Guidelines for Humanities Associate Faculty Assoc Faculty.pdf · GuidelinesforHumanitiesAssociateFaculty ! ! !!! 6! Instructor’Evaluations’ CollinCollegerequires! regularly!recurringevaluationsofallclassroominstructors,bothfull

Guidelines for Humanities Associate Faculty

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Contents

Introduction ................................................................................................................................................................................ 3

Department Generic Syllabus .............................................................................................................................................. 4

Textbook Policy ......................................................................................................................................................................... 5

Instructor Evaluations ............................................................................................................................................................ 6

Requirements and Expectations for the Course

Requirements ..................................................................................................................................................................... 7

Expectations ....................................................................................................................................................................... 7

Example Assignments ..................................................................................................................................................... 8

Creative Project w/ Presentation (I) ................................................................................................................ 9

Creative Project w/ Presentation (II) ............................................................................................................ 13

Creative Project w/ Self-‐Critique .................................................................................................................... 17

Service Project w/ Reports ................................................................................................................................ 22

Service Project w/ Research and Reflection Essay .................................................................................. 25

Values Analysis Essay .......................................................................................................................................... 29

Critical Analysis Essay ......................................................................................................................................... 31

Review Essay for Art/Performance ............................................................................................................... 34

Field Trip w/ Essay Report ................................................................................................................................ 38

Appendix: Core Assessment Rubrics ............................................................................................................................. 43


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Introduction Those who have taught Humanities 1301 know from experience it can be a challenging course to teach well. As a survey course that covers millennia of cultural history, multiple cultural traditions, and multiple artistic and literary genres, the scope of the material itself is challenging enough. When the requirements associated with a Core Curriculum course are added to the equation, the task of designing and presenting a course that effectively fulfills all the demands placed upon Humanities 1301 is complex.

The task of guiding associate faculty at Collin through these challenges once rested with a discipline coordinator who supervised and was in regular communication with all associate faculty teaching humanities at the college. In that role, discipline coordinators (and, later, chairpersons) conveyed the collective expectations of the department regarding the Humanities 1301 course primarily through their responsibility for hiring, orienting and evaluating the associate faculty. Although sample syllabi, assignment examples and other written information were typically offered to assist new instructors, evolving expectations for the course could often be communicated directly.

With the division of the college into campus-‐based administrative units, the humanities department no longer had a single channel for communicating expectations about the course to all instructors. That loss presents problems. Our accrediting body and the state hold full-‐time humanities faculty collectively responsible for ensuring that the Humanities 1301 classes taught at Collin present a relatively consistent learning experience and adhere to a consistent expression of the purposes of the course. While campus chairpersons with oversight of humanities instruction do the best they can to convey the wishes of the full-‐time faculty to their associates, the chairpersons (not being humanities faculty) are not charged with the same curricular responsibility as the humanities faculty itself.

The purpose of this brief document, and the policies, guidelines and examples found here, is partly to address this need for a single, coherent source that articulates a framework for teaching Humanities 1301 at Collin College as intended by the Humanities department.

On the following page is a copy of the department generic syllabus for the course (also available on the Curriculum Office website in CougarWeb). Although everything it contains is required in each

mportant elements for the purpose of this document are the Course Description and the Student Learning Outcomes. The course description depicts the overall aims of the course as defined by the state, with additional refinement by the Humanities department. The five learning outcomes represent the capabilities every student who takes Humanities 1301 should have an opportunity to learn and to materially demonstrate over the span of the course. Any course design that does not engage and assess performance in each learning outcome at least once in the semester is not fulfilling the requirements of the course.

In addition, the four Core Objective Skills (two each listed after the second and third learning outcomes) are delegated by the state of Texas to Humanities 1301 in its status as a Core Curriculum course at Collin College. Any course design that does not engage and assess performance in each core skill at least once in the semester is not fulfilling the requirements of the Core Curriculum.


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Department Generic Syllabus COLLIN COLLEGE

COURSE SYLLABUS

Course Number: HUMA 1301 Course Title: Introduction to Humanities I Course Description: This stand-‐alone course is an interdisciplinary survey of cultures focusing on the

philosophical and aesthetic factors in human values with an emphasis on the historical development of the individual and society and the need to create. Additionally, this course provides a broad overview of cultural traditions and the variety of aesthetic and intellectual works through which they express their values and aspirations.

Course Credit Hours: 3 Lecture Hours: 3

Prerequisite: Meet TSI college-‐readiness standard for Reading and Writing; or equivalent Student Learning Outcomes:

State Mandated Outcomes: Upon successful completion of this course, students will: 1. Demonstrate awareness of the scope and variety of works in the arts and humanities. 2. Articulate how these works express the values of the individual and society within an

historical and social context. (Personal Responsibility, Social Responsibility) 3. Articulate an informed personal response and critically analyze works in the arts and

humanities. (Critical Thinking, Communication Skills) 4. Demonstrate knowledge and understanding of the influence of literature, philosophy, and

the arts on cultural experiences. 5. Demonstrate an awareness of the creative process and why humans create.

Withdrawal Policy: See the current Collin Registration Guide for last day to withdraw.

Collin College Academic Policies: See the current Collin Student Handbook Americans with Disabilities Act Statement: Collin College will adhere to all applicable federal, state and

local laws, regulations and guidelines with respect to providing reasonable accommodations as required to afford equal educational oppACCESS office, SCC-‐D140 or 972.881.5898 (V/TTD: 972.881.5950) to arrange for appropriate accommodations. See the current Collin Student Handbook for additional information.

Fall 2014

Course Information


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Textbook Policy Two textbooks have been approved by the department as providing an effective framework for teaching the Humanities 1301 course as intended at Collin College:

DISCOVERING THE HUMANITIES (by Henry Sayre, from Prentice-‐Hall/Pearson) LANDMARKS IN HUMANITIES (by Gloria Fiero, from McGraw-‐Hill Higher Ed)

Associate faculty members are expected to use the most current edition of one of these approved texts as the primary textbook for their classes. (Ancillary materials from the publisher of either of these texts of this policy; however, in consideration of cost, full-‐time faculty seldom use these ancillary materials.)

A requirement that students purchase additional texts or other materials as supplements to the approved textbooks is acceptable, provided the following criteria are met:

The instructor has taught the Humanities 1301 course at Collin for at least four long semesters (fall or spring) using one of the department-‐approved textbooks exclusively as the course text.

The instructor obtains approval (from a consensus of the full-‐time faculty who teach Humanities at Collin) for requiring these supplemental materials in their course at least one full semester before the supplements are to be used.

The request for approval must provide a description of intended purpose for each required supplement, including how the supplement will be used to fulfill one or more of the course Student Learning Outcomes (SLOs) and/or to teach one or more of the mandated Core Objective Skills. The request should also indicate how the intended supplement enables learning activities that aid the instructor in fulfilling the SLOs or Core Skills in ways that go beyond what is possible or practical with the department-‐approved textbooks.

The collective cost of any required supplement(s) should not exceed 20% of the typical Collin-‐bookstore cost for the department-‐approved textbook used in the course.

The above criteria ensure that, before adding supplemental materials to their course, instructors have taught with the department-‐approved textbooks long enough to be familiar with the expectations and requirements of the Humanities 1301 course as taught at Collin and to have formed a strong sense of how best to integrate additional material with those expectations and requirements. (Supplements should be viewed as integrating with the existing course and textbook, not supplanting it.) Also, as the last item indicates, we wish to limit the additional expense incurred by students taking the course.

Instructors who have taught the Humanities 1301 course at Collin for at least six long semesters under the policy described above and who have an interest in exploring further alternatives to the department-‐approved textbooks should consult with the Humanities Discipline Lead and other full-‐time faculty in the Humanities department at Collin. Alternative approaches to course texts that go beyond the supplements option addressed above will require department approval of a fully delineated course curriculum.


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Instructor Evaluations Collin College requires regularly recurring evaluations of all classroom instructors, both full-‐time and associate faculty. Although basic elements of the evaluation process are universal across the college, there are also variations dependent upon the preferences of the deans and chairs ultimately responsible for the evaluation of instructors under their supervision.

The full-‐time faculty members of the Humanities department have jointly committed to making themselves fully available to chairpersons with supervisory responsibility for humanities courses on each campus for the task of performing classroom evaluations and contributing to other aspects of the regular evaluation of the associate faculty teaching humanities classes. As part of this commitment, the Humanities faculty has asked that a self-‐evaluation exercise be inserted into the preparation stages of the evaluation procedure for all humanities associate faculty.

This self-‐evaluation will come in the form of a document to be completed one week prior to the scheduled classroom visit. After responding to the prompts in this document, the instructor to be evaluated will send the document, along with a copy of that course syllabus, to their chairperson for forwarding to the full-‐time faculty member who will be conducting the evaluation.

The information requested in the self-‐evaluation document includes the following: What strategies do you use to balance the breadth of coverage definition of Humanities 1301 (as found in the course description and SLOs in the departmental course syllabus) with the specificity needed to implement and assess the higher-‐order skills also required of the course as a part of the Core Curriculum?

Describe one or more specific learning activities used in your class to address each of the required Student Learning Outcomes (SLOs) in the course syllabus. Such learning activities cover a range of possibilities from a required reading assignment with accompanying class discussion, to an in-‐class activity prompted by types of media, to a focused discussion (group-‐based or whole-‐class) of specific questions, to any number of (perhaps more innovative) possibilities not touched upon in this list.

Describe how you assess student performance for each of the five Student Learning Outcomes and how that method of assessment connects directly to the individual course grade for each student. In a bit more detail, describe the tasks or assignments you use to assess student performance in the four required Core Objective Skills Critical Thinking, Communication, Social Responsibility and Personal Responsibility. (If we really like what

a Be prepared to share a copy of such activities or assignments with the evaluator.)

In which skill areas or learning outcomes do you find performance to be most satisfactory? In which skills or outcomes do students continue to encounter the greatest challenge?

The exercise described above has two purposes. The first is to inform instructor evaluations with a greater sense of the instructor s course as a whole, as a complement to the more immediate, but limited, information gained from a classroom visit. The second is to provide the basis for a richer, more informative, more wide-‐ranging conversation between colleagues.


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Requirements and Expectations for the Course

Requirements

state of Texas (through the Texas Higher Education Coordinating Board), and any course designed to be taught under that course number must implement and reflect the state requirements. In other words (for instance), the state expects that any course taught in the state of Texas under the HUMA 1301 designator will be interdisciplinary, that it will be a survey (both historically and culturally), that it addresses individual and social values (as expressed both intellectually and aesthetically), and so on. These are the goals found in the official description of the course. (The two textbooks authorized for HUMA 1301 at Collin are chosen, in part, because they lend themselves to meeting these multiple goals effectively.)

In addition to the general goals found in the Course Description, the state mandate also includes two sets of more specific requirements, the Student Learning Outcomes and a set of Core Objective Skills. The Student Learning Outcomes are germane to the course itself; the Core Objective Skills derive from the inclusion of HUMA 1301 in Collin Colleg A specific set of six skills must be taught and assessed in the core curricula of all state-‐supported higher education institutions in Texas; the HUMA 1301 course is answerable for four of those six skills.) In the generic syllabus, the Core Objective Skills are listed parenthetically following the second and third Student Learning Outcomes.

To fulfill the state mandates, every HUMA 1301 course should include activities that engage or inculcate, and assignments or evaluative tasks that assess, each of the Student Learning Outcomes at least once during the course, and every course should also have one or more tasks that teach and assess each of the four Core Objective Skills as well. Although any particular activity, task or assignment might be designed to address only one of the five Learning Outcomes or one of the four Objective Skills, given the multiple requirements placed upon the course, probably the most efficient way to assess the Core Objective Skills is to embed their assessment within tasks or assignments that are also addressing one or more of the Student Learning Outcomes.

Expectations In addition to the state requirements, the faculty of the Humanities Department at Collin College has some general expectations regarding the types of learning experiences we intend students to have as a result of completing the Humanities 1301 course.

For instance, we want students to write, and preferably to write in multiple contexts. Some of that writing can be informal and/or exploratory; some of it should be formal and rigorous. The writing tasks should be shaped with an eye toward the Student Learning Outcomes and the Core Objective Skills.

We want students to make active, visible contributions to the class. These contributions can come in the form of interactive dialogues with the instructor in the classroom, in the form of group


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discussions or activities, in the form of oral presentations to the class, in the form of online postings in a discussion forum, or perhaps even in some more innovative framework. Whatever the form of these contributions, they should be moments that require each student to put themselves forward publicly and become

We want students to engage with one or more tasks that push them to think creatively, to think critically, or to do both at the same time, and to think a bit about what that creative and critical engagement means.

We want students to read college-‐level material (ideally, at least some of which is primary, even if only in the form of excerpted passages, such as provided in the approved textbooks) and to encounter a variety of forms of works from the arts and humanities. We want students to be challenged to demonstrate comprehension of the material they encounter (whether ideas and concepts or facts and information) in a formalized manner, at least part of which should include a formal exam of some kind.

Example Assignments In recognition that the foregoing represents a complex set of requirements and expectations, the next several pages present a variety of examples of learning tasks or assignments that fulfill one or more of the requirements and expectations described above. These examples are taken from the courses of current full-‐time faculty teaching Humanities 1301 at Collin College.

Although you might choose to adopt one of the following examples wholesale for use in your own course, we recognize that it s more likely you ll select parts of or ideas from one of these examples to combine with your own ideas or adapt to your own course. This kind of cross-‐fertilization of ideas, when shared with colleagues, contributes to an ever-‐improving set of methods for teaching and assessment in the Humanities 1301 course.

The following format has been used to present each of these examples:

An introductory page labels the type of assignment and indexes the Student Learning Outcomes and Core Objective Skills that the assignment is intended to engage and assess.

The assignment information is structured in two parts one or more learning activities followed by an assessment task or exercise designed to challenge students to demonstrate the skills or intellectual capabilities acquired through the learning activities.


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Creative Project w/ Presentation (I)

Student Learning Outcomes 1. Demonstrate awareness of the scope and variety of works in the arts and humanities.

3. Articulate an informed personal response and critically analyze works in the arts and

humanities.

5. Demonstrate an awareness of the creative process and why humans create.

Core Objective Skills Critical Thinking

Communication Skills


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THE PORTRAIT PROJECT

Learning Activities

View for discussion in class the following video from the Collin library:

Portrait/Self -‐Portrait : The Conquest of the Human Figure Publication Year: 2007 | Princeton, NJ: Films for the Humanities & Sciences, c2007

Discuss in class the elements of critical evaluation of art works, particularly two basic questions: How well does the artwork succeed? What is its merit?

This discussion also addresses technique, such as the use of:

1.

2. At least one of the following evaluation criteria:

appeal to the senses meaning emotional impact credibility originality cultural values critical acclaim popular acclaim universality technical competence

3. Specific examples from the work of art that illustrate how a particular criterion is met.

Assessment Exercise

Outline of the Project

This project is designed to encourage you to think both creatively and critically about images and identity. Your assignment is to choose and research a significant portrait painting and then to complete the following steps:

1. Indicate your topic choice by submitting an artist name, a painting with a link to the image, and a bibliography via Blackboard discussion post.

2. Demonstrate your understanding of this image by creating a photograph that emulates some of the best elements of that painting.

3. Make a detailed outline for an oral presentation and submit it via Blackboard.

4. Give an in-‐class oral presentation connecting your research to the portrait and the photograph. The presentation is accompanied by a PowerPoint submitted via Blackboard.


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Point distribution

1. Topic, Image Link, and Bibliography: 25 points

2. Presentation Outline: 75 points

3. Photograph: 100 points

4. Presentation: 50 points

5. TOTAL POINTS: 250

Details of the Project

1) Posting your topic

Use research sources to discover what portrait interests you for this project. Bear in mind that no two students in the class may focus on the same artist. Refer to the list of artists known for their portrait

u may choose an artist not on that list only with my prior approval.)

chosen. The body of the post must contain: a) the exact title and date of the portrait along with a link to a good version of the image; b) an MLA-‐format bibliography with a minimum of three sources. (At least two sources must reference print materials rather than images. A maximum of one scholarly documentary film can be used as one of your sources.)

The library is a great place to research your subject. You may also do research on the Internet so long as

that is identical to a Cliffnotes, Sparknotes, Wikipedia, or other such websites.

You should work with a website such as citationmachine.net to make sure that your bibliography is correct in all details. Remember also that your sources must be alphabetized and that your indentation must be handled correctly. A web address alone is NEVER sufficient as a bibliography entry.

2) Creating the photograph

The model for the photograph should sign a release form. (There are standard release forms in the Project folder of in Blackboard. These forms are for your legal protection, so you should keep them rather than giving them to me.)

The color and texture of the clothing, background, props, etc., are more important than any

Lighting can be reproduced by carefully observing the direction and intensity of light and shadows in the painting and then using natural light, flashlights, reflectors (sunshades for cars work well here), etc. to approximate the light for the photograph.

http://citationmachine.net/index2.php?reqstyleid=1&newstyle=1&stylebox=1


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3) Creating the presentation outline

Your presentation outline is a formal prose version of your oral presentation, written in complete sentences and arranged in the required format below. It should be written in standard English appropriate for a college-‐document

I. Describe the subject and the artist (who may possibly be the same person). Paraphrase your research rather than using direct quotation. You should take no longer than two minutes to orally present this section, so Part I should be no more than 300 words long. Divide Part I into two sections, labeled A. and B. One section should be about the artist, and the other section should be about the subject.

a. The material about the artist should include name, country of origin, when s/he lived, and any movement s/he was a part of. Choose the biographical facts that best illuminate the

romantic relationships, etc. are not going to be as important as information about his/her work.

b. artist use this subject more than once? Was it typical for artists of this movement or era to

in the portrait?

II. Explain the photograph you have made in imitation of the portrait. (This means taking the photo before you write the outline.) Identify in detail what you were emulating from the painting the props, the pose, the colors, the lighting, the background, etc. You should take at least two minutes to orally present this section, so Part II should be at least 300 words long. Part II should have 2-‐4 sections, labeled A., B., C., etc. with each section focused on lighting, props, colors, etc.

III. Briefly evaluate the painting and your photograph. Each image must be evaluated separately, and you must evaluate the photo on its own merits rather than on its ability to imitate the original portrait. Say what is most successful about each image as an artifact, name a different evaluation criterion (from the classroom presentation and discussion each image, and use a specific visual detail from each image to support your arguments. Part III should be only a few sentences long.

4) Giving your presentation

s important for the structure of the class that presentations fit within the required time limit. I will time your 3-‐5 minute presentation with a stopwatch and grade you in part on whether you fit within the time limit. Please follow the separated content, order, and organization as described above. Your presentation requires at least one side-‐by-‐side PowerPoint slide of the original portrait and your photo homage to it. You may use more than one PowerPoint slide in your presentation if you wish, but the PowerPoint must be about depicting images. (Do NOT put the text of your presentation in the PowerPoint and then read it to us.)


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Creative Project w/ Presentation (II)

Student Learning Outcomes 4. Demonstrate knowledge and understanding of the influence of literature, philosophy, and the

arts on cultural experiences.

5. Demonstrate an awareness of the creative process and why humans create.




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Creative Project and Presentation

Learning Activity

Choose one quotation from the list below and make an artwork that represents the quotation in a poster form (somewhat like a motivational poster but not geared to motivate alone). The words should be designed to interpret and illustrate the concept. You can make a collage and/or you may do a painting, photograph, or drawing. The work should be big enough to be seen by your classmates when presenting it.

Let the words in the quotation become a springboard for images. For example, does the quotation bring up particular colors, shapes, spatial arrangements, forms or scenes? Which word or words should be emphasized and how so?

The piece must be an original work made specifically for this assignment.

You cannot do a PowerPoint or digital work. It must be something tactile.

Please put your name on the back of the work.

Quotation List

These quotations are provocative, i.e., they challenge one to think or look at life in different ways.

Carl Jung

stumble,

Henry David Thoreau


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confederac

15.

Assessment Exercise

Present your work to the class, adhering to the following guidelines:

1. Give your full name.

2. Explain how your artwork expresses the concept from the quotation and your creative process for example, what you think about the quotation and the aesthetic choices you made and how they express your ideas.

3. What you learned/gained from the creative process.

Because of time limitations, we only have five minutes per presentation. This means that you must be prepared and ready to present your project in the most economical manner possible. In addition, work on speaking clearly, confidently, and slowly enough for your audience to follow you.

Grading:

This project is designed to get you to think and act creatively. Therefore, originality in conceptualization and execution will strongly impact the resulting grade. In addition, the project should convey the depth of thought and time and effort undertaken to make it. Remember that art is a form of communication. So you should think about how the work appears to others. Sloppy work uneven edges, parts peeling off, low quality printing of the images will receive a low grade. (Please, NO GLITTER. It tends to get everywhere.)


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Grading Rubric for Creative Project and Presentation

Student Name: __________________________

Presentation (25 points total)

Clarity and engagement with the audience: _______

Creative Object (100 points total)

Demonstrates effort and time expended: _______

Shows awareness of aesthetic impact: ________

Exhibits creativity/originality: ___________

Connects to Concept: ___________

Points off for Lateness: ___________

Total points: ________


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Creative Project w/ Self-‐Critique (tailored to online classes)

Student Learning Outcomes 5. Demonstrate an awareness of the creative process and why humans create.




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Creative Project: A Photographic Composition Deadline: Consult the Calendar page in your course Syllabus for the submission deadline.

Submit your completed project in Blackboard, in the Creative Project Submission area (on the Discussions Board) as a file attached to a posted message.

Your assignment for the Creative Project is to produce a photographic composition. A photographic composition is a collection of photographic images that communicate some concept, theme, or narrative.

You have two options for the type of composition you choose for your project. The first option is to construct a photographic essay, which is a composition on a single subject or theme. The nature or conceptual basis of the composition can be interpretive, meditative, or analytic. The second option is to construct a photographic narrative. A photographic narrative is a set of photographic images that communicate a sequence with a defined beginning and end an act, an occurrence, a story, a set of events, or a process of some kind. The key in a photographic narrative is to capture a sequence of moments that contains some kind of change or transformation in the subject being depicted. Whether you choose to do a photographic essay or a photographic narrative, you must have an underlying, abstract concept that gives structure to the essay or meaning to the narrative. Requirements

1) Your photographic composition will consist of no less than 8 images and no more than 10 images. A prudent production strategy would be to create at least twice as many images as you need for the final product, giving yourself the opportunity to choose those images that are most effective in satisfying your goal. (Seldom does every shot turn out the way you wanted it.) In other words, leave yourself room to choose, cull and edit. 2) Before the collection of images, you must use a title page or slide or panel (depending on the kind of software program or file format that you use to compose your work). The only information needed for this a title for the composition (which should appear first and most prominently) and then your name.

-‐moment). 3) All images must be produced specifically for this project. You cannot use existing images found elsewhere or produced by you at previously for some other purpose. If you're uncertain of your photographic skills or your ability to create images of an adequate quality for your purpose, you may get assistance from someone who has more experience with photography. However, all images must be produced at your direction and to your own design. Even if you aren't the person pressing the shutter button on the camera every time, you must be directly in control of the creation of the images. The end product the underlying idea, the design and selection of the images, and their arrangement and presentation must be your own.

The photographic images can be produced with a conventional camera (film or instant), with a digital camera, or with still images extracted from a video camera (if you know how to do that successfully and if you can extract images at a high enough resolution to make a clear image). Ultimately, your images need to be in electronic form so that you can submit them to me in an electronic file inside Blackboard. If yo


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conventional camera to create the images, converting them to electronic form can be achieved through the use of a scanner. 4) Although the underlying concept and its effective communication are the key criteria for your project, you should also pay attention to the aesthetic quality of the images and their presentation. There are two reasons for this. First, this is a creative project, one designed to familiarize you with the demands and challenges of the creative process. Second, your attention to the aesthetic quality and execution of the images provides a measure of the effort and care that you invested in the project. 5) The end product that you submit must have a unified form of presentation. Don't simply submit a

way, collected or integrated into a single electronic document that presents your images in their proper

to create the file in one of those formats, you must contact me so we can jointly find a file format you can use and that I will be able to

my office computer, you will simply receive a 0 for the assignment. 6) You are not allowed to use text captions for the images to communicate the meaning of the composition; your images must speak for themselves. You will need to choose a subject, and content for that subject, that you can use to communicate a concept purely through images. I will allow a fair amount of latitude in the content choice, with the following exceptions:

the subject matter must not be profane, obscene, pornographic, abusive or insulting. This

includes nudity or any form of sexual content. Think in terms of a G or a PG rating.

Violating these content restrictions will result in 0 points for the project. (If you have any doubts whether your subject matter might be in violation of these restrictions, consult with me.) 7) In addition to the photographic composition itself, you must include a self-‐critique as the last slide or page of your project. This critique must be between 300 and 350 words. The purpose of your self-‐critique is to discuss your decision-‐making process and/or problem-‐solving process while planning and creating the photographic composition, as well as to discuss strengths and weaknesses of the composition or areas that could be improved.

The kinds of questions you should attempt to answer in your self-‐critique include:

Why did you think this subject would make a good choice for an essay or a narrative communicated through photographic images?

How much planning went into the sequence of images? How many of the images used in the final product resulted from your plan? How many resulted from unforeseen developments or discoveries that occurred while producing the images?

What obstacles did you encounter? How did you go about resolving the problem? What criteria entered into your choices of which images to use for your final product? What factors entered into the arrangement of the images or your presentation format? What do you consider to be the strongest aspect of your project? The weakest aspect? How

might the weaker elements have been improved?


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There are other topics or issues that could potentially be included in your self-‐welcome to address any that occur to you as being useful or pertinent to your own particular project (as

then must not

rking. The critique is strictly for examining your own execution of the project and the creative and decision-‐making process in which you engaged while producing your photographic composition.

The self-‐critique should be organized in paragraph form, with standard grammatical usage, proper spelling, etc. In the upper-‐left corner, you should include a two-‐line header with your name on the first line and the title of your photographic composition on the second line. The critique should appear at the end of the photographic composition (the last slide or page). Scoring and Point Distribution

For scoring purposes, the various components of the project are weighted according to the following distribution:

Adherence to requirements and directions: 15% Quality of underlying concept (interest and originality): 15% Clarity of execution and communication of concept: 30% Attention to aesthetic quality of project execution: 15% Insight and pertinence of self-‐critique: 25%

Things to Consider

On content or subject matter: A narrative, story, or process can potentially be composed or recorded with a variety of different subject matters. Events or processes with a beginning, middle, and end, or with some transformative sequence, can be found in the natural world as well as the human world. For essay compositions, patterns or repetitions of form, content, or meaning can be used to communicate a thematic concept.

On narrative: If developing a narrative, keep in mind that a narrative, at its beginning, needs to supply the reader or viewer with certain information: a setting or context for the narrative, and a subject (whether human or non-‐human) about which the activity or events of the narrative transpire. The introductory stage of a narrative might take anywhere from one to three images; how many is one of the decisions you would need to make. Some elements of setting or context can, in certain situations, be left implicit (that is, left for viewers to presume for themselves based upon the information that's present) rather than being explicit (openly and obviously included); this is another creative decision. The majority of the images, of course, need to develop the narrative sequence itself. Then, one or more images at the end of the sequence need to provide some sense of conclusion.

On composition of images: With photographic images, information can be communicated in ways that go beyond the basic content. As with any other form of image (like a painting or drawing), the manner of composition can communicate information. For instance, the way in which you use light and shadow can convey information. The choice between color images or black-‐and-‐white images can convey information.


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Images that are full of hard or jagged shapes or forms convey a different feeling than those with softer or more rounded shapes and forms. Harsh or vivid colors communicate a different feeling than images that use soothing colors or pastel shades. The way in which images are framed for instance, what is included in the image, what is excluded, where the primary focal point of the image is positioned in the frame, whether some things in the image are only partially visible (and, if so, which things those are) will communicate information to your viewer. Remember also that framing decisions can be made both at the time the photographic image is created and also at the time that the images are being selected

them into their format for presentation.


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Service Project w/ Reports

Student Learning Outcomes 2. Articulate how these works express the values of the individual and society within an

historical and social context.

4. Demonstrate knowledge and understanding of the influence of literature, philosophy, and the

arts on cultural experiences.

Core Objective Skills Social Responsibility

Personal Responsibility



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Confucius Project

Learning Activities

Read Analects in the version provided on e-‐reserve at the library.

Watch the documentary film on his life available in the library: Confucius: Words of Wisdom (Call # B128.C8 C66 2005 dvd)

Learn why his teachings are relevant today. In the film, you will discover his beliefs on the following:

family honesty

tradition virtue

looking to the past for the key to future superior man vs. small man

education self-‐control

quality kind-‐heartedness

justice and truth cheating

character building success

Service Project

Choose and complete a community service project (choices provided below).

Choices for your community service project

Choice #1. Volunteer opportunities: Salvation Army facility at 15th and Spring Creek Salvation Army headquarters on 14th just west of Shiloh. One of many food distribution facilities (neighbors or town) Visit a residential facility for the elderly Samaritan Inn in McKinney (www.thesamaritaninn.org/Volunteer.aspx)

Choice #2. Send letters to injured service members through Operation PAL (for detailed

information, go to the web page at www.operationpal.com/list.asp). Write ten (10) letters of approximately one full-‐page each (handwritten on paper of your choice), make photocopies of each letter before you send it, and include the copies in your essay as instructed above.

Choice #3. Propose a service project of your own choosing (in writing to me). I will have to approve any project not listed above.

http://www.operationpal.com/list.asp


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Assessment Exercise

Write an essay in MLA style, double-‐spaced, which includes:

A one-‐background information on the cultural and personal context of his teachings.

A two-‐page report of your service activity with details that explain your project in full. Provide an analysis Analects. Give details on the specific lesson you followed and how the accomplishment of your service project aligns with the teaching. Discuss how your service choice affects your community and how it affects you personally. Examine ways in which the teaching you acted upon might or might not translate exactly from the cultural and social setting of Confucius-‐era China to that of the contemporary U.S.

A log of hours worked or service) following the conclusion of your essay. (Note: In the log of your performance, have your service-‐hours record signed at the facility where the service was performed. Choice #2 would be the exception to this.)


25

Service Project w/ Research and Reflection Essay


Social Responsibility




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SOCIAL RESPONSIBILITY PROJECT

to live in peace, their right to be treated with dignity, their right to equality of opportunity, their right to Malala Yousafzai

Learning Activities

Service Learning Project Devote a minimum of five hours to an approved service project. Keep a careful record of your community service hours and have the proper documentation

signed by your supervisor. ( ) Be sure to fill them out correctly and sign them in order to receive credit. If you have any

questions, please consult with me.

Samaritan Inn and submit an itemized list of all of the clothes you donated. Remember that these clothes will benefit women survivors of domestic

Imagination Exercise Malala Yousafzai

Imagine that you have been given a magic wand to solve one social issue that you think would go furthest in curing a social ill. Identify the social issue you would most like to solve and explain how solving this one social problem would change the world for the better.

Research / Annotated Bibliography 1) Research your chosen social issue (from the Imagination Exercise, above) from a global,

national, and local perspective to gain a full understanding of what the problem entails, what various people/organizations have done and are doing to solve the problem.

2) Address the importance of compassion as well as personal and social responsibility to help resolve this social problem.

3) Include at least one source on the link between health and happiness and the act of giving. 4) Include websites for organizations that are working toward a solution. 5) Compile an MLA annotated bibliography (click here for example) of reputable scholarly sources

that address the social problem you feel most strongly about. Collect a variety of perspectives from different types of sources (book, resources database,

video or documentary, magazine, newspaper, scholarly blog, etc.) Your annotation for each source should be brief, a couple of sentences in which you indicate

the relevance and purpose of the source. In other words, your goal in an annotated bibliography is to keep a concise, traceable record of the usefulness of each source.

The absolute minimum number of scholarly sources is five; however, ideally, you should research until you have located a vast array of data and information to make a compelling argument.

http://www.brainyquote.com/quotes/authors/m/malala_yousafzai.html

http://www.collin.edu/shared/shared_servicelearning/Log_Liability_Photo_Download_Form.pdf

http://www.brainyquote.com/quotes/authors/m/malala_yousafzai.html

https://owl.english.purdue.edu/owl/resource/614/03/


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Assessment Exercise

Write a 3-‐5 page reflection paper (12 point font, double spaced Word document) that provides a global, national, and local understanding of your social responsibility project topic as well as the need for compassion and social responsibility to resolve the problem you target. Be sure to include your insights

r essay should highlight how you view

and provide meaningful ways that people can help make a change for the better by actually doing something. Your essay should promote awareness and provide a call to action fleshed out with viable solutions and ideas about the best ways for readers to help affect change. Be sure to use proper citation. ESSAY GUIDELINES GOALS:

Reflect upon the knowledge and experience gained as you explored an important social issue through research and volunteer activities.

Argue for the importance of compassion to solve world problems and how volunteerism and community service can help solve the social problem you would like to solve.

PURPOSE: To enlighten your readers about how they can help and empower them to be part of the change

you wish to see in the world. To weave together the most compelling information found in your research and the most

meaningful thoughts and feelings gained from your volunteer experience. To explain the value of knowledge and personal experience to solve a particular problem facing

our culture. To motivate your reader to take action. To share research showing the positive impact that the act of giving has on personal health and

happiness.

AUDIENCE: Busy but intelligent people who care but really know much about the social problem

addressing and got a clue as to how to help solve the problem. May be suffering from and may, therefore, ignore the problem to avert

the anxiety caused by feeling powerless to help.

INTRO: Be sure to give your reader an overview of the scope and limits of the problem through the

lenses of global and national perspectives.


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Intros should be revised and polished when you have completed the rest of your paper since they must be carefully structured to not only capture your attention but also to introduce the ideas you will flesh out in the body of your essay.

Your thesis statement should specifically address what is being done at the local level and what you did to help solve the problem.

BODY In the body of your essay, focus in on what's being done at the local level and how your own

acts of kindness and community service help change things for the better. Build a case for why people should volunteer to help causes that they believe in. Give plenty of detailed support for your position by providing relevant statistics and meaningful

examples drawn from your research as well as your personal experience. The purpose of the body of your essay is to explore the topic and deeply reflect upon your

experience with this project and your feelings on what you and those you helped gained from the experience.

TRANSITION from BODY to CONCLUSION: You need to provide a smooth transition from the body of your essay to the conclusion. A good transition from the body of your essay to the conclusion would be to address the

consequence of no one doing anything and the outgrowth of the efforts people are making to solve the problem.

Just imagine if everyone actually dedicated their efforts of time and energy to cure a social ill how healthy the world would be in no time.

CONCLUSION: Your conclusion should hone in on the impact of people around the globe, nation, and local

community who are volunteering their time, energy, and ideas to make a positive change in an important social issue.

Remember that every good conclusion answers the question: "So what?" End your paper with instruction to your readers about what to think, feel, and do to make a

difference. You should have what amounts to a as your final sentence. Your final words should

be powerful and memorable but not overblown or exaggerated.

TITLE: Begin your essay with a creative and meaningful title. Titles are best rendered at the end of your writing when you know exactly what you had to say. A powerful title draws your reader in and makes a lasting impression. Good titles are both clever and instructive.


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Values Analysis Essay

Student Learning Outcomes 2. Articulate how these works express the values of the individual and society within an

historical and social context.

3. Articulate an informed personal response and critically analyze works in the arts and humanities.

4. Demonstrate knowledge and understanding of the influence of literature, philosophy, and the arts on cultural experiences.





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Conflicting Values in Antigone

Learning Activities

View (in class) key scenes from a production of the classical Greek play Antigone, by Sophocles.

For each scene, discuss at length the specific choices and challenges that are revealed in the conflict between the characters of Antigone and Creon.

Assessment Exercise

Based upon classroom viewing and discussion of scenes from Antigone, write an essay of approximately 1000 words that examines both the personal choices made by the primary antagonists, Antigone and Creon, and the underlying social and cultural values s choices and decisions.

To begin, describe the basic elements of the conflict between these characters. What is the problem that leads to this conflict and what sequence of events has led up to this moment?

The following questions should be specifically addressed in your analysis:

What is the decision that Antigone is faced with? What are the concerns and perceived obligations that press her to make the choices she makes?

What is the ethical reasoning that Antigone uses to justify her decision and her actions?

What are the concerns and perceived obligations that lead Creon to the initial decision that has triggered the conflict with Antigone?

What is the ethical reasoning that Creon uses to justify his decisions and his actions?

What personality traits do you observe in Antigone and Creon, respectively? How do you see those factoring into the decisions and choices of each character?

What sorts of underlying social or cultural values can you identify behind Antigone's motivations? What cultural context do they derive from?

What sorts of underlying social or cultural values can you identify behind Creon's motivations? What cultural context do they derive from?

Conclude with a brief discussion of possible decision points at which either Antigone or Creon might have chosen differently to avoid the grim outcome of their story. How easy or difficult do you think those alternative choices would have been for the characters, given their investment in the social or cultural values that form the backdrop to the choices we see them make? Can you think of strategies or gestures, on the part of either character, that might have made one or more alternative choices easier to make?


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Critical Analysis Essay


2. Articulate how these works express the values of the individual and society within an historical and social context.






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Critical Essay Assignment

Learning Activities

Read background material on three key aesthetic and cultural movements of the past 300 years: Enlightenment/Neoclassicism; Romanticism; and Modernism.

Examine representative examples of visual art and poetry from each period and write an informal response comparing the different examples.

Engage In a detailed discussion, in class, of each of the examples in their cultural context.

Assessment Exercise

Revisit the material encountered in the class discussions of Neoclassical, Romantic, and Modernist visual art and poetry. This time, you will explore the selected works (indicated below) more deeply and convey your findings in a formal manner. Below are two sets of works, a set of three poems and a set of three paintings (links to all works are provided in Blackboard). Each set includes one example that displays stylistic characteristics of each period examined in our class discussions Neoclassicism, Romanticism, and Modernism:

Poetry Selections:

by Andrew Marvell

by Edgar Allan Poe

by E. E. Cummings

Painting Selections:

Intervention of the Sabine Women by Jacques-‐Louis David

Massacre at Chios by Eugene Delacroix

Guernica by Pablo Picasso

You will choose ONE of the above sets of examples either the poems or the paintings to work with. For each of the three works in your chosen set, and using the background material provided, you will analyze the work in terms of how it reflects the stylistic tendencies, the thematic concerns, and the general cultural priorities of the movement and time period it represents. For instance, what features and details of the Edgar Allan Poe poem "Annabel Lee" reflect Romanticism and the Romantic style (and so on for each work)? Support your analysis with clear references to specific details from the work to illustrate your claims.

After analyzing each work in turn, you'll also be expected to draw comparisons and contrasts among the three works, with your analysis informed by the information you have regarding the respective


33

styles and time periods. For instance, each of the poems deals in some way with a love relationship; each also implies something about the passage of time. In each case, however, the attitude to these themes is different. What are those differences, and how can those differences be traced back to the differing motivations and concerns of the Neoclassical, the Romantic, or the Modernist?

Similarly, if you are considering the paintings, each one deals with some kind of conflict. The way in which they each represent those conflicts, however, differs significantly. How do those differences in appearance reflect the stylistic commitments of the Neoclassical, the Romantic, or the Modernist? What sort of theme or themes get highlighted in each case, and how can those decisions be traced to the concerns of the respective time periods of the works?

The above sorts of questions are what you should be looking to address in your essay, but you are also welcome to seek additional questions and comparisons/contrasts of your own. Historical and contextual information on each of the three time periods can be found in your textbook or other reading materials provided.

You are also required to supplement your analysis with citations to some of the external reference sources provided on Blackboard along with this assignment sheet. At least three of these external references must be used and cited in your essay. You'll be required to provide a "Works Cited" page for the sources you use and to provide internal citation notes at those points in your essay where you draw upon information or ideas found in those sources. Use the MLA format and citation style to document your use of these sources. (On Blackboard, you will find a set of links that lead to resources that can assist you with implementing this citation style correctly.)

NOTE: I strongly recommend that you begin this assignment early enough to produce a draft you can take to the Writing Center for consultation and advice.

To do an adequate job of fulfilling the critical analysis task described above, you should expect to need a minimum of 1000 words. To perform the task well, you will probably need approximately 1200 to 1300 words. Although I anticipate some of the more thorough students might exceed that number a bit, please limit yourself to no more than 1500 words.

Again, remember that you should choose only one of the sets of examples either the poetry or the paintings. Although each of these examples were addressed during class discussions, you should feel free to ask additional questions about them in class over the next few weeks as you work on the assignment.


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Review Essay for Art/Performance







35

Personal Review Paper

Learning Activity

The purpose of this activity is for you to have a face to face experience with an artistic work and then

write about your response to it. This means that you must witness something live, i.e., directly and

You must engage with this experience this semester. Possible experiences you could pursue:

Art museum or established art gallery exhibit

Dance concert at college level or professional company

Theater performance at college level or professional company

give

you an experience that relates to the content of this course. A natural history museum, science

museum, or historical exhibit is not appropriate. Do choose work by a person whom you know

personally. Do not choose works on campus that are not in the Arts Gallery.

Assessment Exercise

Write a review of your experience for an audience that did not see the art works or performance and

has not read anything else about it/them. Your reader is dependent upon your words to experience the

event. Your review must include three elements, each worth one-‐fourth of the assignment points.

1. Describe in detail some aspect or aspects of the art works. Make the dance piece, art work, or

performance come alive for your reader! Be sure to give the name of the place where you saw the

work, the person(s) who made the work, and the title of the work. If writing about visual art works,

include the medium. If writing about a performance piece, include the names of the responsible

parties (choreographer or director, for example, or performers). For a performance review, plot

summary should be kept to a minimum. The plot of a play or dance, for example, is less important

than how the plot is conveyed through the choices made by the director/choreographer, designers,

and performers. For a visual arts review, you should focus on at least one but no more than three

art works.

If you write about a live performance, you should choose one aspect of the performance piece

(lighting, costuming, or acting). Use descriptive words and significant details to create a mental


36

2. Analyze and interpret the aspects of the work(s) you choose to describe. Interpreting means that

you attempt to understand what the work is communicating using the elements from the work to

back up your points. Basically, you are acting like a detective who uses the clues to figure out what it

means. The evidence (aspects of the work) guides you to an interpretation of what it is conveying.

3. Evaluate the work(s). Tell your reader how you felt about the work(s). If you like or dislike some

aspect of it, do not simply state this; give reasons why the performance or works of art affected you

the way it did. In other words, think about how the artistic choices influenced your experience of

the event. It is your job to convince the reader of your aesthetic judgment using evidence. Mere

statements that the exp

seeing.

Additional Requirements

Grammar and spelling count and are worth one-‐fourth of the assignment points.

Your paper must be typed. You must turn in a paper copy to me and submit a copy to turnitin.com. I will not grade a paper unless I have a paper copy and a turnitin.com copy.

The recommended number of words is 750 words minimum.

The final page of your review paper must include a photograph of you inside the gallery, museum, or theatre space or a ticket to show me that you did go there. Do not include a photograph of the work or works you wrote about.

Citations

There is no reason to use research for this paper. It is supposed to be your personal response to the

work(s) you witness. However, if there are program notes, wall texts in the museum/gallery space,

exhibition texts, or other written material that you refer to in writing your review, you must cite them.

For example, here are possible ways you might refer to such sources in your paper:

-‐

DMA wall text); or,


37

Be sure to cite any source you use, whether it is the playbill or Wikipedia. Even definitions must be

eas as your own (refer to the syllabus and the plagiarism policy).

You may not use an assignment that you have turned in for another class. If you do use outside sources,

you must cite them in the paper right after they are used and in a separate, Works Cited page. You must

also put words that are not your in own in quotations, and if you paraphrase, you must still cite the

source. If you neglect to do any of this, your paper is considered to have been plagiarized, and will

receive zero points. If your pap

office. Ignorance is not an excuse.

Review Paper Grading Rubric

Student Name: _________________________________________________________

Turned in to Turnitin.com (if not, no grade)_____________________

Turned in paper copy (if not, no grade) ______________________

Included photo of self (if not, no grade) _______________________

Description (25 points):____________________

Analysis (25 points): _________________________

Evaluation (25 points): ______________________

Grammar and Coherence (25 points): _____________

Points off for citation issue:__________________

Points off for lateness (either of paper copy, turnitin.com copy, or both) :_______________

Total Points (out of 100): ___________________

Extra Comments:


38

Field Trip w/ Essay Report





Social Responsibility



39

Field Trip Assignment

Learning Activity

Choose an approved museum or fine arts live performance field trip. (Note: Collin College performances are always preapproved, but the Collin ARTS Gallery is not an approved gallery for this Field Trip.)

PREAPPROVED MUSEUMS:

Amon Carter Museum

Kimbell Art Museum Nasher Sculpture Center

Dallas Holocaust Museum Meadows Museum at SMU

Trammell Crow Collection of Asian Art

Dallas Museum of Art Modern Art Museum of Fort Worth

Museum of Biblical Art

PREAPPROVED MUSIC/DANCE/THEATRE PERFORMANCES (including Collin College performances):

Chamber Music International

Chamber Society of Fort Worth

Dallas Opera Company

Dallas Symphony

Dallas Wind Symphony

Fine Arts Chamber Players

Fort Worth Opera Fort Worth Symphony Orchestra

Plano Symphony Orchestra

Richardson Symphony Orchestra

Music at Collin College Collin College Dance

Collin Theatre Center

Dallas Theatre Center *University of Texas at Dallas A & H Dance/Plays/Concerts

only.

Note: If you choose an unapproved field trip, you risk receiving a zero or greatly reduced points for this assignment. If you have questions about an option not on this approved list, please discuss your ideas with me before you take the field trip. Online students not living in the DFW area should contact me beforehand about alternative museums/performances in their particular geographic location.

IMPORTANT: Before any Collin College student (online or face-‐to-‐face) takes an off-‐campus Field Trip, he/she MUST FIRST complete a short, but MANDATORY online orientation at least THREE calendar days prior to travel in order to be registered in the college database. While the orientation mainly references travel that is related to student organizations and advisors, it is also meant for any student traveling for a

http://www.cartermuseum.org/

https://www.kimbellart.org/index.aspx

http://www.nashersculpturecenter.org/

http://www.dallasholocaustmuseum.org/

http://smu.edu/meadowsmuseum/

http://www.crowcollection.org/

http://www.crowcollection.org/

http://dallasmuseumofart.org/index.htm

http://www.themodern.org/

http://www.themodern.org/

http://www.biblicalarts.org/

http://www.chambermusicinternational.org/

http://www.chambermusicsocietyoffortworth.com/

http://www.dallasopera.org/

http://www.dallassymphony.com/

http://www.dws.org/

http://www.fineartschamberplayers.org/

http://www.fwopera.org/

http://www.fwsymphony.org/

http://www.fwsymphony.org/

http://www.planosymphony.org/

http://www.richardsonsymphony.org/

http://www.richardsonsymphony.org/

http://www.collin.edu/music/calendar.html

http://www.collin.edu/dance/

http://www.collintheatrecenter.com/

http://www.dallastheatercenter.org/

http://www.utdallas.edu/ah/events/index.php


40

, so go to this link now and complete the orientation: http://www.collin.edu/studentresources/deanofstudents/onlinetravel.html (For event info, type in

IN ADDITION:

Research the details for your trip regarding museum/performance times, special exhibits, admission fees, etc. Many museums such as the DMA now have free admission, but even those that charge fees often give discounts to students with an ID card. Remember to keep your ticket stub, brochure, or other proof of attendance (such as a photo of yourself at the performance or museum), which you can scan and paste into your essay or send as an attachment.

Assessment Exercise

Using the questions and helpful links below, submit a typed MLA Style essay about your field trip by the due date. The three following questions apply to all Field Trip essays:

1. Give the exact title of the museum or performance you chose and the date, time, and venue of your field trip. (Do not forget to attach your ticket stub, program, and/or receipt to your review before handing it in. Online students can provide a photo or scan of the ticket or program, etc.)

2. Discuss why you chose this particular museum or performance for your field trip. What factors impacted your decision?

3. Depending on whether you visited a museum or live performance, answer the appropriate

THE NEXT QUESTIONS DEPEND UPON WHETHER YOU CHOOSE A MUSEUM OR A PERFORMANCE.

MUSEUM: If you decide to visit an approved MUSEUM, after touring the entire facility (so that you can

comment on the museum in general in your introduction), take sufficient notes about one specific piece (such as a painting, sculpture, artifact, invention, etc.) for the purpose of

include the floor and area where the piece is located, and list the two museum pieces in closest proximity to it. Note: Titles of artworks are italicized in MLA essays.

Describe the piece you have selected first directly by making general observations about the tures, shapes, lines, forms, space, and size (e.g. in a painting)

or in the case of artifacts or other objects, its general characteristics, history, purposes, era, etc.

http://www.collin.edu/studentresources/deanofstudents/onlinetravel.html


41

https://www.getty.edu/education/teachers/building_lessons/elements_art.pdf After taking time to observe the piece, be sure to read the museum label next to the piece for

any further pertinent information. Provide any additional solid details about the work. Using the guidelines from this link: http://www.curatormagazine.com/christytennant/a-‐novices-‐approach-‐to-‐viewing-‐art-‐and-‐thrust-‐projects-‐unheim/, carefully observe your piece, and then write it about it from a critical thinking perspective by answering ALL of these questions:

1. Why were you drawn to this piece? 2. How and why did this artwork/object affect you? 3. What words and ideas came to mind when you viewed this artwork/object? 4. Do you think the creator succeeds in contributing something particular to the meaning

of human experience? How and why? Be specific. 5. In your final review paragraph, discuss what you have personally garnered from your

field trip and if you learned anything new about yourself, your tastes, and/or the humanities in general. Would you repeat this type of trip?

LIVE PERFORMANCE:

On the other hand, perhaps you have chosen to attend a live performance for your Field Trip (e.g. a symphony, play, or dance performance) in which case, you should provide a brief general overview (title, venue, director, etc.) and explain what the performance is about (e.g. do not describe the entire plot of a play). For the remainder of the review, focus on whether or not particular elements or performers were successful. (Note: Titles of plays, concerts, and dance performances are italicized in MLA essays.)

For instance, in a play, you should discuss the acting, the set design, lighting, direction, etc. A concert would involve the program pieces, solo artist performances, the conductor, acoustics, etc. A dance presentation would involve choreography, set design, accompanying music, lighting, individual performances, etc. Therefore, note-‐taking is essential. Please use the following links as guidelines for this assignment; they are also appropriate for understanding what not to do, e.g. writing a plot summary of a play:

http://writing.wisc.edu/Handbook/PlayReview.html (Reviewing a play) http://uwp.duke.edu/uploads/assets/concert.pdf (Reviewing a concert) http://www.artsalive.ca/en/dan/yourturn/write/default.asp (Reviewing a dance

performance

Be sure also to answer these questions in your live performance essay in addition to the guidelines above:

1. How and why did this live performance impact you? 2. What words and ideas came to mind when you viewed this performance? 3. Do you think the artist succeeds in contributing something particular to the meaning of

human experience? How and why? Be specific.

https://www.getty.edu/education/teachers/building_lessons/elements_art.pdf

http://www.curatormagazine.com/christytennant/a-novices-approach-to-viewing-art-and-thrust-projects-unheim/

http://www.curatormagazine.com/christytennant/a-novices-approach-to-viewing-art-and-thrust-projects-unheim/

http://writing.wisc.edu/Handbook/PlayReview.html

http://uwp.duke.edu/uploads/assets/concert.pdf

http://www.artsalive.ca/en/dan/yourturn/write/default.asp


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4. In your final review paragraph, discuss what you have personally garnered from your field trip and if you learned anything new about yourself, your tastes, and/or the humanities in general. Would you repeat this type of trip?

IMPORTANT! add a separate section at the end labeled Based on your Field Trip experience and the two links below, discuss your understanding of why we, as citizens, have a social responsibility to protect, encourage and maintain the creative arts, museums, etc. in our communities. Discuss at least one way that you can exhibit social responsibility in the arts from the following perspectives: personally, locally, and globally.

http://www.bc.edu/content/bc/centers/casr/about.html http://www.sciencedaily.com/releases/2012/08/120816151809.htm

NOTE: These reviews should be written from your own aesthetic perspective; therefore, please be extremely careful about using your own wording as well as providing correct MLA citations for any use of outside sources. Note: It is NOT necessary to use outside sources to discuss your particular artwork or performance, but you may do so sparingly to augment a particular point about a piece of art or performance and/or to insert a quowork you are reviewing. You should, however, include citations for any and all of the articles you used as background for this assignment. Here are two helpful links:

http://bcs.bedfordstmartins.com/resdoc5e/RES5e_ch08_s1-‐0014.html (See the SAMPLE MLA formatted paper and Works Cited page. Your paper and Works Cited should look just like this to avoid losing points!)

http://www.lib.ncsu.edu/citationbuilder/ (This is a citation engine designed to help you format your sources easily!)

http://www.bc.edu/content/bc/centers/casr/about.html

http://www.sciencedaily.com/releases/2012/08/120816151809.htm

http://bcs.bedfordstmartins.com/resdoc5e/RES5e_ch08_s1-0014.html

http://www.lib.ncsu.edu/citationbuilder/


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Appendix

Core Objective Skills Assessment Rubrics The following pages contain the rubrics used by the Core Objectives Assessment Team (COAT) to assess student performance on the four Core Objective Skills for which Humanities 1301 is responsible. Student work sent to COAT for assessment is read against these rubrics. Assignments intended to produce work for assessment should be designed to elicit performance on all assessment criteria listed in the rubric.

These rubrics are occasionally modified by COAT; the small-‐type notation in the lower-‐left corner of the rubric sheet indicates the date of the most recent update of the rubric you are seeing. To verify that you have the most recent and up-‐to-‐date rubric, you can go to the COAT website in CougarWeb.

Here is how to find the COAT website and the assessment rubrics held there:

From your Faculty tab in CougarWeb, look for the list of Faculty Links . Near the bottom of the list of Faculty Links, find the link for Teaching & Learning . On the Teaching and Learning page, find the link for COAT in the sidebar menu of links on the

left. On the COAT page, links to PDFs for each of the assessment rubrics can be found near the top of

the page.

Upda

ted

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Core Objective Evaluation Rubric: Critical Thinking

to include creative thinking, innovation, inquiry, and analysis, evaluation and synthesis of inform

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oes

not a

pply

a ne

w

appr

oach

or i

nteg

rate

idea

s,

data

or v

iew

s

Cons

ider

s re

late

d id

eas,

m

etho

ds, d

ata,

vie

ws

or

solu

tions

, but

in c

lose

ly re

late

d pa

ttern

s or

idea

s

Offe

rs n

ew p

ersp

ectiv

es o

f th

e da

ta, f

acts

, for

mul

as, o

r is

sues

Expl

orat

ion

Uses

dat

a, id

eas,

and

pe

rspe

ctiv

es, s

eeks

in

form

atio

n

Inac

cura

tely

and

/or

inap

prop

riate

ly us

es d

ata,

id

eas,

prin

cipl

es o

r pe

rspe

ctiv

es in

see

king

in

form

atio

n

Dat

a, id

eas

and

pers

pect

ives

hav

e ha

d m

inim

al s

crut

iny

Dat

a, id

eas,

and

pe

rspe

ctiv

es h

ave

been

st

udie

d in

som

e ar

eas

Com

preh

ensi

ve re

sear

ch,

ques

tioni

ng, u

se o

f dat

a,

prin

cipl

es, o

r per

spec

tives

Iden

tific

atio

n Id

entif

ies,

exa

min

es,

inte

rpre

ts, a

nd s

umm

arize

s th

e is

sue

or p

robl

em

No

iden

tific

atio

n,

clar

ifica

tion

or in

accu

rate

su

mm

ary

of th

e pr

oble

m o

r is

sue

Prob

lem

or i

ssue

is s

tate

d bu

t is

unde

fined

or

ambi

guou

s, n

o an

alys

is

Prob

lem

or i

ssue

is s

tate

d,

desc

ribed

and

cla

rifie

d,

min

imal

exa

min

atio

n

Thor

ough

ly re

view

s,

scru

tiniz

es a

nd a

nalyz

es th

e pr

oble

m o

r iss

ue.

Brea

ks

dow

n in

to c

ompo

nent

par

ts.

Pres

enta

tion

Uses

mul

tiple

app

roac

hes

to

arriv

e at

the

solu

tion.

Pres

ents

a s

ingl

e so

lutio

n w

ithou

t arg

umen

t or f

ails

to

pres

ent a

sol

utio

n or

po

sitio

n, o

mits

or i

ncor

rect

ly us

es re

sear

ch a

nd/o

r use

s no

refe

renc

es o

r sou

rces

Pres

ents

a s

ingl

e so

lutio

n or

in

accu

rate

sol

utio

n an

d/or

us

es q

uest

iona

ble

refe

renc

es o

r sou

rces

Pres

ents

alte

rnat

ive

solu

tions

with

insu

ffici

ent

reas

onin

g an

d/or

doe

s no

t us

e re

fere

nces

or s

ourc

es

appr

opria

tely

Thor

ough

ly pr

esen

ts

mul

tiple

sol

utio

ns o

r po

sitio

ns a

nd u

ses

appr

opria

te re

sear

ch,

scho

larly

refe

renc

es, a

nd

sour

ces

Conc

lusi

on

Com

mun

icat

es th

e co

nclu

sion

and

co

nseq

uenc

es o

f the

so

lutio

n

Prod

uces

an

inco

rrec

t or

faul

ty c

oncl

usio

n or

om

its

conc

lusi

on. D

oes

not

com

bine

ele

men

ts o

r en

titie

s.

Prod

uces

a g

ener

aliz

ed o

r br

ief c

oncl

usio

n us

ing

a m

inim

al a

mou

nt o

f in

form

atio

n

Prod

uces

a g

ener

aliz

ed

conc

lusi

on, a

brie

f sum

mar

y or

an

abbr

evia

ted

conc

lusi

on

Prod

uces

a th

orou

gh a

nd

logi

cal c

oncl

usio

n w

ell

supp

orte

d by

evi

denc

e an

d ex

plan

atio

n

Updated 8/23/13 KH/jj

Core Objective Evaluation Rubric: Communication

to include effective developm

ent, interpretation and expression of ideas through

written, oral and visual com

munication

CRIT

ERIA

BEN

CHM

ARK

(1)

DOE

S N

OT

MEE

T

EXPE

CTAT

ION

S

MIL

ESTO

NE

(2)

PART

IALL

Y M

EETS

EX

PECT

ATIO

NS

MIL

ESTO

NE

(3)

MEE

TS

EXPE

CTAT

ION

S

CAPS

TON

E (4

) EX

CEED

S

EXPE

CTAT

ION

S

Deve

lopm

ent

The

stud

ent o

rgan

izes

co

nten

t in

supp

ort o

f a

cent

ral i

dea.

Cen

tral i

dea

is n

on-

exis

tent

. C

onte

nt o

rgan

izat

ion

is

inap

prop

riate

. T

hem

es a

nd s

uppo

rting

co

mpo

nent

s ar

e no

t un

ders

tood

and

/or a

re

not p

rese

nt.

Cen

tral i

dea

can

be

dedu

ced,

but

it is

not

ex

plic

it.

Con

tent

org

aniz

atio

n is

pa

rtial

ly d

isce

rnib

le.

The

mes

and

sup

porti

ng

com

pone

nts

are

min

imal

ly

unde

rsta

ndab

le.

Cen

tral i

dea

is e

asily

un

ders

tand

able

and

su

ppor

ted.

C

onte

nt o

rgan

izat

ion

is

clea

r and

app

licab

le to

ce

ntra

l ide

a.

The

mes

and

sup

porti

ng

com

pone

nts

are

unde

rsta

ndab

le a

nd

supp

ort c

entra

l ide

a.

Cen

tral i

dea

is ro

bust

an

d st

rong

ly s

uppo

rted.

C

onte

nt o

rgan

izat

ion

is

clea

r, co

nsis

tent

, ob

serv

able

, and

ski

llful

. T

hem

es a

nd s

uppo

rting

co

mpo

nent

s ar

e ob

viou

s an

d re

sult

in a

co

hesi

ve p

rodu

ct th

at

supp

orts

cen

tral i

dea

Expr

essi

on

The

stud

ent s

how

s ap

prop

riate

aw

aren

ess

of

an in

tend

ed a

udie

nce,

ad

just

ing

the

subj

ect

mat

ter,

synt

ax, a

nd

mec

hani

cs o

f the

pro

duct

.

Lang

uage

and

/or d

eliv

ery:

Im

pede

s ex

pres

sion

of

mea

ning

due

to n

umer

ous

mec

hani

cal e

rror

s,

orga

niza

tiona

l err

ors,

and

do

es n

ot c

onsi

der a

ta

rget

ed, i

nten

ded

audi

ence

.

Lang

uage

and

/or d

eliv

ery:

Is

not

eas

ily d

isce

rnib

le

due

to m

oder

ate

erro

rs in

m

echa

nics

and

or

gani

zatio

n, in

add

ition

to

an u

ncle

ar g

rasp

of t

he

targ

eted

, int

ende

d au

dien

ce.

Lang

uage

and

/or d

eliv

ery:

Is

cle

ar, s

traig

htfo

rwar

d,

expr

esse

s m

eani

ng w

ith

few

sig

nific

ant e

rror

s, a

nd

cons

ider

s a

maj

ority

of t

he

targ

eted

, int

ende

d au

dien

ce.

Lang

uage

and

/or d

eliv

ery:

Is

pro

ficie

nt, e

xpre

ssiv

e,

skill

ful,

clea

r, fre

e of

er

rors

, and

app

ropr

iate

to

a ta

rget

ed, i

nten

ded

audi

ence

.

Inte

rpre

tatio

n Th

e st

uden

t use

s re

leva

nt

cont

ent t

hat c

onve

ys

unde

rsta

ndin

g of

the

subj

ect m

atte

r.

Cont

ent i

s un

acce

ptab

le.

It is

not

rele

vant

to th

e su

bjec

t and

dem

onst

rate

s a

lack

of u

nder

stan

ding

th

e su

bjec

t.

Cont

ent i

s m

inim

ally

ac

cept

able

. It i

s m

argi

nally

re

leva

nt a

nd s

how

s m

inim

al u

nder

stan

ding

of

the

subj

ect.

Cont

ent i

s ac

cept

able

. It i

s re

leva

nt a

nd

dem

onst

rate

s ge

nera

l un

ders

tand

ing

of th

e su

bjec

t.

Cont

ent i

s hi

gh q

ualit

y. It

is

hig

hly

rele

vant

, sho

ws

exce

ptio

nal

unde

rsta

ndin

g, a

nd

dem

onst

rate

s m

aste

ry o

f su

bjec

t.

Upda

ted

11/2

0/14

NG

to include intercultural com

petence, knowledge of civic responsibility, and the ability to

engage effectively in regional, national, and global com

munities

CRIT

ERIA

BEN

CHM

ARK

(1)

DOE

S N

OT M

EET

EXPE

CTAT

ION

S

MIL

ESTO

NE

(2)

PART

IALL

Y M

EETS

EX

PECT

ATIO

NS

MIL

ESTO

NE

(3)

MEE

TS

EXPE

CTAT

ION

S

CAPS

TON

E (4

) EX

CEED

S

EXPE

CTAT

ION

S

Inte

rcul

tura

l Com

pete

nce

Unab

le to

iden

tify

com

mon

tra

its o

f var

ious

cul

ture

s.

Iden

tifie

s co

mm

on tr

aits

of

vario

us c

ultu

res.

Iden

tifie

s co

mm

on tr

aits

an

d de

mon

stra

tes

know

ledg

e of

impo

rtan

t co

ntrib

utio

ns o

f var

ious

cu

lture

s.

Able

to a

nalyz

e th

e co

ntra

stin

g ou

tlook

s,

pers

pect

ives

and

val

ue s

ets

of

vario

us c

ultu

res.

Know

ledg

e of

Civ

ic

Resp

onsi

bilit

y

Cann

ot d

emon

stra

te a

bas

ic

unde

rsta

ndin

g of

civ

ic

resp

onsi

bilit

y or

the

purp

ose

of v

ario

us s

ocia

l or

dem

ocra

tic in

stitu

tions

.

Dem

onst

rate

s an

un

ders

tand

ing

of c

ivic

re

spon

sibi

lity

or th

e pu

rpos

e of

var

ious

soc

ial o

r de

moc

ratic

inst

itutio

ns.

Dem

onst

rate

s an

un

ders

tand

ing

of th

e ro

le

civi

c re

spon

sibi

lity

play

s in

ho

w s

ocia

l and

dem

ocra

tic

inst

itutio

ns in

tera

ct.

Able

to a

nalyz

e th

e ef

fect

s of

an

indi

vidu

al c

arry

ing

out c

ivic

re

spon

sibi

lity

and

the

effe

cts

of n

ot d

oing

so.

Dem

onst

rate

s an

abi

lity

to

enga

ge e

ffect

ivel

y in

re

gion

al, n

atio

nal a

nd

glob

al c

omm

uniti

es

Has

diff

icul

ty id

entif

ying

the

way

s to

eng

age

in re

gion

al,

natio

nal a

nd o

r glo

bal

com

mun

ities

.+

Iden

tifie

s wa

ys to

eng

age

in

regi

onal

, nat

iona

l and

or

glob

al c

omm

uniti

es. +

Not

onl

y id

entif

ies

ways

to

enga

ge b

ut a

lso

unde

rsta

nds

the

uniq

ue

chal

leng

es a

ssoc

iate

d w

ith

regi

onal

, nat

iona

l and

or

glob

al c

omm

uniti

es. +

Anal

yzes

the

abili

ty o

f re

gion

al, n

atio

nal a

nd o

r gl

obal

com

mun

ities

or

orga

niza

tions

to s

olve

spe

cific

pr

oble

ms.

Cite

s re

al li

fe

exam

ples

or e

vide

nce

that

de

mon

stra

tes

enga

gem

ent.+

*Som

e po

rtio

ns a

dapt

ed fr

om th

e AA

C&U

VALU

E Ru

bric

s ie

s;; e

ach

stud

ent a

rtifa

ct m

ust a

ddre

ss

enga

gem

ent i

n at

leas

t one

of t

he th

ree.

Ove

r the

cou

rse

of th

e Co

re a

ll le

vels

will

be

cove

red.

For

exa

mpl

e: C

ollin

stu

dent

s le

arn

abou

t reg

iona

l eng

agem

ent i

n th

e Te

xas

Gov

ernm

ent c

ours

e, n

atio

nal e

ngag

emen

t in

the

Amer

ican

His

tory

cou

rses

and

glo

bal e

ngag

emen

t in

Hum

aniti

es c

ours

es a

mon

g ot

hers

.

Upda

ted

12/1

3/12

KH/

jj

Core Objective Evaluation Rubric:

Personal Responsibility*

to include the ability to connect choices, actions and consequences to ethical decision-‐making

CRIT

ERIA

BEN

CHM

ARK

(1)

DOE

S N

OT M

EET

EXPE

CTAT

ION

S

MIL

ESTO

NE

(2)

PART

IALL

Y M

EETS

EX

PECT

ATIO

NS

MIL

ESTO

NE

(3)

MEE

TS

EXPE

CTAT

ION

S

CAPS

TON

E (4

) EX

CEED

S

EXPE

CTAT

ION

S

Unde

rsta

ndin

g Ch

oice

s

Stud

ent d

oes

not

dem

onst

rate

abi

lity

to

conn

ect c

hoic

es to

eth

ical

de

cisi

on-m

akin

g

Stud

ent d

emon

stra

tes

min

imal

abi

lity

to c

onne

ct

choi

ces

to e

thic

al d

ecis

ion-

mak

ing

Stud

ent d

emon

stra

tes

satis

fact

ory

abili

ty to

co

nnec

t cho

ices

to e

thic

al

deci

sion

-mak

ing

Stud

ent d

emon

stra

tes

exce

ptio

nal a

bilit

y to

co

nnec

t cho

ices

to e

thic

al

deci

sion

-mak

ing

Unde

rsta

ndin

g Ac

tions

Stud

ent d

oes

not

dem

onst

rate

abi

lity

to

conn

ect a

ctio

ns to

eth

ical

de

cisi

on-m

akin

g

Stud

ent d

emon

stra

tes

min

imal

abi

lity

to c

onne

ct

actio

ns to

eth

ical

dec

isio

n-m

akin

g

Stud

ent d

emon

stra

tes

satis

fact

ory

abili

ty to

co

nnec

t act

ions

to e

thic

al

deci

sion

-mak

ing

Stud

ent d

emon

stra

tes

exce

ptio

nal a

bilit

y to

co

nnec

t act

ions

to e

thic

al

deci

sion

-mak

ing

Unde

rsta

ndin

g Co

nseq

uenc

es

Stud

ent d

oes

not

dem

onst

rate

abi

lity

to

conn

ect c

onse

quen

ces

to

ethi

cal d

ecis

ion-

mak

ing

Stud

ent d

emon

stra

tes

min

imal

abi

lity

to c

onne

ct

cons

eque

nces

to e

thic

al

deci

sion

-mak

ing

Stud

ent d

emon

stra

tes

satis

fact

ory

abili

ty to

co

nnec

t con

sequ

ence

s to

et

hica

l dec

isio

n-m

akin

g

Stud

ent d

emon

stra

tes

exce

ptio

nal a

bilit

y to

co

nnec

t con

sequ

ence

s to

et

hica

l dec

isio

n-m

akin

g

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Guidelines for Humanities Associate Faculty Assoc Faculty.pdf · GuidelinesforHumanitiesAssociateFaculty ! ! !!! 6! Instructor’Evaluations’ CollinCollegerequires! regularly!recurringevaluationsofallclassroominstructors,bothfull