description: a historian’s...
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HHIISSTTOORRYY 11 99 99 :: FFRREESSHHMMAANN SSEEMMIINNAARR WWIINNTTEERR 22001155
UU nn cc oo vv ee rr ii nn gg tt hh ee PP aa ss tt oo ff tt hh ee ““ RR ee aa ll ”” WW ii ll dd WW ee ss tt
Instructor: Kevin D. Hatfield Classroom: 122 McKenzie Hall Office: 120 Living Learning Center Meeting Time: UH 2:00‐3:50 Phone: 541‐346‐1977 Class Website: blackboard.uoregon.edu E‐Mail: [email protected] CRN: 27059 Office Hours: Tuesdays, 4:00‐5:00pm Final Exam: 12:30pm, Monday, 3/ 16 Recurring Visiting Scholar: Jennifer O’Neal, University Historian and Archivist
I COURSE DESCRIPTION: A HISTORIAN’S APPRENTICESHIP
Areyoutiredoflearninghistoryfromatextbookandfill‐in‐the‐blanktests?Wouldyoupreferauniquechancetoinvestigateoriginalprimarysources,suchasletters,diaries,photographs,maps,
artifacts,campaignliterature,editorialcartoons,courttranscripts,oralinterviews,andgovernmentpropagandafilmstonameafew?Doesmostofyourknowledgeofthe“OldWest”comefromClintEastwoodfilms,televisionseriessuchasDeadwoodorHellonWheels,orvideogameslikeTheOregonTrailandRedDeadRedemption?Wouldyouenjoytheopportunitytorecovertheforgottenanddis‐rememberedvoicesandexperiencesofrealhistoricalactors,wholivedintheAmericanWest,fromthearchives,fieldtrips,anddynamicguestspeakers?Ifso,thisFreshman
Seminaroffersyoua“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”ofindigenouspeoples—apracticethatwouldseamlesslytransitionfromthefieldandstagetothesilverscreenofsilentfilmandlatertalkiesandtelevision.Consequently,adominantcultureethnocentricandcolonialvisionandrememberingoftheAmericanWesthasmaintainedatenaciousholdonourcollectivememoryandknowledge.ThisportrayaloftheAmericanWesthasconventionally,obscuredthedevelopmentofamulti‐culturalregionthatbecamethecrossroadsforimmigrantsandpeoplesdescendingfromEurope,Asia,CentralAmerica,andAfrica—allofwhomenteredaculturallandscapealreadyoccupiedbydiverseindigenouspeoples.
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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,drawingtheirownconclusionsaboutthem,andusingthemtoconstructarguments
Applyhistoriographyandmethodologytohistoricalresearchandanalysisofprimaryandsecondarysources
Performscholarlywritingasaprocessofdisciplinarythinking
Applyhistoricalconcepts(e.g.,causation,agency,contingency,continuity/change)toprimarysourceresearchandanalysis
Strengthenevidence‐basedargumentationandreasoning(e.g.,empirical,inferential,inductive)
Developandstrengthentheirmetacognition—theirconsciousandcriticalself‐reflectiononhowtheyarelearningandbeingtaught
CriticallyengageessentialquestionsandimprovecontentknowledgeofAmericanWesthistory
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III SUCCEEDING IN THE COURSE
Itisthestudent'sresponsibilitytoreadallsyllabuscontentcarefully,andconsultwiththeinstructoriftheyhaveanyquestionsorconcernsabouttherequirements,policiesormaterialcoveredintheclass.Thissyllabusisacriticalreferenceguideandresourcefortheentirecourse.Studentsshouldreviewthesyllabusbeforeeveryclasssessionandcontinuallyastheyperformcourserequirements.Successfulstudentshaveregularattendance,completereadingsbeforeattendingclasses,participateactivelyindiscussions,andmakeuseofofficehoursasnecessary.Overallparticipation,effortandanyimprovementsdemonstratedthroughoutthecoursewillbeconsideredwhendecidingfinalcoursegrades.
IV BOOK AND BOOK CHAPTER READINGS ScottZesch TheCaptured:ATrueStoryofAbductionbytheIndiansontheTexasFrontier
NewYork,St.Martin’sPress,2004 PhilipJ.Deloria IndiansinUnexpectedPlaces
Lawrence:UniversityPressofKansas,2004 PPRROOVVIIDDEEDDOONNBBLLAACCKKBBOOAARRDD
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.Studentswillcomposeindividualtwo‐tothree‐pagereports(500to750words)thatpresenttheirnarrativeinterpretationoftheessentialquestionsinvestigatedforeachexercise.Thetwoprimarysourcesetsincludematerialscreatedbymultipleauthors,bearingconflicting,contradictory,andincompleteevidence,aswellasfragmentaryanddiscretenarrativesthatposeacreativechallengetohistorians.Thesecollaborativeexerciseswillallowstudentstoexplorepointsofconsensusanddivergenceregarding:1)thethematicinterpretationofspecificsources—theirauthorship,perspective,language,bias,
ImportantNote:Studentsmustreturnalloptionalmaterials(e.g.,books,DVDs,VHSTapes)borrowedfromtheinstructorBYTHEENDOFTHETERMTORECEIVEAFINALGRADE.
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veracity/authenticity,completeness,andreliability;and2)thebroaderinterpretationoftheoverallsubject—howrepresentativearetheexperiencesofthesehistoricalactors?Theexercisesintroducestudentstotheconceptandprocessof“historiography”—howdohistoriansassignmeaningtopastandreachcontrastinginterpretationsandexplanationswhenanalyzingthesameempiricalevidence?Finally,theexercisescapturetheuncertainty,contingency,andfluidityofthepast.Thesetwoin‐classinquiry‐basedgroupexerciseswillpreparestudentstoperformoriginalon‐sitearchivalresearchforthe“Reelv.RealHistory”inquiryprojects.Consulttheguide,“AdviceonHowtoApproachthePrimarySourceInterpretationExercises”onpage14ofthissyllabus,andpostedinBlackboard.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).Foreachscheduleddiscussion,the“DiscussionFacilitationGroups”forthatdaywilldeliverbriefintroductionsthatframethemajorthemes,arguments,andmethodologyoftheirparticularsection.EachmemberofthefacilitatinggroupwillpreparetwohistoricalquestionstoposetotheclassthroughtherespectiveBlackboardDiscussionForumsavailableforeachbook,nolaterthanthedaypriortotheirdiscussion.Studentswillframebroadlyanalyticalquestionsthatcontemplateprimaryarguments,interpretations,themes,sources,andmethodology,insteadofcontent‐specific,narrowlyfactualquestions.
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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,TheCatpured.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” (120 points possible) The“ReelversusRealHistory”historicalinquiryprojectrepresentstheculminatingintellectualexerciseof
thecourse,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—andasmallcollectionoforiginalprimarysourcematerialsthatbothengagethestudents’selectedtopic.SimilartotheTake‐HomeMidterm,the“ReelversusReal”historicalinquiryprojectenablesstudentstocriticallyanalyzehowapopularculturedepictionoftheirtopiccompareswithoriginalprimarysourceevidence.Whereas,theTake‐HomeMidtermaskedstudentstocomparethetopicsof“captivity,acculturation,race,andinterculturalcontact/conflict”betweenafilmandthepublishedscholarshipofahistorian,the“ReelversusRealHistory”projectpositionsstudentstocompareapopularcultureartifactwithoriginalprimarysources(ratherthanasimplyabook).Whenpossibletheinstructorwillencouragestudentstopulldifferenttopics
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outofthesamefilm,televisionepisode,orvideogame.Theinstructorwillsharealistoffilmsandtelevisionepisodes,aswellaslistsofpotentialtopics,primarysourcecollections/resources,andpaststudentprojects.TheclasswillalsoperformresearchintheUOLibrariesonseveralfieldresearchtripsunderthementorshipoftheinstructorandassistancefromlibrarians,archivists,andspecialcollectionsstaff.Thisprojectisnotintendedtorepresentafull‐scaleresearchpaper,butratherafocusedcomparativeanalysisofaspecificfilmwithspecificprimarysources/sourcecollection.
Theinstructorhasorganizedthe“ReelVersusRealHistory”projectintosevensteps.Eachstepfunctionsasa
milestoneorcheck‐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)proposalexplainingselectionoftopicandfilmInstructions: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 Carnes,ed.PastImperfect:HistoryAccordingtotheMovies Collins&O’Connor,eds.Hollywood’sWest:TheAmericanFrontierinFilm,Television,&History Cowie,JohnFordandtheAmericanWest Coyne,TheCrowdedPrairie:AmericanNationalIdentityintheHollywoodWestern Roquemore,HistoryGoestotheMovies
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Step Two: Framing Historical Questions & Identifying Primary Sources [20 Points]
DUE:One‐page(250words)narrativeofhistoricalquestion(s)[10points];ANDone‐page(nowordcount)annotatedbibliography(minimumoffivesources)[10points]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? HowdospecificincidentsofvigilantejusticeintheAmericanWestcomparetothedepiction
ofunjustexecutioninWilliamWellman’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.Studentswillprepareaannotatedbibliographywithaminimumoffivesourcecitations.Anannotatedbibliographyoffersyourreaderthesourcecitationandadditionalinformationandcommentaryaboutthesourcesyoucite(e.g.sourcetype,creator/author),andclarifieshowthecontentofthesourcematerialisrelevanttoyourresearch.Researchersshouldcreatetheirannotatedbibliographiesconcurrentwiththeperformanceoftheirprimarysourceresearch,andusethebibliographyasaworkingresourcetodocumentandtracktheirexaminationofprimaryandsecondarysources.Theinstructorwilldistributeacitationguidetoassiststudentswithformattingtheannotatedbibliography.
ThedisciplineofhistoryfollowstheChicagoManualofStyle(CMS)(nowinits16thedition)citationandeditorialsystem.MosthistoryundergraduateandgraduatestudentsconsultanabbreviatedversionoftheCMSauthoredbyKateL.Turabiantitled,AManualforWritersofResearchPapers,Theses,andDissertations8thEd.(Chicago:UniversityofChicagoPress,2013).ForthoseofyoupursuingadegreeinhistoryIwouldencourageyoutopurchaseacopyofthisinvaluablereference.
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Step Three: Paper Outline/Concept Map [5 points] DUE:One‐page(nowordcount)outlineofpaperInstructions: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); ANDPeerCritiqueofPartnersPaperIncludingeditorialmarksanda150‐to200‐wordCritiqueInstructions:
i. PaperDraftsToensurestudentsreceivethemosteffectiveevaluationsfromtheirpeers,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,orvideogameswillprovideanopportunityforyourpeerevaluatortoassessthecontentandeffectivenessofthisimportantcomponentofyourpaper.Quotationscanconveythevoiceofhistoricalactorfromyourprimarysourcesandtheatrical/voiceactorsformyourfilm,televisionepisode,videogamethatcapturesamood,tone,oridiosyncrasiesthatwouldbemutedorlostthroughparaphrasing.Theycanalsopresentevidenceinasuccinctmanner.
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4. Footnotes
Thepeerevaluatorwillneedtoknowthesourceofyourevidenceanddirectquotations.Theinclusionoffootnotesinthedraftwillalsoprovideanopportunityforthepeerevaluator(andinstructor)toofferfeedbackonformattingandmissingcitationdata.
ii. PeerEvaluation
Studentswillformpairsandexchangethefirstdraftsoftheirpaperswiththeirpeerevaluator.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
3. Descriptionandcitationofeachgroupmember’sprimarysources
4. Summaryofeachgroupmember’scomparativeanalysisbetweenthefilmandprimarysources
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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.Analyzethespecificprimarysources
youexaminedandthespecificscenes/filmicelementfocusedupon.Assertyourkeyarguments,interpretations,findings.
5. Conclusion.Reassertyourthesisandunderscoreyouranalysisofthemainthemeoftheproject.
Allfinalversionsofpaperswillconformtothefollowingformatrequirements:
EditorialStyle: ChicagoManualofStyle(CMS)/Turabian
Length: 4to5pages(1,000to1,250words)
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Margins: 1”left,right,topandbottomFontSize: 11or12pointLineSpacing: double‐spacePagination: pagenumbersrequired;placementisauthor’schoiceCitations: footnotesorendnotes(parentheticalreferencesnotaccepted)TitlePage: includepapertitle/subtitle,authorname,date,course,instructornameDeliveryFormat: 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.
TToottaall PPoossssiibbllee PPooiinnttss ffoorr EEnnttiirree CCoouurrssee == 220000 ppooiinnttss
FFiinnaall CCoouurrssee GGrraaddee BBrreeaakkddoowwnn PPooiinnttss:: 117777 aanndd aabboovvee == AA PPooiinnttss:: 115522 –– 115566 == BB-- PPooiinnttss:: 112277 –– 113322 == DD++ 117711 –– 117766 == AA-- 114466 –– 115511 == CC++ 111199 –– 112266 == DD 116655 –– 117700 == BB++ 113399 –– 114455 == CC 111144 –– 111188 == DD-- 115577 –– 116644 == BB 113333 –– 113388 == CC-- 111133 aanndd bbeellooww == FF
VI COURSE BLACKBOARD SITE TheBlackboardSiteforHistory199offersseveralvaluableinstructionalfunctions.First,theinstructorwillpostallcoursematerials,includingthesyllabus,lectureoutlines,powerpointslideshows,andotherhandoutsinthe“CourseDocuments”sectionofBlackboard.TheBlackboardsitewillalsohosttheforumsfortheZeschDiscussion,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.aspxVIII POLICY ON MISSED DEADLINES, ABSENCES & INCOMPLETES Toensureequitabilityintheevaluationofallstudents,allwrittenassignmentsaredueinclass,ormustbepostedinBlackboardatthestateddeadlinesinthissyllabus,unlessstudentshaveadocumentedacceptableexcuse(seebelow).Studentsmaynotmake‐upthefollowingassignments:bookdiscussionfacilitation&Blackboarddiscussionforumquestions,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‐[email protected],orvisittheirwebsiteataec.uoregon.edu/index.html.
** GUIDANCE ON SUCCEEDING IN THIS COURSE **
Guide:HowtoApproachtheSecondarySourceReadingsWhenyouengagethesecondarytextsforthiscourse,KilpatrickandZeschyoumayneedtoreorientyourapproachto"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/methodologicallensratherthanacontentmemorizationlens.
2) Focusparticularattentionontheprologueand/orintroductionwheretheauthorarticulateshis/heressentialquestion,thesis,themes,methodology,andhistoriographicalapproach.
3) Skimmingcanbeausefultechniqueforsomelearningstyles.Scrutinizetheopeningandclosingparagraphsofeachchapter,andthefirstsentencesofeachparagraph.
4) Annotate!Ifyoudon'tplanonsellingyourbooksback,Iwouldhighlyencourageyoutowritemarginalcommentsthatdon'tsimplyrepeatthetext,butengageit!Posequestions,challengeconclusions,inspectsources.Writingortypingyourideas,orevenshortquotes,demonstratesamorecomplexcognitive
5) Donotreadthebookpassively—interactwiththebookasifitwereaconversationwiththeauthor.Also,ifyouemployahighlighter,dosowithgreatdiscretionandrestraint.Ifthepagesappearasifaflorescentyellowslugtrailhascoveredmostorallofthetext,thisisaclearindicationthatasareaderyoustillhaveonthe"contentmemorization"lens,andyouneedtochangecognitivespectacles.Highlightonlykeyanalyticalorinterpretivepoints,oraspecificquoteyouintendtowriteaboutinadiscussionforumoryourpaper.
6) Remember,secondarysourcesarereferencetoolsforthehistorian,andyoucanalwaysreturntothebookifyouneedtoretrievespecificdata/facts.Possessinganeideticorphotographicmemoryandtheabilitytorecallencyclopediclevelsoffactualdataisnotaprerequisiteskillsforhistorians.Infact,thisnotionisthestereotypicaldefinitionofhistoryandhistoriansthatemergesfromthepassiveand
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reductionistmodelofhistoryassimplythememorizationandrecitationoffacts.Unfortunately,manyofuswereconditionedtolearnhistoryinthismodelandhavedevelopedpassivereading,writing,andlearninghabits.
7) Donotignorethefootnotesorendnotes.Thedocumentationsystem(citingspecificsourcestosupporttheprimarythesis/interpretation)isthefoundationtoallsecondaryliteratureandacademicscholarship.Italsorevealstheauthor's"process"ofreconstructingthepast.Asthereader,youneedtoscrutinizethesesourcessoyoucandeterminehowpersuasiveortenabletheauthor'sargumentorinterpretationmaybe.
8) Finally,whenyoucompetereadingasecondarysourceyoushouldhavenoproblemacutelydistillingandtellinganotherprospectivereaderpreciselywhattheauthor'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.
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X COURSE SCHEDULE AND ASSIGNMENTS
Note: It is imperative that students complete weekly assigned readings before in‐class discussions
DATE DUE AGENDAWEEK1 DeconstructingtheAmericanWest:AnImaginedPlace&ProcessU1/6
ThoughtExperiment:Whatdoyouknow?Howdoyouknowit?Howdidyoulearnit?
FilmSession/DiscussionI:TheColonialLens:ImaginingandRe‐EnactingtheOldWestThroughStage&Film1872–1950s
R1/8 FilmSession/DiscussionII:TheDecolonizingLens:Indigeneity&Re‐ImaginingtheOldWestThroughIndianandSettlerSocietyAllyVoices,1960s‐2014
Discussion:RoadmaptoYour11Apprenticeship(Syllabus&CourseStructureReview)
WEEK2U1/13
1/12
ReadingDiscussionA:Deloria,"Introduction"andChapter2:"REPRESENTATION:IndianWars:TheMovie”Presentation:TheClosingFrontier?TheWorld’sColumbianExposition,FrederickJacksonTurner’s“FrontierThesis”andAntimodernismDUE:DiscussionAQuestionsPostedinDiscussionForum
R1/15 FieldTrip:ClassMeetsatSpecialCollections&UniversityArchives(SCUA)
Presentation:DiscoveringDisrememberedVoices:ReconstructingthePastofRace,Gender,andClassintheAmericanWest(ContextforPrimarySourceExercise)
WEEK3
U1/20
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
R1/22 M1/26
PrimarySourceExercise1,Day2;MeetinSpecialCollectionsandUniversityArchives
Day2:GroupPresentationsandDiscussion
DUE:PrimarySourceExercise1Reports
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DATE DUE AGENDAWEEK4 U1/27 ReadingDiscussionB:Zesch,TheCaptured
GroupA:Prologue&Chapter1GroupB:Chapters2–3GroupC:Chapter4–5GroupD:Chapters6–7
[distributeTake‐HomeMidterm]
R1/29F1/30
F1/30
FilmScreening:TheSearchers (1956)Introduction&first90minutes
DUE:ResearchProjectStepOne:ResearchTopicStatement(IncludingFilmSelection)
WEEK5
U2/3 FilmScreening:TheSearchers (1956)final30minutes
Discussion:CritiquingTheSearchersasaPrimaryandSecondarySource
R2/5
M2/2–F2/6
DiscussionC:Zesch,TheCapturedGroupE:Chapters8–9GroupF:Chapters10–11GroupG:Chapters12–13
TutorialMeetingstoDiscussResearchProjectinLLC120(throughoutWeek5)
WEEK6
U2/10 U2/11
PrimarySourceExercise2,Day1:TheTrialofChanChowMow(RoleAssignment)
Presentation:GamSaan&theUnassimilables:ChineseImmigration,Exclusion&Sinophobia
TrialPreparation&TeamMeetings,Day1
DUE:Take‐HomeMidterm
R2/12 M2/9–F2/13
PrimarySourceExercise2,Day2:TheTrialofChanChowMow
TheTrial&Debrief,Day2
TutorialMeetingstoDiscussResearchProjectinLLC120(throughoutWeek6)
WEEK7 FieldTrip:The“HiddenHistory” TourofUOCampus:TheColonialandDecolonialLandscapenarratedbyKevinandJennifer
U2/17 U2/17 DUE:PrimarySourceExercise2Reports
R2/19 ResearchProject:Independent FieldResearchSession1:SpecialGuest:JenniferO'Neal;MeetinSpecialCollections&UniversityArchives
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DATE DUE AGENDAWEEK7
F2/20 F2/20 DUE:ResearchProjectStepTwo:HistoricalQuestion&AnnotatedBibliography
WEEK8
U2/24 ResearchProject: IndependentFieldResearchSession2inKnightLibrary;MeetinKnightLibrary122
R2/26 ResearchProject: IndependentFieldResearchSession3inKnightLibrary;MeetinKnightLibrary122
F2/27 F2/27 DUE:ResearchProjectStepThree:PaperOutline/ConceptMap
WEEK9U3/3
ResearchProject:IndependentFieldResearchSession4inKnightLibrary;MeetinKnightLibrary122
R3/5 ResearchProject:IndependentFieldResearchSession5inKnightLibrary;Meetin
KnightLibrary122
F3/6 F3/6 DUE:ResearchProjectStepFour:AnalysisPaperFirstDraftSubmittedtoPeerEvaluator&Instructor
WEEK10
U3/10 U3/10
ResearchProject:ClassWorkshop &PresentationRehearsalsDUE:ResearchProjectStepFive:PresentationOutline
R3/12 R3/12
ResearchProject:OralPresentations(PARTONE)
DUE:ResearchProjectStepFour:PeerEvaluatorsReturnEditedDraftstoPartners
WEEK11 FINALS
M3/16 12:30PMFINALTIME:ResearchProject:OralPresentations(PARTTWO)
R3/19 R3/19 DUE:ResearchProjectStepSeven:FinalPapers