1] For Monday: Choose either Helena's speech (3.2.192-222, pp. 47-48) or Theseus's speech (5.1.1-27, pp. 70-71). Email me a paragraph about your choice, and some interesting ways you might use keywords for rhetorical analysis of the speeches (and the responses of Hermia and Hippolyta!). And remember to use your OED Oxford English Dictionary on your keywords! Bring in your pre-writing grid with some of these keywords filled out.

2] Click on your Honors Reading List: Read one or two of the following scholarly articles to enrich your own rhetorical analysis of Helena's or Theseus's speech. I like the Marshall article (#2), because David Marshall is an excellent reader of Shakespeare; and if you are choosing Theseus, Prof. Lupton also recommends the Montrose article (#6) as a way of considering the relationship between Theseus and Hippolyta.

From Prof. Julia Lupton:

James E. Robinson. The Ritual and Rhetoric of "A Midsummer Night's Dream." PMLA, Vol. 83, No. 2 (May, 1968), pp. 380-391. Modern Language Association.
Stable URL: http://www.jstor.org/stable/1261192

David Marshall. Exchanging Visions: Reading A Midsummer Night's Dream. ELH, Vol. 49, No. 3 (Autumn, 1982), pp. 543-575. The Johns Hopkins University Press
Stable URL: http://www.jstor.org/stable/2872755

Anca Vlasopolos. The Ritual of Midsummer: A Pattern for A Midsummer Night's Dream. Renaissance Quarterly, Vol. 31, No. 1 (Spring, 1978), pp. 21-29. The University of Chicago Press on behalf of the Renaissance Society of America
Stable URL: http://www.jstor.org/stable/2860326

Mary Ellen Lamb. Taken by the Fairies: Fairy Practices and the Production of Popular Culture in A Midsummer Night's Dream. Shakespeare Quarterly, Vol. 51, No. 3 (Autumn, 2000), pp. 277-312. Folger Shakespeare Library in association with George Washington University.
Stable URL: http://www.jstor.org/stable/2902152

C. L. Barber. The Saturnalian Pattern in Shakespeare's Comedy. The Sewanee Review, Vol. 59, No. 4 (Autumn, 1951), pp. 593-611. The Johns Hopkins University Press
Stable URL: http://www.jstor.org/stable/27538096

"Shaping Fantasies": Figurations of Gender and Power in Elizabethan Culture by Louis Adrian Montrose. Representations, No. 2 (Spring, 1983), pp. 61-94. University of California Press Stable URL: http://www.jstor.org/stable/2928384

(Holiday Monday -- but be sure to attend Prof. Lupton's forum Friday 1/22! Honors forum is at 11:00, but there will also be one at 9:00.)

Wednesday, January 20

• Reading: Alberti, "On Painting" (Book Three, pp. 89-98), Alberti, "On Painting" (Book Three, pp. 89-98)
• Writer's Handbook "Analyzing Images " (Chapter 16)
• Writing: Working Draft for Essay Three

Week Four

Monday, January25

• Reading: HCC Course Reader, pp. 9-28 : “Germany:  Germany from 1918 to 1945,” “Proletarians!  Men and women of Labor!  Comrades!” “En Avant Dada:  A History of Dadaism,” “November Group Circular,” “November Group Manifesto,” “Work Council for Art Manifesto”
• Writing: Peer Editing Comments for Essay Three

ESSAY 5: ANALYZING VISUAL IMAGES FOR AN ENCYCLOPEDIA ARTICLE. For this, we'll need to learn about the way a historian analyzes primary sources -- BOTH texts and images. The text you're using is in the Course Reader, and you're familiar with the Encyclopedia Britannica Online http://search.eb.com/

Note: Prof. Moeller's site asks you to do login and password 
http://www.humanities.uci.edu/~rmoeller/HCC_Lectures/RGM_Lecture1.html

http://www.humanities.uci.edu/~rmoeller/HCC_Cover/HCC_Bag.html

Password-protected Image Bank: http://www.humanities.uci.edu/~rmoeller/HCC_Cover/HCC_Image_Bank.html

What have we learned about 1916-1917 as a context for art in the early 20thc?

http://www.humanities.uci.edu/~rmoeller/HCC_Lectures/wwi_gallery.html

Wednesday, Jan 27

Groups

• for Monday Germany 1918-1933

1. Spartacist: Jaydee, Mika, Janice, Allison
2. Dadaist: Mike N., Chris, Jenny, Evana
3. Nazis: Michael W., Daniel, Jason, Jeff
4. Photomontage/Heartfield: Nghiem, Jay, Athena
5. Expressionist: Madison, Alex, Hannah

Groups today: 1: Spartacist Manifesto, 2] En Avant Dada, 3] November + Work Council for Art, 4] Art Scab, 5] Art is a Weapon!

RESEARCH RESOURCES for finding out about THE 6Cs From PROF. MOELLER: for HCC, the links below are a good place to start. You can connect directly to the links on campus. From off-campus, you will need to download the VPN software. Click here for instructions on how to connect from off-campus.

• ANTPAC (the UCI library; try doing a subject search and see what happens)
• MELVYL (a database that gets you to all the libraries of the UC system; when you find books you need that aren't in our library but are on another campus, you can request them and they will come to you in Irvine)
• Oxford English Dictionary (fabulous resource provides not only definitions but a history of the usage of the word)
• Britannica Online (high quality articles written by leading scholars in the field; a great place to start; articles also provide some bibliography and guides to further reading)
• Grove Music Online (This extrarodinary resource provides information on individual composers, music genres, and the history of music. Articles also provide bibliography. You can get access on campus; or with a free download VPN software, you can log on from off-campus.)
• Grove Art Online (Same Grove; this resource focuses on the arts...)
• New York Times, 1857-1999 (full-text searchable, you can find articles and you can also see where the article appeared on the page; try a little "juxtaposition history" and see what events surround that event that interests you!)
• JSTOR (a very extensive collection of on-line journals; the most recent editions of journals will not be listed here, and from 1-5 years of a journal may not yet be archived here; still, a very good place to start and anything you find, you can easily download.)
• Historical Abstracts (where historians start to do literature searches for journal articles; many articles will be linked directly to UCI holdings, so if you find an article, you can often download it easily!)
• Project Muse (another collection of on-line journals, doesn't overlap completely with JSTOR, so you should check both; anything you find can be downloaded!)
• MLA International Bibliography (this is the counterpart to Historical Abstracts for people who work mainly in literarature; however, for something like Gershwin's Porgy and Bess, I would definitely look here too.)
• WorldCat/First Search (An absolutely amaizng source. This will take you to articles, books, video sources, even archival sources; sometimes, you can get directly to the source, but when you can't, there's an easy function to send yourselves the references you discover!)
• Library Subject Guides (and don't forget to look at the expert subject guides that the academic subject librarians have put together; academic subject librarians are highly trained scholars who have deep knowledge of many research fields. Take advantage of what they know!)

Week Five

Monday, February 1

• Reading: HCC Course Reader, Review pp. 32-35: “Program of the Staatliches Bauhaus in Weimar"
• Group presentations of art: Spartacist, Expressionists, Dadaist, Nazi, Photomontage/Heartfield.
• Midterm Format and Questions: See Class listserv.
• Politics and Art: Can a Maker not be a Doer?

• Looking Ahead to #4: Honors Alternative for Weimar Paper - Students should follow the general prompt, but choose a theme to organize selection of images. Professor Moeller has provided additional reading resources for students, keyed to each theme. (For Art and Politics: Oxford Art On Line and the resources on Professor Moeller’s Web Resource page, http://www.humanities.uci.edu/~rmoeller/HCC_Cover/HCC_WebGuide.html .) You may also want to direct students to additional databases, such as the US Holocaust Museum (http://www.ushmm.org/  ) or Calvin College’s Nazi and East German Propaganda page (http://www.calvin.edu/academic/cas/gpa/ ) . Students should use ARTstor with dates 1918-1933 to make sure that they are choosing images within the prompt guidelines. Be sure that images you choose from the Calvin site (if you find some there) also fit into this time frame.  Possible themes (check the drop-down Honors menu on HCC home page) Representations of gender and sexuality Memories of the First World War

Monday, February 8

ARTSTOR DISCOVERY TASK DUE

In-class writing: What "theme" would you choose for your project #4?

1. Gender and sexuality
2. Nazi rise to power
3. Politics and art
4. Memories of the First World War

Making Sense of some Student Questions:

• Why are the Nazis (National Socialists) so opposed to American influence? (Nation defined by "Aryan" race; could use CR; pseudo-science of genetics + anti-Semitic myths.)
• What was the purpose of the "Entartete" show? (Barron tries to answer this question, p. 73).
• Why are Jewish artists a particular target? Were most of the "entartete" artists Jewish? (CR Britannica, Barron)
• What is the meaning of "entartete" as making a connection between "Art and Race" (1928) claimed by Gropius's replacement in the Bauhaus, Paul Schultze-Naumberg, who showed photographs of people he considered deformed next to portraits by modern artists (CR 58).
• Did the Nazi leaders really believe everything they said about "degenerate" art? (And could they even draw the distinction clearly? See Barron 57, 68 for two different ways to answer this problem, and note some places where the scholar finds material for her answer: secondary sources for footnote 13, primary source for footnote 22. )
• Is there beauty without sensuality (and what would this mean, if beauty appeals to the senses physiologically or in terms of Aristotle's pathos?) Mosse's essay tries to explore this question. Does he think there is a clear answer?

http://www.humanities.uci.edu/~rmoeller/Weimar_Images/DegenArt/nazi_art_lecture.htm

WEDNESDAY, FEBRUARY 9

Using the 6Cs: why do you need more than line, color, composition to analyze and discuss these images?

Ivo Saliger, The Judgment of Paris

Hannah Hoch, Cut with the Kitchen Knife Dada through the last Epoch of Weimar Beer-belly culture in Germany

THE HISTORY PROJECT
Nicole Gilbertson
UNIVERSITY OF CALIFORNIA, IRVINE

Week Eight

Monday, February 22

• Reading/Viewing: Porgy and Bess
• Library Class: Primary and Secondary Sources in Research
• Discovery Task #4 Assigned, "Primary vs. Secondary Sources"! will be due Wednesday
  

Wednesday, February 24

• Reading/Viewing: Porgy and Bess
• Discovery Task #4 due
• Writing:Working Draft for Essay Four due in Dropbox Friday

• Viewing and listening : Porgy and Bess

• 

  Porgy and Bess at the New York City Opera: Alvy Powell as Porgy and Marquita Lister as Bess (www.operajaponica.org)

Clara's famous lullaby "Summertime" (Ch. 2 of DVD): in the lyrics, where do you see Clara's hopes for her baby? Her relationship to her husband? Economic issues? Religious background? How does Grove Music describe Gershwin's melody and orchestral arrangement? How would you stage it?

Bess sings: How does Gershwin use music to develop Bess's character? If you were going to stage this work, how would you do it?

• Use of music to develop character: Compare Bess with Katerina. Bess has lovely lyrical music to sing, but it is never her music. She has no motif. She must sing with the chorus ("Oh the train is at the station," Act I, Scene 2, Ch. 10 of DVD) together with a man (e.g., "I wants to stay here", Act II, Scene 3, DVD Ch. 22), or she sings Clara's song ("Summertime," Act III, Scene 1, DVD, Ch. 25). Prof. M. argues that this musical choice reinforces the theme of Bess as a dependent woman who is unable to shape her own identity. Do you agree? How is this staged?
• Going off to NYC: what do you think happens to her after the story is over?

Porgy sings: How does Gershwin use music to develop Porgy's character? If you were going to stage this work, how would you do it?

• "Bess, you is my woman now" (Ch. 14 of DVD) - Porgy
• Which are the most important other moments for your sense of Porgy's character? How do you hear, read, understand "I got plenty of nuttin'"? What's the importance of the last line -- "Got my song"?
• Porgy kills Crown: what's your interpretation of this? Does he become like Crown, as Prof. M. thinks?
• What happens to Porgy in jail? Does the homecoming scene develop his character? How has he made money?

Crown and Bess: is it rape? At-home writing on Messageboard by Monday, March 1.

What others sing: How does Gershwin use arias, choruses, and orchestral music to develop the plot? If you were going to stage a scene involving other characters, how would you do the scene?

• "It Ain't Necessarily So"(Ch. 17 of DVD) - Sporting Life
  Act II, Scene 4, Begins Chapter 24 of the DVD (Note: How would you stage the end of Act II, Scene 2? Does Crown rape Bess? Does she willingly go off with him into the woods? Is she raped? How does the music work for you?
• Choral music: Call and response, the "shouting" that Gershwin heard when he visited Charleston
• Goes into spiritual, "Oh, Doctor Jesus" -- What do we learn about the people singing this song?
• Reprise (repeat) of Summertime - Who sings this? And to whom?
• Music of storm segues into into spiritual, "Oh, dere's somebody knockin' at de do'..." Whom do they mean here?
• Crown enters, recitative -- who was actually knocking at that door?
• Red-headed woman... Crown's song -- and chorus is seduced into singing it [!]
• Crown exits into storm -- Why does he go?

Week Nine: Built Environments

Monday, March 1

• Reading: Jane Jacobs, The Death and Life of Great American Cities, 3-54 and 89-111
• Peer Editing Comments Assigned for #4
• Discussion: Is Porgy and Bess a celebration of African-American culture? Or racist?

• Celebrates African-American culture?	Trivializes African-American culture? Would you call it racist?
  Gershwin studied community in S.C. ? An effort you respect?	But goes down to South Carolina only for a few weeks? Or: Has no right to write about the community anyway, as an outsider?
  Catfish Row inhabitants work hard ? Cotton, fish, store, etc.?	But the hero is a beggar, and they do a limited range of work? (Is this racist? Or a protest against limited opportunites for Af-Ams?
  Some C.R. people are religious ?	But others treat religion lightly?
  Catfish Row values families, children ?	But families fail to thrive? Jake's dream of his son's going to college won't happen?
  Catfish Row members support each other	But they support Porgy as murderer?
  C.R. people sing (white can't) <- inner life !	But singing stereotypes happiness?
  C.R. people outwit crooked whites	But lie, and speak simplistically to them?
  Some C.R. people reject "happy dust" + alcohol	But others are susceptible?
  Porgy, Bess, even Crown feel deep human emotions	But unregulated passions, not healthy relationships?
  Jazz, shouts, gospel become part of opera?	But presented as the only thing African-Americans can do?
  Heritage of slavery is remembered?	But by "good" white man, sentimentally presented?
  Requirement that Af-Am parts be sung by African-American singers?	But this is a race-based requirement?
  What would you add ? Which points are most important to you? What's your conclusion?	What would you add? Which points are most important to you? What's your conclusion?

Wednesday, March 3

• Reading: Teddy Cruz, "A City Made of Waste" (online in syllabus); Mike Davis, "Fortress LA" (in CR): How do Cruz and Davis think of gated communities? Compare Jacobs' idea of a neighborhood.
• Writer's Handbook, "Analyzing Design" (Chapter 19).
• Passage Analysis Practice: Jacobs Messageboard
  

  Paraphrase the main point of the passage. Identify two or three important keywords, explain or define Ethos of speaker, credibility Logos (logical connections, premises, metaphors /similes) Pathos -- emotions, effect on feelings of audience or reader Part to the whole - importance of passage to entire text Relate to one or more themes of winter quarter

OPEN-PLAN OFFICE?

Place-making: how does the play acted on the stage of the Globe theater of Shakespeare's time "make" this particular urban space? Think of Jacobs' categories: a complexity that maintains both freedom and safety? How does MSND represent both free and safe places? How do the characters' actions "make" the places meaningful?

How does Gershwin use the form of the opera (arias, choruses, and orchestral music ) to develop the plot?

• "It Ain't Necessarily So"(Ch. 17 of DVD) - Sporting Life
  Act II, Scene 4, Begins Chapter 24 of the DVD (Note: How would you stage the end of Act II, Scene 2? Does Crown rape Bess? Does she willingly go off with him into the woods? Is she raped? How does the music work for you?
• Choral music: Call and response, the "shouting" that Gershwin heard when he visited Charleston
• Goes into spiritual, "Oh, Doctor Jesus" -- What do we learn about the people singing this song?
• Reprise (repeat) of Summertime - Who sings this? And to whom?
• Music of storm segues into into spiritual, "Oh, dere's somebody knockin' at de do'..." Whom do they mean here?
• Crown enters, recitative -- who was actually knocking at that door?
• Red-headed woman... Crown's song -- and chorus is seduced into singing it [!]
• Crown exits into storm -- Why does he go?
• Who leaves Catfish Row, and who is left at the end?
• Is this a story about place-"making" in Catfish Row, or in New York City?

Thinking

RESOURCES: LINKS

OXFORD ENGLISH DICTIONARY
http://dictionary.oed.com/

Encyclopedia Britannica Online http://search.eb.com/

Library of Congress site: http://www.loc.gov/

Reference sites on Prof. Moeller's Bag of Tricks

Grammar and Style Quizzes
grammar.ccc.commnet.edu/grammar/quiz_list.htm

HCC glossary
argument, valid, true, premise, conclusion, probable, conclusive, ethos, logos, pathos, rhetoric, interpretation, thesis, topic sentence, transition, fallacy,
analysis, synthesis, claim, evidence, warrant, explication, application

RESOURCES: LINKS

OXFORD ENGLISH DICTIONARY
http://dictionary.oed.com/

Encyclopedia Britannica Online http://search.eb.com/

Library of Congress site: http://www.loc.gov/

Grammar and Style Quizzes
Interactive quizzes and games online

grammar.ccc.commnet.edu/grammar/quiz_list.htm

HCC glossary
argument, valid, true, premise, conclusion, probable, conclusive, ethos, logos, pathos, rhetoric, interpretation, thesis, topic sentence, transition, fallacy,
analysis, synthesis, claim, evidence, warrant, explication, application

CLASS POLICIES

Vivian Folkenflik
HIB 197 (in back of HCC office, which is HIB 185! Use door near Artsbridge)
Office hours Tuesday and Thursday 12-1:00, Monday 1:30-2:30 and by appointment
E-Mail: vrfolken@uci.edu

I teach this course because I love it and I learn from it and from you, but I do it with you, not for you. The work you do on your own, in our classroom, and with your fellow students will be what makes the course happen for you.The Humanities Core Course is an interdisciplinary introduction to the humanities that is designed to develop your reading, writing, research, and discussion skills, challenging your skills in argumentation, interpretation, and design. You are also expected to become responsible members of a small intellectual community, this Core section, as well as your campus community.

Attendance: Attendance in lecture and section is mandatory. More than two absences will affect your grade. More than three absences will be grounds for failure in the course. Excused absences will require medical documentation. Late arrivals can be counted as absences. To receive full credit for attendance, you will also be expected to participate with appropriate comments, questions, and attentiveness.

The writing grade is determined by performance on three essays (30%, 30%, and 30%) and participation in required research and writing exercises. Although the writing participation requirement numerically accounts for 10% of your writing grade, failure to participate is grounds for failure in this portion of the course. The writing participation grade will be determined by research assignments("Discovery Tasks"), participation in peer editing and the drafting process, your final portfolio of writing, which will include your responses to reading and discussion questions, and in-class writing activities and quizzes.

The lecture grade is determined by performance on the midterm examination (40%) and final examination (50%), and participation (25%) . Although the lecture participation requirement numerically accounts for 10% of your lecture grade, failure to participate is grounds for failure in the course. The lecture participation grade will be determined by responses to weekly reading and discussion questions, lab work, any required argument and interpretation exercises, postings to the listserv, and in-class discussion and debate.  Groupwork is a participatory experience with other classmates and may involve writing.   Lecture attendance is a mandatory element in discussion participation, and quizzes may also be used to estimate this attendance, without which you cannot participate fully .

Note: No late papers are accepted in this section without a written medical excuse or other documented major emergency. I am happy to help you get an early start on your written assignments. You are responsible for backing up texts composed on a computer, and failures of software or hardware are not acceptable reasons for a late assignment. All drafts, assignments, and final essays written outside of class must be typed and in proper format. Final drafts are to be submitted in a folder that includes pre-writing, previous drafts, notes from any conferences with me, and peer editing comments. Save all work.

Standard Written English: In keeping with the Standard Written English policy of this course, you will be expected to correct errors in mechanics, usage, grammar, and spelling. Consider using the Commnet self-correcting interactive quiz page for mechanics: grammar.ccc.commnet.edu/grammar/quiz_list.htm

Plagiarism: Academic work requires you to acknowledge all your sources responsibly. Plagiarism is a serious matter and will be handled by the appropriate authorities. Supervisors and instructors in this course regularly review suspect papers. Turning in any work which is not your own and not properly acknowledged as such will result in a recommendation for failure in the course and subject you to further action by the university. Please review the university policy on academic dishonesty and speak to me if you have questions.

Internet: Internet sources must also be properly acknowledged. For more information about how to cite Internet sources, review the Internet use policies for HCC in the Guide. This quarter you should be familiar with the "References" section of the main web page (http://e3.uci.edu/programs/humcore) In addition, as part of a program-wide effort to discourage plagiarism, you are asked to submit your essay to http://www.TurnItIn.com (as a pasted file).

E-mail queries to me at vrfolken@uci.edu should assume delays in transmission and the observance of normal university business days by instructors and staff in the course. Always allow time for delays. Telephone Messages if necessary: 824-6408; x4-6408