FRESHMAN LAS SEMINAR 163 -DIMENSIONS of the SELF-

SHADOWS of the SELF: World Theatre/Drama

Instructor: Germaine Goetz-Sota, Ph.D.

Office: Fine Arts 412

Phone: Ext. 6292, Home: (630) 893-5082 ; Email: goetzsota@dom.edu

Core Text: Invisible Man by Ralph Ellison

Writing Text: Writer’s Reference , Diane Hacker, 5^th edition, 2003 MLA update

SEMINAR DESCRIPTION:

“Again and again something in one’s life, or in that around one, will seem so important that one

cannot bear to let it pass into oblivion.” (Lady Mirasaki) Great playwrights and novelists feel this way too. Their writing captures for all time the extraordinary experiences- high-voltage moments- of people

in the midst of crisis, self-awareness and decision making. Our own high-voltage moments, our

conflicts and decisions, have contributed to the making of our identity, and to our sense of self.

In this seminar, we will examine the “selves” of many remarkable individuals. By studying scripts, essays,

films, a novel and live productions, we will enter a world of character transformation brought about by choices or decisions: wise or foolish, honest or deceitful, generous or selfish. These characters - shadows of ourselves- on the page or on the stage, can lead us to self-discovery. Ask yourself: what can I learn from them? In my own life, where did my important choices lead me?

Excerpt from Jingjing Wang’s letter in the voice of St. Catherine of Siena (14^th century Dominican):

“My dear young friend, you should know that it is hard to improve unless you have developed

self-knowledge ... Do not fear; do not be confused either. Nurture your heart with love for humanity

and together with the knowledge offered to you in this university, you will find the right directions

in your life... Go find yourself and dedicate your life to making a better society... It’s about time for you

who are equipped with a liberal education, to make a difference.”

TEXTS and THEMATIC UNITS:

The course material will be divided into five themes describing human behavior. In choosing to take risks, to pretend, to seek one’s identity, to victimize or to be a victim, and to love, we usually end up with some loss and some gain--hopefully more of the latter. In your study of the core text, Invisible Man, and in other readings, you will also explore four questions common to all freshmen seminars: What is “the self”? Is “the self” made?…inherited?…given?… discovered? What are some of the key influences on a

person’s physical, emotional, spiritual and intellectual development? How does “the self” interact with a

community?

In the following texts, ask yourself how you might identify with the conflicts and the choices of the main characters. How do their choices transform their lives? Do their choices lead to greater maturity, inde-

pendence, wisdom, happiness? Do they arrive at a deeper understanding of their unique identity?

THEME 1: PRETENDERS: texts a) “Goin’ Gangsta, Choosin’ Cholita” article b) Tartuffe (Moliere)

c) Good Woman of Setzuan (Brecht)

THEME 2: RISK-TAKERS: texts a) The Cripple of Inishmaan (McDonagh) b) A Doll’s House (Ibsen)

THEME 3: IDENTITY SEEKER: text: Invisible Man (Ellison)

THEME 4: VICTIMS/VICTIMIZERS: texts: The Effect of Gamma Rays on Man-in-the-Moon Marigolds (Zindel), and Getting Out (Marsha Norman)

THEME 5: LOVERS: text: Prelude to a Kiss (Lucas)

VIDEOS

1. Prelude to a Kiss with Meg Ryan

2. A Doll’s House with Jane Fonda

3. Tartuffe with Antony Sher

SEMINAR OBJECTIVES:

“PREFACE” from Joan Schenkar’s Signs of Life:

“Plays happen, for an audience, in the dark. Reading them requires a very good light. In order

to stage plays in your head, you must first allow the comforting illusions that light your inner

life to be switched off -- and find the darkness inside yourself. Only then can you perform that

singular act of Higher Personal Mathematics that reading these plays makes available to you:

the division, the multiplication, the fractioning of your very Self.”

In this seminar you will learn to:

· generate a positive learning environment and closer relationships with other students

by applying inter-personal skills in a variety of collaborative assignments

· make connections between character conflicts and choices and your own day-to-day prob-

lems and decisions

· think, read, write and speak critically by applying the four guiding questions to all texts

· cite evidence from play scripts and other texts to support your claims/arguments

· recognize diverse cultures and historical periods : contemporary Ireland, 17^th cent. France, 19^th cent. Norway, Chicano/a and African-American cullture in 20^th cent. U.S.A.

· critique theatre productions based on selected criteria. The class will attend plays on campus

and off. You are encouraged to attend live theatre on your own as often as possible.

use library resources and data bases for your theatre and other course assignments

synthesize and integrate knowledge you are drawing from other courses

SEMINAR REQUIREMENTS

“Just 33 genes, each coming in two varieties (on or off) would be enough to make every human being

in the world unique. There are more than 10 billion combinations that could come from flipping a coin

33 times… genes are not immutable things handed down from our parents like Moses’ stone tablets, but

are active participants in our lives, designed to take their cues from everything that happens to us…

“your genes are … puppets at the mercy of your behavior… environmental influences are often less

reversible than genetic ones.” Time, June 2003

1. CLASSROOM ASSESSMENT TECHNIQUES - CAT’s :

You will be asked to assess your learning, usually toward the end of a class period. The following

are sample questions you may be asked. There is also a “Fast Feedback Questionnaire” in your syllabus

packet.

Ÿ What was the most important thing you learned during this class?

Ÿ What single important question remains unanswered for you?

Ÿ What was the “muddiest” point in today’s discussion?

Ÿ Did you get what you came for today? If not, what was missing?

Ÿ Can you paraphrase the topic, the assignment, the passage under discussion in one sentence?

Ÿ Can you summarize the main ideas covered in class?

Ÿ Identify things that are working for you; things that are not working and should be changed.

Ÿ At what moment in this class did you feel most engaged with what was happening?

2. ORAL COMMUNICATION WORK:

You will be asked to:

Ÿ Share important information about yourself in the “Ice-breaker” exercise.

Ÿ Discuss texts in small groups or as a class, based on assigned questions which should be well

prepared. In a seminar, a substantial part of your grade is based on what you bring to discussion.

Ÿ Lead or facilitate a small group discussion. You will locate two critical articles online that will provide information on the play you will discuss. Annotate the article, indicating what ideas you will share with the class. Hand this in after the discussion.

Ÿ Perform an excerpt with another student from a play of your choice. I will ask for volunteers after each thematic unit is completed.

Ÿ Share journal notes in class.

3. WRITTEN WORK:

You will be asked to write:

Ÿ Frequent mini-response papers, summaries and quizzes on assigned plays, videos, and chapters.

Ÿ An in-depth critical review of a play seen by the entire class (three pages). On campus

this semester we will see Big River, a musical based on Twain’s Huckleberry Finn.

Ÿ Journal entries in which you a) respond to selected guiding questions for each assigned text,

and b) briefly connect the play’s theme and characters to your own life experiences.

Ÿ A three to four page essay on how one or more of the guiding questions operate in Invisible Man

Ÿ A final essay exam based on a common quotation and the guiding questions which all freshman seminars will address.

N.B.. Your first “assignment” will be an Ice-breaker communication exercise described on the

following page. The syllabus you are now reading has important material which we will gradually cover. However, it would be wise for you to read the information to get an overview of what the seminar is about. You will engage in different kinds of reading this semester. Hopefully you will

understand “the usefulness of reading different sorts of reading differently: reading at different speeds, with different levels and kinds of inquiry, for different purposes.”

JOURNAL ENTRIES – LAS 163: SHADOWS of the SELF

***Journals will be collected approximately every three to four weeks. Please keep in mind the Rubrics

handout which indicates the criteria for “outstanding”, “proficient” and “not yet proficient” work on your entries. Keep all of your seminar papers in a folder for convenient location of handouts for reference and review purposes.

Entry 1 - Ice-breaker exercise

Entry 2 - Write a two-paragraph summary of the article “How to Ace College.”

Entry 3 - First Thematic Unit – Pretenders: Read “Goin’ Gangsta, Choosin’ Cholita”:

• For discussion, a) select three bulleted points in #2 of the handout that you can personally connect to, and prepare to discuss your reactions in class. b) in #3, Andrea Jones criticizes the

pretence or mimicry of the teens described in this article. Examine her six points and select two

that you can respond to in class. Respond to #4 if it is relevant to your situation.

• In your journal, entry 3, apply guiding question 2 to this article: “Is the self made… inherited…

given…discovered?” (two paragraphs) Write a third paragraph explaining why or why not you agree with what the teens in the article are doing – choosing or “claiming” their own identity

Entry 4 - Tartuffe – please note that reading a play differs considerably from reading essays or articles.

Be aware that all information about the characters, plot, theme, etc. comes through the dialogue

alone; therefore, you must learn to read “between the lines” using your imagination to fill in

whatever is beneath the language: the emotions, the gestures, the motives of the characters.

1. After seeing the video and reading the play, you will discuss Tartuffe in small groups. Group

leaders will be appointed.

2. Apply guiding question 1 to the main characters Tartuffe and Orgon: “What is the self”:

• In what ways did you find Tartuffe a comic personality? Through what facial expressions, gestures, movement and vocal characteristics did the actor Antony Sher create humor? Be very specific.
• What is your response to Tartuffe’s pretence? Describe the false “self” he presents to Orgon. What are his specific traits as a “holy” man?
• Specifically how does he reveal his true “self” to Orgon’s wife, Elmire? Find passages in the text

to illustrate your answers.

• The great mystery in this satiric play is the motivation of Orgon. Everyone in his family recognizes Tartuffe as a con-man, except Orgon and his mother. In your groups explore the

range of possible motives or reasons for Orgon’s infatuation with Tartuffe. Why would a man

of his wealth, status, and education fall under a hypocrite’s spell? Look for any clues or evidence

in the text to help you arrive at a convincing answer.

3. Apply guiding question 4: “How does the self interact with a community”? Discuss:

• Orgon’s interaction with his family and servant, Dorine, in contrast with his interaction with Tartuffe
• Orgon’s mother’s interaction with her son’s family and her servant in contrast with her opinion of

Tartuffe. What does her behavior reveal about her character?

• Dorine’s interaction with Orgon and his family and with Tartuffe

4. Everyone should locate one critical article on Tartuffe, either on-line from an academic database or from the library collection. In your journal entry a) explain one idea or piece of

information that you learned from the article; and b) write your response to section 2, bullets 2 and

3 on Tartuffe’s false self and true self. Be sure to quote specific passages from the text to illus-

trate your answers.

JOURNAL ENTRIES – RUBRICS

LAS 163- Shadows of the Self

First Journal Entry: Oral Communication – Ice-breaker:

1. Three paragraphs:

• Paragraph 1 – Describe your main talents and abilities in detail.
• Paragraph 2 - Describe when and where you feel the most intensely/passionately

engaged. When and where do you desire most to invest your energy?

Specifically describe a high-voltage moment when you experienced this intense

engagement using your talents.

• Paragraph 3 - Discuss what vocation and/or career you are attracted to, given your

unique abilities and aptitudes.

2. RUBRICS:

Outstanding: A, A-, B+

• In-depth content: fulfills the assignment comprehensively and thoughtfully.
• Precise use of language, originality of expression, coherent development of thought
• Excellent mechanics: no errors in grammar, spelling, punctuation and paragraphing

Proficient: B, B-, C+

• Good content: fulfills the assignment sufficiently but more ideas and information could

be included.

• Adequate use of language (not always the best word choice), clear and coherent development of thought, but not consistently coherent, and limited originality of expression.
• Some mechanical errors

Not Yet Proficient: C, C-, D+

· Content needs more development: only minimal ideas and information are included.

· Vague and inaccurate use of language, inadequate coherence and clarity, little originality

· Too many mechanical errors