Instructions for paragraphs
For six class periods early in the semester you will turn in a paragraph in which you analyze and discuss a short passage from the reading for that day. These paragraphs are due in class, not after class, and not in my mailbox or my office. I will grade only the paragraphs I receive in class. The dates due and works covered are:

Sept. 2nd Homer, Odyssey 5-8
Sept. 7th Homer, Odyssey 13-16
Sept. 12th Homer, Odyssey 21-24
Sept. 14th Sappho, all
Sept. 19th Sophocles, Antigone all
Sept. 23rd Euripides, Medea all

In your discussion, make points. Do not merely summarize what you have read. Unlike the longer papers which are driven by open-ended questions, these paragraphs develop from close attention to a small passage of text. Show how you read it, why it is significant, or how it relates to major themes in the work. Aim for about 1/2 page in length. The entire document may not be longer than 1 page of double-spaced 12-point type.

Be ready to share your choice of quote and paraphrase your assertions at the beginning of the period (although we will not get to hear everyone’s ideas each time). This should give you something you are eager to share during discussion that day and remind us all to pay attention to, and return to, the texts, which are our primary source evidence for this course.

Give your papers MLA style headers as in the Hacker sample headers on pages 151 and 153:

At some point in the paragraph, quote the passage you are working on (do not give the entire passage at the top of your paper). Use parenthetical citations, following the guidelines for MLA documentation from Diana Hacker's A Pocket Style Manual. In the parenthetical citation, give either the page number or book and line numbers, but not both. Be consistent. Demonstrate that you know how to quote lines of verse, use ellipses, brackets, and quotation marks correctly (115-35). At the bottom of your page, type a list of work(s) cited, also following MLA form (135-48, 152, 154).

Each paragraph is worth 20 points: 10 points for mechanics, 10 points for analysis. Stop turning in daily paragraphs when you have earned 100 points, or are satisfied with your total. You may not rewrite paragraphs or turn in more than 6 or more than one per class. No extra credit; no substitutions. No more than 100 points total are possible. I will take points off for spelling, usage, and punctuation errors; double points off for sentence fragments, run-on sentences, documentation errors, and misspelling the author's name, the title of the work, or characters' names. These are warm-up exercises, designed to get everyone up to speed and to remind us of the expectations as we begin longer writing assignments. While these are "points off" exercises in terms of mechanics, pay particular attention to your analysis grades which are "points earned" and much more indicative of grading for the longer papers.

Initially, you will have three 2-page writing assignments. These will be based on specific analytic and writing skills expectations, having three parts 1) reword or explain the issue, 2) show how it applies to the text, and 3) apply it yourself. You will write a discussion of concession/refutation related to Descartes (or “What is Enlightenment?”), a discussion of epistemological questions related to Othello, and a specific to Locke definition of an abstract.

This first writing assignment will exercise a number of analytic skills, namely paraphrasing and redefining major concepts in your own words (Section A), considering what texts say or imply are key moves and tactics underlying their works and then considering whether they do them (Section B) and applying them yourselves (Section C). It is fine if you do each of these in pithy parts without transitions or connections between each section. You do not need a title for this one!

Section A (worth 10 points): Using Beale’s explanation restate in no more than 75 of your own words what Concession and Refutation are (53-54). These are based on “The Classical Scheme” for deliberative, persuasive arguments in writing based on Greek and Roman speechmaking and thus part of the “Antiquity” that has “founded” or “colonized” or _________ our ways of viewing the world in America in 2006.

Section B (worth 30 points): In no more than 350 of your own words (giving page/margin references), first, explain why concession and refutation might be important to Descartes’ (and/or Kant’s) project and, second, give me an example of concession and one of refutation in Kant or Descartes and assess its validity.

Section C (worth 10 points): In no more than 75 words engage in one concession and one refutation of a point in Kant or Descartes with which you do not agree. These can be two separate sentences and do not need to relate to one another. These are issues you personally concede or refute while disagreeing with the larger argument to which it relates.

Beale, Walter. Real Writing: Argumentation, Reflection, Information. Glenview, IL: Scott,

Arguing against the divine right of kings Locke uses his reconstruction of the “State of Nature”:

Book II, Sect. 13. To this strange doctrine, viz. That in the state of nature every one has the executive power of the law of nature, I doubt not but it will be objected, that it is unreasonable for men to be judges in their own cases, that self-love will make men partial to themselves and their friends: and on the other side, that ill nature, passion and revenge will carry them too far in punishing others; and hence nothing but confusion and disorder will follow, and that therefore God hath certainly appointed government to restrain the partiality and violence of men. I easily grant, that civil government is the proper remedy for the inconveniencies of the state of nature, which must certainly be great, where men may be judges in their own case, since it is easy to be imagined, that he who was so unjust as to do his brother an injury, will scarce be so just as to condemn himself for it: but I shall desire those who make this objection, to remember, that absolute monarchs are but men; and if government is to be the remedy of those evils, which necessarily follow from men's being judges in their own cases, and the state of nature is therefore not to be endured, I desire to know how much better it is than the state of nature, where one man, commanding a multitude, has the liberty to be judge in his own case, and may do to all his subjects whatever he pleases, without the least liberty to any one to question or controul those who execute his pleasure? and in whatsoever he doth, whether led by reason, mistake or passion, must be submitted to? much better it is in the state of nature, wherein men are not bound to submit to the unjust ill of another: and if he that judges, judges amiss in his own, or any other case, he is answerable for it to the rest of mankind.

“I had no idea what to do, no purpose in life; ah, no one else has ever known the real meaning of slavery”--Alcibiades after Socrates sleeps with him without making an advance (Symposium 71).

“Let us stick to the facts: the people have won—or ‘the slaves’ or ‘the mob’ or ‘the herd’ or whatever you like to call them . . . While every noble morality develops from a triumphant affirmation of itself, slave morality from the outset says No to what is “outside,” what is “different,” what is “not itself”; and this No is its creative deed.”--Nietzsche in On the Genealogy of Morals (35-36).

“This is the perfect condition of slavery, which is nothing else, but the state of war continued, between a lawful conqueror and a captive: for, if once compact enter between them . . . the state of war and slavery ceases, as long as the compact endures . . . no man can, by agreement, pass over to another that which he hath not in himself, a power over his own life.”—Locke in “Of Slavery” (Second Treatise of Government 17-18).

It may not be immediately apparent that slavery is very different in Exodus than in Beloved. Or that within the same act, Iago “’tis a damned slave” (V.ii.244) in a use that may be different from Othello’s exclamation “O cursed, cursed slave” (V.ii.278). Yet, in the quotes given above it is clear that terms shift reference author by author, text by text, or even character by character. Terms throughout our texts, not only clearly ambiguous and shifting, like “evil,” but more seemingly clear cut, like “slave” and “slavery,” have different author or site-specific textual meanings which must be addressed by the authors, the readers, and anyone writing about them. This is an exercise in emphasizing that need to reword, examine in text, and apply in a new context an author or text specific definition. Do NOT use Webster’s dictionary definitions, or even the Oxford English Dictionary. Many professors hate to see them in papers and they would be very unlikely to help you explain, for example, how and why slave or slavery is applied by Alcibiades or Othello. It is much more impressive and worthwhile for you to rephrase and use concepts for yourself.

For this paper, pick a word from John Locke’s Second Treatise of Government that has site-specific usage that differs from regular usage at least somewhat. This might mean, for example, simply that it excludes elements often thought to belong to the term. For example, slavery often suggests to Americans in 2004 that slave-owners had or have “power over . . . [a slave’s] life.” Do NOT use slave or slavery as your term.

A) Find a quote using the term from any other core reading. Tell me, shortly, in your own words, how the other core author used the term. This serves as a type of introduction that reemphasizes the difference in language use across core texts and sets up your much more in depth consideration of Locke’s use of the term. You can use related terms, for example, Desdemona’s “revolt” (I.i.132) if your term were “revolution” or Iago’s cry of “thieves, thieves” (I.i.80) for “theft” and so on. This is worth 10 points overall.

B) Quote, explain and reword Locke’s use of your term to develop a full and distinct sense of it as used in one or all of the sections of the Second Treatise of Government. If you want you can assess strengths and weaknesses of this definition for the purposes of the text or general use, but that is not required. This is worth 30 points overall.

C) Apply the term to another context. You are welcome to use popular culture or other core texts for your examples. You might make a distinction or give an example from both texts mentioned in your paper thus far. Thus, you could give a modern example of “slavery in Alcibiades’ terms” and one “in Locke’s terms.” All you need to do is apply Locke’s term, however. This is worth 10 points.

In addition to the six paragraphs you will write three longer papers, which will be typewritten and double-spaced. Paper #1 is 3 pages and papers #2 & #3 are 5-6 pages long. Due dates are given above in grade percentages section. The papers are weighted more heavily later in the semester, as you have had more practice and feedback. Your essays should articulate a negotiable thesis or argument (i.e., support one or more positions on an issue or point, even if intentionally not decisively). Your papers should not be merely descriptive, informative or summary. They must have a title and use MLA citation forms. You will do peer editing of a draft of paper #3 and hand in a cover sheet analysis with your revision.

Late papers will be marked down. If the paper is turned in anytime within 24 hours of when it was due it will be marked down one grade level (e.g. from B+ to B). After that the grade will be lowered one level for each additional day which the paper is late. I will provide more details about each paper as we are reading the pertinent texts. I provide more guidelines on papers and revision questions on-line below.

In addition to the two two-page exercises, you will write three or four longer papers (4-6 pages long) which will be very like your longer papers last semester, though they will be of equal value to your grade. We will be doing required peer editing for the first three papers. Your peer editing will be considered in your class participation grade, so write your name on the top right hand of each draft you comment upon and make sure your peers hand in all drafts with their revised paper. You must hand in one or more paper topics you would like to use and two copies of drafts on the due dates given below for the first three papers.

You may choose to write just the first three papers or hand in all four and take the top three grades. They will be typewritten and double-spaced. Your essays should articulate a thesis or argument (i.e., take a position on an issue or point, even if not conclusive), and not be merely descriptive, informative or summary. Papers should go considerably further or in distinct, personally-articulated directions compared to shared discussion of the same texts. They should include a discussion of a text covered since the previous paper. This semester there may be more leeway in approaches. See for example the creative paper options given at http://people.whitman.edu/~bormans/assign.htm#creative. You might bring in some additional material from another class, for example, though these are still not research papers but close-readings supporting creative assertions. Papers must have a title and use MLA citation forms. Late papers will be marked down. However, you may have one crisis extension during the semester. You can hand in any one of the longer papers one week later (write “Crisis Paper” next to the date in the header) without explanation. If any other paper is turned in anytime within 24 hours of when it was due—or if it is not marked “Crisis Paper”--it will be marked down one grade level (e.g. from B+ to B). After that the grade will be lowered one level for each additional day which the paper is late. I will provide more optional topics to consider for each paper as we are reading the pertinent texts.

I have had a few requests for more information on less-traditional paper topics which are possible this second semester. Keep in mind that I want you to do only one of either of these possibilities during the semester (no more than one creative and one core experience altogether in the 3-4 longer papers). I still want you to come up with your paper topics and approaches but keep these guidelines in mind.

If you do the creative paper option, you still need to clarify what it is in the original that you respond to and how (intentionally with or against the grain and how so and why). Look to your information on the interpretive presentations which include Parts One and Two. These papers would still incorporate these elements integrated or set apart from one anther. Thus if you do a mostly in your voice creative piece, you will need more extensive "notes."

For example, you might have an introduction/preface which addresses these points or a set of end or footnotes that does this. If you are inspired by the romantics to write poetry, you might need the notes to explain. If you write a missing scene from one of the works, you should also make the continuity and intentional parodying or anachronisms clear in notes.

If you do something more in the voices of the texts, this is less necessary but you must still have your spin involved. If you do a dinner table debate between major characters or authors with extensive word-for-word quotation, you might need to include yourself at the table to clarify how you are interpret and interact with the material.

If you do a core experience response, you must still ENGAGE HEAVILY THE SPECIFICS of core texts. We tend to privilege readings which are more unusual or which are more "evenhanded" but there should be more leeway in this type of paper than in many for "ranting" or "gushing." The final exam example I gave you about choosing two texts to remove and discussing what would be gained AND WHAT LOST by jettisoning these works is an example of how we like you to still exercise balance and consideration of the devil's advocate.

Longer papers will be typewritten and double-spaced, using the same MLA headers and Works Cited pages as earlier (see Hacker for models). Your longer academic essays should articulate a thesis or argument (i.e., take a position on an issue or point, even if not conclusive), and not be merely descriptive, informative or summary. Remember I prefer focused, specific, close readings. Be very, very focused if you do more than one work. You can be somewhat more far ranging if you stick to one work.

The core texts were chosen in part for their complexity and ambiguity and professors tend--myself included--to privilege readings which acknowledge this, though a creative approach we have not touched on thus far is often strong enough to make a good impression. Alternately, it can be the sub-distinctions and details you pick out of a striking passage, or the choice to focus on an obscure and easily-overlooked theory that make your reading richer and more unique, rather than the ambiguity of the text. The "something more" your distinct voice brings to the discussion because you engaged the text fully outside of class is what I look for and value highly when reading these.

• You own this material. You have understood it, thought through its complexity, and come to a current personal reading of key elements in it. You would be able to engage in lively talk about it on the spur of the moment.

• Your voice and main points are engaging, creative, unique and confidently assertive.

• You have considered the main, contrary readings and conceded and refuted them as necessary.

• You have used the details of the primary source evidence to support your nuanced reading.

• You have kept in mind the current professor’s tendency to privilege complexity, nuance, and attention to primary-source ambiguities.

content originality, careful thought, clearly defined central idea or thesis, substantial and concrete support of the central idea

organization clearly ordered plan of development, consistent development of central idea, unified and coherent paragraphs, effective transitions between ideas

expression appropriate, clear, and accurate choice of language, complete, clear, and varied sentence structure

mechanics consistent and correct spelling, punctuation, grammar, and usage, correct citation and documentation form

I encourage you to ask yourselves these questions when revising or editing for your peers. Although grading is attuned to the specific assignment, I often have the following in mind when grading your work.

5) Do paper and tone demonstrate balance or awareness of the D.A., other interpretations, or weaknesses in your position?

7) Is your paper creative and original (in topic, format, or spin and/or in smaller units like language and examples)?

8) Are your examples or quotes focused, detailed, and specific in order to explain and support your assertion(s)?

10) Are you aware in this paper of audience and assignment, whether or not you follow them completely?

Cover Sheet and Self-Assessment Instructions

This assignment is designed both to improve your writing and to assist me in responding effectively and efficiently to your writing.

1. Attach a cover sheet to your essay. On this typed sheet (or sheets if you need more than one page) you should have:

(a) your name and the title of the essay

(b) your thesis statement in a sentence of two. This may be drawn directly from the essay or it may be worded differently. It should state clearly and precisely what your argument for the essay will be. It should also be clear to me from reading your thesis statement what text(s) you will be examining.

(c) a list of your key sentences (one from each paragraph worded exactly as they are in the essay) in order. That is, starting with the first paragraph following the introduction, type (or cut and paste) in order the key sentence from each paragraph of the essay. If there are eight paragraphs, there should be a list of eight key sentences.

2. Using either the back of the last page of the essay or a separate sheet of paper stapled at the back of the essay, write a self-assessment both of your writing process (how did this essay go for you, where did you struggle or get stuck, what went well and what didn’t) and the product (what do you think are the essay’s strengths and weaknesses?). I will read this after I read and evaluate the paper but before I write my final comments to you. It will assist me in offering you the most useful feedback I can.

No essay will be accepted without both a cover sheet and a self-assessment! Please do not forget!

When coming up with your own topics, remember I expect them to a) significantly engage recent reading(s) b) be focused and manageable and c) based on personally-voiced assertion.

Longer paper peer editing feedback

When writing up your comments keep the following in mind. What sorts of comments would you like to receive to help you revise and improve your papers? Just telling someone the paper is good does not help in revision. Telling them specifically what was good about it is better but most writers appreciate encouragingly worded suggestions for improvement much more. Note mechanical and surface errors but these are not substantive comments. I consider that almost not at all in evaluating your peer comments for one another. This is not a “correcting” or “copy editing” exercise.

In addition to the required elements of your peer editing (marked 1-5 below), for your end comments you might consider any of the following qualities of the draft so far. You do not have to type these comments up but please make them legible.

COMMON ELEMENTS PROFESSORS LOOK FOR IN GOOD PAPERS

CONTENT originality, careful thought, clearly defined central idea or thesis, substantial and concrete support of the central idea

ORGANIZATION clearly ordered plan of development, consistent development of central idea, unified and coherent paragraphs, effective transitions between ideas

EXPRESSION appropriate, clear, and accurate choice of language, complete, clear, and varied sentence structure

MECHANICS consistent and correct spelling, punctuation, grammar, and usage, correct citation and documentation form

Peer Editing Exercise for Paper Three

1) Underline and mark with a ˜ your favorite line, point or paragraph. At the end of the paper after a ˜ write why it is your favorite part of the draft thus far. Feel free to comment on more good points.

2) Underline and mark with a * a part you think could use work. At the end of the paper after a * explain what you would like to see (for example, clearer explanation, more details, or support for a controversial statement).

3) Ask at least two informational and two devil’s advocate questions (mark them “Info. ?:,” and “D.A. ?:” in the margins or in the end comment).

Informational questions might be purely requests for additional information or might be more “have you considered ___” or “does this remind you of ___” or “wouldn’t it be good to look at book ___ to add to this” sorts of questions. They might be questions for clarification.
The devil’s advocate questions would push for strengthening the point of the paper by suggesting ways to read against it. Neither you nor the writer has to be heavily invested in these questions, but it is a good exercise to consider “what if the opposite of this thesis or this sub-point of the argument were true or this exception to the correct general argument were considered?”

4) Ask for “more” of the paper. After MORE: write something you think would enrich the paper. Sometimes the good line or idea you marked at the beginning will suggest good elements in the paper you would like to read more of in the revision.

5) Comment on your peer’s thesis.

Is it negotiable? Does it seems like anyone would say, “Well, yes of course. So what? What else are you building upon that idea?” On the other hand, does it seem too risky and controversial to support?
Is it focused, detailed, and specific enough?
Does it seem to have changed by the conclusion or not to fit the body of the paper?

Advance questions

On the schedule attached to the syllabus, I like to give questions to consider for classroom discussion due that day. These are frequently based on shared core faculty input and interests. I am currently revising these, but here are the Spring 2005 ones as an example.

Schedule of Readings

1/19, W Kant, “What Is Enlightenment?”

What is “Enlightenment”? To what extent was this project part of texts in your antiquity semester?

1/21, F Descartes, Discourse on Method, parts 1, 2 and 3

How is the nature of knowledge problematic? What does Descartes’ method of pursuing knowledge tell us about his conception of the structure of knowledge?

1/24, M Descartes, Discourse on Method, part 4

Given radical doubt and Descartes’ first principle of philosophy, what is the nature of mind and body existence? How does this compare to earlier, shared author’s conceptions (for example, Socrates or Augustine)?

1/26, W Descartes, Discourse on Method, parts 5 and 6

What do Descartes’ arguments about animals suggest about why there is a strong modernity focus on the nature of animals (and plants and the natural world) rather than divinities, for example?

1/28, F Shakespeare, Othello, Act 1

In what ways is Shakespeare’s Othello the complete opposite of the project that

Descartes was embarked upon? What are the sources of Iago’s resentment toward

Othello, and do any of these sources appear to be well-founded?

1/31, M Shakespeare, Othello, Acts 2-3

What does Iago do in Act 3 Scene 3 to manipulate Othello? What is the significance of Shakespeare’s emphasis upon Othello’s need for ocular proof? What aspects of Othello make him convinceable?

2/2, W Shakespeare, Othello, Acts 4

What does this act suggest about gender relations and master-servant relationships? Why does the foreshadowing and complication of the story take the forms it does?

2/4, F Shakespeare, Othello, Act 5

Consider Desdemona’s speeches in Act V. According to Shakespeare, is Desdemona complicit in her own destruction, or does Shakespeare suggest that Iago has failed, since Desdemona’s love for Othello hasn’t been corrupted? Why does Emilia act as she does? Is Othello a victim?

2/7, M Locke, Second Treatise on Government Ch. 1-4.

In what does political power consist? What are Locke’s grounds for his claim that “every man hath a right to punish the offender, and be executioner of the law of nature” when humans are living in the “State of Nature”?

2/9, W Locke, Second Treatise on Government Ch. 5-6.

Are Locke’s ideas about property and power egalitarian? What values underlie Locke’s concern that land be improved?

2/11, F Locke, Second Treatise on Government Ch. 7-9.

Why is the consent of the governed important to Locke? To what extent is his interest in this consent practical and to what extent is it ethical?

2/14, M Voltaire, Candide, Ch. 1-13

What do the characters mean by “the best of all possible worlds”? Why so much story-telling?

2/16, W Voltaire, Candide, Ch. 14-21

How does Voltaire’s image of the New World compare to Locke’s treatment of America? What are the effects of economic activity on human society? Is Eldorado a utopia?

2/18, F Voltaire, Candide, Ch. 22-30

Is happiness an illusory goal? Does Candide have a constructive message? How would you cultivate your garden?

2/21, M Presidents' Day Break / no classes BUT FILM VIEWIING OPTION

2/21, M 7:30 p.m. Maxey Auditorium. Film version of Mozart's Don Giovanni, starring

Raimondi, Te Kanawa, et al. Musical direction by Maazel; film direction by Losey.

Length of film: three hours.

2/22, T 7:30 p.m. Maxey Auditorium. Film version of Mozart's Don Giovanni, starring

Raimondi, Te Kanawa, et al. Musical direction by Maazel; film direction by Losey.

Length of film: three hours.

2/23, W Mozart, Don Giovanni, all (focus on Overture, Zerlina’s Seduction & Elvira’s denunciation, Champagne Aria)

What does the music--with and against the grain of the libretto--suggest about the character of Don Giovanni? To what extent is he heroic? How erotic, sensual, tied to the material world is the opera? Is he more a Lockean criminal or an exploder of the immature, gangelwagon-existence pre-Enlightenment?

2/25, F Mozart, Don Giovanni (focus on La Libertà & dances, Marriage of Figaro & food, Stone statue, Epilogue)

What picture of individual liberty or license is depicted in Don Giovanni? According to the opera, what can society do to curb Don Giovanni? Why so much doubling between the servant Leporello and the master D.G.? What does the end suggest about accountability and interactions with the spiritual world? What do the damnation and epilogue suggest about individual liberty and moral choices (or societal contracts and the containment of criminal or chaotic forces)?

2/28, M Kant, Grounding for the Metaphysics of Morals Preface and Section 1.

What is Kant’s philosophical project according to the Preface? What kind of actions have moral worth, according to Kant? Upon what does moral worth depend? Come to class with one example from everyday life which illustrates the presence/absence of Kantian moral worth. (Use simple, non-emotionally charged examples.) For Kant what is reason’s utility?

3/2, W Kant, Grounding for the Metaphysics of Morals Section 2 to marg. 428.

I want you to think critically about Kant’s Categorical Imperative (first formulation) In Section 2, Kant gives us 4 situations in which a decision must be made, and applies the Imperative to them. Does the CI fail to point us to what we feel is the correct course of action in any of these situations? How does the Categorical Imperative differ from Christ’s injunction that we “do unto others as we would have them do unto us”?

3/4, F Kant, Grounding for the Metaphysics of Morals Section 2 remainder.

What are the implications of the second formulation of the CI? Bring an example to class in which a subject has a difficult decision to make. Give some possible maxims that inform each side of the dilemma. Distill the underlying maxim and determine what the CI would demand of you.

3/7, M Keats: "Bright Star"; Wordsworth: "I Wandered Lonely as a Cloud", "My Heart

Leaps Up When I Behold"

What is the difference between the way in which the “Bright Star” is “stedfast” and the way in which Keats wishes to be steadfast? Consider Wordsworth’s “I Wandered Lonely as a Cloud." What is the difference between joy in experience and joy in memory of experience? In "My Heart Leaps Up When I Behold" what do you suppose that “natural piety” means?

3/9, W Wordsworth: "Lines Composed a Few Miles Above Tintern Abbey"

In Wordsworth’s “Lines Composed a Few Miles Above Tintern Abbey” how is the speaker changed? Do places change you? What is the effect of Wordsworth’s late introduction of the character of his sister?

3/11, F Keats: "Ode to a Nightingale", "Ode on a Grecian Urn", "On Melancholy"

Consider Keats’ “Ode to a Nightingale,” “Ode on a Grecian Urn,” and “Ode on Melancholy.”

What do the Nightingale and the Urn do to the speaker? Do they do the same thing? How might one argue that Keats’ “Ode on a Grecian Urn” is a Platonic poem in the sense that, like the Symposium, it expresses a longing for permanence in a transient world? Do you accept that reading? If so, why? If not, why not?

Spring Break ENJOY!

3/28, M Marx, Wage-Labour and Capital

See Marx’s own questions/titles.

3/30, W Marx, Wage-Labour and Capital

What constitutes social progress and how is it possible? What is the place of reason in human affairs?

4/1, F Marx, Communist Manifesto

Are there laws of history and can we know them? What are the driving forces of historical change? On the basis of a careful reading of page 26 of the Communist Manifesto, explain what Marx might mean were he to say to John Locke: “(Y)our jurisprudence is but the will of your class made into a law for all.” On page 30 Marx and Engels list some radical elements of Communism. Which of these seem desirable and why?

4/4, M Darwin, Origin of Species, 27-30 (25-28 dark cover), 41-75 (38-78 DC)

Keep track of what meta-arguments are being made between the lines: why was the Origin of Species SO revolutionary? How did it challenge “social thought, philosophy, ethics, religion and literature” (back cover of your edition)? What constitutes evidence for Darwin? Darwin claims that his idea of natural selection is often misunderstood. What is the character of that misunderstanding, and what theological implications follow from Darwin’s correction of that misunderstanding?

4/6, W Darwin, Origin of Species, 75-94 (78-99 DC), 115-121 (115-123 DC, starts at “I have now” on 115 in both editions)

After carefully reading Darwin’s account of the evolution of the human eye, explain why he believes that the theory of evolution is or is not consistent with a belief in God.

4/8, F Nietzsche, Genealogy of Morals Preface and First Essay

Describe the creative power of ressentiment. What is the difference between “bad” and “evil”?

4/11, M Nietzsche, Genealogy of Morals Second Essay, sections 1-12

How did “bad conscience” come into the world? How does the festival depend upon cruelty?

4/13, W Nietzsche, Genealogy of Morals Second Essay, sections 13-25

How does Nietzsche’s account of conscience creation differ from those of Augustine and Kant? Explore Nietzsche’s atheism: how does bad conscience give rise to the conception of God? What is punishment for? What is hopeful about the Antichrist?

4/15, F Nietzsche, Genealogy of Morals Third Essay, sections 1, 8-15, 22-24, 27-28

How do Nietzsche’s “ascetic ideals” work in society? What does the Ascetic Priest seek? What cherished ideas or ideals do you hold that Nietzsche might criticize?

4/18, M Ibsen, Hedda Gabler, Act 1 & 2

What do Hedda and Judge Brack want? How is 19^th century, bourgeoise, European life constricting (examples)?

4/20, W Ibsen, Hedda Gabler, Acts 3

What polarities are defined by Løvborg and Tesman? Is Tesman a “man of ressentiment?” Why does Brack want Løvborg excluded? Why is Hedda jealous of Thea Elvsted?

4/22, F Ibsen, Hedda Gabler, Act 4

Hedda says she will die of “absurdities” (293). What are these “absurdities”? What forms of necessity operate on Hedda?

4/25, M Goldman, “The Traffic in Women” and “Marriage and Love” (http://dwardmac.pitzer.edu/Anarchist_Archives/goldman/GoldmanCW.html)

Why was this so shattering, so “radical”? How does Goldman reverse the terms of the debate?

4/27, W Morrison, Beloved 1-52 (3-49, earlier version).

What is the structure of this novel? What point is Morrison making by structuring the novel as she does? What effect does Paul D’s arrival have on 124? Sethe? Denver?

4/29, F Morrison, Beloved 53-111 (50-105, earlier version).

Who is Beloved? What effect does Beloved’s arrival have on 124? What does Baby Suggs preach on p. 88?

5/2, M Morrison, Beloved 112-174 (106-165, earlier version) to the end of section one.

How does Morrison knit Sweet Home into the narrative of events at 124? What sort of explanation and/or justification does Sethe offer for what she does in the barn? Is this an act of a free person?

5/4, W Morrison, Beloved 177-247 (169-235, earlier version) to the end of section two.

What kinds of perversions of order does schoolteacher’s scientific racism enact? Think especially of the types of order that previous core thinkers have articulated. Are all white folk the same? Why are pages 210-213 written as they are?

5/6, F Morrison, Beloved 251-end (239-end, earlier version).

Is any kind of order restored by the end of the novel? If “this is not a story to pass on,” then why does Morrison tell it? How is perspective important to Beloved in a literary sense, and how is perspective important to Beloved in a political sense?

5/9, M Final Review

Student question logs

All reading assignments are to be completed before the class for which they are required, and students will be held responsible for them. The work(s) to be discussed must be brought to class. The shared list of reading assignments across the sections of General Studies 145, 146 is online at: http://www.whitman.edu/general_studies/Read05.html

To help insure that student interests are central to our discussions, you will keep question logs bringing in one question on the reading for the day each class period. These questions should be open-ended, something you have thoughts about but feel have many possible responses. Do not ask purely information or clarification questions, questions which require knowledge outside the primary reading, and questions that are really comments (for example, "Why is X such a wimp?"). Bring your updated log to each class so that I can call on you at any point early in class to start our discussion for the day (advanced questions are still provided on the schedule, but we may choose as a group to sideline them in favor of student prompts). Occasionally I may ask individuals or the group to post their questions (and some thoughts in response) on Blackboard. Doing this spontaneously to continue or redirect additional discussion before or after the relevant class will certainly be a favorable additional element for class participation. I will ask you to hand in your student question log for consideration in class participation grading.

Small group discussion days

Small Group Discussion

While the paragraphs are focused on daily, individual close reading, the small group discussions are more comparative, interconnected, and group-oriented, with the emphasis on completed texts. You will be in one of three groups of five classmates that remains the same for the fall semester. Each group will be responsible for a different aspect of discussion times throughout the semester. These work outwards from the reading for that day, to the complete work, and then to the work in the larger core context:

a) the advance question given for that day on the schedule

b) 1-3 passages in the complete work everyone should be familiar with and why

c) the work within larger dialogues or debate issue(s) in core texts (ex. What does it mean to be human?)

You will act as spokesperson for your group at least once to share the major points of small group discussion with the larger group. These elements will be part of your class participation grade. We may choose to do more small group work and I appreciate your feedback on that throughout the course.

Group

Sept. 12^th Homer

Odyssey

Oct. 5^th

Plato

Symposium

Nov 2^nd

Virgil

Aeneid

Nov 14^h

Luke

Dec. 7^th

Augustine

Confessions

One:

Weston

Matt D.

Ian

Karina

Sally

daily ?

SP: Weston

dialogues

SP: Matt D.

daily ?

SP: Ian

dialogues

SP: Karian

passages

SP: Sally

Two

Abigail

Aisha

Matt R.

Enjoli

Taurra

passages

SP:Abigail

daily ?

SP: Aisha

passages

SP:Matt R.

daily ?

SP:Enjoli

dialogues

SP: Taurra

Three

Nathan

Kathryn

Andrew

Jesus

Kellie

dialogues

SP:Nathan

passages

SP:Kathryn

dialogues

SP: Andrew

passages

SP: Jesus

daily ?

SP: Kellie

? Sept. 12^th: What issues are resolved and what elements of the epic are not resolved in the end? What does this suggest for your readings of the work and the culture depicted within it?
? Oct. 5^th: What is the impact of Alcibiades’ story? How does it affect Socrates’ speech?
? Nov. 2^nd: What issues are resolved and what elements of the epic are not resolved in the end? What does this suggest for your readings of the work and the culture depicted within it?
? Nov.14^th: According to Luke, why was Jesus executed? How does this reflect on the text?
? Dec. 7^th: Why did Augustine publish the Confessions?

Class participation

This course will be primarily conducted as a discussion course. Students must complete all assigned readings by class time and must be prepared to discuss those readings. They will also bring a question which is open-ended to engage their classmates each time (see student question log). Energetic, pithy, and thoughtful participation in discussion is a vital element of this course and constitutes a significant portion of your grade. Quality is more important than quantity. Considerate, active, and interested listening is also a component of participation. Apt questions and encouragement of quieter members of class count towards good participation. You can strongly disagree with one another but you must work to insure no voice is silenced. Improvement and falling off of participation are considered in the final participation grade for the semester. To receive a good grade you will actively advance the discussion, and always speak to the point with a careful use of evidence from the text and a consciousness of your own proper level of participation. Strive to be articulate, original and insightful. You will give me participation self-evaluations periodically during class and I will give you midterm participation feedback.

Classroom participation feedback

Mid-Semester Evaluation – complete this before next class!

Please write me a brief note describing your thoughts on your participation in our class meetings so far. Think about the strengths that you have displayed so far, as well as ways that you can improve. Did you “actively advance the discussion, and always speak to the point with a careful use of evidence from the text and a consciousness of your own proper level of participation” and “Strive to be articulate, original and insightful” (core syllabus). Keep in mind:

◦ The quality of your participation is much more important than the quantity of time that you’re speaking.

◦ Participation matters in group activities as well as in whole-class discussions.

◦ There are important aspects of participation beyond stating your views, such as asking questions and encouraging others.

[large space]

I’ll return this to you with my reaction to your thoughts and my own sense of your participation, along with a general indication of your participation grade so far.

[small space]

End of Semester Evaluation – complete this before next class!

Please write me a brief note describing your thoughts on your participation since the mid-semester evaluation. Have you maintained your earlier strengths? Have you been able to make the improvements that were identified? Are there any new issues that have arisen?

[large space]

I’ll return this to you with my reaction to your thoughts and my own sense of your participation, along with your overall participation grade. Consistency and improvement are considered positively and falling off of participation affects the overall grade negatively.

[small space]

Leading Class Discussion

The discussion leaders will be responsible for studying the material with particular thoroughness, bringing in questions to discuss and passages to focus on, planning any activities they feel will enhance learning on those days, and then leading the session. I will not interfere in the student leadership on those days though I will: make announcements at the start of class, chip in ideas or reemphasize questions that have not been fully answered if it seems helpful, and do a final wrap-up in the last 5-10 minutes of the class. This way of conducting some of the classes seeks to promote one of the most essential aspects of what Core is designed to do—give students an opportunity to engage with great works from the past intensively with reference primarily to the texts alone and helping one another to reach a greater understanding. It is also designed to encourage the further development of public speaking skills.

Discussion leaders may choose to come see me in the days before the class in order to discuss the text or approach, but this is not required. If I have materials that I believe may be of use, or if I have questions I want to suggest for the day, I will give them to you probably by email—you are under no obligation to use my suggestions.

I encourage you to be creative in your use of the class time. While simply coming in with questions may seem like an easy way to do the class, often students discover that discussion leading is tougher than it looks. You might want to have at least some portion of the class planned around something other than a whole group discussion—pair or small group discussions, an ad-hoc debate, a dramatic interpretation, a time when each person looks solo at a particular passage and jots ideas down, a game of some sort all come to my mind as possibilities.

I will evaluate each group of students who do discussion leading on their preparation for and leading of the discussion and that evaluation will figure in the final evaluation of participation for the course. The evaluation will be brief and simple, based on the following criteria:

Make sure everyone in your groups participates actively in leading.

Interpretive presentations

FALL SEMESTER INTERPRETIVE PRESENTATIONS:

In separate small groups of your own choosing, you will also give an interpretive oral presentation once during the semester. You can take 40 minutes of the class period if you choose (around 10 minutes per student, though half of that would be fine). You are responsible for demonstrating--and will be graded individually for--your presentational skills and content. Each participant will hand in an outline/notes for their part. A group handout for the class is encouraged, also. Often these might give the major quotes responded to in your presentation. While you can encourage the rest of the class to take part in your presentation, you are responsible for showing your own substantive engagement with the reading.

This is your interpretive response to the primary source. This is not meant to present researched, secondary source or context information. Focus on what is read for that day (not earlier or later in the text). Part One is non-traditional (not like an academic essay). It could involve debates, reviews, court trials, storytelling, demonstrating skills, teaching, responding in singing, painting, dancing, board games, or enactments (some characters or authors from earlier texts could be included). Your group, as individuals, or smaller groups, could do more than one style of interpretation. Part Two ensures that we do not lose sight of the primary source evidence. This can be done individually or as a group, interspersed throughout or in introduction or summation. Include your purposes in choosing your approach. Consider two key issues often addressed in responding to texts from antiquity, anachronism and being "faithful" to a source or "the worldview" of the piece. Also respond to your reasons for and awareness of adaptation, rejection, parody of elements in--or whole--primary readings for that day (or limitations in information, materials, time and so forth).

Your group will meet with me outside of class beforehand. Presentations will be on: 1) Sept. 16^th Sappho, all continued (Group should meet with me by Sept. 9^th), 2) Sept.. 30^th Plato, Symposium 1-44 (Group should meet with me by Sept. 23^rd), 3) Oct. 26^th Aeneid 5-6 (Group should meet with me by Oct. 19^th), and 4) Nov. 4^thSallust, Catiline 175-214 (Group should meet with me by Oct. 28^th). Other possibilities (if you can get a whole group to switch from one of the above) include 9/26 Medea, 10/17 Amos, or 12/2 Augustine.

SPRING SEMESTER INTERPRETIVE PRESENTATIONS:

In separate small groups of your own choosing this semester you do three things on your presentation day. First, you will bring in some music (no more than a 4-5 minute selection) you feel relates to the day’s reading (not earlier or later in the text) and explain how it relates to or reacts against the text. Bring lyric sheets if appropriate to share with the class (at least 6 copies, so we can look on together).

Next you will give an interpretive presentation. Again, you are responsible for demonstrating--and will be graded individually for--your presentational skills and content. Each participant will hand in an outline/notes for their part. A group handout for the class is encouraged, also. Often these might give the major quotes responded to in your presentation. While you can encourage the rest of the class to take part in your presentation, you are responsible for showing your own substantive engagement with the reading. This is your interpretive response to the primary source. This is not meant to present researched, secondary source or context information. Focus on what is read for that day (not earlier or later in the text). Part One is non-traditional (not like an academic essay). It could involve debates, reviews, court trials, storytelling, demonstrating skills, teaching, responding in singing, painting, dancing, board games, or enactments (some characters or authors from earlier texts could be included). Your group, as individuals, or smaller groups, could do more than one style of interpretation. Part Two ensures that we do not lose sight of the primary source evidence. This can be done individually or as a group, interspersed throughout or in introduction or summation. Include your purposes in choosing your approach. Consider two key issues often addressed in responding to texts from antiquity, anachronism and being "faithful" to a source or "the worldview" of the piece. Also respond to your reasons for and awareness of adaptation, rejection, parody of elements in--or whole--primary readings for that day (or limitations in information, materials, time and so forth).

Finally, you will lead class discussion. Bring open-ended questions you have some thoughts regarding, but do not dominate the discussion with your answers. Listen well to responses, have quotes you can redirect our attention to related to your question. Try to keep focused while allowing class interest to expand the discussion. Encourage the voicing of alternative answers while being free to expand on yours more fully. This will be assessed similarly to the oral final question and answer section.

All members should take part in the last two exercises, if not all three. All these elements should focus on the reading for the day alone and not the whole text. You should also leave me at least 6 minutes for class business. Your grade for the presentation is for your individual oral presentation, although your group cohesion and supportive gestures are considered as part of your participation grade for the course. Presentations can be on 4 or 5 of the following: 2/4 Othello Act V, 2/16 Candide Ch. 14-21, 3/7 (or 3/11) Romantic Poets (but not 3/9 “Tintern Abbey”), 3/30 Marx Wage-Labour and Capital, 4/29 (or 5/2) Beloved (53-11/50-105ev or 112-247/106-165ev). I could be persuaded, if your full group decides to switch to another text, but we will keep it to no more than five presentation days this semester. We could have two presentations on Candide, Romantic Poets or Beloved and none on another text.

1. Memory and Preparation: Do you have open-ended questions rather than a series of foregone conclusions? You might, for example, ask some questions to which you do not know the answer? Do you have plenty of questions in case discussion is not as fulsome as you expect? Do the questions and responses indicate a thorough familiarity with the chosen works as well as a general familiarity with other works from the course? Does the presenter freely offer particulars from the texts in order to respond to or redirect discussion?

2. Listening: Does the presenter hear and respond to the questions and answers being raised? Are you willing to leave some silence and push classmates for their responses, as well as being prepared to respond extensively. Do you try to include a majority of classmates and keep the discussion going round (and not teacher focused)?

3. Demeanor: Does the presenter deal well with the pressure of being asked to come up with responses on the spot? Does the presenter appear collected and confident? Is the presenter willing to entertain counterarguments and evidence? Is the presenter willing to admit what s/he does not know? Does the presenter appear most of all to be concerned about understanding the works?

Hand-out for interpretive presentations

Do you do Part One and Part Two and fulfill the assignment? Ask in required meeting with me if you are concerned about what the assignment includes. This includes sticking to the reading for that day, for that is how we are covering the material together with depth and nuance.

Accuracy and Textual Engagement

Do you engage the text significantly and accurately with familiarity? A handout of specific quotes might be part of what you give the class or me with your required individual outline/notes. Yet do NOT read aloud from a prepared script! It is fine to use your text or outline with quotes.

Relevance to Core/Text

Do you keep in mind the relevance of your presentation to the text and the course? This is more important in your Part Two, than your Part One.

Creativity/Ownership of Material

This is central to your Part One, but often shows up nicely in Part Two, as well. Have you made this somehow your own, as well as our shared work? Do you show originality and personal voice?

Performance/Communication to Class

Do not read aloud from a script (unless doing a “reader’s theater” and making sure there is plenty of body movement, vocal range and so on to compensate). Do make eye contact with classmates and not just your professor. Be animated, varied, mobile, clear, conversational, loud enough, and well-paced. Try to get the audience to come along with you and offer some feedback (sitting forward, nodding, laughing or taking part).

SEE ALSO THE FINAL PRESENTATION CRITERIA, FOR ORGANIZATION, THESIS—AS WELL AS LISTENING AND DEMEANOR IN QUESTION AND ANSWER--ARE ALL ALSO RELEVANT FOR ALL PRESENTATIONS.

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Oral finals

FALL ORAL FINALS:

FORMAT: You will open the exam with a presentation of about 10 minutes (slightly under or over is ok, but I will stop you if you go past 12 minutes). The presentation should introduce your theme and present your thesis and some of your evidence. This opening presentation must include some discussion of Augustine and should probably include at least a brief comment on each of your other chosen works. You should plan to present while sitting and to speak naturally from notes. Do not memorize a presentation or stage a speech, and do not read from verbatim notes—speak from an outline. You may have your quotes written out or you may just have pages marked in your books. Be sure to bring the works you have chosen with you. After your presentation, for the remainder of the time, I will ask you questions primarily based on your theme and chosen works. I reserve the right to ask about anything from the semester. This should ideally be a discussion. The better prepared you are, the more likely the exam will seem like a fun talk and not a grilling!

THEMES: For this exam, you should choose one theme that you think runs through several of the readings we have done for the semester and that you can speak about in relation to Augustine. Questions and ideas already focused on, such as the relationship between the human and the divine, notions of piety, and varying ideas of heroism are fair game, but your exam should not repeat work you have already done in your essays. Think carefully about this. I expect you to be invested in this theme, and I will be impressed by thoughtfulness and creativity here! In other words, if you can come up with an original theme, we will both have more fun and you will likely do a particularly interesting exam.

WORKS: You should choose four works total to speak about. One of these works must be St. Augustine’s Confessions. You may want to choose the theme first and then the works, or you may choose the works first (or at least narrow down a list) and then choose a theme that runs through them.

GOOD LUCK!

SPRING ORAL FINALS:

FORMAT: You will open the exam with a presentation of about 12 minutes (slightly under or over is ok, but I will stop you if you go past 15 minutes). The presentation should introduce your theme and present your thesis and some of your evidence. You should plan to present while sitting and to speak naturally from notes. Do not memorize a presentation or stage a speech, and do not read from verbatim notes. Speak from an outline. You may have your quotes written out or you may just have pages marked in your books. Be sure to bring the works you have chosen with you. After your presentation, for the remainder of the time, I will ask you questions primarily based on your theme and chosen works. I reserve the right to ask about anything from both semesters. This should ideally be a discussion. The better prepared you are, the more likely the exam will seem like a fun talk and not a grilling!

This opening presentation must include some discussion of Morrison’s Beloved and should probably include at least a brief comment on each of your other chosen works. For this exam, you should choose one theme that you think runs through several of the readings we have done for core and that you can speak about in relation to Morrison. Questions and ideas already focused on, such as notions of piety, morality, existence, origins, separation of humans from gods or animals, freedom, property, guilt, altered states, nature, evolution, and relativity of values are fair game, but your exam should not repeat work you have already done in your essays. Think carefully about this. I expect you to be invested in this theme, and I will be impressed by thoughtfulness and creativity here! In other words, if you can come up with an original theme, we will both have more fun and you will likely do a particularly interesting exam. WORKS: You should choose at least five works to speak about. One of these works must be Morrison’s Beloved. One work must be from fall semester, and at least two others from spring semester. You may want to choose the theme first and then the works, or you may choose the works first (or at least narrow down a list) and then choose a theme that runs through them. GOOD LUCK!

MY ORAL IS AT __________ ON _______THE ____ TH

FINAL PRESENTATIONS ARE JUDGED ON:

1. Organization: How clearly laid out is the presentation? Is the thesis clearly indicated at the start? Is it clear which works will be used? Are the points presented in a logical flow?

2. Evidence: How strong is the use of specific evidence, including quotations, from the chosen texts? Does the evidence move beyond the most obvious, indicating careful reading and rereading? Is the evidence suitable to demonstrate the argument(s)?

3. Theme and thesis: How clear is the chosen theme and thesis? How interesting is it? Is it creative, innovative, surprising in some way? Does it connect to major issues for the chosen works?

4. Appeal: How engaging is the presentation? Is the presenter lively and animated? Is the voice clear, conversational, loud enough to be heard, and well paced?

DISCUSSION AFTER THE PRESENTATION IS JUDGED ON:

1. Listening: Does the presenter hear and respond to the questions being asked?

2. Memory and Preparation: Do the responses indicate a thorough familiarity with the chosen works as well as a general familiarity with other works from the course? Does the presenter freely offer particulars from the texts in order to respond to the questions?

3 Demeanor: Does the presenter deal well with the pressure of being asked to come up with responses to questions on the spot? Does the presenter appear collected and confident? Is the presenter willing to entertain counterarguments and evidence? Is the presenter willing to admit what s/he does not know? Does the presenter appear most of all to be concerned about understanding the works?

Anonymous feedback survey

I usually maintain an anonymous feedback survey at surveyanywhere.com. While the emphasis is on improving future semesters, I also encourage ongoing, current responses for change. Surveyanywhere.com has time and number of responses cut-offs so this link may not work. The 2005-2006 survey is at: http://www.surveyanywhere.com/cgi-bin/sa.cgi?id=1848565812161112225.

		Your Last Name 1
Your Name
Professor Bormann
General Studies 145 C
5 September 2005
	Reckless “Steering” and Mutiny Among Friends
	in Homer, Odyssey 9-12

Paper Topics Due	Two Copies of Draft for Peer Exchange Due	Comments on Peer Drafts Due	Papers Due
2/10	2/17	2/22	2/24
2/27	3/3	3/6	3/10
3/27	3/31	4/3	4/7
4/10	(4/17)	(4/21)	(4/24)