Professor: A. Robert Lauer
OU-MLLL-Fall 2020
MLLL 4063 / 5063. Section 900. Early Literary Criticism
Web page for this course: <http://arobertlauer.oucreate.com/MLLL406350632020.html>
A General Education (Western Culture) course; Required of SPAN PhD students as of Fall 2014 
Video Conference (VIDC via Zoom). Mondays: 7:00-9:50 PM (24 Aug.-7 Dec. 2020) 
Instructor's office: 131 KH (Kaufman Hall). Office hours: M: 6:30-7:00, 9:50-10:20 PM, and by appt. (by Zoom for all)
Phone: (405) 325-5845 (office); e mail: <arlauer@ou.edu> (use only this last one)
Zoom: <https://oklahoma.zoom.us/my/arobertlauer>

St. Thomas Aquinas (Patron of students and all universities)

Syllabus:

I.  THE CLASSICAL PERIOD:

1st week: Monday,  24 August: DAY 1: 

  • Web:  The Pre-Socratics (a "prequel"). 
  • Text: Critical Theory since Plato Notes (A): INTRODUCTION to THE EARLY PERIOD: 
  • Texts: Critical Theory since Plato:  Plato: Ion, Republic, Phaedrus, Sophist, Philebus, Cratylus. 
  • Ancillary material (practical applications to be demonstrated in class or to be watched at home): 
  • Imagine and comment on Plato's possible reaction to the following:
  • 1) Wolfgang Amadeus Mozart: "Papageno," The Magic Flute (Die Zauberflöte) [1791]: <https://www.youtube.com/watch?v=87UE2GC5db0>. 
  • 2) Richard Wagner.: "The Ride of the Valkyries" (Boulez), The Valkyrie (1870) [Die Walküre]: <https://www.youtube.com/watch?v=wHLQ4YZeAm8>.
  • 3) Richard Wagner.: "The Ride of the Valkyries" another version (Met [DG]): <https://www.youtube.com/watch?v=xeRwBiu4wfQ>.
  • 4) Spiritual song: "Sometimes I Feel Like a Motherless Child" (1870s): <https://www.youtube.com/watch?v=hohnr22zTxc&list=RDhohnr22zTxc#t=30>. 
  • 5) Martin Luther, O.S.A: "A Mighty Fortress Is Our Lord" (1529): <https://www.youtube.com/watch?v=zobTi3nhjzg>. 
  • 6) Heitor Villa-Lobos. Bachianas brasileiras, no. 2  (1930) [17:40] : <https://www.youtube.com/watch?v=LaNoiKuJFQg>.
2nd week: Monday, 31 August: DAY 2: 
  • Texts: Critical Theory since Plato: Aristotle: Physics, Metaphysics, Poetics, Rhetoric; Cicero: Brutus; Horace: Art of Poetry; Strabo: Geography. 
  • Ancillary material (practical applications to be demonstrated in class or to be watched at home): 
  • Dramatic moments:
  • 1) Sophocles' Oedipus Rex (429 B. C.). 
  • 2) Ken Russell's Mahler (1974). 
  • 3) John Schlesinger's Marathon Man (1976). 
  • On the law of decorum:
  • 1) Quentin Tarantino's "The Gold Watch" (Pulp Fiction) [1994].
7 SEPTEMBER: LABOR DAY HOLIDAY. NO CLASSES IN SESSION.

3rd week: Monday, 14 September: DAY 3: 

  • Texts: Critical Theory since Plato: Tacitus: Dialogue on Oratory; Pseudo-Longinus: On the Sublime;  Plutarch: How the Young Man Should Study Poetry;  Philostratus: Lives of the Sophists; Plotinus: Enneads. 
  • Ancillary material (practical applications to be demonstrated in class or to be watched at home): 
  • Great speeches: 
  • 1) Shakespeare's Macbeth: "Tomorrow, and tomorrow, and tomorrow" recited by Patrick Stewart (-1-). 
  • 2) Shakespeare's Macbeth: "Tomorrow, and tomorrow, and tomorrow" recited by Ian McKellen (-2-).
  • Sublime moments: 
  • 1) Lars von Trier's Melancholia (2011) (-1-). 
  • 2) Lars von Trier's Melancholia (2011) (-2-). 
  • The grotesque: 
  • 1) Goethe's Faust (dir. Silviu Purcarete).

II.  FROM THE MIDDLE AGES TO THE ENLIGHTENMENT:

4th week: Monday, 21 September: DAY 4: First brief comp. on above work due today.  See General Instructions.


5th  week: Monday, 28 September: DAY 5: 

  • Text: Critical Theory since Plato: Julius Caesar Scaliger: Poetics; Lodovico Castelvetro: The Poetics of Aristotle Translated and Explained; Sir Philip Sidney: An Apology for Poetry; Giordano Bruno: Concerning the Cause, the Principle, and the One; Jacopo Mazzoni: On the Defense of the Comedy of Dante; Torquato Tasso: Discourses on the Heroic Poem. 
  • Ancillary material (practical applications to be demonstrated in class or to be watched at home): 
  • To demonstrate Bruno's theory: Domino effect. 
  • Ethical/political exercise (Mazzoni): Choose the best leader for your circumstances:
  • 1) Servile leader Spartacus in Stanley Kubrick's Spartacus (1960); 
  • 2) Lord Rodrigo of Vivar in Anthony Mann's El Cid (1961), scene 25 [Span.; Eng.]; 
  • 3) LTC Bill Kilgore in Francis Ford Coppola's Apocalypse Now (1979); 
  • 4) Gen. Helmuth Weidling in  Oliver Hirschbiegel's Der Untergang (Downfall ([2004]), scene 7 (30:00-34:38) and 8 (36:30-37:12); 36:30; 
  • 5) Katniss Everdeen in Francis Lawrence's The Hunger Games: Mockingjay - Part 2 (2015).
6th  week: Monday, 5 October: DAY 6: 
  • Text: Critical Theory since Plato: Sir Francis Bacon: The Advancement on Learning, Preface to the Wisdom of the Ancients, The New Organon;  Pierre Corneille: Of the Three Unities of Action, Time, and Place; John Dryden: An Essay on Dramatic Poesy;  John Locke: An Essay Concerning Human Understanding; Alexander Pope: An Essay on Criticism;  Joseph Addison: On the Pleasures of the Imagination; 
  • Ancillary material (practical applications to be demonstrated in class or to be watched at home): 
  • To demonstrate comedy: 
  • 1) Richard Lester's A Funny Thing Happened on the Way to the Forum (1966): "Comedy Tonight." 
  • 2) Richard Lester's A Funny Thing Happened on the Way to the Forum (1966): "Miles Gloriosus."
  • To demonstrate Ekphrasis: 
  • 1) Patrick Stewart (John of Gaunt's speech in Shakespeare's Richard II).
  • 2) "Lisboa antiga" (1937 Portuguese song sung by Amalia Rodrigues).
  • 3) Peter Paul Rubens, The Death of Seneca (1615) and detail (ekphrasis).
7th  week: Monday, 12 October: DAY 7: 
  • Text: Critical Theory since Plato: Giambattista Vico: The New Science; David Hume: Of the Standard of Taste;  Edmund Burke: A Philosophical Inquiry into the Origin of Our Ideas of the Sublime and Beautiful; Edward Young: Conjectures on Original Composition; Samuel Johnson: Rambler Number 4: On Fiction, Rasselas, Preface to Shakespeare; Henry Home, Lord Kames: Elements of Criticism: Introduction; Chapter XXV; Gotthold Ephraim Lessing: Laocoön.
  • Ancillary material (practical applications to be demonstrated in class or to be watched at home): 
  • Classical (pure, unmixed) tragedy: 
  • a) Racine's Phèdre.
  • b) another example: Euripides's The Trojan Women (dir. by Michael Cacoyannis [1971]).
  • Mixed genres: 
  • 3) Tragicomedy (Oliver Stone's Natural Born Killers [1984]).
  • Mixing of genres: 
  • 1) Tykwer's Run Lola Run (1999). 
  • The perfect moment in art: 
  • 1) Jusepe de Ribera's St. Mary Magdalene (c. 1641); 
  • 2) Bartolomé Esteban Murillo's Two Women at a Window (1655-1660); 
  • 3) Agesander, Athenodoros, and Polydorus' Laocoön (c. 27 BC and 68 AD); 
  • 4) El Greco's Laocoön (1610-1614); 
  • 5) Diego Velázquez's The Surrender of Breda (1634-1635).

III.  FROM THE ENLIGHTENMENT TO MODERNISM:

8th  week: Monday, 19 October: DAY 8: Second brief comp. on above work due today. See General Instructions. 

  • Text: Critical Theory since Plato: Denis Diderot: The Paradox of Acting; Sir Joshua Reynolds: Discourses on Art;  Immanuel Kant: Critique of Judgment;  Mary Wollstonecraft: A Vindication of the Rights of Woman; William Blake: The Marriage of Heaven and Hell, Letter to Thomas Butts, Annotations to Reynolds' Discourses, A Descriptive Catalogue, A Vision of the Last Judgment; Friedrich Schiller: Letters on the Aesthetic Education of Man; Friedrich Schlegel: Critical Fragments, Athenaeum Fragments, On Incomprehensibility.
  • Ancillary material (practical applications to be demonstrated in class or to be watched at home): 
  • On acting: 
  • 1) Ian McKellen as Shakespeare's Richard III in Richard Loncraine's 1995 film Richard III (on acting).
  • 2) Noh Theater. 
  • 3) Mezzo-soprano Patricia Petibon as Lazuli sings "Enfin je me sens mieux" in Emmanuel Chabrier's opéra bóuffe L'étoile (1877) [for Diderot].
  • 4) Migrant Mother. 
  • An Aeshtetic Reflection: 
  • 1) Peter O'Toole as Gen. Wilhelm Tanz at the museum in Anatole Litvak's The Night of the Generals (1967). 
  • 2) Juan van der Hamen's Merienda (1631). 
  • 3) Bartolomé Esteban Murillo's A Girl and Her Duenna (1670). 
  • 4) El Greco's Coronation of the Virgin (1591). 
  • 5) Goya's Clothed Maja (c. 1803) [pulchritudo vaga?]. 
  • 6) Goya's Nude Maja (1800) [pulchritudo adhaerens?]. 
  • 7) Copenhagen's Little Mermaid (1913). 
  • 8) Ernst Barlach's The Avenger (1923). 
  • On the sublime:
  • 1) Pasolini's Salò (1975) [for the sublime {not for the innocent}]. 
  • 2) The sublime: Lars von Trier's Melancholia (2011). 
  • For Kant:
  • 1) Anastasia Huppmann plays Frédéric Chopin's Fantaisie-Impromptu in C sharp minor, Op. post. 66 (1834) [for Kant].
9th  week: Monday, 26 October: DAY 9:  10th  week: Mon., 2 November: DAY 10:
  • Text: Critical Theory since Plato: *Arthur Schopenhauer: The World as Will and Representation (.pdf [check under Files on Canvas]); Ralph Waldo Emerson: The American Scholar; The Poet;  Edgar Allan Poe: The Poetic Principle; Matthew Arnold: The Function of Criticism at the Present Time; The Study of Poetry;  Charles Baudelaire: The Salon of 1859; Karl Marx & Friedrich Engels: Manifesto of the Communist Party, The German Ideology, A Contribution to the Critique of Political Economy; Walter Pater: Studies in the History of the Renaissance.
  • Ancillary material (practical applications to be demonstrated in class or to be watched at home): 
  • St. John of the Cross' Spiritual Canticle (Cántico espiritual) [for Schopenhauer]. 
  • Edgar Allan Poe's "The Black Cat." (1843). 
  • El Greco's St. Martin and the Beggar (1597-1599) [for Baudelaire {the imagination}]. 
  • The ending of David Ficher's film Se7en (1995) [for Baudelaire {the imagination}]. 
  • »Erst kommt das fressen dann kommt die moral«: G. W. Pabst, Die Dreigroschenoper (1931), film based on Bertolt Brecht's play, DGO (Three-Penny Opera), made into an opera by Kurt Weill [for Marx]; 
  • On capitalism:
  • 1) Kids selling lemonade and 
  • 2) Donald Trump's "You are Fired" (for Marx). 
  • Hanns Eisler, »Der heimliche Aufmarsch« ("The Secret Deployment") ["Platonic" <utile> music].
11th  week: Mon., 9 November: DAY 11:  12th week: M., 16 November: DAY 12:
  • Text: Critical Theory since Plato (Notes B): Sigmund Freud: Letter to Wilhelm Fleiss, October 15, 1897, Thirteenth Lecture: Archaic and Infantile Features in Dreams, Lecture Twenty-One: Development of the Libido ad Sexual Orientation. Oscar Wilde: The Decay of Lying. 
  • Ancillary material (practical applications to be demonstrated in class or to be watched at home): 
  • Piero Paolo Pasolini's Edipo re (1967) [Spanish subtitles] {for Freud}. 
  • Luis Buñuel & Salvador Dalí's 1929 Un chien andalous (for Freud) [21:24]. 
  • Tableaux Vivants - Sutri (VT) di Caravaggio a Donnaregina al Museo Diocesano di Napoli [for Oscar Wilde]).

IV.  CLASSICAL (GREEK and LATIN) RHETORIC:

13th week: Monday, 23 November: DAY 13: Third brief comp. on above work due today. See General Instructions. 

  • Text: Aristotle. Rhetoric.
  • Ancillary material (practical applications to be demonstrated in class or to be watched at home): 
  • Exordia: 
  • 1) President Bill Clinton's 1993 inaugural speech; 
  • 2) President George W. Bush's 2005 inaugural speech; 
  • 3) President Barack Obama's 2009 inaugural speech; 
  • 4) President Donald Trump's 2016 inaugural speech. 
  • Political speeches (deliberations): 
  • 1) Hillary Clinton (2016 San Diego campaign speech); 
  • 2) Bernie Sanders (2016 New York campaign speech); 
  • 3) Donald Trump (2016 North Carolina campaign speech). 
  • Statement of facts:
  • 1) Jonathan Demme's1993 film Philadelphia (Statement of Facts). 
  • Defense: 
  • 1) Pietro Germi's 1962 film Divorce Italian Style (Asiatic style). 
  • Prosecution: 
  • 1) Ken Hughes's 1960 film The Trials of Oscar Wilde [1:07-1:20]. 
  • Epideictic speeches: 
  • 1) Invective: Judge Jeanine Pirro's 5 November 2016 Opening Statetement (an epideictic speech [invective]); 
  • 2) Praise: Donald Trump's Victory Speech (11/9/16).
14th week: Monday, 30 November: DAY 14: 
  • Text: Pseudo-Cicero. Rhetorica ad Herennium.
  • Ancillary material (practical applications to be demonstrated in class or to be watched at home): 
  • Delivery (Asiatic style): 
  • 1) Robert Duvall's 1997 film The Apostle; 
  • 2) Another example of Asiatic style (The Apostle). 
  • Reproof and summation: 
  • 1) Sidney Lumet's 1982 film The Verdict  (reproof & summation). 
  • An encomium/elegy: 
  • 1) Damian Lewis as Antony in Shakespeare's Julius Caesar.
  • 15th week  Monday,  7 December: DAY 15: Fourth (final) brief comp. on above work due today. See General Instructions.
    • Ancillary materials (practical applications to be demonstrated in class or to be watched at home):
    • Actio: 
    • 1) Hand gestures (Trump's).
    • Pronuntiatio: 
    • 1) Public speaking (Trump). 
    • A eulogy:
    • 1) eulogy(George W. Bush on George H. W. Bush [5 Dec. 2018]).
    The End.
    Supplements: Links to classical rhetorical texts (only Aristotle and Pseudo-Cicero will be covered in the fall of 2020):
    Aristotle. Rhetoric.
    Cicero. The Rhetorical Treatises: 1) Rhetoric: For Herennius (Rhetorica ad Herennium) [Attributed]; 2) On Invention (De inventione); 3) The Best Kind of Orator (De optimo genere oratorum); 4) Topics (Topica); 5) On the Orator (De oratore); 6) On the Classification of Rhetoric (De partitione oratoria); 7) Brutus; 8) The Orator (Orator). 
    Demosthenes. On the Crown. 
    Pseudo-Cicero. Rhetorica ad Herennium.
    Quintilian. The Orator's Education (Institutiones oratoriae).
    Other links (for texts very infrequently covered):
    Gérard Genette. Narrative Discourse.
    Supplemental text (.pdf provided by the instructor):
    *Schopenhauer, Arthur. The World as Will and Idea. Critical Theory since Plato. Rev. ed. Edited by Hazard Adams, Harcourt Brace Jovanovich College Publishers, 1992, pp. 495-507. (.pdf file [check under Files on Canvas]).
    Required Texts:
    • Adams, Hazard / Leroy Searle, eds. Critical Theory since Plato. 3rd. ed. Thomson/Wadsworth, 2005. ISBN: 0155055046. 
    • Aristotle. Art of Rhetoric. Translated by J. H. Freese, Harvard UP, 2006. Loeb Classical Library 193. ISBN-13: 978-0-674-9912-2.
    • Cicero. Rhetorica ad Herennium. Translated by Harry Caplan, Harvard UP. ISBN: 9780674993587. Loeb Classical Library 403.
    • MLA Handbook for Writers of Research Papers. The Modern Language Association of America, 8th. ed., 2016.  ISBN-13: 978-1603292627 (paperback).
    Course Description:
    An introduction to the main critical ideas of the West (from Plato onward), with special emphasis on classical foundational figures like Plato and Aristotle; Greek (Aristotle) and Latin (Cicero) Rhetoric; the Middle Ages (St. Augustine, Boethius, St. Thomas Aquinas); Italian Renaissance Humanism (Boccaccio, Castelvetro, Mazzoni, Tasso); French Baroque (Corneille); German Idealism (Kant, Hegel, Schopenhauer) and Vitalism (Nietzsche, Freud); French Naturalism (Taine, Zola), German Materialism (Marx, Engels); and Anglo-Irish Modernism (Oscar Wilde). This course attempts to establish a solid critical foundation on aesthetics that would enable advanced undergraduates (Junior standing) and graduate students to deal with fundamental ideas--aesthetic and social--developed later by Post-Enlightenment thinkers. The emphasis on Greek and Latin rhetoric during the fourth part of the semester will also enable all students to write strategically and to develop effective (verbal, tonal, and non-verbal) communicative skills. 
    Class Goals:
    By the end of the semester, the students a) will have read primary texts on several aesthetic theories; b) will be able to recognize the main critical ideas of the West; and c) will have developed substantially their critical skills in the following five areas: thinking (factual and critical), reading (descriptive and analytical), writing (sequential and logical), listening (specific and conceptual), and speaking (selective and extensive).
    Grading Practices:
    25% - A brief take-home composition (5 pp.) on any work done from 24 August to 14 September and due on 21 September.    Instructor will give sample options (please choose an idea common to at least two thinkers and develop [compare, contrast] that idea analytically, with textual examples and brief quotations from the chosen texts, to arrive at a conclusion that explains that idea critically [by the process of comparison/contrast]. Please type your paper in MLA style [8th ed.]). Feel free to use the Discussion sections on Canvas to 'talk' about thematic ideas, aesthetic issues, the thoughts of sundry thinkers, the implications of their concepts, and their possible applications to the arts, if so desired. This could give us all a bank of ideas for our compositions. This is optional, though.
    25% - A brief take-home composition (5 pp.) on any work done from 21 September to 12 October and due on 19 October.  Instructor will give sample options (please choose an idea common to at least two thinkers and develop [compare, contrast] that idea analytically, with textual examples and brief quotations from the chosen texts, to arrive at a conclusion that explains that idea critically [by the process of comparison/contrast]. Please type your paper in MLA style [8th ed.]). Feel free to use the Discussion sections on Canvas to 'talk' about thematic ideas, aesthetic issues, the thoughts of sundry thinkers, the implications of their concepts, and their possible applications to the arts, if so desired. This could give us all a bank of ideas for our compositions. This is optional, though.
    25% - A brief take-home composition (5 pp.) on any work done from 19 October to 16 November and due on 23 November.  Instructor will give sample options (please choose an idea common to at least two thinkers and develop [compare, contrast] that idea analytically, with textual examples and brief quotations from the chosen texts, to arrive at a conclusion that explains that idea critically [by the process of comparison/contrast]. Please type your paper in MLA style [8th ed.]). Feel free to use the Discussion sections on Canvas to 'talk' about thematic ideas, aesthetic issues, the thoughts of sundry thinkers, the implications of their concepts, and their possible applications to the arts, if so desired. This could give us all a bank of ideas for our compositions. This is optional, though. 
    25% - A brief take-home composition (5 pp.) on a rhetorical (Aristotelian, Pseudo-Ciceronian) application (taking into account specifically the material covered from 23 November to 30 November; adding, if so desired, select material read earlier) to a text (literary or cultural [e.g., a TV commercial]) chosen by the student and due on 7 December. Feel free to use the Discussion sections on Canvas to 'talk' about thematic ideas, aesthetic issues, the thoughts of sundry thinkers, the implications of their concepts, and their possible applications to the arts, if so desired. This could give us all a bank of ideas for our compositions. This is optional, though. 
    ------------------ 
     100 % - Total
    Grading scale for research papers (and, if applicable, brief compositions and oral presentations): 
    93-100  A     (4.00)  Excellent 
    90-92   A-     (3.67) 
    87-89   B+    (3.33) 
    83-86   B      (3.00)  Good 
    80-82   B-     (2.67) 
    77-79   C+    (2.33) 
    73-76   C      (2.00)  Fair 
    70-72   C-     (1.67) 
    67-69   D+    (1.33) 
    63-66   D      (1.00)  Poor 
    60-62   D-     (0.67) 
    00-59   F       (0.00)  Fail 
    Course Prerequisites:
    Undergradutes: Required Coursework:  ENGL 1213: Principles of English Composition with a D or better. Also, you must be at least a Junior.  NB: Engineering majors are required to make a C or above to meet all prerequisite/course requirements.
    Graduate Students: You must be admitted to the Graduate College.
    Nota bene:
    NB for Undergraduates:  MLLL 4063 is a General Education Western Culture course.
    NB for Graduate Students: MLLL 5063 (given every other year in the fall [2018, 2020] only) may be taken in conjunction with MLLL 5073 (an annual spring semester requirement for PhD students in French, German, and Spanish) and another course in English (on aesthetics or literary theory) or Philosophy (ditto) to fulfill a Literary Criticism PhD minor (a plus for a competitive job market).
    Addenda:
    • Academic Integrity: Cheating (including plagiarism) is strictly prohibited at the University of Oklahoma, because it devalues the degree you are working hard to get. As a member of the OU community it is your responsibility to protect your educational investment by knowing and following the rules. For specific definitions on what constitutes cheating, review the Student's Guide to Academic Integrity at <http://integrity.ou.edu/students.html>.
    • Religious Observance: It is the policy of the University to excuse the absences of students that result from religious observances and to reschedule examinations and additional required classwork that may fall on religious holidays, without penalty.
    • Reasonable Accommodation Policy: Students requiring academic accommodation should contact the Disability Resource Center for assistance at (405) 325-3852 or TDD: (405) 325-4173. For more information please see the Disability Resource Center website <http://www.ou.edu/drc/home.html>. Any student in this course who has a disability that may prevent him or her from fully demonstrating his or her abilities should contact me personally as soon as possible so we can discuss accommodations necessary to ensure full participation and facilitate your educational opportunities.
    • Adjustments for Pregnancy/Childbirth Related Issues: Should you need modifications or adjustments to your course requirements because of documented pregnancy-related or childbirth-related issues, please contact me as soon as possible to discuss.  Generally, modifications will be made where medically necessary and similar in scope to accommodations based on temporary disability.  Please see <www.ou.edu/content/eoo/faqs/pregnancy-faqs.html> for commonly asked questions.
    • Title IX Resources: For any concerns regarding gender-based discrimination, sexual harassment, sexual misconduct, stalking, or intimate partner violence, the University offers a variety of resources, including advocates on-call 24.7, counseling services, mutual no contact orders, scheduling adjustments and disciplinary sanctions against the perpetrator. Please contact the Sexual Misconduct Office 405-325-2215 (8-5, M-F) or OU Advocates 405-615-0013 (24.7) to learn more or to report an incident.
    Other:
    • Please purchase your book/s by the first day of class so that you do not fall behind.  Also, please 'bring' your books to class in case we need to look at specific passages therein. Thanks!
    Zoom etiquette and pandemic related issues:
      OU and MLLL Recommendations:

      During the Zoom classes, we strongly encourage you to keep your camera on, so your instructor and classmates can see and interact with you in a more natural way. If you prefer, you may use a virtual background. A visible presence is crucial for a communicative and rewarding class environment, and guarantees integrity and fairness to all students. In case you have technological problems, please contact your instructor immediately.

      Please use Zoom for your office hours and make sure to indicate your virtual office hours on the syllabus. (1 hour per class you teach).

      Masking Syllabus Statement - Fall 2020:

      As outlined by the University of Oklahoma¹s Chief COVID Officer, until further notice, employees, students, and visitors of the OU community will be mandated to wear masks (1.) when they are inside University facilities and vehicles and (2.) when they are outdoors on campus and social distancing of at least six feet is not possible. For the well-being of the entire university community it is important that everyone demonstrate the appropriate health and safety behaviors outlined in the University Mandatory Masking Policy (https://www.ou.edu/coronavirus/masking-policy). As this mandate includes all campus classrooms, please make sure you are wearing your mask while in class. If you do not have a mask or forgot yours, see the professor for available masks. If you have an exemption from the Mandatory Masking Policy, please see the professor to make accommodations before class begins. If and where possible, please make your professor aware of your exemption and/or accommodation prior to arriving in class.

      If a student is unable or unwilling to wear a mask and has not made an accommodation request through the ADRC, they will be instructed to exit the classroom.

      Copyright Syllabus Statement for In-Person or Online Courses:

      Sessions of this course may be recorded or live-streamed. These recordings are the intellectual property of the individual faculty member and may not be shared or reproduced without the explicit, written consent of the faculty member. In addition, privacy rights of others such as students, guest lecturers, and providers of copyrighted material displayed in the recording may be of concern. Students may not share any course recordings with individuals not enrolled in the class or upload them to any other online environment.

      Syllabus Attendance Policy:

      A temporary university policy has been established to protect the OU community by ensuring that students who are ill or required to isolate feel encouraged to remain at home. Missing a class session or other class activity due to illness or isolation will not result in a penalty for the absence, and the student will not be asked to provide formal documentation from a healthcare provider to excuse the absence. This policy is based on all students and faculty adhering to the principles of integrity, honesty, and concern for others.

      Students who are experiencing symptoms of COVID-19, including cough, fever, shortness of breath, muscle pain, headache, chills, sore throat, loss of taste or smell, congestion or runny nose, nausea or vomiting, or diarrhea or who have been in close contact with others who have symptoms should:

      ·  Remain at home to protect others

      ·  Ensure that any needed screening has been conducted (COVID-19 Screening and Reporting Tool) and any needed treatment obtained

      ·  Contact the instructor prior to absence or inability to participate, if possible, and provide an honest report of the reason for which you cannot attend class or complete a course activity

      ·  Continue to complete coursework to the extent possible, using Canvas, zoom, and other online tools

      ·  Submit assignments electronically to the extent possible and as directed by the instructor

      ·  Communicate with the instructor to arrange modifications to deadlines or work requirements or reschedule exams or other important course activities, when it is necessary.
       

    Page created by 
    A. Robert Lauer

    <arlauer@ou.edu> 
    Last updated on
    23 August 2020