Belmont University
Nashville, Tennessee
Honors
2210: 2009
The
Renaissance and Enlightenment
Dr. Joseph P.
Byrne,
Honors Program, Honors House
byrnej@mail.belmont.edu
Off. phone: 615-460-5418
Off. hrs.: MF 10:00-10:45
T Th After class
Or
by appointment
Welcome to the study of the Early Modern period of our shared history. It is an era of tremendous change that set the stage for many of the developments in human culture, politics, economics, science, philosophy, and technology with which we are still wrestling today. As so many of the medieval assumptions about life and nature were challenged, new paradigms emerged, as did new questions and assumptions. Europeans encountered the world in unprecedented ways, and developed not only new fascinations, but new levels of greed and a curiously juxtaposed loftiness of purpose. Models of political power developed in opposite directions – toward the absolutist state and the self-governing republic -– as did models of reaction: from blind obedience to revolution. In this course we will examine broadly this sweep of change, whenever possible relying upon the writings and other evidence of those who witnessed, or helped bring about, the key events and trends in this metamorphosis from medieval to modern society and culture.
As I have designed it, this course is a challenging survey of major trends, turning points, personalities, and monuments of the period from about 1350 to about 1770. This study will require a great deal of reading, reflection and discussion, punctuated by a series of projects that will take you further afield than we can otherwise afford with our limited class time. As with any good honors course, this is an experiment, an "essay" in the sense of the French root of the word. Just as I hope that you will remain open to the experiences and work that I have planned, I pledge to remain open to suggestions for modifications or minor changes as we proceed.
I believe that honors courses should not only hone skills and challenge the mind, but also provide students with opportunities to explore and develop their broader social, intellectual and spiritual selves. To these ends I hope that you will find me supportive and encouraging of your critical and creative selves, your communicating self, and your reflective self. I hope to foster leadership and team work, and to present you with experiences that will challenge your academic self-discipline and allow you to grow as a student and person.
"Incline thine ear to wisdom and apply thine heart to understanding" (Prov.2:2).
BOOKS FOR HONORS 2210: SPRING 2009
GENERAL TEXT
**Fiero,
Gloria, The
Humanistic Tradition, Vol.
2, fifth edition, McGraw Hill (and Vol 1, 4th
edition)
RENAISSANCE
Boccaccio, Decameron,
Signet
Alberti, On
Painting, Penguin
Machiavelli, The
Prince, Dover
More, Utopia,
Dover
Dolan,
Essential Erasmus, Penguin
Hanke, All
Mankind is One, Northern Illinois University Press
REFORMATION ERA
Janz, Reformation
Reader, Augsburg/Fortress
Shakespeare, As You
Like It, Dover
" , Hamlet, Dover
" , Merchant
of Venice,
Dover
Montaigne, Defence
of Raymond Sebond, Penguin
SCIENTIFIC REVOLUTION AND
SEVENTEENTH CENTURY
Kuhn, Copernican
Revolution, Harvard
Locke, Second
Treatise on Government, Dover Books
EIGHTEENTH CENTURY AND
ENLIGHTENMENT
Pope, Essay on Man,
etc., Dover
Swift, Modest Proposal,
Dover
Rousseau, Emile,
Everyman
Voltaire,Candide,
Dover
Franklin, Autobiography,
Dover
Cugoano Ottobah, Quobna, Thoughts
and Sentiments on the Evil of Slavery, Penguin
Sharratt, Michael. Galileo: Decisive
Innovator (not required, suggest buy on line)
The Renaissance
JANUARY
15 Introduction and Early Notarial Humanism
16 "The Name of the
Rose": Film outside of class time.
***
***
FEBRUARY
2 Renaissance Art: The
Quattrocento [Fiero VOL.1: pp.
390-405; Norman, 176-195]
3 Monuments of the High Renaissance [Fiero VOL.1: pp. 404-424]
5 Machiavelli and the Secularization of
Statecraft:
The Prince
[read] [Fiero, pp. 386-389]
6 Northern
Europe on the Eve of
Its Renaissance [Fiero,
pp.
467-468]
***
9 The Tudor
State and the Importation of the Renaissance [Utopia read all and Fiero
481-486] [Group I Art Websites Due: 1:00 PM]
10 The Art of the Northern Renaissance [Fiero
472-481 and from websites]
12 Encounters and Domination: Patterns and
Issues [Fiero
VOL. 1: pp. 457-471; Hanke, pp. 3-45]
13
The Debate Over Conquest
[Hanke, pp. 57-161]
***
17 The Renaissance Church,
Northern Nationalism, Humanism and the Roots of Reformation.
[Janz,
pp. 5-13] [IMS:
Reformation: Precursors:
Raimon; Petrarch, Letter
Criticizing;"
Marsiglio (Excerpts)
19 Luther and the Road to Reformation [Janz, pp. 69-90; Fiero
468-471]
20 Prince of Humanists: Erasmus [Essential Erasmus, pp. 7-176]
30 Baroque
Architecture: Setting for
societal theater [Fiero,
pp. 518-524; 528-547; 569-573]
31 Mannerism
and Baroque Painting [Fiero
509-518, 535-540]
APRIL
2 The Church and the
Baroque [Norman, 196-231]
3 The Scientific Revolution [Kuhn, pp. 184-265; Fiero
579-592]
***
6 Descartes and
Rationalism [Materials on-line:
Descartes -http://www.orst.edu/instruct/phl302/texts/descartes/meditations/meditations.html
Read Meditations 1, 2 and 3.
7 Locke and Empiricism: From experience to Reason [Materials on-line:
John Locke, Essay
Concerning Human Understanding: http://www.infomotions.com/etexts/philosophy/1600-1699/locke-essay-113.txt
OR read it
here
http://oregonstate.edu/instruct/phl302/texts/locke/locke1/Essay_contents.html
Book
One,
Chapter 1 and Book 2, Chapters 1 and Chapter 8
9-10
EASTER BREAK
***
13 The English
Revolution in Government [Fiero, pp. 562-569; 599-601]
14
Locke on Government [2nd Treatise on Gov't.; Fiero 601-604]
Exam
periods for third
partay:
For MWF
9:00: Thursday May 7 at 11:00-12:00
For MWF 11:00:
Friday May 8 at 9:00-10:00
| Debate Project | 10% +5? |
| Art Project | 10 |
| Film Project | 10 +5? |
| Drama Project | 10 +5? |
| Midterm 1 | 10 |
| Midterm 2 | 10 |
| Midterm 3 | 10 |
| Final Exam | 5 |
| Assignments | 10 |
| Class Discussion | 10/ 100% |
THE
BELMONT HONOR
CODE
Belmont
University has in
effect a code
of
honor that is to be accepted and implemented by all students and
faculty.
This course accepts this code in both spirit and letter, emphasizing
personal
responsibility and respect for the dignity of each of us. I will
personally
look into any apparent breaches of the code relevant to this course,
and will
seek to resolve matters of discipline or sanction personally. Failing
that, I
will bring the full force of the Code to bear.
ATTENDANCE
For the sake of simplicity I will
impose the
same attendance policy to which you were subject last term. To wit: I
take
attendance every day. You are allowed four absences. Every
absence beyond
four lowers your final grade in the three-credit course by a whole letter. If you miss
five
classes, the highest grade you can earn is "B"; with six
"C", and so forth. I do not recognize "excused" "or “unexcused"
absences, only the total number of missed classes for each student.
Pre-scheduled
university-sponsored events such as music or athletic performances or
required
field-trips are not counted as missed classes. Perfect attendance will
be
rewarded by raising your lowest intra-term exam score by 15%. Late
arrival to
class is discouraged in the strongest terms. I consider it a material
disruption of the class and a sign of disrespect for the class as a
whole.
Arrival after I have taken roll is considered late. Two late
arrivals constitute a
missed class period. Arrival later
than ten minutes
constitutes a missed class
period.
EVALUATION AND GRADING
We are technically in two courses,
but you
will receive the same grade at the end of the term in both. It will
reflect all
of your work in this course.
A final grade of A will reflect outstanding
performance on
your part; clear and consistent application of effort; consistent
preparation
of all required materials; apparent thoughtfulness and mastery of the
readings
and presentations, and clear contributions to our collective learning
through
our projects.
A final grade of B will reflect a high level of
performance on
your part; clearly apparent if sporadic application of great effort;
generally
acceptable level of preparation of most required materials; evidence of
some
reflection on and knowledge of the readings and presentations, and
apparent and
undisputed contributions to course projects.
A final grade of C will reflect evidence of an
adequate level
of performance, desultory effort and mixed levels of preparation;
evidence of
engagement with the readings and presentations, and an effort to
contribute to
the course projects. I will warn you if your performance fall below a C
level,
and advise you of ways to raise it within course requirements: no
make-up or
extra-credit work is possible.
LATE PAPERS OR PROJECTS WILL NOT BE ACCEPTED. ALL ARE DUE AT THE BEGINNING OF YOUR ASSIGNED CLASS PERIOD. PERIOD. IF YOU ARE LATE, YOUR WORK IS LATE, AND THEREFORE UNACCEPTABLE.
REQUIRED READINGS
This course is structured around
an
admittedly heavy dose of required readings from primary and secondary
sources,
which are outlined specifically in this syllabus. You are responsible
for
having access to these. Whether you choose recommended editions or
others is up
to you, but meshing your edition with the assignments is your job.
On the days indicated
you should
have prepared the reading by reading
and notetaking and responding to whatever
guides I provide. I
will expect that you have completed the reading assignment, which may
run to
over a hundred pages. You should, therefore, scope out each week’s
reading and
provide ample time to complete all reading.
Writing assignments
and guides
regarding the reading will be handed out several days in advance. The
more
carefully and fully you annotate
your reading
while you are doing it, the less review you will have to do
later. This is especially important if you do the reading earlier than
the
night before it is due.
I will take both
written and
mental notes on the course of discussions, and part of your grade will
reflect
your participation
and apparent preparation.
I may use short exercises or quizzes at the beginning of class to
evaluate your
preparation or understanding.
In some cases you will begin or end classes with small group
discussions, and
these may be subject to evaluation. More formal written responses (both
formal
essays and informal responses akin to journal entries) will be required
from
time to time and will be graded. Although I heartily encourage
discussion
outside of class of the materials and guides I provide, I do expect and
require
only independent individual effort on written assignments that are to
be turned
in for credit.
I highly suggest
reading with
a dictionary readily at hand, and using it as
needed; I
hope that you consider this a wonderful opportunity to develop your
vocabulary,
both passive and active.
EXAMINATIONS
You will have three intra-term exams of 50 minutes each, as
scheduled, and a take-home final exam. These four exams are
worth a total of 35% of your grade.
The intra-term exams will be combinations of objective and essay
questions.
At the appropriate time you will receive detailed instructions and guidelines for each of these projects. Each project is worth 10 or 15% of your final grade (except the Website). At the beginning of the term you will assign the weight you wish to have each assignment bear; or I will randomly apply the additional 5% .
1.
The Reformation
Debate
This is a role-playing experience in which you will assume the role
of a
particular fictional character in a German village c. 1540. You will
create the
character by researching the period and using your own creativity. The
entire
class will create the debate – around a few key issues - with each
participating as his or her character. We will present both of these
debates on
one evening, and will invite the public for convocation credit, which
you can
gain by attending the session in which you are not involved. Do set
aside the
evening of Tuesday,
March 3.
2.
The Play’s the
Thing
You will take part in the preparation and presentation of a scene
from one
of Shakespeare’s plays. Some class time will be devoted to "reading"
the Bard, and to rehearsal. The presentation will be in conjunction
with the
other class, and will take place the evening of Tuesday 24 March
(so clear your
calendar!!).
3.
Artful
Websites
The web is a natural medium for the display of art and the
discussion of
matters artistic. We will create an art history textbook by each
preparing and
posting a webpage that deals with a particular artist from Giotto to
David,
emphasizing one particular piece. We will use Netscape Composer. I have
prepared specific guidelines for site contents, but the form will
reflect your
creativity and vision.
4.
The classes together will create a documentary film on the life of Galileo Galilei. The
role(s) you will play in its
production will
depend upon your interests, skills and the shape that the project
takes.
Necessary tasks will include research, writing, photo archiving,
editing,
filming, musical creation or dubbing, narrating and acting. It is a
chance to
learn both about the period and its culture, and about the many tasks
involved
even in rather simple production.
Extra credit must 1) be open to all; 2) be available from the
first day of
class; and 3) be some kind of learning experience linked to the course
content.
The following opportunity meets all of these requirements.
Task: You will
watch a video
Shakespeare's Shylock. You will be attentive and take notes in order to
write a
short paper. You will then write a 500-word critique of the film in
which you
discuss its main points, how well or badly you think these were made,
and how
good or bad you believe the film to be overall.
Material Reward:
Depending on the
quality of the paper, you will get between 0 and 5 percentage points
added to
the score of your second worst exam (if you have perfect attendance and
gain
extra credit for the worst), or to your worst if you have other than
perfect
attendance. For example, if you have an 80%, it will transmogrify into
an 84%
(+5% of 80=4). This cannot be added to the 15% for perfect attendance
awarded
to one's lowest exam grade.
Immaterial Reward: I
have chosen this
flick with an eye on your own filmmaking project. In addition to
learning about
the play and its time and issues historically, you may also pick up
useful
ideas for dealing with cultural matters in their historical contexts.
and how
they continue to have an effect n culture over time.
Access to the Video: I will have afternoon times set aside for us to view it as a group somewhere on campus. Those who cannot make either time may borrow the tape from me.
Early
Modern Artists Webpages: Directions
Nature of the Assignment
Each student will be responsible for creating a webpage whose subject is an important artist of the period 1300-1800. He or she may receive aid from the instructor, other students, family or friends, but the creative labor and substantive design work must be the student’s. Some students have done this before, and for them it is an exercise; for many, though, the process will be new, and as much help as needed will be provided. The projects will be due at differing points in the term, as chronologically appropriate, and several days before each exam. Indeed, these will constitute "texts" that we will use to learn from during the term: the entire set constituting a kind of electronic textbook. They may be more elaborate than the basic outline below allows, but the major components must be accounted for full credit. Your page may take any of a number of "points of view": an academic assignment; the artist’s webpage as done by him or her; your impressions and responses to the art and artist, etc. While many works may be displayed here, one specific piece will provide the focus of the page.
Components and Elements of the Pages
Each webpage will contain the following elements and components. How you put them together will reflect your own creative vision and knowledge of your subject:
1) An Intro or Home page that introduces the artist. Must have:
Your identity; an e-mail link to you; an intro to the artist; internal
links
(buttons); mention of the
major work; a graphic; sound bite or period music (preferred).
2) Additional pages will follow your own vision, but must include
the
following: Chronology with major
works; narrative (prose) biography (3 or 4 paragraphs); thumbnails with
full
page images linked;
some discussion of all major genres of his/her artistic work; live
links to
other useful sites
(museums, art history pages, etc.); some primary source
documentation,
preferably on the major
work (often not possible); some discussion of major patrons; some
discussion by
and/or quotations
from art historians (critics) about the artist’s work; a bibliography
of
printed sources; a statement of
why the artist is important, and of his/her effect(s) on the history of
art; an
interactive page for
comments/evaluations.
3) For each artwork displayed, you must provide the following
someplace
on your page:
Full title in English (italicized or bold); medium; year produced or
finished
(?); current whereabouts
(City, Museum); your source of photo (website or book).
4) For your chosen major work you must provide the information in
#3,
and:
Details; original patron and purpose or work (if known); size;
discussion of
style and form;
iconography if appropriate; its place in his oeuvre (total body
of work).
Project Evaluation
Each student will evaluate every other student’s page in both a scaled and an open-ended way on: usefulness; ease of navigation; aesthetic qualities; completeness. I will do the same, and assign a grade based on my own observations, and those of the students who need to use the page as a text. The bulk of each grade will be on completeness (70%) with the remainder weighted about 10% each.
Factors for Success
See
paper copy
of the syllabus for additional information on Student Portfolios,
artists to
choose, and other pertinent information.