Sumários

Preparation for writing first free associative analysis text to be submitted on 14th March

29 Fevereiro 2016, 10:00 • Cecília Maria Beecher Martins

Watched Michael Curtiz's Casablanca so that students could select their connection points in preparation for their free associative analysis text. If you did not attend class do this at home.

Preparation for next class - read Norman Holland's free associative review of Casablanca in the manual - this will be presented in the next class and discussion will be opened on the topic.

Practical guidelines on writing free associative criticism of the arts and discussion of "unique identity theme"

24 Fevereiro 2016, 10:00 • Cecília Maria Beecher Martins

Illustration of how to write free associative analysis to scenes from Elizabethtown . some scenes selected were free associative analysis choices, others were intellectual.

Students presentation of "Styles" and free associative literary criticism  as presented in the introduction to "Know Thyself: The Delphi Seminars". Both texts are in the course manual.

Discussion of Preface to Meeting Movies

22 Fevereiro 2016, 10:00 • Cecília Maria Beecher Martins

Discussion of Preface to Meeting Movies - students presented the ideas they had learned from reading the text.

Presentation and discussion of how to choose a film for analysis free associatively and discussion of how to apply the method. Reading and discussion of "Free Associative Analysis of Cameron Crowe's Elizabethtown - a personal experience" - pp 38-39 manual.

Reading for next class pp 36-37; 40-43 manual.

The relevance of the arts

17 Fevereiro 2016, 10:00 • Cecília Maria Beecher Martins

Introduced the topic of the importance of reflective contact with the arts by watched Prof Robert Sapolsky's (Stanford University - Why Zebra's don't get Ulcers 2003) video on hierarchies in baboon communities and the effect of hierarchy on stress levels and health.Discussed the video and its outcomes in class. Then divided students into groups of 4-5 and each individual group discussed one of the 10 points below. Then one member of the group presented their ideas and there was a general class discussion of each point.

Why the Arts are important by Dee Dickinson

Taken from the School of Education, Johns Hopkins University

available at http://education.jhu.edu/PD/newhorizons/strategies/topics/Arts%20in%20Education/dickinson_why_arts.htm

 

 

  1. They are languages that all people speak that cut across racial, cultural, social, educational, and economic barriers and enhance cultural appreciation and awareness.

 

  1. They are symbol systems as important as letters and numbers.

 

  1. They integrate mind, body, and spirit.

 

  1. They provide opportunities for self-expression, bringing the inner world into the outer world of concrete reality.

 

  1. They offer the avenue to "flow states" and peak experiences.

 

  1. They create a seamless connection between motivation, instruction, assessment, and practical application--leading to deep understanding.

 

  1. They are an opportunity to experience processes from beginning to end.

 

  1. They develop both independence and collaboration.

 

  1. They provide immediate feedback and opportunities for reflection.

 

  1. They make it possible to use personal strengths in meaningful ways and to bridge into understanding sometimes difficult abstractions through these strengths.

Presentation of programme and evaluation criteria

15 Fevereiro 2016, 10:00 • Cecília Maria Beecher Martins

C2 English in the World of the Arts          2015/2016 Academic Year 2nd Semester

 

Teacher: Cecilia Beecher Martins email address: cbeecher@campus.ul.pt

Learning outcomes of the curricular unit

In this UC students are expected to

v  acquire knowledge of the English language at the level of C2 in the four language skills - speaking, listening, reading and writing;

v  extract information in an appropriate manner from conversation, and by listening to debates and lectures whether these are live or recorded and to discuss the contents of the aforementioned;

v  interact freely with others in conversation, while respecting the principles of formal conversation;

v  read literary and technical texts at C2 level;

v  read and discuss a set novel –Emma Healey’s Elizabeth is Missing (2015).

v  write academic texts in English – literary, academic, or criticism.

 

The skills mentioned above will be obtained through:

v  discussion of the importance of the appreciation of the arts (in particular literature, film, and painting) in the development of the individual;

v  the teaching and application of production and analysis methods, namely free writing and free associative analysis;

v  the reading and interpretation of texts from academic areas as diverse as literary analysis, psychoanalysis, and biological sciences.

 

Syllabus

v  Reading and analysis of academic texts from different areas such as biological sciences, psychology, psychoanalysis and literary criticism.

v  Reading and discussion of contemporary literary texts and novels.

v  Introduction and practice of "freewriting" as a technique of narrative construction.

v  Introduction to analysis of films, literary works and art using the free associative method as presented by Norman Holland in Meeting Movies (2006) and literary criticism as presented by Norman Holland and Murray Schwartz in Know thyself: Delphi Seminars (2008).

v  Introduction and discussion of the theme of unique identity, as defined by Heinz Lichtenstein in "The Dilemma of Human Identity" (1977).

v  Practice of free associative analysis with a movie, a literary text and a work of art.

 

Teaching methodologies (including evaluation)

Student-centred task-based methods will be used in this Curriculum Unit; with the degree of difficulty of tasks developing progressively. All the exercises presented to the students during the Curricular Unit were selected to help students achieve the general results of learning presented above. Ample time was allocated for correction and discussion of activities and exercises so that students have the opportunity to correct errors and consolidate skills both at the level of understanding, as the level of expression.

EVALUATION

v  40%: Written test based on theoretical elements of the program

v  30%: Written assignment: either free associative analysis of an art form, an essay or a short story (2,000 - 2,500 words)

v  30%: Continuous Assessment: 10% Class Presentation of Course Element (set reading texts or chapters from novel -see calendar, 10% 2 Written Assignments - Free Associative Analysis of set course subjects, 10%  Presence and Participation.

The free associative analysis texts will be submitted 2 weeks after the object is viewed or discussed in class. They will be 2 pages long, double spaced and in Times New Roman font.

Mandatory Reading

Healey, Emma (2015) Elizabeth is Missing, UK: Penguin.

 

Support Bibliography

Chessman, Harriet Scott (2004) Lydia Cassatt reading the Morning Paper, UK: Arrow Books.

Curtiz, Michael (Dir) (1942) Casablanca, Hal. B Wallis & Jack Warner, DVD.

Davis, Mick (2004) Modigiliana, Bauer Martines Studios, DVD.

Donovan, Melissa (2011) Adventures in Writing: 101 Creative Exercises, San Francisco, Swan Hatch Press.

Han, Byung-Chul (2015) [2010] The Burnout Society, California: Stanford University Press.

Holland, Norman (2006) Meeting Movies, Madison & Teaneck: Fairleigh Dickinson University Press.

_____& Schwartz, Murray (2008) Know Thyself Delphi Seminars, Gainesville Fl: The PsyArt Foundation.

Sapolsky, Robert (2003) Why Zebras don’t get Ulcers, New York: Henry Hold and Company.

 

Office hours

A weekly 1-hour tutorial will be available, but students must register for this, and these tutorials will be scheduled according to student or teacher request. If a tutorial session is full when students request, they will automatically be enrolled for the next available session.

 

Requirements

To enrol students must have passed English C1.2 or to have been placed at English C2 level on doing the FLUL Placement Test.

 

Notes on Participation Attendance and Punctuality: Active participation in both class and group discussions is not only reflected in your final mark but it also ensures you develop fluency and confidence. Classes start ten minutes after the hour. Your presence and arrival on time is essential and will be reflected on your final mark — being late not only disturbs class but is also a sign of disrespect for your classmates and your teacher. Please let me know at the beginning of class if you need to leave class early for any formal motive or if you are expecting an urgent phone call. Otherwise, please turn off your mobile phones or put them on silent mode in bags at the beginning of class. Tablets and laptop computers are only to be used for class purposes.

Submission of coursework

Written work must be word processed and double spaced, using font size 12. It must be identified with the student’s name, name of the subject and class number, and date.

If you submit work to be marked after the deadline, 1 mark will be deducted for each working day the work is late after the deadline.If you submit your work more than 5 days late, your work will not be marked and it will be graded as zero.

Special Dispensations

The following are called ‘special dispensations’ and cover medical problems, personal or medical problems arising from disability, extreme personal and family problems, force majeure and in the case of part-time students only, work-related problems. A student should contact me at the earliest opportunity if they cannot meet the deadline, and ask for permission for late submission in advance of the deadline. The student’s request should be accompanied or followed by medical evidence or other documentation where appropriate.

Please note that the Test date has been set, but extenuating circumstances sometimes require changes in the Course Calendar.