\n<\/tr>\n
            <\/td>\n(F) Mar. 2<\/td>\nG\u00f6tterd\u00e4mmerung<\/em><\/em><\/td>\n<\/td>\n<\/tr>\n
            <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
            \n

            8.<\/p>\n<\/td>\n

            		(M) Mar. 5<\/td>\nDiscussion Circle: Der Ring des Nibelungen<\/em><\/td>\nRead The Nibelung\u2019s Ring<\/em>, pp.165-171<\/td>\n<\/tr>\n
            <\/td>\n(W) Mar. 7<\/td>\nJ.R.R. Tolkien: Scholar, Poet, Visionary<\/em><\/td>\nResearch Essay:Wagner, an Anti-Semitic Artist?<\/em>Finish reading Fellowship of the Ring<\/em><\/td>\n<\/tr>\n
            <\/td>\n(F) Mar. 9<\/td>\nFellowship of the Ring<\/em>: Prologue;Book I, Chapters 1-2<\/td>\nOral Presentation #1-2: Fellowship of the Ring<\/em>,Prologue & Book I, Ch. 1-2<\/em><\/td>\n<\/tr>\n
            \n

            \u00a0<\/em><\/p>\n<\/td>\n

            		\u00a0<\/em><\/td>\n<\/td>\n<\/td>\n<\/tr>\n
            \n

            9.<\/p>\n<\/td>\n

            		(M) Mar. 19<\/td>\nFellowship of the Ring<\/em>: Book I, Chapters 3-5<\/td>\nOral Presentation #3: FotR<\/em>, Bk I, Ch. 3-5<\/em><\/td>\n<\/tr>\n
            <\/td>\n(W) Mar. 21<\/td>\n\n
            Fellowship of the Ring: Book I, Chapters 6-8<\/h5>\n<\/td>\n
            		Oral Presentation #4: FotR<\/em>, Bk I, Ch. 6-8<\/td>\n<\/tr>\n
            <\/td>\n(F) Mar. 23<\/td>\n\n
            Fellowship of the Ring: Book I, Chapters 9-12<\/h5>\n<\/td>\n
            		Oral Presentation #5: FotR<\/em>, Bk I, Ch. 9-12<\/td>\n<\/tr>\n
            <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
            \n

            10.<\/p>\n<\/td>\n

            		(M) Mar. 26<\/td>\n\n
            Fellowship of the Ring: Book II, Chapters 1-2<\/h5>\n<\/td>\n
            		Oral Presentation #6: FotR<\/em>, Bk II, Ch. 1-2<\/td>\n<\/tr>\n
            <\/td>\n(W) Mar. 28<\/td>\n\n
            Fellowship of the Ring: Book II, Chapters 3-4<\/h5>\n<\/td>\n
            		Oral Presentation #7: FotR<\/em>, Bk II, Ch. 3-4<\/td>\n<\/tr>\n
            <\/td>\n(F) Mar. 30<\/td>\n\n
            Fellowship of the Ring: Book II, Chapters 5-7<\/h5>\n<\/td>\n
            		Oral Presentation #8: FotR<\/em>, Bk II, Ch. 5-7<\/td>\n<\/tr>\n
            <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
            \n

            11.<\/p>\n<\/td>\n

            		(M) Apr. 2<\/td>\n\n
            Fellowship of the Ring: Book II, Chapters 8-10<\/h5>\n<\/td>\n
            		Oral Presentation #9: FotR<\/em>, Bk II, Ch. 8-10<\/td>\n<\/tr>\n
            <\/td>\n(W) Apr. 4<\/td>\nPeter Jackson\u2019s Film<\/td>\nPaper # 6: Tolkien\u2019s World<\/em><\/td>\n<\/tr>\n
            <\/td>\n(F) Apr. 6<\/td>\nPeter Jackson\u2019s Film<\/td>\n\u00a0<\/em><\/td>\n<\/tr>\n
            <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
            \n

            12.<\/p>\n<\/td>\n

            		(M) Apr. 9<\/td>\nPeter Jackson\u2019s Film<\/td>\n<\/td>\n<\/tr>\n
            <\/td>\n(W) Apr. 11<\/td>\nPeter Jackson\u2019s Film<\/td>\n<\/td>\n<\/tr>\n
            <\/td>\n(F) Apr. 13<\/td>\nThe Willow Maiden<\/em> ballet: Libretto<\/td>\nPaper # 7: The Book and the Film<\/em><\/td>\n<\/tr>\n
            <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
            \n

            13.<\/p>\n<\/td>\n

            		(M) Apr. 16<\/td>\nThe Willow Maiden<\/em>: Music<\/td>\n<\/td>\n<\/tr>\n
            <\/td>\n(W) Apr. 18<\/td>\nThe Willow Maiden<\/em>: Act 1<\/td>\nDraft of Term Paper due<\/td>\n<\/tr>\n
            <\/td>\n(F) Apr. 20<\/td>\nThe Willow Maiden<\/em>: Act 2<\/td>\n<\/td>\n<\/tr>\n
            <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
            \n

            14.<\/p>\n<\/td>\n

            		(M) Apr. 23<\/td>\nThe Willow Maiden<\/em>: Act 3<\/td>\n<\/td>\n<\/tr>\n
            <\/td>\n(W) Apr. 25<\/td>\nThe Willow Maiden<\/em>: Act 4<\/td>\n<\/td>\n<\/tr>\n
            <\/td>\n(F) Apr. 27<\/td>\nRetrospective<\/td>\nDraft returned<\/td>\n<\/tr>\n
            \n

            15.<\/p>\n<\/td>\n

            		(M) Apr. 30<\/td>\nWrap-up & Course Evaluations<\/td>\n<\/td>\n<\/tr>\n
            <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
            <\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
            <\/td>\n(W) May 2<\/td>\n<\/td>\nTerm Paper due by e-mail<\/td>\n<\/tr>\n
            <\/td>\n(Th) May 3<\/td>\nFINAL EXAM<\/span>, 8:00 \u201310:00 am, LH149<\/td>\n<\/td>\n<\/tr>\n
            <\/td>\n<\/td>\n\u00a0<\/span><\/td>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

             <\/p>\n

             <\/p>\n

             <\/p>\n","protected":false},"excerpt":{"rendered":"

            SYLLABUS   I.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Catalogue Course Information \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 A.\u00a0\u00a0\u00a0\u00a0 Number:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 FYS101 25 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 B.\u00a0\u00a0\u00a0\u00a0\u00a0 Title:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 First Year Seminar \u2013 Spellbound: the Quest for Magic in Speculative Fiction and the Arts \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 C.\u00a0\u00a0\u00a0\u00a0\u00a0 Credit:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 3 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 D.\u00a0\u00a0\u00a0\u00a0 Semester Offered:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Fall and Spring … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":1509,"featured_media":0,"parent":89,"menu_order":0,"comment_status":"open","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-244","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"http:\/\/blogs.butler.edu\/fys\/wp-json\/wp\/v2\/pages\/244","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/blogs.butler.edu\/fys\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"http:\/\/blogs.butler.edu\/fys\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"http:\/\/blogs.butler.edu\/fys\/wp-json\/wp\/v2\/users\/1509"}],"replies":[{"embeddable":true,"href":"http:\/\/blogs.butler.edu\/fys\/wp-json\/wp\/v2\/comments?post=244"}],"version-history":[{"count":2,"href":"http:\/\/blogs.butler.edu\/fys\/wp-json\/wp\/v2\/pages\/244\/revisions"}],"predecessor-version":[{"id":246,"href":"http:\/\/blogs.butler.edu\/fys\/wp-json\/wp\/v2\/pages\/244\/revisions\/246"}],"up":[{"embeddable":true,"href":"http:\/\/blogs.butler.edu\/fys\/wp-json\/wp\/v2\/pages\/89"}],"wp:attachment":[{"href":"http:\/\/blogs.butler.edu\/fys\/wp-json\/wp\/v2\/media?parent=244"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}