Our purpose is to consider some of the most elaborate and thoughtful efforts to define and delineate "all-mastering," and to consider some of the delineations of "all-mastering the intellect" in various guises - from magicians to master spies to detectives to scientists (mad and otherwise). The major written work of the term will be an ongoing reading journal, which you will circulate to your classmates using an e-mail mailing list. The use of that list is fundamental - it is my intention to generate a sort of ongoing cyberconversation.

This course focuses on reading a script theatrically with a view to mounting a coherent production. Through careful, intensive reading of a variety of plays from different periods and different aesthetics, a pattern emerges for discerning what options exist for interpretating a script.
The Fall 2005 version of this course contains alternate readings and assignments sections.

Drama combines the literary arts of storytelling and poetry with the world of live performance. As a form of ritual as well as entertainment, drama has served to unite communities and challenge social norms, to vitalize and disturb its audiences. In order to understand this rich art form more fully, we will study and discuss a sampling of plays that exemplify different kinds of dramatic structure; class members will also participate in, attend, and review dramatic performances.

Shakespeare "doth bestride the narrow world" of the English Renaissance "like a colossus," leaving his contemporaries "walk under his large legs and peep about" to find themselves in "dishonourable graves." This course aims in part to correct this grave injustice by surveying the extraordinary output of playwrights whose names have largely been eclipsed by their more luminous compatriot: Marlowe, Jonson, Webster, and Ford, among others. Reading Shakespeare as just one of a group of practitioners -- many of whom were more popular than him during and even after his remarkable career -- will restore, I hope, a sense not just of the richness of English Renaissance drama, but also that of the historical and cultural moment of the English Renaissance itself. This course will examine the relationship between theatre and society through the lens of the drama produced in response to these changes. However, we will not try to map the progress of drama directly onto the social world, as if the former can simply read off the latter. Rather, focusing on discrete issues and problems, we will try to understand the ways in which a particular text not only reflects but responds to and shapes aspects of the culture from which it derives, developing an aesthetic that actively engages its world. The topics addressed over the course of the semester will be wide-ranging but will include: gender and class dynamics in Renaissance society; money, trade, and colonialism; the body as metaphor and theatrical "object"; allegory and aesthetic form; theatricality and meta-theatricality; the private and the public.

This course comprises a broad survey of texts, literary and philosophical, which trace the development of the modern world from the seventeenth to the early twentieth century. Intrinsic to this development is the growth of individualism in a world no longer understood to be at the center of the universe. The texts chosen for study exemplify the emergence of a new humanism, at once troubled and dynamic in comparison to the old. The leading theme of this course is thus the question of the difference between the ancient and the modern world. Students who have taken Foundations of Western Culture I will obviously have an advantage in dealing with this question. Classroom discussion approaches this question mainly through consideration of action and characters, voice and form.

This course focuses on works that caught the popular imagination in the past or present. It emphasizes texts that are related by genre, theme or style. The books studied in this course vary from semester to semester, and the topic for Fall 2006 is Detective Fictions.

An evolving list of suggested open educational resources (OER) for courses at uOttawa

Short Description:
The OER by Discipline Guide is an in-progress tool suggesting open educational resources for courses at uOttawa. This version is out of date. Please consult Version 2.0 - June 2022.

Long Description:
The OER by Discipline Guide: University of Ottawa is an in-progress tool suggesting open educational resources for specific courses at uOttawa. Its purpose is to help professors get acquainted with existing OER in their disciplines and facilitate their use. It will be updated annually as new resources are identified. This version is out of date. Please consult Version 2.0 – June 2022.

Word Count: 45375

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Version 1.25

Short Description:
The OER by Discipline Guide: University of Calgary supports faculty in locating quality open educational resources in their subject area by providing curated lists of OER organized according to the faculties, departments, and subjects at UCalgary. The Open Educational Resources within this guide have been evaluated by faculty, librarians, and other relevant parties prior to inclusion. This guide will be updated periodically as new resources are identified, evaluated, and adopted.

Long Description:
The OER by Discipline Guide: University of Calgary developed by Libraries and Cultural Resources staff supports faculty in locating quality open educational resources in their subject area by providing curated lists of OER organized according to the faculties, departments, and subjects at UCalgary. The Open Educational Resources within this guide have been evaluated by faculty, librarians, and other relevant parties prior to inclusion. The lists of OER in each discipline are not intended to be comprehensive, but rather to provide a sample of the key resources available. This guide will be updated periodically as new resources are identified, evaluated, and adopted.

This book is a cloned version of OER by Discipline: University of Manitoba edited by University of Manitoba Libraries is licensed under a Creative Commons Attribution 4.0 International License, except where otherwise noted. It has been adapted from the original source.

Word Count: 86236

ISBN: 978-0-88953-484-1

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Students will be able to write complex sentences using time subordinating conjuctions.  They will practice identifying the two types (based on KU Writing Strategies) and be able to write complex sentences useing the given subordinating conjunctions.

This video segment from New York Voices features Chinese American architect Maya Lin.

In this video segment from WILD TV, learn about bees and the different techniques for handling them.

Students identify the narrative elements in a work of art and learn how artists use symbolic imagery to communicate the larger narrative of a person's life. Students then write their own narratives about an historic figure and use visual symbols to create an image about that person that communicates important events in his or her personal narrative.

Concept Note for the 2023 Ambassadors Fund for Cultural Preservation

Short Description:
In the Middle Belt of Nigeria, three major language families converge in a region with cultural diversity rivaling the Amazon Basin. According to Ethnologue, there are 340 distinct languages. Each is accompanied by Intangible Cultural Heritage (ICH), including music and dance, poetry and puppetry, handicrafts, and healing practices. The region has received comparatively little attention from scholars. Countless traditions remain unknown and undocumented. Only the Tiv’s Kwagh-Hir theatrical tradition has been inscribed by UNESCO, leaving an urgent need for expanded cultural heritage preservation efforts. This is a project proposal for cultural preservation in the central region of Nigeria.

Long Description:
In the Middle Belt of Nigeria, three major language families converge in a region with cultural diversity rivaling the Amazon Basin. According to Ethnologue, there are 340 distinct languages. Each is accompanied by Intangible Cultural Heritage (ICH), including music and dance, poetry and puppetry, handicrafts, and healing practices. The region has received comparatively little attention from scholars. Countless traditions remain unknown and undocumented. Only the Tiv’s Kwagh-Hir theatrical tradition has been inscribed by UNESCO, leaving tremendous potential for new inscriptions.

ICH is one of Nigeria’s great treasures, yet artifacts and archeological sites dominate discussions of preservation while vulnerable traditions languish, often disappearing without a trace. Many Middle Belt communities are eager to share their traditions but do not have resources to do so. In contrast, Yorùbá is among the most widely studied indigenous and diasporic cultures. Ethnic minorities have been marginalized for centuries by slave raiding, land encroachment, and economic exclusion. Surviving communities deserve the benefits of cultural preservation and should be celebrated for their distinct and resilient cultures at home and in diaspora. In 2021, our team recorded musical practices that strongly resemble American genres like Delta Blues and Funk.

We will utilize American expertise to build capacity among Nigerian field researchers reflecting the Fulbright-Hays Act as a basis for the Ambassadors Fund for Cultural Preservation. The project will bring HBCU faculty and students into the orbit of ICH stakeholders. HBCUs have a long-standing history and vested interest in welcoming African-born faculty and students and appreciating the cultural diversity they bring to diaspora communities. Engaging HBCU students in cultural heritage preservation will be a focus of the project, leveraging American technical skills with Nigerian cultural competencies to support US Mission Goals.

Our documentation drive will produce thousands of audiovisual primary sources with the potential to fuel knowledge- and creativity-based economic growth. We will collaborate with participating communities on a three-phase ethnographic process: (1) Inventory, (2) Documentation, and (3) Preventive Conservation. Grant products will be disseminated widely, benefitting the communities, the American and Nigerian public, and scholars in a variety of fields. The Middle Belt faces an array of challenges, including climate change, substance abuse, pastoralist conflict, and religious fundamentalism. The US Mission’s objective of promoting peaceful dialogue will be lived through partnership with CONAECDA, a coalition of community development associations formed in recognition of the UN’s Declaration on the Rights of Indigenous Peoples. Cultural preservation will promote stability through inclusive education, interethnic and intergenerational conviviality, and constructive identity formation among young people.

Word Count: 9043

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William Shakespeare didn't go to college. If he time-traveled like Dr. Who, he would be stunned to find his words on a university syllabus. However, he would not be surprised at the way we will be using those words in this class, because the study of rhetoric was essential to all education in his day. At Oxford, William Gager argued that drama allowed undergraduates "to try their voices and confirm their memories, and to frame their speech and conform it to convenient action": in other words, drama was useful. Shakespeare's fellow playwright Thomas Heywood similarly recalled:
In the time of my residence in Cambridge, I have seen Tragedies, Comedies, Histories, Pastorals and Shows, publicly acted…: this is held necessary for the emboldening of their Junior scholars, to arm them with audacity, against they come to be employed in any public exercise, as in the reading of Dialectic, Rhetoric, Ethic, Mathematic, the Physic, or Metaphysic Lectures.
Such practice made a student able to "frame a sufficient argument to prove his questions, or defend any axioma, to distinguish of any Dilemma and be able to moderate in any Argumentation whatsoever" (Apology for Actors, 1612). In this class, we will use Shakespeare's own words to arm you "with audacity" and a similar ability to make logical, compelling arguments, in speech and in writing.
Shakespeare used his ears and eyes to learn the craft of telling stories to the public in the popular form of theater. He also published two long narrative poems, which he dedicated to an aristocrat, and wrote sonnets to share "among his private friends" (so wrote Francis Meres in his Palladis Tamia, 1598). Varying his style to suit different audiences and occasions, and borrowing copiously from what he read, Shakespeare nevertheless found a voice all his own–so much so that his words are now, as his fellow playwright Ben Jonson foretold, "not of an age, but for all time." Reading, listening, analyzing, appreciating, criticizing, remembering: we will engage with these words in many ways, and will see how words can become ideas, habits of thought, indicators of emotion, and a means to transform the world.

In the Body System Amusement Parks project, students team up to create amusement parks based on the various systems and organs within the human body. With the power of abstraction, each attraction represents the cardiovascular system, the muscular system, the digestive system, etc. Teams create both 3D scale models and presentations to an unnamed wealthy investment firm looking to build a new park in the students’ very own town. This activity was heavily inspired by a post from Danielle Dace.

This online textbook provides a generalized understanding of composition and to serve as a supplementary aid to high school English teachers.

Students will gain an understanding of the Northern Arapaho people located on the Wind River Reservation in Wyoming. In the accompanying lessons plans (found in the Support Materials), students will learn how the Northern Arapaho come to Wyoming, what are the Arapaho values, and why were Arapaho tribal names changed?

LEARNING OBJECTIVES:

Students will be able to evaluate what geographical places were used by the Arapaho people and understand how historical events changed the future for the Arapaho people.
Students will compare and contrast between their social and ceremonial structures.
Students will understand the hierarchy of the Arapaho Tribe.
Students will analyze how their social and ceremonial structures contribute to their cultural identity.

Monarch Mystery is an early elementary curricular program that is grounded in a local phenomenon about migrating monarch butterflies and is shared through the story of a migrant girl named Violeta. Combined with the story, this unit uses interactive activities to teach to the Next Generation Science Standards and the Washington State Environmental and Sustainability Education Learning Standards. It is also guided by a framework for Culturally Sustaining Pedagogy. We included literary opportunities to develop ELA skills in support of multilingual learners. Rounding out the program are outdoor activities, arts, and written activities that enable students to practice skills, and build toward an action project informed by their understandings and experiences. Monarch Mystery is an early elementary curricular program created by EarthGen. For this unit, we offer professional development training and assistance with implementation. If you are interested in implementing this program at your school or district, please let us know! Please contact info@earthgenwa.org for more information. 

A Complete Online Course

Short Description:
An Introduction to Poetry, A Complete Online Course is designed for a first college course in poetry. Assuming no prior knowledge of poetry, it guides the student through the most essential aspects of poetics, the tricky question of interpretation, and the importance of form. It also outlines, in several chapters, the changing ways that poetry has presented itself from the late 16th century through the present.

Long Description:
An Introduction to Poetry, A Complete Online Course is designed for a first college course in poetry. Assuming a student whose understanding of the subject has not made it beyond prejudices about “openness of interpretation,” “expression of feeling,” and “emptiness of meaning,” it uses written and video lectures as well as a number of illustrated videos on poetics created specifically for this book to guide the student through the tricky question of interpretation, the minefield of poetics, into the valley of forms and figures, and finally through the history of the form itself. This introduction treats poetry as a manifestation of language in general, poems being themselves the manifestation of poetry, which exists in bits and pieces in all ways of using words. In its historical overview it traces the changing ways that poetry has presented itself–how it has existed and what has been expected of it and how it has functioned–from the late sixteenth century through the twentieth. One chapter is devoted to the ways the women have been treated in poetry from the time of Chaucer to now. Each chapter is designed to occupy one week of a full-semester course.

Word Count: 43940

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"The Tragedy of Hamlet" is, first and foremost, a text to be performed. William Shakespeare intended for the text to be seen in performance, not read, and all of the early texts have no reliable connection to Shakespeare's editorial authority.

In light of this, from the very earliest printings, editors have chosen to edit the play's text for particular purposes: to make a quick buck, to memorialize a recently deceased friend, to conform to a time period's unique aesthetic, or to attempt to reconstitute what Shakespeare might have intended in an ideal version of the play.

This particular edition is focused on the student who wants to read the play quickly. The edition is unabashedly abridged. "The Tragedy of Hamlet" is a long play, and, in a time of increasingly compressed curricula, a maximal edition can often take a long time to get through in class. Nearly all performances of the play, both on stage and screen, feel empowered to reduce the size of the play. The Zeffirelli film cuts the play's text by half. Moreover, if we use"Romeo and Juliet"s prologue as a guide that most of Shakespeare's plays were approximately two hours in length, then that suggests that "Hamlet," which can easily reach four-hour run-times in a "full-text" version, can be cut in half and still be coherent.

Therefore, this is a performative textual edition. It cuts the text by 50% but doesn't dumb down Shakespeare's language by modernizing spelling or altering the syntax. In particular, this edition has removed the Fortinbras subplot. Teachers and students should be aware that this removes a significant political theme in the play. It also removes a Hamlet soliloquy and a key foil for Hamlet's character.

This edition is based on the 1860 Globe edition because of its free availability. Later editions (both full-text and abridged) might eventually be offered that are based on a critical conflation of early texts in order to arrive at an ideal authorial-intent text.

Importantly, this edition has the advantage of including textual annotations to help the student understand difficult vocabulary, syntax, and cultural allusions. In this last regard, the edition attempts to be more useful than other online texts of the play that might be freely available but lack helpful guidance for the reader.

Other contextual material are provided to help the student understand early appreciations of the play.