Syllabus, teaching tools, resources for students

Detail of A Sybil by Domenichino (1616-17) www.wga.hu/frames-e.html?/html/d/domenich/sibyl.html

The philosopher Aristotle (on the right) pointing out to the world around us, from Raphael's School of Athens fresco (Vatican)

Ptolemaeus (artist's rendition)

Ptolemaic system, drawn 1568 by Bartolomeu Velho

Ptolemaic system, drawn 1568 by Bartolomeu Velho
(Bibliotheque Nationale)


Copernicus (portrait from Torun City Hall)

Johannes Kepler

Galileo by Justus Susterman (1536)

Spring 2012: NATURE

Vivian Folkenflik
Office: HIB 197 (in HCC office; enter student door near Artsbridge)

HCC 1C 29023 meets MW 1:30-2:50 in HG 2320

Office hours Monday and Wednesday 3-4 and by appointment

E-Mail: vrfolken@uci.edu

Course website https://eee.uci.edu/programs/humcore/Student/Spring2012/index.html

Society Winter quarter http://vivian-folkenflik.org/core-course-winter%2012.htm

Section Syllabus
Humanities Core Course
Monday - Wednesday


Schedule Below is Subject to Change! Take Notes in Section and Be Prepared for Additional Assignments!

Week One

Monday, April 2: First day of classes

Reading: Galileo Galilei's Dialogue Concerning the Two Chief World Systems, pp. 1-24 (up to and including “as short as you please”), pp. 35 (beginning with “Let us return then”)-42 (up to and including “assigned to celestial bodies”).

Wednesday, April 4

Reading: Galileo Galilei's Dialogue Concerning the Two Chief World Systems, pp. 57-91 (up to and including “the light falls equally”), pp. 114 (beginning with “Quite apart from this”)-121; Writer's Handbook Chapter 17: What are the Humanities? You will also want to review my Chapter 2 on rhetorical analysis, and the chapter on Logical Fallacies.

Writing: Reading Questions on Galileo for class discussion. You are to try to do all of these Galileo questions, and work with others to figure them out on the Messageboard on your EEE. Groupwork on Galileo passages in preparation for Essay 7.

"Galileo in 1638," Mary Evans Picture Library BBC

Assigning Essay #7: Argument in Galileo’s Dialogue Concerning the Two Chief World Systems


Your passage will be Salviati's speech 130-131, from "We need guides in forests and in unknown lands, but on plains and open places only the blind need guides..." to "the side toward which he [Sagredo] feels it drawn" (131). If you wish to use "guide" as a keyword, you may include Simplicio's question, directly preceding the speech: "But if Aristotle is to be abandoned, whom shall we have for a guide to philosophy?"

Use the "Passage Analysis" handout in class to give you "ideas" for the Ideas Draft; you may find yourself writing a thesis or "hypothesis," or you may simply go down the list. You may have more to say about some parts of the passage than others -- that's fine! Just make a start for Monday. Two typed pages, due in class!!!

Tip: We looked at Sagredo's speech about Simplicio and Aristotle on pp. 64-65 in class, and what Sagredo says about Aristotle may form a context for Salviati's view of Aristotle in your Ideas Draft on 130-131.

And for background information and some more diagrams, you might glance at http://en.wikipedia.org/wiki/Galileo_Galilei

Note that our passage for Essay 7 is related to SQ #15 ! Post on the Study Question Messageboard by Friday: one Study Question answer or problem of your own, one Reply to another student. You may create a string of replies, if someone has already responded to a post that you choose. Try for 3-5 sentences, so you can practice for the midterm.
Then reply to a classmate! Due by Friday Week 1.


Terms for logic: Deductive syllogistic logic, inductive or probabilistic logic

Terms for rhetorical analysis: ethos, logos, pathos


Bertolt Brecht's The Life of Galileo (premiered 1943 in Switzerland); Brecht was German, but living in the US during WWII. Look him up. What political message[s] do you think his re-creation of the trial might send? The play is now considered a classic for its innovative staging and implications about society, science, and power; this Berliner Ensemble production was staged in 1971.


DVD cover for Joseph Losey's film Galileo (1975) of Bertolt Brecht's play The Life of Galileo

Galileo before the Holy Office [Inquisition], the trial as imagined in 19th-c. oil painting by Joseph-Nicolas Robert-Fleury (1797-1890). Luxembourg Museum. Logos: Where is the vanishing point in this painting and how does its organization focus on that? Ethos: How is the artist sending a message about this trial, and how does he use details of scenery, artifacts, or characters in the painting? Pathos: What emotions are depicted or conveyed?


Galileo's Classical Scientific method:

Step 1- find the facts, including "recalcitrant" evidence, and compile the data

Step 2- account for the facts in a systematic causal explanation (necessary if/then causality)

Step 3 - Formulate this account in mathematical terms




Week Two

Monday, April 9

Joseph Wright of Derby, "A Philosopher Giving a Lecture on the Orrery" (1768, National Gallery, London).

Reading: Galileo Galilei's Dialogue Concerning the Two Chief World Systems, pp. 123-140 (up to and including “unable to do it any violence”), pp. 146 (beginning with “As the strongest reason”)-154 (up to and including “those already propounded”), p

For fun: Some students enjoy the "Galaxy" song from The Meaning of Life, TV/film satirists Monty Python (1983) : http://www.youtube.com/watch?v=buqtdpuZxvk

For #7: get a peer partner today, and an appointment with me on the sign-up sheet: choose carefully and remember your time!

For midterm prep: make sure you've contributed to the Galileo Q and A on Messageboard, and start making your own list of useful terms:

***Make a list of some useful terms:

data = the given; what we see, appearances, phenomena; look at what you're "given" and find unbiased evidence if you can!

two world systems Galileo compares (Ptolemaic geocentric, Copernican heliocentric)

In Aristotle's system (4th c. BCE) of concentric spheres, the outer "primum mobile" (first or prime mover) transmits motion to inner spheres

Here is an artist's representation of adults and children looking at an "orrery," a heliocentric model of the solar system. For Galileo's audience, this was a paradigm shift (a change in a model for coherent scientific research. The artist is Joseph Wright of Derby, "A Philosopher Giving a Lecture on the Orrery" (1768, National Gallery, London).


Wednesday, April 11 Reading: Werner Heisenberg's Physics and Philosophy, pp. 1-17. 

Lecture notes: https://eee.uci.edu/programs/humcore/Student/Spring2012/LectureNotes/week2/LNWk2-2_Heisenberg_Lec4.htm

Prof. Bencivenga's thesis: Most people still talk in terms of the "classical" science of the 17thc-19th c., with the goal of "truths" and certain measurable predictions, but in some ways science faced new challenges in the 20th and 21st centuries. In response to these new challenges , it developed new scientific models or paradigms. These changes amount, to what the philosopher Thomas Kuhn calls a "scientific revolution," or what Heisenberg calls "a real break in the structure of modern science" (3). In order to understand more about what science can do for us as human beings, we need to understand this new model for science.

Measuring in classical mechanics: using the old system, you could define light either as a wave or as a particle, but both methods had problems. Solution in quantum mechanics: p. 13?







Writing: Working Draft Essay #7 due in Dropbox Thursday 5 pm April 12, and to your peer partner by email

Think ahead: For thinking about research paper:

Check out art and literature forums, such as 5/3 Literary Analysis and Secondary Sources (PowerPoint, coursecast, videorecording .mov file). Other forums on HCC home page! Prof. Francisco Ayala, Prof. Herbert, Prof. Miles...

Download research module and make a note of the forum time for the research module Fri, Apr 20, 11:00-11:50 a.m., BSIII Lecture Hall: HCC Research Module Forum with Director David Pan and Writing Director Brian Thill

Start thinking about something you'd like to use, analyze, find out about, as the central "artifact" of your research paper. You will have to clear this topic with me, so give yourself time.


Week Three

Monday, April 16

Heisenberg PBS Nova: The Quantum Cafe. To see the Heisenberg quantum cafe, play the following program (link in the gray box) and go to minute 29 of the program:


Reading: Werner Heisenberg's Physics and Philosophy, pp. 18-49; Writer's Handbook Chapter 18: Logical Fallacies

Writing: Peer review

Heisenberg in-class writing - How does Heisenberg use rhetoric to tell us, as readers, the "story" of discovering the world of Quantum Theory?

Heisenberg YouTube clip: The Quantum Cafe


Wednesday, April 18

Reading: Werner Heisenberg's Physics and Philosophy, with special attention to pp. 141-155 (up to and including “a tendency toward reality”), pp. 161-180.

Writing: Essay #7 due FRIDAY 12 NOON in Dropbox and turnitin.com (Argument and Research in Galileo's Dialogue Concerning the Two Chief World Systems)

Friday, April 20 - Research Forum Bio Sci 3 11:00

Quotation from lecture or class Source from lecture, reading, class Paraphrase in your words
"No matter how many times I come here (to the Quantum Cafe), I never seem to get used to it!"
Can our intuitions adjust to the revolutionary theory in the Quantum Cafe, the world doesn't seem to have "a single, unique structure"!??!

http://www.pbs.org/wgbh/nova/physics/elegant-universe-einstein.html (minute 33)
Another scientific revolution? Prof. B.: Lecture 5

The narrator can't get intuitively "used to" the Quantum Cafe... [but neither could Einstein! ]
Galileo might agree with this classical interpretation of natural science or physics : "Because science is practiced by humans, and humans are finite beings, (human) science does not know all truths; but what truths it does know it knows with absolute certainty, and it knows more of them the more factual information it acquires." Prof. Bencivenga's explanation of classical science, Lecture 3  
Galileo's Three Steps for the Classical Scientific Method: observe data, explain causality, express in math    
"A problem that plagued nineteenth-century physics" was light: a particle (Newton), or a wave (Young)? Prof. B.: Lecture 4  
A new way of thinking:  Quantum mechanics” owes its name to Planck’s initial intuition: he realized that, when an atom radiated energy, it could only do so in the form of discrete packets—or quanta (also called photons)." Prof. B.: Lecture 4  
complementary: Neil Bohr's term for wave & particle theory complementing each other - use both as appropriate, even if this seems ambiguous! [Note that the word "complement" is different from "compliment."] Prof. B.: Lecture 4  
The Copenhagen interpretation of physics :WHEN YOU ARE NOT WATCHING, "when no one is observing a body at a given moment, it is "not in a specific position, nor does it have a specific velocity—or a specific value for any other parameter that applies to it. Its state is described, rather, by what is called a superposition of different positions or velocities, weighted as a Fourier expansion is—that is, where each individual position or velocity is accompanied by a coefficient." Prof. B.: Lecture 5  
"probability function" - doing the math for the superposition coefficients = % Prof. B.: Lecture 5  
collapse dynamics: WHEN YOU ARE WATCHING: "a body is going to have a definite position in space and time only when observed, with a probability described by what is called its collapse dynamics. " Otherwise, there's only the probability %. Prof. B.: Lecture 5  
Uncertainty: "Uncertainty is a state in which we are, when we do not know something for sure," as classical physics and Galileo might allow. This fuzziness is subjective: we are uncertain about things we may learn more about, but they themselves are definite. Prof. B.'s definition: Lecture 5  
Indeterminacy "indeterminacy is a state in which the world is, when it itself is fuzzy, when it has no definite, unique state." This fuzziness would not be caused by our subjective uncertainty (though we could also be uncertain!). Galileo would not agree with this (and neither did Einstein!) Prof. Bs definition.': Lecture 5  
Heisenberg's Three Steps for Quantum Mechanics Method: translate observed result into a probability; follow up over time; re-state measurements, calculating indeterminacy with probability % function pp. 20-21, also Prof. B.: Lecture 4  
Implications for the way we as observers participate in "nature," which the Greeks called "physis" ? Prof. B.: Lecture 6  
Problems for the way we use language on the quantum level? Vagueness or ambiguity at this level? We need to use non-math language speaking to most people. Heisenberg (154); Lecture 6  
What is the fundamental stuff the universe is made of? Energy? Matter? But matter can be transformed into energy if you split a nucleus, and energy sometimes appears as matter. [Or are we back to Aristotle's idea of an unformed potentia or possibility that becomes actual only when formed?] for Aristotle's idea of potential or potentia, see 119-120  
But at everyday levels ("small" but not quanta), we can use classical language: "the geometry is very nearly Euclidean in small dimensions; the theory approaches the classical theory in this region." Heisenberg (150)  
Political and moral implications in our time? Atom bomb? Choices we make? Heisenberg in WWII? Heisenberg (141) , Lecture 6  
In classical logic, only ONE of the following can be true: "'here is a table' or 'here is not a table.'" And in everyday language, you have to say 'Tertium non datur,' meaning that there is no third possibility. Either there's a table for dinner, or there isn't! And if you don't know, you can find that out for sure! But in QM, on the quantum level you have to be open to other possibilities. Maybe, Prof. B. suggests, this QM theory opens things up for us like poetry...    

And a reminder: Heisenberg read Goethe too! How does he interpret Mephisto's speech: telling him to follow "college logic" -- even though anyone who uses this logic to study "aught [anything] alive" drives out "the living spirit" of nature? Why might Heisenberg sympathize with anyone frustrated by"the narrowness of the simple logical patterns" Faust has been taught?


Heisenberg 144-145  

Shakespeare's Sonnet 116: An example of poetry that opens up the meaning and nature of love:

Let me not to the marriage of true minds
Admit impediments. Love is not love
Which alters when it alteration finds,
Or bends with the remover to remove:
O no! it is an ever-fixed mark
That looks on tempests and is never shaken;
It is the star to every wandering bark,
Whose worth's unknown, although his height be taken.
Love's not Time's fool, though rosy lips and cheeks
Within his bending sickle's compass come:
Love alters not with his brief hours and weeks,
But bears it out even to the edge of doom.
   If this be error and upon me proved,
   I never writ, nor no man ever loved.

Week Four

Monday, April 23

Reading: Selected Chronology of Southern Africa; Iris Berger's South Africa in World History (both in HCC Reader); Writer's Handbook Chapter 19: Analyzing Primary Sources 

Writing: HCC Research Module https://eee.uci.edu/programs/humcore/Student/ResearchModule/RM_V_1/player.html

Instructions for taking and printing quizzes from this module in doc form: HCC Module Instructions.

This Research Module gives you instructions and is intended for you to do individually (although it is okay to consult other students if you wish). Print out your results and staple or clip the sheets together. The sooner you do it, the better! You will give me these results in hard copy together with your Annotated Bibliography. Tip: Do not worry about your "score" on this learning-by-doing module, but be sure to complete it. You get required credit for doing it.

Wednesday, April 25

Reading: "The Great Thirst"; "The Lion and the Jackals"; "Psalm 8" (all in HCC Reader); The Craft of Research, pp. 271-312; 1-34.

Study Questions for this week: Post one to the Messageboard.


Nicole Gilbertson
Main Idea[s] - Explain what you get out of the text or image. Use analytic terms if appropriate: line, composition, color, or ethos-message. Use passage analysis or rhetorical terms ethos-logos-pathos if appropriate.
Author/Creator: what can you say about the creator[s] of this text or image?
What is or was going on in the world, the nation, region, or locality when/where this image was created? History? Geography? Social or scientific revolution? Artistic movement? War? Link to a Core Course text, lecture, idea, method?
Prior Knowledge, interests of yours?
Link this particular primary source (image or document) to other things that you already know about, or find out
Informative Point-of-view? Limited Bias? Is this source (image or document) reliable about the information or message or content represented here? Yes/but?
How does this particular primary source contribute to our understanding of human beings as they relate to HCC topics, history, ideas of divinity, society, nature, art?


Week Five

Monday, April 30

Reading: Selections from Peter Kolb's The Present State of the Cape of Good Hope; VOC Loan Farm Permit (both in HCC Reader); The Craft of Research, pp. 35-83.

Wednesday, May 2

Reading: Anders Sparrman's "Journey from Little Sundays River to Boshies-mans River"; W.H.I. Bleek's "Scientific Reasons for the Study of the Bushman Language" (both in HCC Reader)

Writing: Midterm

Week Six

Monday, May 7

LIBRARY RESEARCH LAB CLASS IN LANGSON LIBRARY WITH LIBRARIAN BECKY IMAMOTO! Langson Library is near the flagpole; you will need to find it for your research project.
The class will be held at our usual time, 1:30-2:50, in
Langson Library, room 228. There will be a computer for every one of you. This room is directly in front of you when you walk in the building (behind the glass exhibit cases). Here's a map of the 2nd floor -- you'll see 228 right in the middle. This is a required class, and attendance will be held. Also: Getting to know Becky Imamoto is a real opportunity!
Reading: John Parkington, et al. "Reading San Images" (in HCC Reader); Writer's Handbook Chapter 20 Working with Secondary Sources; The Craft of Research, pp. 84-129.

Wednesday, May 9

Langson Library Primary Source Class: in Langson 570 during our usual class time, 1:30-2:50. Wash your hands before you come in!

Reading: "Song of the Broken String" (in HCC Reader)

Week Seven

Monday, May 14 Odysseus and the Sirens (HCC Reader). Greek red-figure vase . For other representations of Odysseus and the sirens, see http://traumwerk.stanford.edu/philolog/2009/10/homers_odyssey_in_art_sirens_f.html

Reading: Excerpts from Homer's Iliad and Odyssey (in HCC Reader); The Craft of Research, pp. 130-202.

Clip from the 1997 TV drama The Odyssey showing the Scylla and Charybdis encounter discussed in lecture today 


Detail of A Sybil by Domenichino (1616-17) www.wga.hu/frames-e.html?/html/d/domenich/sibyl.htmlWriting: Preliminary Annotated Bibliography due: 3-5 sentences on primary and secondary sources you have found; you will be able to update this in your final draft, but you should submit a preliminary version now, in preparation for your Prospectus. Submit Printed packet of quizzes from Research Module.

Sign up for appointments Week 7.


Wednesday, May 16 What's happening to Pentheus here... and how is that event represented?

Reading: Euripides' Bacchae. Study questions for Week 7 are posted at


Some questions that may be useful for us in relation to both Homer and Euripedes, in preparing for the final:

1. What do humans (Odysseus, Pentheus) fear about nature in this story? Are they right? What are your clues?

2. How is a divinity in this story (Circe, Dionysus) presented in relation to nature? In alliance? In charge? What are your clues?

3. What dangers do female figures present for Odysseus or Pentheus in this story? Does it matter that they are female?

4. What is the relationship of Odysseus or Pentheus to authority as a leader of other humans in the given society?

5. Can Odysseus, Pentheus, either or both outwit the powers of natural phenomena?



Detail of A Sybil by Domenichino (1616-17) www.wga.hu/frames-e.html?/html/d/domenich/sibyl.htmlTHURSDAY: Prospectus for #8 due: ONE TYPED PAGE in hard copy. Instructions (Hartz) below:


1.      Title:  it should be informative and specify the primary source artifact, the topic and emphasis of your study.


2.      The body of the prospectus:  the goal of this section a-b-c-d-e is both to describe the project and to "sell" the reader on its potential interest and significance.  Your prospectus should try to answer the following questions:


a.      What is the subject of the study?  If there is any special or scholarly use of terminology or context, how is the subject defined? What is the main research question the study aims to answer, as you perceive it right now?


b.  Why are you addressing this topic?


c.  What have other scholars written about this subject?  How is your approach or information or view different? What need or gap does your proposed study fill in the scholarly conversation? Or: What new approach to a familiar topic do you propose to offer? What will be your study's original and special contributions to understanding this subject?


d.  What are the main sources that will be used to explore this subject? Why are these sources appropriate?


e.  What is the proposed method of the study? (Close reading of a text? Visual analysis? Compare and contrast? etc.)


Note:  You may not be able to answer questions c and d yet, but your prospectus should include a, b, and e, and should be one full page long.

Detail of A Sybil by Domenichino (1616-17) www.wga.hu/frames-e.html?/html/d/domenich/sibyl.html Groups for Discussion of Research Projects. These 3 possible groups are organized around artifact, project interest, and genre.


1] Artifacts of Narratives related to Immigration or Ethnic Assimilation/Appropriation (fiction or non-fiction): Alan, Taylor, Paulina, Ryan M, James


2: Artifacts of Art, Photography, Fashion, Music, Film, TV, Drama related to Religion, Culture, Ethnicity, Race, Class, Gender : Dolores, Erin, Ryan C, Sam, Nicky, Ashlee, Veronica, Angela, Kelvin, Wilfred, Nikki


3] Artifacts of Narratives related to Ethics/Ecology/Politics/Revolution (fiction or non-fiction): Martha, Kelly, Samia, Nicole, Keith, TJ, Tifania



Reminder: you can make appointments with The Writing Center without a Workshop (there are no workshops for #8 projects)... Call 824-6451 to find available times to see Dr. Nester or one of his team. You can also make an appointment with a Librarian at Langson. Use your resources!




Week Eight

Monday, May 21

Reading: Euripides' Bacchae
Excerpt from Sophocles' Antigone (in HCC Reader); The Craft of Research, pp. 203-269.
Greek Gods Family Tree (clickable) available on http://www.windows2universe.org/mythology/greek_family_tree.html

The Bacchae: National Theatre of Scotland production with Tony Curran & Alan Cummings

THE BACCHAE ON YOUTUBE: http://www.youtube.com/watch?v=2QbgJ22eTqQ: Dionysus (973-976); the second speaker is a composite of the Chorus and the messenger from lines 978-1010 and part of the end of the messenger's speech (1149-1153).



http://www.youtube.com/watch?v=f5YDhljnAbA&feature=related (!)

Antigone, in the film starring Irene Papas: choosing between the laws of her city and the laws of the gods, as she perceives them: nature (the cave, mortality), society (Creon's laws), divinity (how can a human know what the gods want her to choose) ?


Wednesday, May 23

Reading: Euripides' Bacchae and Socrates, from Raphael's School of Athensexcerpt from Plato's Protagoras (in HCC Reader); Writer's Handbook Chapter 21: Scholarship in a Digital Age

Detail of A Sybil by Domenichino (1616-17) www.wga.hu/frames-e.html?/html/d/domenich/sibyl.htmlWriting: Ideas Draft for Research Paper due 4-6 pp in hard copy for peer, and on turnitin.com

Come prepared to bring one hard copy artifact (or, if you can't bring it, secondary source to tell class):

  • Artifact + What's interesting about it
  • Research question as you see it now
  • Most important secondary source
  • Where I am now with this Ideas Draft: what I like, what I've tried to do?
  • Where I need to go for the Working Draft: more research? conceptual issues for research question? organization?
    • Angela+ Sam: visual analysis
    • Kelly, Taylor, Tifania: spiritual progress
    • Nicole, Keith: consumer-related issues
    • Ryan C., Dolores: cultural identity
    • Ashlee, Nikki, Veronica: women and gender identity
    • Samia, Marta: politics-related questions
    • TJ, James: men at war
  • Erin, Kelvin, Wilfred: dramatic productions, staging issues


Nicole Gilbertson
Main Idea[s] - Explain what you get out of the text or image. Use analytic terms if appropriate: line, composition, color, or ethos-message. Use passage analysis or rhetorical terms ethos-logos-pathos if appropriate.
Author/Creator: what can you say about the creator[s] of this text or image?
What is or was going on in the world, the nation, region, or locality when/where this image was created? History? Geography? Social or scientific revolution? Artistic movement? War? Link to a Core Course text, lecture, idea, method?
Prior Knowledge, interests of yours?
Link this particular primary source (image or document) to other things that you already know about, or find out
Informative Point-of-view? Limited Bias? Is this source (image or document) reliable about the information or message or content represented here? Yes/but?
How does this particular primary source contribute to our understanding of human beings as they relate to HCC topics, history, ideas of divinity, society, nature, art?

Week Nine

Monday, May 28

Memorial Day Holiday -- No Class. Messageboard and homework assignments. Develop Working Draft 8-10 pages.

Wednesday, May 30

Reading: Euripides' Bacchae

Detail of A Sybil by Domenichino (1616-17) www.wga.hu/frames-e.html?/html/d/domenich/sibyl.htmlWriting: Working Draft Research Paper due Friday 5 pm in Dropbox. Send electronic copy to peer. Also post to Turnitin.

Oral presentations about Working Draft Progress - 3 minutes each! Tips:

Be prepared to show an artifact or secondary source, so that you can make a brief presentation including:
 1] showing (or describing) your main artifact, and its interest to you
 2] your "research question" as you see it now
 3] how your project now uses analysis of your artifact to *answer* that
research question > thesis or main point of argument?
 4] how your research into secondary sources
 5] one or more goals you have in your next revision. 



Week Ten

Monday, June 4

Reading: Euripides' Bacchae. Prof. Zena's lectures as models for passage analysis and thematic treatment of gender, divinity, nature. "Seeing" as metaphor for "knowing" -- but only a metaphor.

Writing: Passage analysis of speech by Agave presenting the head of Pentheus, class discussion. Individual conferences.

Points for Passage Analysis for final and for research papers:

  • Identify author and text of primary source
  • 6Cs context, if useful (date, place, what's going on historically)
  • Who is speaking in the text -- and to whom?
  • What is the major point this passage is making?
  • Keywords: which seem most important, and why are these words particularly interesting to you for C-E-W?
  • Use of rhetoric: ethos, logos, pathos to persuade the audience?
  • Importance of this passage to the text as a whole?
  • Importance of this passage to Nature, the theme of the quarter as a whole?
  • Importance of the passage for HCC yearlong themes: the Human as relating to concepts of Divinity, Society, Nature?


Wednesday, June 6

Last class!

Reviewing representations of man and nature:

San poem "The Broken String": description of nature to mourn the loss of a magician-friend?

Parkington: Scholarly interpretations of an artifact: San cave paintings of humans and elands?

The Iliad: hero Achilles and his talking horses - is everything in life determined by the gods?

The Odyssey: crafty Odysseus hears a nymph's advice, but is responsible for his own choices?

The story of Prometheus (from a Plato dialogue): what gifts do the gods give humans to survive in nature? To live together?

The Chorus of Antigone, tragedy by Sophocles: the wonders of man - what man can achieve in life?

Friedrich, "The Wanderer"


Detail of A Sybil by Domenichino (1616-17) www.wga.hu/frames-e.html?/html/d/domenich/sibyl.htmlWriting: Research Paper due Saturday, June 9 at 12 noon (that's 12 pm, end of the morning and beginning of the afternoon! in Final Draft D ropbox, including revised Annotated Bibliography. Points to remember for revision: Claim-Evidence-Warrant, 6Cs, topic sentences.

Folders of all drafts (see below) and preliminary work on #8 will be due at final exam.

Checklist for Final Draft Dropbox: Final draft of research project & revised Ann Bibliography, using EasyWriter for MLA format.

Checklist for Research Project to bring to Final Exam: preliminary materials, all drafts, from Return Dropboxes, notes from conferences or TWC


Final Exam Wednesday, June 13 1:30-3:30 pm in classroom HG 2320. Bring two large bluebooks and two pens or pencils.


  Nature/animals/landscape spiritual/religious dimension? Setting: Specific time or place? Nature seen as controllable by humans, or not? Danger? Nature seen as eternal, or changing? Nature as source of food/ power? Humans make meaning through interpreting nature?
"The Lion and the Jackals"            

A European naturalist's description of lions: Sparrmann's "Voyage to the Cape of Good Hope"


"Song of the Broken String"            
"Reading San Images" (Parkington et al.)            
The Iliad - Achilles and his horses            
The Odyssey - Odysseus on the ocean            
Plato: the Prometheus story            
Antigone: Chorus on the Wonders of Man            
The Bacchae            



Section Policies and Procedures
Humanities Core Course

Instructor: Vivian Folkenflik


Office: HIB 197 (part of main Core Course office, near ArtsBridge)

Office Hours: MW 3-4 and by appointment

E-Mail: vrfolken@uci.edu

Class Web Page will be posted at vivian-folkenflik.org

General Information: Welcome to our section of Humanities Core Course! I look forward to meeting and working with you. Here are the guidelines for our class:The Humanities Core Course is an interdisciplinary introduction to the humanities for freshmen that is designed to develop reading, writing, note-taking, research, and discussion skills. Students will be expected to challenge their abilities in argumentation, interpretation, and research, and be responsible members of a smaller intellectual community, their Core section.

Enrollment: All add and drop requests must be processed by the Core Office (HIB 185). You are responsible for filing this paperwork and enrollment changes are not automatic, regardless of whether or not you attend this section.

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

Requirements: These are guidelines intended to help students plan their work in this course. However, the Course Director reserves the right to make changes in these evaluation criteria during the course of the quarter.

The writing grade is determined by performance on two essays (30% and 60%) and participation in several required research and writing exercises. Although the writing participation requirement numerically accounts for 10% of your writing grade, failure to participate is grounds for failure in this portion of the course. The writing participation grade will be determined by contribution to the Research Module,, participation in peer editing and the drafting process, and in-class writing activities and quizzes.

The lecture grade is determined by performance on the midterm examination (40%) and final examination (50%), and participation in classroom exercises. Although the lecture participation requirement numerically accounts for 10% of your lecture grade, failure to participate is grounds for failure in the course. The lecture participation grade will be determined by responses to weekly reading and discussion questions, postings to the Messageboard and in-class discussion and debate.   Lecture attendance is also a mandatory element of the course .

Of Special Note: No late papers are accepted in this section. I am happy to help you get an early start on your written assignments. You are responsible for backing up texts composed on a computer, and failures of software or hardware are not acceptable reasons for a late assignment. All drafts, assignments, and final essays written outside of class must be typed and in proper format. Final drafts are to be turned in with previous drafts and peer editing comments. Save all work. You will be expected to turn in a complete writing portfolio at the end of the quarter.

Standard Written English: In keeping with the Standard Written English policy of this course, you will be expected to correct errors in mechanics, usage, grammar, and spelling -- even on final drafts. Corrections on final drafts will be an essential part of your portfolio grade.

Plagiarism: Plagiarism is a serious matter and will be handled by the appropriate authorities. Supervisors and instructors in this course regularly review suspect papers. Turning in any work which is not your own and not properly acknowledged as such will result in a recommendation for failure in the course and subject you to further action by the university. Please review the university policy on academic dishonesty and speak to me if you have questions. Internet sources must also be properly acknowledged.  For more information about how to cite Internet sources, check the Mayfield electronic resources guide or EasyWriter Handbook.

Internet Information: Please review the Internet use policies for the Humanities Core Course in the Guide.  In addition, as part of a program-wide effort to discourage plagiarism, you are asked to turn in an electronic copy of your essay to http://www.TurnItIn.com.

E-mail queries to your instructor should assume delays in transmission and the observance of normal university business days by instructors and staff in the course.  Always allow time for delayed replies.