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HISTORY 199: FRESHMAN SEMINAR WINTER   Uncover ing the Past of the “Real” Wild W

 Instructor:  Kevin D. Hatfield  Classroom:  130 Global Scholars Hall Office:  120 Living Learning Center Meeting Time: UH 2:00‐3:50 Phone:  541‐346‐1977  ClassWebsite: canvas.uoregon.edu E‐Mail:  kevhat@uoregon.edu  CRN: 27118Office Hours:  Wednesdays, 4:00‐5:30pmRecurring Visiting Scholar: Jennifer O’Neal, University Historian and Archivist 

   I  COURSE DESCRIPTION: A HISTORIAN’S APPRENTICESHIP 

 DoesmostofyourknowledgeoftheOldWestcomefrompopularculturesuchasDjangoUnchaineddirectedbyQuentinTarantinoandTheGood,theBad,andtheUglystarringClintEastwood,orthevideogamesRedDeadRedemptionandTheOregonTrail?Thisseminarinvitesyoutolearnthehistorian’scraftinahands‐on“historylaboratory”thatallowsstudentstoexplorethemythsandlegendsofthe“WildWest”anddiscoverthe“Real”historyofamulticulturalregionthatfunctionedasthecrossroadsforimmigrantandindigenouscultures.Youwillenjoytheopportunityperformanoriginalarchivalresearchprojectonatopicofyourchoosingandcompareyourfindingstothedepictionofyourtopicinafilm,televisionseries,orvideogame.Pastresearchprojectshaveexaminedtopicsrangingfromvigilantes,outlaws,gangs,bountyhunters,marshals,gamblersandgunfighters,tojustice,law,revenge,violence,slavery,prostitution,colonization,genocide,war,feuds,race,gender,women,NativeAmericans,theAlamo,theGoldRushandChineseExclusionAct.SeminarhighlightswillincludeafieldtriptotheManyNationsLonghouse,“hiddenhistory”tourofthecampuslandscape,re‐enactmentofahistoricaltrial,filmscreeninganalysis,andon‐siteresearchinspecialcollectionsanduniversityarchives.Wouldyouenjoytheopportunitytorecovertheforgottenanddis‐rememberedvoicesandexperiencesofrealhistoricalactors,wholivedintheAmericanWest,fromthearchives,fieldtrips,anddynamicguestspeakers? Ifso,thisFreshmanSeminaroffersyoua“hands‐on”apprenticeshipinthehistorian’scraft.

Fornearly150yearstheAmericanWesthasfunctionedasthesynecdoche—thepartthatrepresentsthewhole—fortheUnitedStates. ThepopularcultureconstructionoftheAmericanWesthascometodefineAmericanidentity,character,andexceptionalism—whatisuniquelyandquintessentially“American”isoftenplacedinthecontextoftheWest.WilliamF.CodyarguablybecamethefirstmoderncelebrityduringtheAmericanandEuropeantoursofBuffaloBills“WildWest”fromthe1870sthroughtheearly20thCentury.BuffaloBillperformancesestablishedthetraditionofpopularcultureclaimingandexertingtheprimaryinfluenceofcreatingourcollective“knowledge”oftheAmericanWest. BuffaloBillfamouslycast“real”historicalactorsfromtheWest—SittingBull,KickingBear,RedShirt,AnnieOakley,cowboys—andrighteouslyassertedthathisperformancesrepresented“authentic”and“realistic”historicalre‐enactmentsofeventsfromtheWildWest.BuffaloBillbristledattheuseoftheword“show”forhisacts,believingitfalselydiminishedhisworkastawdry“entertainment”or“recreation”fortheaudience,whenincontrast,hebelievedhedeliveredhisperformancesas“historylessons”andhistroupeasan“educationalinstitution”forgenerationswhowouldnotgrowuponthefrontier.BuffaloBillbecamea“culturalauthority”inhisownrightthroughhisre‐enactmentsofmomentsof“conquest”and“colonization,”suchasthe“Custer’sLastStand”andthe“StageCoachAttack,”andultimatelysetapatternofcredentialingpopularcultureportrayalsoftheAmericanWestthroughthe“incorporation”ofindigenous

 

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peoples—apracticethatwouldseamlesslytransitionfromthefieldandstagetothesilverscreenofsilentfilmandlatertalkiesandtelevision. Consequently,adominantcultureethnocentricandcolonialvisionandrememberingoftheAmericanWesthasmaintainedatenaciousholdonourcollectivememoryandknowledge.ThisportrayaloftheAmericanWesthasconventionally,obscuredthedevelopmentofamulti‐culturalregionthatbecamethecrossroadsforimmigrantsandpeoplesdescendingfromEurope,Asia,CentralAmerica,andAfrica—allofwhomenteredaculturallandscapealreadyoccupiedbydiverseindigenouspeoples.ThiscoursewillengagestudentsinaseriesofscaffoldedanalyticalexercisescomparingthispopularcultureportrayaloftheAmericanWestbystage,film,televisionandvoiceactorswiththeactualhistoryoftheAmericanWestasrecountedthroughthefirst‐handexperiencesof“historicalactors”wholivedintheAmericanWest. Theclassdiscussions,small‐groupprimarysourceexercises,andtake‐homemidtermwillpreparestudentsfortheircapstone“Reelv.RealHistory”InquiryProjects,whichwillprobeourcollectivememoryorimaginationofthe“OldWest,”andinterrogatehow20th(and21st)centurynovels,film,television,videogames,duderanches,themeparks,re‐enactments,andotherpopularculturerepresentationshaveconstructedperceptionsoftheAmericanWestthatoftendivergeradicallyfromtherealityofthepast. Thestudents’originalresearchprojectswillbegintounpackthisquestionbyteasingoutfactfromfictioninour“memories”or“knowledge”ofthistimeandplace,andclarifyingtheblurredlinesbetweenhistory,myth,andfolklore. StudentswillcontributetoagrowingbodyofscholarshipandcreativeworkbyNativeandnon‐Nativehistorians,anthropologists,novelists,filmmakers,andartistsactivelydecolonizingthe“BuffaloBill”tradition.

 Intermsofhowstudentswill“learn”historyinthiscourse,theapprenticeshipwillreorientstudentsfroma"factsfirst"approachor"contentcoverage"modeloflearninghistoryemphasizingthepassiveconsumptionofexpertknowledge,toaninquiry‐based"historicalthinking"modelthatpositionsstudentsasactiveproducersofhistory.Theapprenticeshipwillframehistoryasa“wayofknowing”anda“wayofthinking”ratherthananaccumulationofpastevents. Studentswill“do”history,andbegintopracticetheprocessandmethodologyofthediscipline. Asapprenticehistorians,studentswillperformoriginalresearchintheUniversityofOregonSpecialCollectionsandUniversityArchives(SCUA)andthroughdigitizedprimarysourcescollectedbytheinstructorfromvariouslocal,stateandnationalarchivesandrepositories. Studentswillalsoexperiencethechancetointerpretandauthortheirownnarrativesandexplanationsofthepast. Finally,theapprenticeshipwillintroducestudentstothemethodologyanddisciplinaryexpertiseofacademichistoriansthroughtheanalysisofsecondaryliterature(e.g.scholarlyarticlesandbooks).

   II COURSE LEARNING OBJECTIVES  Studentscompletingthishistorian'sapprenticeshipwill: 

Improvehistoricalthinkingandinquiryskills(See“ANoteonPresentism&thePastastheIrreducibleOther”onpage15ofthissyllabus)

  Becomeaccustomedtoreadingandinterpretingprimarysourcematerials,drawingtheirown

conclusionsaboutthem,andusingthemtoconstructarguments 

Applyhistoriographyandmethodologytohistoricalresearchandanalysisofprimaryandsecondarysources

 

Performscholarlywritingasaprocessofdisciplinarythinking 

Applyhistoricalconcepts(e.g.,causation,agency,contingency,continuity/change)toprimarysourceresearchandanalysis

 

 

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Strengthenevidence‐basedargumentationandreasoning(e.g.,empirical,inferential,inductive) 

Developandstrengthentheirmetacognition—theirconsciousandcriticalself‐reflectiononhowtheyarelearningandbeingtaught

 

CriticallyengageessentialquestionsandimprovecontentknowledgeofAmericanWesthistory

III  SUCCEEDING IN THE COURSE  Itisthestudent'sresponsibilitytoreadallsyllabuscontentcarefully,andconsultwiththeinstructoriftheyhaveanyquestionsorconcernsabouttherequirements,policiesormaterialcoveredintheclass. Thissyllabusisacriticalreferenceguideandresourcefortheentirecourse. Studentsshouldreviewthesyllabusbeforeeveryclasssessionandcontinuallyastheyperformcourserequirements.Successfulstudentshaveregularattendance,completereadingsbeforeattendingclasses,participateactivelyindiscussions,andmakeuseofofficehoursasnecessary.Overallparticipation,effortandanyimprovementsdemonstratedthroughoutthecoursewillbeconsideredwhendecidingfinalcoursegrades.

 ImportantNote: Studentsmustreturnalloptionalmaterials(e.g.,books,DVDs,VHSTapes)borrowedfrom

theinstructorBYTHEENDOFTHETERMTORECEIVEAFINALGRADE.   IV  BOOK AND BOOK CHAPTER READINGS  ScottZeschTheCaptured:ATrueStoryofAbductionbytheIndiansontheTexasFrontier

NewYork,St.Martin’sPress,2004 PhilipJ.DeloriaIndiansinUnexpectedPlaces

Lawrence:UniversityPressofKansas,2004PROVIDEDONCANVAS

Excerpt:Introduction&Chapter2“REPRESENTATION:IndianWars,theMovie” 

  V  EVALUATION  A)   Primary Source Interpretation Exercises & Reports: (2 @ 20 points each)  

Studentswillbegintheirhistorian’sapprenticeshipsandhoningtheirhistoricalcraftskillsandknowledgefortheculminatinghistoricalinquiryprojectbyperformingtwopracticeprimarysourceanalysisexercisesbasedonsmallcollectionsofmaterials. Thesesmallgroupexerciseswillofferworkshopsforstudentstoengageinthinkingcritically,framinghistoricalquestions,interpretingprimarysources,assessingevidence,andwritingexplanatorynarratives. StudentswillperformthefirstexerciseinSpecialCollectionswithoriginalmanuscriptsandartifacts,andenjoytheopportunitytosurveyarangeofpotentialtopicsandsourcesfortheirhistoricalinquiryprojects. Thesecondexerciseembodiesarole‐playing“game”inspiredbytheReactingtothePast(RTTP)curriculum,andstudentswill“enact”aChineseExclusionActTrialbaseduponfirst‐personrecordsofaChineseExclusionActCaseFile. Fullinstructionsforeachexercisewillbeprovidedseparately.

 Bothprimarysourceexerciseswillbeprefacedwithintroductorylecturescontextualizingthetopics. Theinstructorwilldistributespecificinstructionsandbibliographiesforeachprimarysourceexercise. Students

 

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willcomposeindividualtwo‐tothree‐pagereports(500to750words)thatpresenttheirnarrativeinterpretationoftheessentialquestionsinvestigatedforeachexercise.Thetwoprimarysourcesetsincludematerialscreatedbymultipleauthors,bearingconflicting,contradictory,andincompleteevidence,aswellasfragmentaryanddiscretenarrativesthatposeacreativechallengetohistorians.

 Thesecollaborativeexerciseswillallowstudentstoexplorepointsofconsensusanddivergenceregarding:1) thethematicinterpretationofspecificsources—theirauthorship,perspective,language,bias,

veracity/authenticity,completeness,andreliability;2) thebroaderinterpretationoftheoverallsubject—howrepresentativearetheexperiencesofthese

historicalactors? Theexercisesintroducestudentstotheconceptandprocessof“historiography”—howdohistoriansassignmeaningtopastandreachcontrastinginterpretationsandexplanationswhenanalyzingthesameempiricalevidence? Finally,theexercisescapturetheuncertainty,contingency,andfluidityofthepast.Thesetwoin‐classinquiry‐basedgroupexerciseswillpreparestudentstoperformoriginalon‐sitearchivalresearchforthe“Reelv.RealHistory”inquiryprojects.

 Consulttheguide,“AdviceonHowtoApproachthePrimarySourceInterpretationExercises”onpage14ofthissyllabus,andpostedinCanvas.

 1.EXERCISE1:DiscoveringDisrememberedVoices:ReconstructingthePastofRace,Gender,Class

intheAmericanWest 

GroupA:"PioneerMothers:"ReflectionsofWomanhoodandFemininityinOregonTrailDiaries

GroupB: SettlerColonialism&ResettlementofIndigenousPeoples:TreatieswiththeUmpquaandKalapuya1854,1855/SiletzReservationMaps

 GroupC:OregonFreeSoilIdeology,BlackExclusionandAnti‐Slavery:BlackExclusionLaws&CaseFilesofTheophilusMagruderv.JacobVanderpool(1851);RobinHolmesv.NathanielFord(1852–53);andAbnerandO.B.Francis(1851)

 GroupD:ThePedagogyofEthnocideandAssimilation:ChemawaIndianBoardingSchoolandWarmSpringsReservationSchoolRecords

 GroupE:Rodeosandthe"VanishingRace":Romanticizingthe"OldWest"throughtheEyeoftheCamera:WalterS.BowmanPhotographs,1890–1925andLeeMorehousePhotographs,1888–1925

 2.EXERCISE2:GamSaan&theUnassimilables:ChineseImmigration,Exclusion&Sinophobia:

ChineseExclusionActTrialofChanChowMow B) Group Discussion Facilitators & Written Questions (10 points possible: 5 points for 

posting; 5 points for discussion facilitation)  

NOTE:Allstudentsmustcompleteallthereadingforeverybookdiscussion,however,thefacilitationgroupwillhelpframethediscussionfortheday.

 Toexploremajorcoursethemesthroughthesingleassignedbook—ScottZesch’sTheCaptured—theclasswillbearrangedinto“DiscussionFacilitationGroups”comprisingtwotofivestudentstoengagestudentsinreadingdiscussions.Eachgroupwillbeassignedtwochaptersthebook(usuallyabout40‐50pages).

 

 

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Foreachscheduleddiscussion,the“DiscussionFacilitationGroups”forthatdaywilldeliverbriefintroductionsthatframethemajorthemes,arguments,andmethodologyoftheirparticularsection.EachmemberofthefacilitatinggroupwillpreparetwohistoricalquestionstoposetotheclassthroughtherespectiveCanvasDiscussionForumsavailableforeachbook,nolaterthanthedaypriortotheirdiscussion. Studentswillframebroadlyanalyticalquestionsthatcontemplateprimaryarguments,interpretations,themes,sources,andmethodology,insteadofcontent‐specific,narrowlyfactualquestions. 

  C) Take‐Home Midterm: Comparative Source Analysis: The Captured and The Searchers          (30 points possible)  

Asinhabitantsofthe21stCentury,ourcollectivememoryofthe“OldWest”oftenreflectsthe20th‐Century“Reel”historyofHollywoodwesterncinemamorethanthe19th‐Century“Real”historyoftheAmericanWest.Thistake‐homemidtermprovidesstudentsanopportunitytocomparethehistoricalreconstructionofinter‐culturalrelationshipsandacculturationasportrayedbydirectorJohnFordinhisfilm,TheSearchers(1956),andhistorianScottZeschinhisaward‐winningbook,TheCaptured.Thetake‐homemidtermalsofunctionsasanotherprogressive“practice”exercisepreparingstudentsfortheirculminatinghistoricalinquiryprojects.Studentswillanswerfouroutofeightquestionsina“short‐answer”format.Eachanswershouldbeapproximatelythreetofourparagraphsinlengthandprovidedabriefanalyticalresponsetothequestionsupportedbyevidencedrawnfromthebook,film,andclassdiscussion. Answersdonotneedtobecomprehensiveintheiranalyticalscopeorfactualcontent. Besuccinctandsubstantive,andpresentthemostillustrativeexampleyouhave.

 Althoughasuccinctdiscussionofhistoricalaccuracy(actualtruth)orverisimilitude(appearanceoftruth)maycompriseacomponentofyourcommentary,studentsshouldavoidpreparinganexhaustivecatalogofanachronismsanddeviationsfromliteralreality. Instead,yourshortanswersshouldapproachthefilmasadramaticvehicleorartform—grantingthatitisnotanon‐fictionaldocumentary—andfocusonthe“vision,”“imagination,”“perception”or“myth”oftheAmericanWestfashionedbyplotdevelopment,narrativestructure,characterformation,dialoguepresentation,performances,direction,andothercinematictechniques.

 D) Historical Inquiry Project: “Reel versus Real History” (110 points possible)  

The“ReelversusRealHistory”historicalinquiryprojectrepresentstheculminatingintellectualexerciseofthecourse,andintentionallybuildsupontheknowledgeandskillsstudentshavecultivatedas“apprenticehistorians”inpreviousclassdiscussions,theVisitingScholarssession,thetwoPrimarySourceInterpretationExercises,andtheTake‐HomeMidtermcomparativeanalysisofdirectorJohnFord’sfilmTheSearchersandhistorianScottZesch’sTheCaptured.

 CinemahasprofoundlyshapedourhistoricalmemoryandcollectiveimaginationoftheAmericanWest.Hollywoodhasconstructedamodernmythologyofindigeneity,race,class,gender,violence,nationalidentity,Americancharacter,democracy,immigration,landscape,region,frontier,andgeneralprofilesofindividualsandcommunitiesintheWest. Despitethefolkloricpatinaofthemedium,manyfilmsreflectkernelsoftruthregardingboththeerastheydepictandthetimesinwhichtheywerecreated. Forexample,toapresentaudience,JohnFord’sSergeantRutledge(1960)mayrevealmoreaboutColdWarracialtensionsthantheexperiencesofAfrican‐American“buffalosoldiers”servinginthepost‐CivilWarcavalryinthe1870s.

 Thisexercisewillalloweachstudenttoselectahistoricaltopicoftheirpassionandcraftauniquehistoricalquestiontoinvestigateaparticularaspectofthistopic.Withtheinstructor’sguidance,studentswillidentifyapopularcultureartifact—typicallyafeaturefilm,televisionseriesepisode(s),orvideogame—andasmall

 

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collectionoforiginalprimarysourcematerialsthatbothengagethestudents’selectedtopic. SimilartotheTake‐HomeMidterm,the“ReelversusReal”historicalinquiryprojectenablesstudentstocriticallyanalyzehowapopularculturedepictionoftheirtopiccompareswithoriginalprimarysourceevidence.Whereas,theTake‐HomeMidtermaskedstudentstocomparethetopicsof“captivity,acculturation,race,andinterculturalcontact/conflict”betweenafilmandthepublishedscholarshipofahistorian,the“ReelversusRealHistory”projectpositionsstudentstocompareapopularcultureartifactwithoriginalprimarysources(ratherthanasimplyabook).Whenpossibletheinstructorwillencouragestudentstopulldifferenttopicsoutofthesamefilm,televisionepisode,orvideogame. Theinstructorwillsharealistoffilmsandtelevisionepisodes,aswellaslistsofpotentialtopics,primarysourcecollections/resources,andpaststudentprojects.TheclasswillalsoperformresearchintheUOLibrariesonseveralfieldresearchtripsunderthementorshipoftheinstructorandassistancefromlibrarians,archivists,andspecialcollectionsstaff. Thisprojectisnotintendedtorepresentafull‐scaleresearchpaper,butratherafocusedcomparativeanalysisofaspecificfilmwithspecificprimarysources/sourcecollection.

 Theinstructorhasorganizedthe“ReelVersusRealHistory”projectintosevensteps. Eachstepfunctionsasamilestoneorcheck‐inpointduringtheresearchandwritingprocess,andfostersacriticalfeedbackloopbetweenthestudentandinstructorthroughsubstantivewrittencommentaryandone‐on‐onetutorialadvising.Despitetheconsecutiveorderofthesteps,studentsareencouragedtoapproachhistoricalresearchandwritingasareciprocal,ratherthanstrictlylinear,exercise.Thestepsrepresentthebuildingblocksor“work‐in‐progress”iterationsoftheoverallresearchproject,andnotdiscrete“finalproducts.”Muchofthewritingperformedforthesestepswillultimatelybeincorporatedinthefinaloralpresentationsandpapers. Forexample,itisexpectedthatfurtherprimarysourceresearchwillinformandre‐fashiontheinitialhistoricalquestion,whereasprogressivewritingwillidentifygapsinprimarysourceanalysisandnecessitateadditionalresearchandthediscoveryofnewsources.Ultimately,thestepsintendtoreinforcea“metacognitiveconsciousness”amongstudentsaslearners,practitioners,andproducersofhistory,andremainreflectiveandself‐awareoftheirthinkingandreasoning.

  

Step One: Selecting the Topic & Film [10 Points]  DUE:One‐page(250words)proposalexplainingselectionoftopicandfilm

 Instructions:Studentsconferringwiththeinstructor,andpreferablycollaboratinginsmallgroupsofthreetofivememberswillidentifyaneffectivefilm(s)/televisionepisode(s)/videogamefortheirinquiryproject,andwillhaveanopportunitytoperformaninitialviewingoftheirpopularcultureartifactinclass.Ultimately,eachstudent/groupmemberwillexamineaunique,yetcomplementarythemebycomparingacomponentofthefilmwithspecificprimarysourcematerialsandevidence. Eachstudentwillsubmitaone‐page(250words)proposalidentifyingtheirfilmandtopic.

 Studentsandgroupsmaybegintheirresearchbyperusingfilmreviewscomposedbycontemporaryfilmcritics,andhistoricalessayscritiquingthefilmwrittenbyacademichistorians. Theinstructorwilldistributealistoffilms/televisionepisodesavailableinhisprivatecollectionforuseintheclass. Theinstructorwillalsopurchasefilms/televisionseriesasneededfortheclass. Theinstructordoesnothaveavideogamecollection.

 Studentsshouldbeawareofthefollowingresources:

  InternetMovieDatabase(imdb.com) JournalofAmericanHistory(availableinfull‐texton‐line)[filmreviewsection] Kilpatrick,CelluloidIndians:NativeAmericansandFilm Marubbio,KillingtheIndianMaiden:ImagesofNativeAmericanWomeninFilm Slotkin,GunfighterNation

 

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Carnes,ed.PastImperfect:HistoryAccordingtotheMovies Collins&O’Connor,eds.Hollywood’sWest:TheAmericanFrontierinFilm,Television,&History Cowie,JohnFordandtheAmericanWest Coyne,TheCrowdedPrairie:AmericanNationalIdentityintheHollywoodWestern Roquemore,HistoryGoestotheMoviesStep Two: Framing Historical Questions & Identifying Primary Sources [20 Points]

 DUE:One‐page(250words)narrativeofhistoricalquestion(s)[10points];AND

one‐page(nowordcount)annotatedbibliography(minimumoffivesources)[10 points] Instructions: i. HistoricalQuestions

BasedonthetopicchoseninStepOne,studentswillbegincraftinganeffectivehistoricalquestiontoguidetheirprimarysourceresearchandfilm/televisionepisode/videogameanalysis.Studentswillcomposeatwo‐tothree‐paragraph(approximately250words)historicalquestion. First,beginthisprocessbyfocusingthetopicintoamorerefinedhistoricalinquirybytighteningthegeographic,chronological,and/orthematic/theoreticalscope.Avoidquestionsthatareeithertoonarrowortoobroadtoanswereffectively.Studentmayalsobegintoarticulatetheirworkinghypothesis,argument,orinterpretationinresponsetoyourquestion. Ultimately,questionsshouldlinktheoriginalprimarysourceresearchtothefilm/televisionepisode/videogame. Seeexamplesbelow:

  WhatfactorscausedvigilanteviolenceintheAmericanWest? Whatwasthedifferencebetweena“lynching”anda“hanging?” Whywerelynchingsandhangingspublicspectacles? Whatroledidrace,class,andgenderplayinviolence? Whywerevictimsoflynchingsoftentorturedbeforedeathandtheircorpsesmutilated

postmortem? Howwasmasculinityconstructedthroughsuchviolence? HowdospecificincidentsofvigilantejusticeintheAmericanWestcomparetothedepictionof

unjustexecutioninWilliamWellman’s1943film,TheOx‐BowIncident? Whyareraceandviolence/torturedownplayedbyWellman?

 ii. AnnotatedBibliography

Eachstudent/groupmemberwillfindsufficientprimarysourcestoconducttheircomparativeanalysis(consultyourclasshandoutforexplanationofprimary/secondarysources). Sourcesmayincludegovernmentdocuments,personalletters/diaries,memoirs/autobiographies,courtrecords,historicalnewspapers/magazines,photographs,maps,oralinterviews,sheetmusic,soundrecordings,andnumerousotherprimarysources. Studentswillprepareanannotatedbibliographywithaminimumoffivesourcecitations. Anannotatedbibliographyoffersyourreaderthesourcecitationandadditionalinformationandcommentaryaboutthesourcesyoucite(e.g.sourcetype,creator/author),andclarifieshowthecontentofthesourcematerialisrelevanttoyourresearch.Researchersshouldcreatetheirannotatedbibliographiesconcurrentwiththeperformanceoftheirprimarysourceresearch,andusethebibliographyasaworkingresourcetodocumentandtracktheirexaminationofprimaryandsecondarysources. Theinstructorwilldistributeacitationguidetoassiststudentswithformattingtheannotatedbibliography.

 ThedisciplineofhistoryfollowstheChicagoManualofStyle(CMS)(nowinits16thedition)citationand

 

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editorialsystem.MosthistoryundergraduateandgraduatestudentsconsultanabbreviatedversionoftheCMSauthoredbyKateL.Turabiantitled,AManualforWritersofResearchPapers,Theses,andDissertations8thEd.(Chicago:UniversityofChicagoPress,2013).ForthoseofyoupursuingadegreeinhistoryIwouldencourageyoutopurchaseacopyofthisinvaluablereference.

Step Three: Paper Outline/Concept Map [5 points] DUE:One‐page(nowordcount)outlineofpaper Instructions:Studentswillprepareaone‐page(nowordcount)schematicoutlineoftheirpaper.Thecognitiveprocessof“outlining”assistsresearcherswithorganizingtheirthinkingandreasoning,andthetranslationofprimaryandsecondarysourceevidenceintoacoherentnarrative.Outlinesmayrevealdeficienciesinempiricaldataorincompleteanalysis.Althoughsomestudentsmaychoosetoperformtheiroutlineinaconventionalhierarchicalstructureofheadingsandsubheadingstodemonstraterelationshipsandorderingofideas,studentsarewelcometouseanyformatthatbestmatchestheircreativeprocess. ConceptMaps,IdeaMapsorothervisualthinkingtoolsthatdiagramthestructureofcontentandanalysisarewelcome.

   

Step Four: Peer Evaluation [10 points]  DUE:FirstDraftofFinalPaper(fourtofivepages/1,000to1,250words)[SubmittoPeerEvaluator);AND

PeerCritiqueofPartnersPaperIncludingeditorialmarksanda150‐to200‐wordCritique Instructions:

 i. PaperDrafts

Toensurestudentsreceivethemosteffectiveevaluationsfromtheirpeers,paperdraftsshouldaspiretoincludethefollowingelements:

 1. Introduction

Theintroductionofthepaperiscriticaltoitsoverallcoherenceandclarity.Theintroductionfunctionsastheinitialhookanddirectoryforthereader—itsimultaneouslydrawstheminandbeginstoguidethemthroughyourresearchandanalysis. Studentsareencouragedtoperformtwoself‐teststodetermineiftheintroductioniswellorganizedandclearlyarticulated. First,readtheintroductionoutloudandconsiderwhetherthefourelementshavebeenaddressed.Second,afterthecompletionofthefirstdraftofthepaper,readthefirstsentenceofeachsubsequentparagraphoutloudandconsiderwhetherthepaperstillmakessense—hasthepaperfollowedthenarrative/analyticalpathsetoutbytheintroduction?

 2. SubheadingsandTopicSentences

Theelementsincorporatedthroughouttheessaywillserveassignpoststhatcontinuetonavigatethereadertowardtheconclusion.Theauthor’soverridingresponsibilityistopilotthereaderthroughthenarrative.Afterreadingtheintroduction,thereadershouldfirmlygraspthefollowing:1)thegeneraltopic;2)thehistoricalquestion;3)thethesis,oranswerto/interpretationofthequestion;and4)principalcomparativepoints.

 3.Quotations

Incorporatingquotationsfromyourprimarysourcematerialsanddialoguefromfilms,televisionepisodes,orvideogameswillprovideanopportunityforyourpeerevaluatortoassessthecontentand

 

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effectivenessofthisimportantcomponentofyourpaper.Quotationscanconveythevoiceofhistoricalactorfromyourprimarysourcesandtheatrical/voiceactorsformyourfilm,televisionepisode,videogamethatcapturesamood,tone,oridiosyncrasiesthatwouldbemutedorlostthroughparaphrasing.Theycanalsopresentevidenceinasuccinctmanner.

  

4.FootnotesThepeerevaluatorwillneedtoknowthe sourceof yourevidenceanddirectquotations. Theinclusionof footnotesin thedraftwillalsoprovideanopportunityfor thepeerevaluator(andinstructor)toofferfeedbackonformattingandmissingcitationdata.

 ii.PeerEvaluationStudentswillformpairsandexchangethefirstdraftsoftheirpaperswiththeirpeerevaluator.StudentswillemailtheirfirstdraftstotheirpartnerandtheinstructorinMSWordformattoenablethepeerevaluatortoperformeditsin“TrackChanges”modeandincludetheirnarrativecritiqueatthebottomofthepaper. Peerevaluatorswillreadtheirpartner’spapercarefullyandprovideajudiciousbalanceofdirectiveandfacilitativefeedbackthroughcopyeditingmarks,marginalcomments,andaformalone‐pagecritique(150–200words).Directivefeedbackwillofferprescriptiveinstructionsforspecificchangesandimprovements,suchascorrectionstospelling,punctuation,grammar,andformatting. Facilitativefeedbackwillsharesuggestivequestionsandcommentarythatengagebroaderanalyticalpointsregardingorganization,arguments,sources,analysis,clarity,andstructure.

 Peerevaluatorsshouldapplyparticularattentiontotheintroduction,thesis,andtopicsentences.Additionally,peerevaluatorsshouldscrutinizetheuseofevidencefromthefilmandprimarysources.Howeffectivelyhasthewriterparaphrasedorquotedprimarysources?Howconsistentlyandfullyhasthewritercitedprimarysourcedataintheirfootnotes/endnotes?Finally,doestheconclusionreassertandstrengthenthethesisstatement?

 Everystudentmustcompleteapeercritique. ThisexerciseassignspointstothePeerEvaluatorNOTtheevaluatee. Peerevaluatorswillreturntheeditedpapersandnarrativecritiqueviaemailtotheirpartnersandcopytheinstructor.

  

Step Five: Presentation Outline (Group or Individual) [5 points]  DUE:PresentationOutline(100–200words) Instructions:Studentswilldraftascriptoroutlineforafinaloralpresentation(fivetosixminutesinduration)oftheirhistoricalinquiryprojectstotheclass. Presentationswillscreenaselectedsceneorscenecompilation,sharetheirprimarysources,andexplaintheirfindings/analysis. StudentsareencouragedtoprepareaPowerPoint,Keynote,Preziorothermultimediapresentationwithembeddedfilmscenesanddigitalimagesofprimarysources. Presentationswillalsoallowtimeforquestionsfromtheclass. Studentselectingtopresentwithpeerssharingacommonfilm/televisionseries/videogamewillcoordinatetheorderoftheirpresentationsandareencouragedtocompiletheirindividualpresentationsintoonePowerPointfileifpossible. PresentationoutlineswillincludeALLthefollowingelements: 

1.Statementofgroup’s/individual’stopic(s)orhistoricalquestion(s) 

2.Descriptionofeachgroupmember’sfilmsceneandfilmicelementanalyzed 

 

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3.Descriptionandcitationofeachgroupmember’sprimarysources 

4.Summaryofeachgroupmember’scomparativeanalysisbetweenthefilmandprimarysources 

5.Cues(startandstoptimes)forscreeningfilmscenes(ifnotembeddedinPowerPointpresentationorcompiledinseparatemovingimagefile)

 

  

Step Six: Final Oral Presentation [10 points]  DUE:OralPresentation(5–6minutesmaximum)

 Instructions:Studentswillshowcasethefindingsoftheirhistoricalinquiryprojectsduring5–6minuteindividualpresentations. Everystudentwilldeliveranoralpresentationnolongerthan6minutes.Somestudentsmaychoosetopresentwithpeerssharingacommonfilm/televisionseries/videogame,however,eachstudentisstillrequiredtopresentindividuallyfor5to6minutes.

 ThepresentationswillbescheduledforDeadWeekandFinalsWeek. Theinstructorwilldistributeanoralpresentationevaluationrubrictostudents.

 Step Seven: Individual Analysis Paper [50 points]

 DUE:IndividualAnalysisPaper(seespecificrequirementsbelow)

 Instructions:Studentswillcomposeafour‐to‐fivepageresearchpaperthatoffersacomparativeanalysisoftheirhistoricaltopicandhistoricalquestionbetweentheirselectedfilm/televisionepisode/videogameandprimarysourcematerials. Essayswillpresentacriticalanalysisofaparticularquestionortheme,andnotsimplysummarizeordescribecontent. Essayswillalsoincorporatequotesfromthefilmandprimarysourcestocapturethevoicesoffictionalandhistoricalactors. Studentswillalsoprovidefullcitationsforallsourcesandcitealldirectquotes.

 PleasefindbelowastructuraloutlineforyourfinalIndividualAnalysisEssay.Thisisasuggestedoutline,andyouarewelcometoadoptanalternateformat:

 1.Introduction. Clarifytopic,thesis,andprincipalpointsofcomparison.

 2.Briefsummaryoffilm/televisionseries/videogame. Focusonkeyelementsrelevanttoyour

question. 

3.Briefsummaryofprimarysourceresearch.Whatwasthestructureoftheresearch—casestudy;historicalactor;historicalevent—andwhattypesofsourceswereresearched?

 4.Comparativeanalysis. Thisisthebody/coreoftheessay.Analyzethespecificprimarysourcesyou

examinedandthespecificscenes/filmicelementfocusedupon. Assertyourkeyarguments,interpretations,findings.

 5.    Conclusion.Reassertyourthesisandunderscoreyouranalysisofthemainthemeoftheproject.Allfinalversionsofpaperswillconformtothefollowingformatrequirements:

 

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EditorialStyle: ChicagoManualofStyle(CMS)/Turabian 

Length: 4to5pages(1,000to1,250words) 

Margins: 1”left,right,topandbottom FontSize: 11or12point LineSpacing: double‐space Pagination: pagenumbersrequired;placementisauthor’schoice Citations: footnotesorendnotes(parentheticalreferencesnotaccepted) TitlePage: includepapertitle/subtitle,authorname,date,course,instructorname DeliveryFormat: electronicMSWordfileformat Quotes: quotationslongerthanfourlinesoftextwillbeblockformatted;seeTurabianfor blockquoteformattinginstructions E)   Participation & Tutorial Meeting with Professor (10 points possible)  

Thesuccessofthisseminardependsontheregularattendanceandactiveparticipationofallstudentstofosterpeercommunity,stimulateintellectualcuriosity,sustaindialogue,andengageincollaborativeresearch.Anyunacceptable,non‐documentedabsences(seesection“VIPolicyonMissedDeadlines,Absences&Incompletes”below)ofthreesessionsandabovewillresultinthereductionofyourfinalcoursegradebyonecompletegrade.

 Eachstudentwillalsoscheduleaone‐on‐onetutorialappointmentwiththeinstructorbytheendofweekfivetodiscusstheinquiryproject.

 

  

Total Possible Points for Entire Course = 200 points  

Final Course Grade Breakdown  Points: 187 and above = A Points: 160 – 166 = B- Points: 136 – 139 = D+

180 – 186 = A- 156 – 159 = C+ 126 – 135 = D 176 – 179 = B+ 146 – 155 = C 120 – 125 = D- 167 – 175 = B 145 – 140 = C- 119 and below = F

   VI  COURSE CANVAS SITE  TheCanvasSiteforHistory199offersseveralvaluableinstructionalfunctions. First,theinstructorwillpostallcoursematerials,includingthesyllabus,lectureoutlines,powerpointslideshows,andotherhandoutsinthe“CourseDocuments”sectionofCanvas. TheCanvassitewillalsohosttheforumsfortheZeschDiscussion,aswellasthegradebookforthecourse.

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VII  UNIVERSITY ACADEMIC MISCONDUCT POLICY  Allworksubmittedinthiscoursemustbeyourownandproducedexclusivelyforthiscourse. Youmustacknowledgeanddocumenttheideasandwordsofothers.Thepresentationofun‐citedorun‐acknowledgematerialacquiredfromanysource—written,verbal,online—isdefinedasplagiarism.Violationsaretakenseriouslyandarenotedonstudentdisciplinaryrecords. Pleaseconsulttheinstructorifyouhavemorespecificquestionsaboutthedefinitionofplagiarism. TheStudentConductCodefor“AcademicMisconduct”isavailableforreview:http://uodos.uoregon.edu/StudentConductandCommunityStandards/AcademicMisconduct/tabid/248/Default.aspx

   VIII  POLICY ON MISSED DEADLINES, ABSENCES & INCOMPLETES  Toensureequitabilityintheevaluationofallstudents,allwrittenassignmentsaredueinclass,ormustbepostedinCanvasatthestateddeadlinesinthissyllabus,unlessstudentshaveadocumentedacceptableexcuse(seebelow). Studentsmaynotmake‐upthefollowingassignments:bookdiscussionfacilitation&Canvasdiscussionforumquestions,primarysourceanalysisexercises&reports,researchprojectpresentationassignment. Anywrittenassignmentnotsubmittedinhardcopyformatbythespecifieddeadlinewillresultinthepenaltyofanautomaticdeductionofhalfofthetotalpossiblepoints(i.e.,20pointpaperisworthonly10points)thatmaybeearned.Writtenassignmentssubmittedmorethan24hourslatewillnotbeaccepted.Writtenassignmentsturnedinbye‐mailwillreceivenopoints. Itisthestudent’sresponsibilitytoinitiatecontactwiththeinstructor.Thefinalgradereportedtotheregistrarwillbebasedupontheworkthestudenthascompletedbytheendoftheterm,whichmaywellresultinafailinggrade. A)ExceptionalEmergencySituations

Thefollowingareunforeseen/incontrollableexceptionalemergencysituationsthatareacceptableexcusesformisseddeadlinesorabsenceswithoutpenalty,andissuanceofincomplete(I)finalgradesattheendofthecourse:1)documentedseriousillness/injury;2)documentedimmediatefamilyemergency.

 Studentsshouldplantheirschedulesaccordinglyasabsencesand/orinabilitytomeetassignmentdeadlinesduetopersonal(e.g.,familyreunions/visits,weddings,work‐schoolconflicts)ortechnological(e.g.,savedpaperis"missing"orwillnotopen,printerranoutofink)reasonswillnotbeexcused.

 B)IssuanceofanIncompleteGrade

InaccordancewiththepolicyoftheUniversityofOregon,amarkofI(incomplete)maybereportedonlywhenthequalityofworkissatisfactorybutaminoryetessentialrequirementofthecoursehasnotbeencompleted.An“incomplete”willbegrantedin‐lieuoflettergradesonlyinexceptionalemergencysituationsasstipulatedabove,tostudentswhohavecompletedatleast85%ofallcourserequirementswithagradeofC+andabove,aswellas100%attendance(exceptionswillbegrantedforacceptableabsencesduetodocumentedexcusesasstipulatedabove). Studentsmustinformtheinstructorandalsosubmitdocumentedproofbeforetheendofthetermtoobtainanincompleteforthecourse. Theinstructorwillthennegotiatewiththestudenttodraftacontractontherequirementsanddeadlineforcompletionofcourserequirementsnecessarytocleartheincompletegrade.

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IX  ACCESSIBLE EDUCATION POLICY  Theinstructoriscommittedtocreatinganinclusive,respectful,andaccommodatinglearningenvironmentforallstudentsinthecourse. Pleasenotifytheinstructorifthereareaspectsoftheinstructionordesignofthiscoursethatresultindisability‐relatedbarrierstoyourparticipation. StudentsarealsoencouragedtocontacttheAccessibleEducationCenter(formerlyDisabilityServices)in164OregonHallat346‐1155oruoaec@uoregon.edu,orvisittheirwebsiteataec.uoregon.edu/index.html.

    

**  GUIDANCE ON  SUCCEEDING  IN  THI S  COURS E  **  

Guide:HowtoApproachtheSecondarySourceReadingsWhenyouengagethesecondarytextsforthiscourse,DeloriaandZeschyoumayneedtoreorientyourapproachto"learning"history. Thiscoursedoesnotmeasurecognitiveandskillsdevelopmentwithinthedisciplineofhistoryby"testing"students'masteryofcontentknowledge—inotherwordshowmuchfactualinformationstudentscantemporarilymemorizeandreciteonamultiplechoice,matching,fill‐in‐the‐blank,orshort‐answerexamination.

 Instead,thecourseassessesstudents'progressandfluencywiththe"process"ofproducinghistory—suchastheframinghistoricalquestions;formulatinghypothesisandarguments;composinganddefendingevidence‐basedinterpretations;examiningprimarysourcematerials;critiquingsecondarysources/scholarship;performingacademicwritingasaprocessofdisciplinarythinking(thinkinglikeahistorian).

 WhenreadingthesecondarysourcesIwouldrecommendthefollowingstrategies: 

1)Readthebookwithahistoriographical/methodological lensratherthanacontentmemorizationlens.

 2)Focusparticularattentionontheprologueand/orintroductionwheretheauthorarticulateshis/her

essentialquestion,thesis,themes,methodology,andhistoriographicalapproach. 

3)Skimmingcanbeausefultechniqueforsomelearningstyles. Scrutinizetheopeningandclosingparagraphsofeachchapter,andthefirstsentencesofeachparagraph.

 4)Annotate! Ifyoudon'tplanonsellingyourbooksback,Iwouldhighlyencourageyoutowrite

marginalcommentsthatdon'tsimplyrepeatthetext,butengageit! Posequestions,challengeconclusions,inspectsources.Writingortypingyourideas,orevenshortquotes,demonstratesamorecomplexcognitive

 5)Donotreadthebookpassively—interactwiththebookasifitwereaconversationwiththeauthor.

Also,ifyouemployahighlighter,dosowithgreatdiscretionandrestraint. Ifthepagesappearasifaflorescentyellowslugtrailhascoveredmostorallofthetext,thisisaclearindicationthatasareaderyoustillhaveonthe"contentmemorization"lens,andyouneedtochangecognitivespectacles.Highlightonlykeyanalyticalorinterpretivepoints,oraspecificquoteyouintendtowriteaboutinadiscussionforumoryourpaper.

 6)Remember,secondarysourcesarereferencetoolsforthehistorian,andyoucanalwaysreturntothe

bookifyouneedtoretrievespecificdata/facts. Possessinganeideticorphotographicmemoryandtheabilitytorecallencyclopediclevelsoffactualdataisnotaprerequisiteskillsforhistorians.Infact,thisnotionisthestereotypicaldefinitionofhistoryandhistoriansthatemergesfromthepassiveand

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reductionistmodelofhistoryassimplythememorizationandrecitationoffacts. Unfortunately,manyofuswereconditionedtolearnhistoryinthismodelandhavedevelopedpassivereading,writing,andlearninghabits.

 7)Donotignorethefootnotesorendnotes. Thedocumentationsystem(citingspecificsourcesto

supporttheprimarythesis/interpretation)isthefoundationtoallsecondaryliteratureandacademicscholarship. Italsorevealstheauthor's"process"ofreconstructingthepast. Asthereader,youneedtoscrutinizethesesourcessoyoucandeterminehowpersuasiveortenabletheauthor'sargumentorinterpretationmaybe.

 8)Finally,whenyoucompetereadingasecondarysourceyoushouldhavenoproblemacutelydistilling

andtellinganotherprospectivereaderpreciselywhattheauthor'sprincipalquestionandthesiswas,thestrengthsandweaknessesoftheirprincipalquestionandthesis,whatsourcestheyreliedupon,andwhetheryourwereconvincedbytheirthesis/interpretation.Thisisaneasiertasktoaccomplishifyoudonthose"historiographical"lensesandreorientyourapproachtoreadingthebook.

 Itwilltakepracticetobreakoutof"contentcoverage"habits,andeachofthehistorianswewillreadthistermembracedifferentmethodologiesandphilosophyofhistory. Goodluck!

   

Guide:HowtoApproachthePrimarySourceInterpretationExercisesTheprimarysourceexercisesintendtoassiststudentswithframingacademicwritingasaprocessofdisciplinarythinking,andhelpstudentsbegintodeveloptheirvoicesashistoriansthroughtheprocessofinterpretingthe“voices”ofhistoricalactorsinthepast. Studentsalsobegintolearnthepracticalstepsofcriticallyengagingtextualandvisualprimarysources.Ratherthanreadingonlytomemorizecontent,thisexercisechallengesstudentstobeginthescholarlyworkofsharedorcollaborativeannotation.

 Iamsureyouhaveallpurchasedusedbooksthathaveexcessivehighlightingofpassages,insomecaseschangingentirepagestoneonyellowororange. Thesepreviousreadersattemptedtoannotatethetextasamemoryaidormnemonicdevice,however,thepervasivehighlightingdemonstratestheyhadnotlearnedhowtoengageatextcritically.

 Incontrast,youhaveprobablyalsopurchasedusedbooksthathaveselectivehighlights—identifyingkeypointsandarguments.Moreimportantly,youmayhavealsofoundinsightfulcommentarywritteninthemarginsthatraisequestions,ideas,theories,andcriticismthatenrichthebook,begintocreatenewknowledge,andactuallyenhanceyouranalysisofthebookasadownstreamreader.

 Theseannotatorshavegonefarbeyondmemoryaids,toengagethetextandcritiquetheauthor’sarguments,sources,methodology,andevenwritingstyle. Theannotationsormarginaliaarethewrittenexpressionofthecognitiveprocessofcriticalreadingandanalysis—analogoustoshowingyourworkinmathleadingtothesolutionofaproblem.

 Theannotatorhasbeguntoreorganize,interpret,andassignmeaningtothetext—especiallywhenthisprocessisappliedtoprimarysources. Annotationbecomesaformofscholarshiporscholarlypracticeinandofitself.

 Iencourageallofyoutoengageinthissharedannotationandknowledgecreation. Thiswillbeessentialifyouhopetopresentthemostpersuasiveargument. Engagetheevidence. Reworkthedata. Constructatimelineofevents. Assembleaglossaryoftermsandnames. Craftaspreadsheetcomparingcontradictoryevidence.Ultimately,youwillneedtodevelopyourownthesisbyorganizingthehistoricaldataintothemostconvincingandcrediblenarrativeexplanationofevents.

 

 

X  COURSE SCHEDULE AND ASSIGNMENTS  

Note: It is imperative that students complete weekly assigned readings before in‐class discussions   DATE DUE AGENDAWEEK1M1/4

  

  W1/6

  

  

  

  

DeconstructingtheAmerican West:An Imagined Place&ProcessThoughtExperiment:Whatdoyouknow?Howdoyouknowit?Howdidyoulearnit?FilmSession/DiscussionI:TheColonialLens:ImaginingandRe‐EnactingtheOldWestThroughStage&Film1872–1950s

 FilmSession/DiscussionII:TheDecolonizingLens:Indigeneity&Re‐ImaginingtheOldWestThroughIndianandSettlerSocietyAllyVoices,1960s‐2014Discussion:RoadmaptoYour11Apprenticeship(Syllabus&CourseStructureReview)

WEEK2M1/11

    W1/13

S1/10

ReadingDiscussion A: Deloria, "Introduction" and Chapter2:"REPRESENTATION:IndianWars:TheMovie”Presentation:TheClosingFrontier?TheWorld’sColumbianExposition,FrederickJacksonTurner’s“FrontierThesis”andAntimodernismDUE:DiscussionAQuestionsPostedinDiscussionForum/SmallGroupAssignmentsFieldTrip:ClassMeetsatSpecialCollections&UniversityArchives(SCUA)Presentation: DiscoveringDisrememberedVoices:ReconstructingthePastofRace,Gender,andClassintheAmericanWest.CaseStudy:Indigeneity&Modernity

WEEK3M1/18

                   W1/20

      

                S1/24

PrimarySourceExercise1,Day1:IntroductiontoSCUAbyJenniferO'Neal,UniversityHistorianandArchivistandLindaLong,ManuscriptsLibrarian;MeetinSpecialCollectionsandUniversityArchivesGroupA:"PioneerMothers:"ReflectionsofWomanhoodandFemininityinOregonTrailDiaries GroupB:SettlerColonialism&ResettlementofIndigenousPeoples:TreatieswiththeUmpquaandKalapuya1854,1855/SiletzReservationMaps

GroupC:OregonFreeSoilIdeology,BlackExclusionandAnti‐Slavery:BlackExclusionLaws&CaseFilesofTheophilusMagruderv.JacobVanderpool(1851);RobinHolmesv.NathanielFord(1852–53);andAbnerandO.B.Francis(1851)

GroupD:ThePedagogyofEthnocideandAssimilation:ChemawaIndianBoardingSchoolandWarmSpringsReservationSchoolRecords

GroupE:Rodeosandthe"VanishingRace":Romanticizingthe"OldWest"throughtheEyeoftheCamera:WalterS.BowmanPhotographs,1890–1925;andLeeMorehousePhotographs,1888–1925

 PrimarySourceExercise1,Day2;MeetinSpecialCollectionsandUniversityArchivesDay2:GroupPresentationsandDiscussion

 DUE:PrimarySourceExercise1Reports

 

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DATE DUE AGENDAWEEK4M1/25

        W1/27

   

              F 1/29

  ReadingDiscussionB: Zesch,TheCapturedGroupA:Prologue&Chapter1GroupB:Chapters2–3GroupC:Chapter4–5GroupD:Chapters6–7

 [distributeTake‐HomeMidterm]

 

FilmScreening:TheSearchers(1956)Introduction&first90minutes  DUE:ResearchProjectStepOne:ResearchTopicStatement(IncludingFilmSelection)

WEEK5 

M2/1   W2/3

            M2/1–F2/5

  FilmScreening:TheSearchers(1956)final30minutes

 Discussion:CritiquingTheSearchersasaPrimaryandSecondarySourceDiscussionC: Zesch,TheCapturedGroupE:Chapters8–9GroupF:Chapters10–11GroupG:Chapters12–13

 TutorialMeetingstoDiscussResearchProjectinLLC120(throughoutWeek5)

WEEK6M2/8

        W2/10

         U2/9

     M2/8–F2/12

  PrimarySourceExercise2,Day1:TheTrialofChanChowMow(RoleAssignment)

 Presentation:GamSaan&theUnassimilables:ChineseImmigration,Exclusion&Sinophobia

 TrialPreparation&TeamMeetings,Day1

 

DUE:Take‐HomeMidterm 

PrimarySourceExercise2,Day2:TheTrialofChanChowMow TheTrial&Debrief,Day2

 

TutorialMeetingstoDiscussResearchProjectinLLC120(throughoutWeek6)

WEEK7 

M2/15  W2/17

    U2/16

FieldTrip:The“HiddenHistory”TourofUOCampus:TheColonialandDecolonialLandscapenarratedbyKevinandJennifer DUE:PrimarySourceExercise2ReportsResearchProject:IndependentFieldResearchSession1:SpecialGuest:JenniferO'Neal;MeetinSpecialCollections&UniversityArchives

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DATE DUE AGENDAWEEK7F2/19

  F2/19

  DUE:ResearchProjectStepTwo:HistoricalQuestion&AnnotatedBibliography

WEEK8M2/22

  W2/24

  F2/26

        F2/26

 ResearchProject:IndependentFieldResearchSession2inKnightLibrary;MeetinKnightLibrary122

 

ResearchProject:IndependentFieldResearchSession3inKnightLibrary;MeetinKnightLibrary122

 

DUE:ResearchProjectStepThree:PaperOutline/ConceptMapWEEK9

 M2/29 W3/2

  F3/4

        F3/4

 ResearchProject:IndependentFieldResearchSession4inKnightLibrary;MeetinKnightLibrary122 ResearchProject:IndependentFieldResearchSession5inKnightLibrary;MeetinKnightLibrary122

 

DUE:ResearchProjectStepFour:AnalysisPaperFirstDraftSubmittedtoPeerEvaluator&Instructor

WEEK10M3/7

     W3/9

    U3/8

     R3/10

  ResearchProject:ClassWorkshop&PresentationRehearsals DUE:ResearchProjectStepFive: PresentationOutline

   ResearchProject:OralPresentations(PARTONE)

 DUE:ResearchProjectStepFour:PeerEvaluatorsReturnEditedDraftstoPartners

WEEK11W3/16

 

 

   R3/17

FINALS2:45PMFINALTIME:ResearchProject:OralPresentations(PARTTWO)

 

DUE:ResearchProjectStepSeven:FinalPapers