Gwenyth Mapes, Professor Fall 2020, 8-weeks: E-mail: gwenyth.mapes@gcccd.edu Sections 3311, 3312 Live weekly Zoom Meetings/Office Hours will be WEB Mondays from 9:30-10:45am (recorded and uploaded later on Canvas Announcements) Individual meetings can be worked out: Send me a Canvas message or an email I respond to emails within 24-hours, except on weekends. SYLLABUS: HUMANITIES 110 Principles of Humanities Syllabus is tentative and subject to change by the Instructor Academic Accommodations: Students with disabilities who may need accommodations in this class are encouraged to notify the instructor and contact the Accessibility Resource Center or A.R.C. for short (as opposed to “arc”). A.R.C. was formerly known as DSP&S. Please contact A.R.C. early in the semester so that reasonable accommodations may be implemented as soon as possible. Students may contact A.R.C. in person in Building 60 Room 120 or by phone at 619-644-7112 (voice). The phone number for deaf and hard of hearing students is 619-527-4269. (We no longer have a TTY on campus). Students facing food or housing insecurity are encouraged to contact a Grossmont College Basic Needs Liaison (their names are listed in the web link provided below) or you can send an e-mail to Grossmont.BasicNeeds@gcccd.edu to request information or assistance. I also encourage you to speak with me, if you feel comfortable doing so, so that I may provide additional support to ensure your success in this course. Additional information on basic needs resources, including Gizmo’s Kitchen (Grossmont College’s food pantry) is available at: https://www.grossmont.edu/student-services/offices-and-services/basic-needs. I also recommend you talk with Susan Berry (at 619-644-7236 or at Susan.Berry@gcccd.edu), our Student Engagement Coordinator in Student Affairs at Grossmont College. Her office is in Building 60 Room 206. Text: The Humanities: Culture, Continuity & Change, 3rd or 4th edition, Volume I (Prehistory to 1600), by Henry M. Sayre (Pearson Publishing) – (we will read Chaps 1-13 from Volume I) All texts and all supplemental handouts are required for this class, and must be read prior to the appropriate classes for discussion and note-taking. (See syllabus' Assignment schedule for readings.) An ebook is available. Academic Integrity: Cheating and plagiarism (using as one’s own ideas writings, materials, or images of someone else without acknowledgement or permission) can result in any one of a variety of sanctions. Such penalties may range from an “F” on the particular exam, paper, project, or assignment (all of which may lead to a failing grade in the course) to, under certain conditions, suspension or expulsion from a class, program or the college. For further clarification and information on these issues, please consult with your instructor or contact the office of the Associate Dean of Student Affairs at Grossmont College. For more information, see the Grossmont College Catalog. Humanities Student Learning Outcomes: Students in humanities classes are expected to read at or beyond college level, write in the expository style, and demonstrate critical thinking skills in the humanities. Evaluations may consist of, but are not limited to • Reading comprehension and analysis, • Expository writing, and • Critical thinking skills demonstrated through oral and/or written communication, and assigned research and/or projects in the Humanities. Page 1 of 5 Course Objectives and Outcomes: The objectives for this Principles of Humanities course are to (1) increase student knowledge of western humanities' origins from both (a) an historical and (b) a topical perspective, (2) give students the tools with which to identify and analyze basic genres in the humanities discipline, (3) provide students with the tools to write in an expository fashion about the humanities, and (4) provide the basis for students' own critical thinking skills in response to the academic discipline of Humanities across cultures and times. These areas will be “tested” via class discussion/participation, writing assignments, presentations, and/or exams – as indicated on the syllabus. Themes: The humanistic genres including myth, poetry, history, religion/philosophy, art, music, science, etc. will be presented by a look four components: (1) art/artifacts, (2) writing/literature, (3) architecture, and (4) power/hierarchy, which are foundational in the study of humanities as related in theme to cross-cultural and cross-time examples. Other historical references up to the modern and contemporary period may be added, along with the incorporation of art and music via slides, internet sites, dvd, and/or film. Class Participation: Attendance is required as per the College Catalogue. But you will be graded on on your active participation. Regarding student responsibilities, for further clarification and information on these issues, please consult with your instructor, or contact the office of the Assistant Dean of Student Affairs. Participation requires more than attendance, but also is fundamental to the nature of Humanities, which requires active participation rather than passivity or mere regurgitative learning. It is the student’s responsibility to withdraw from any classes that they are no longer attending. Participation is communicating in the weekly live Zoom meetings, Canvas Discussions, Canvas peer reviews/comments, and with me individually. Class participation comprises 1/5 of the total grade for the course. Writing Assignments: All writing assignments are to be typed (12-font and 1” margins is the preferred standard), double-spaced, stapled, and written in the expository (rhetorical argument) style. All writing assignments are to be turned in on the morning of the date assigned and must be submitted as Word documents (.doc or .docx) via Canvas. The Professor reserves the right to refuse to grade a paper that is turned in past the due-date or time when there has been no prior communication with the Professor, or if late (without permission), a writing assignment will be marked down one letter grade for each day it is late. If a rewrite is expected or allowed by the Professor, the student must first meet virtually with the Professor regarding the initial paper within one week of the graded paper’s return and the subsequent rewrite must be turned in no more than two weeks after the initial graded paper’s return except when preceded by the end of the semester. No papers or rewrites will be accepted after the final class of the semester. Each writing assignment comprises 1/5 of the total grade for the course. Paper due on the first class meeting during the week of: Week 3 3-page paper on Chapters 1-4 Week 7 3-page paper on Chapters 9-11 Exams: Week 5 Exam on Chapters 5-8 Week 8 Exam on Chapters 12-13 (Oct 8-9 for section 3311; Dec 7 for section 3312) There are no make-up or re-scheduled exams unless there is a significant health issue or the like that can be proven with sufficient documentation. Each Humanities exam comprises 1/5 of the total grade for the course. There are five equal components of a student’s grade for the course, as listed (in bold) above: Participation; Writing assignments #1 and #2; and Exams #1 and #2. Class: Week 1 Assignment: Overview of class Read Chap 1 “The Rise of Culture: From Forest to Farm” Page 2 of 5 Discuss Handout on 1st paper assignment with last two pages of syllabus on writing Read Chap 2 “The Ancient Near East: Power and Social Order” Group work on your themes: art/ifacts, architecture, writing/lit., OR power/hierarchy (for first paper on Chaps 1-4) Week 2 Read Chap 3 “The Stability of Ancient Egypt: Flood and Sun” Group work: your 1-sentence predictive thesis statements (for paper on Chaps 1-4) Read Chap 4 “The Aegean World and the Rise of Greece: Trade, War, and Victory” Contine to revise your 1-sentence predictive thesis statements (for paper on Chaps 1-4) Week 3 Paper 1 due on Chaps 1-4 Read Chap 5 “Golden Age Athens and the Hellenic World: The School of Hellas” Read Chap 6 “Rome: Urban Life and Imperial Majesty” Group work: your themes for the upcoming test on Chaps 5-8 Week 4 Read Chap 7 “Emerging Empires in the East: Urban Life and Imperial Majesty in China and India” Bring in and workshop your 1-sentence predictive thesis statements (Chaps 5-8) Read Chap 8 “The Flowering of Christianity: Faith and the Power of Belief in the Early First Millenium” Group work: your 1-sentence predictive thesis statements (Chaps 5-8) Week 5 Exam 1 on Chaps 5-8 Read Chap 9 “The Rise and Spread of Islam: A New Religion” Group work: your themes for the upcoming paper on Chaps 9-11 Week 6 Read Chap 10 “Fiefdom and Monastery, Pilgrimage and Crusade: The Early Medieval World in Europe” Group work: your 1-sentence predictive thesis statements (Chaps 9-11) Read Chap 11 “Centers of Culture: Court and City in the Larger World” Continue to revise your 1-sentence predictive thesis statements (Chaps 9-11) Week 7 Paper 2 due on Chaps 9-11 Read Chap 12 “The Gothic Style: Faith and Knowledge in an Age of Inquiry” Read Chap 13 “Siena and Florence in the Fourteenth Century: Toward a New Humanism” Group work: your theme and 1-sentence predictive thesis statements for the upcoming test on Chaps 12-13 Week 8 Finish discussing Chap 13 “Siena and Florence in the Fourteenth Century: Toward a New Humanism” Group work: your revised thesis statements (for test on Chaps 12-13) Exam 2 on Chaps 12-13 (Oct 8-9 for section 3311; Dec 7 for section 3312) Page 3 of 5 EXPOSITORY WRITING Sample Introductory Paragraphs 1. The book of Judges in the Hebrew Bible tells the stories of many Jewish leaders before the period of the kings begins. One of the best known of these leaders, or judges, is Samson, whose life is described in Chapters 13-16. Although Samson is ultimately a victorious Jewish leader against the Jews’ arch-foes of the time, the Philistines, Samson nevertheless does not exhibit the customary qualities of a Jewish hero. Samson’s motives seem to be self-interested rather than national, his morality appears contrary to his elevated role, and he repeatedly falls short of his promises to his people and his God. 2. Major league baseball in the United States is divided into two divisions, the American and National Leagues. The playing rules between the two leagues are not exactly the same. In 1973 the American League adopted a rule that allows a non-fielding player to come to bat as a substitute for the weakest hitter on the defensive team. This permanent substitute batter is known as the designated hitter (DH), and since 1973 baseball fans have been divided over the institution of this rule. Even though the DH rule has added some offensive excitement to the game, it ought to be eliminated. The DH rule has upset the tradition and uniformity of the game, it has distorted the statistics between the two leagues, and it has reduced the cat-and-mouse strategy that is so important to baseball. Sample Thesis Statements 1. Although baseball has a book of fixed rules and infield measurements, United States baseball parks differ greatly in foul territory, outfield distance, and homerun fences. (Not a good thesis statement as it merely states facts and should instead pose an argument.) 2. Although I had gone to camp every summer of my childhood, when I left for college I felt for the first time that I had left home. My appetite, my growing pile of laundry, and my need for family contact all created a sense of estrangement. (Not a good thesis statement as it is two sentences and should instead be a single sentence.) 3. Admitting that sequels are usually second rate, I found Return to Snowy River to be fresh in its cinematography, characterization, and plot development. (Good thesis statement.) 4. While small town life has its advantages, growing up in rural America can produce a limited vision due to inadequate schools, geographic isolation, and homogeneous populations. (Good thesis statement.) Sample Ending Paragraph 1. Entering college opened many doors to the future, but it also more or less closed the door to my parents’ home for me. I had left home. This was first apparent to me through the little inconveniences, such as providing my own meals, and later when I realized that my family was not readily available. Breaking one’s ties with home is one of the principle passages in growing up. It is often more psychological than physical. For although we are usually back and forth to our homes throughout our lives, there is one particular experience when we realize that we no longer belong to our parents’ household. Keyhole Pattern for Expository Paper 1. Introduction – broad opening – narrow down to the 1-sentence thesis statement which predicts the body paragraph number, order, and topics 2. Body – 3 or more paragraphs in body, each beginning with a topic sentence that repeats a thesis prediction 3. Conclusion – restate thesis statement succinctly – summarize main ideas – briefly expand to broader application Page 4 of 5 FORMAL WRITING (as per the MLA handbook, summer 2010) Following are some dos and don’ts to observe in final drafts. Keep in mind that the style of a formal piece of writing should have the look of thoroughness and elevation about it. By no means is this an exhaustive list, but enough to start with. 1. Papers must be typed in a 12 point font, with easily readable type-face (e.g. Times New Roman), double spaced on 8 ½ x 11” paper and stapled. (MLA Rule 4.2) "…Most instructors prefer papers printed on a single side, but some instructors encourage printing on both sides as a means of conserving paper." (MLA Rule 4.6) 2. Titles are not necessary, but may be used. Do not use such division-markers as “Introduction,” “The End,” etc. Do not use numbers or letters as outline guides. "A research paper does not need a title page. Instead, beginning one inch from the top of the first page and flush with the left margin, type your name, your instructor's name, the course number, and the date on separate lines, double-spacing between the lines. Double-space again and center the title." (Rule 4.3) 3. Title pages are not necessary, but may be used. Title pages, like each subsequent page of the paper, must include your name, class, date, and perhaps other pertinent matter. If using a title page, the numbering still begins with “1” being the first page of written material, not the title page. (Rule 4.3) 4. In formal writing, avoid the look of haste and “short cuts”: • Do not use contractions (e.g., I’m, don’t, should’ve – write these out) (Rule 3.2.7) • Avoid abbreviations except for the most accepted ones, such as “Mr.” (Rule 7.1) • Spell out numbers written in one or two words (one, two hundred, three million) represent other numerals by numbers (2 ½, 101, 1,275) unless the numbers are used in dates, statistics, addresses, and text citations (e.g., act, line, page, chapter). (Rule 3.5.2) 5. Avoid the use of first person (“I”) and second person (“you”). The use of “I” is unnecessary, as it is your paper, and is a less authoritative and universal tone. The use of “you” implies and informal, personal tone between you and the reader. Formal writing should be more objective, detached and universal. Also, do not refer to the essay you are writing or yourself as author; it is obviously an essay and unless you are plagiarizing, it is obvious who wrote it. 6. Do not use clichés or slang. These expressions are suitable for speech and informal writing, but they are inappropriate for a more elevated and exact style of writing. 7. This is closely related to “6.” above: Do not use words that are vague and general in meaning. Words like “good” and “nice” mean so many things that they mean nothing in particular. Choose words that have a precise meaning. Never use “etc.” formally. 8. Reference citation: When you try to prove or demonstrate a point in literary analysis, often you will need to cite supporting passages (quotations). Check your MLA Handbook as the final source, but here are some guidelines: • "If prose quotation runs no more than four lines and requires no special emphasis, put it in quotation marks and incorporate it into the text." (Rule 3.7.2) • If you quote a passage fewer than four lines, you must keep the passage within the normal margins and spacing of your paper. (Rule 3.7.2) • At the end of a quoted passage, or where you merely refer to a passage, you must cite it. Use in-text source citations (see MLA Handbook). Here abbreviations and numbers should be used. Put citations in parentheses. If possible, try to use references that will allow a reader to find the passage in any edition. In other words, use line, verse, act and book numbers rather than page numbers. Examples: (Gen. 3:2-7) (Od. XX, 359-65) (Inferno V, 13-19) (Hamlet IV, ii, 7-12). (Sayre, pgs. 253-254) [Rule 6.1-6.4] 9. Italicize the titles of long, complete works (plays, novels, symphonies, books of poems, record titles, and long pieces within a bigger work, such as Genesis from the Hebrew Bible). In typing you can use capital letters instead of underlining or italicizing, but not both. Put quotation marks around titles of short works or generally parts of a longer work (chapter titles, shorter poems, short stories, song titles); these cannot be capitalized, underlined or italicized. (Rule 3.6.2) 10. Avoid wordiness, especially tautological expressions that say the same thing twice: “new innovations,” “basic fundamentals,” “a sweet and dear friend.” Also avoid unnecessary adverbs, particularly those which also fall under “7.” above (e.g., very). 11. Generally (this is not always possible or logical) try to remain in present tense when speaking about literature: “Odysseus is (not “was”) a Greek warrior.” “God appears (not appeared) to Moses in Exodus.” “The character Dante, in Dante’s Inferno, takes a journey in the afterlife, thanks to the intervention of Beatrice on his behalf.” Page 5 of 5