1. Purpose

The Heritage Program is designed to encourage you to explore creative works, seminal ideas, pivotal events, and fateful problems that have shaped the human experience from prehistoric times to the present. Perspectives from Europe, Asia, Africa, and the Americas will help you to define the origins and natures of the heritages of the West while learning to appreciate cultural diversity and recognize shared humanity.

As you better comprehend the interwoven dynamics shaping the world we have inherited, you should begin to view yourself as an active participant in shaping the future. Heritage will provide a variety of learning situations in which you can develop skills needed to be a discerning interpreter of information, sensitive leader, and responsible citizen in the global community. Although these skills will be exercised throughout the course, some projects and assignments will focus on specific liberal arts abilities defined below. Note also that a full year's participation in Heritage is the equivalent of Core courses 2, 3, 4, and 5 and fulfills each required Core focus: history, religion, philosophy, literature, and fine arts. (A single semester's participation may fulfill only some of the focuses: consult the staff. )

The Liberal Arts Abilities:

Reasoning – the ability to analyze and synthesize arguments, to question assumptions, to evaluate evidence, to argue positions, to draw conclusions, and to raise new questions; varieties of reasoning include quantitative, scientific, ethical, and aesthetic:

• Quantitative - the ability to use mathematical reasoning as a tool of analysis and as a means of conveying information
• Scientific - the ability to understand and to use the scientific method
• Ethical - the ability to analyze the principles and assumptions of moral claims and to make informed and reasoned moral arguments
• Aesthetic - the ability to analyze visual, performing, or literary art

Communication – the ability to express ideas, arguments, and information coherently and persuasively orally and in writing

Historical Consciousness – the ability to understand the achievements, problems, and perspectives of the past and to recognize their influence upon the course of events

Social & Cultural Awareness – the ability to engage perspectives other than one's own

Effective reasoning requires thinking coherently, reflectively, and analytically. Heritage presentations, readings, and discussions will confront you with pieces of evidence and conflicting perspectives so that you will have to form and defend your own interpretations of past events. You will wrestle with your own prejudices and biases. You will respond to the arguments of others. You will learn to make effective use of an expanded knowledge base.

Communication involves more than just expressing your feelings and thoughts coherently and persuasively; it also involves working effectively in collaboration with others. Group discussions and projects as well as numerous writing assignments are designed to improve these essential skills.

One of the advantages of taking Heritage is that it makes you keenly aware of the intricate pattern of events that, woven together, have produced the tapestry of human history. Such an historical consciousness is crucial to understanding the achievements, problems, and challenges of today's humanity.

With a rich exposure to musical and visual expressions from around the world, your aesthetic judgment should be exercised as you understand and appreciate works of art not merely passively but in light of your own creative response.

You must be able to hear different voices in history and to appreciate rival perspectives within the Western tradition and in other traditions around the world because a profoundly global civilization is now emerging. The broad Heritage curriculum will heighten your global and multi-cultural awareness.

Because Heritage embraces philosophy and religious studies, you will be challenged to make value judgments and decisions in a more reflective way. Moreover, it is crucial to your own development as a critical thinker to be able to make a mature assessment of your own abilities, beliefs, and values. Heritage exams and discussions will challenge you to do this daily and offer you opportunities to share this experience with your peers.

2. Structure

IDS 1128 involves a variety of learning situations. The basic weekly format includes four presentations that bring together the whole group of Heritage students and faculty, and three discussion meetings of your particular section. You should be prepared for writing assignments and evaluation processes to be significantly different this semester.

The weekly assignment sheets that constitute the final part of this syllabus designate the day of the week, the date, the hour, and the type of each class meeting as well as the reading that you must prepare for each meeting. At the beginning of each week, you should read over the listing of the week's material so that you will have a sense of what is expected of you and what you can expect to encounter. Note that in general there are Heritage meetings every morning, Monday through Friday, and on Monday and Wednesday afternoons. You should, however, consult your syllabus daily, since the scheduling of classes may occasionally vary. Unless you are otherwise instructed, the following schedule will prevail:

Class meetings designated as presentations will meet in room 215 of the Academic Complex at those times indicated on the syllabus. These large group meetings will help you organize, interpret, and gain perspective on material you will have been reading. Readings listed on the syllabus for the date of any given presentation should be read prior to the time of the presentation, and you should always bring the books that contain the readings assigned for any given presentation to the presentation with you, as presenters will presume your familiarity with the assigned readings and will point out ways of making sense of these and other materials. You will be asked to write a short response at the beginning and/or the end of each presentation, to be collected after the end of the session in designated boxes.

Each pair of presentations will be followed by a discussion session. You should always be prepared to contribute to the discussion; particular students will sometimes be designated to take leadership roles in these sessions. Readings listed on the syllabus for the date of any given discussion session should be read prior to the time of the discussion, and you should always bring the books that contain the readings assigned for any given discussion session to the discussion with you. Students may on occasion be given a short quiz on the assigned readings. Class meetings designated as discussions will generally meet as follows:

4. Course Requirements

The following are the requirements for IDS 1128. Please note that, with the exception of the Reviews requirement (see section G below), failure to complete any one of the requirements will result in a grade of "F" for the course.

A. Attendance (Presentations and Discussions)

You are expected to attend all Heritage presentations and discussions. To miss any part of Heritage is to miss a great deal.

For the presentations, three unexcused absences are allowed without penalty during the course of the semester. For each additional unexcused absence, your course grade will be lowered by one point (out of 100). Short response papers collected after each presentation will serve as a check on attendance, a practice covered by the Honor Code. Be on time for the presentations in AC 215 in order to avoid missing useful material and interrupting both speaker and audience. If you are late, enter through the upper (back) door and sit in the last row, which is reserved for this purpose. The door will be closed when these seats are filled or ten minutes after the beginning of the presentation, whichever comes first.

For the discussions three unexcused absences are allowed during the course of the semester. For each additional unexcused absence, your course grade will be lowered by one point (out of 100).

A late arrival to class will be counted as half an absence. Excessive absences (more than ten) may result in failure of the course.

If you anticipate any absences due to college-sponsored activities (such as athletics or Singers), it is your responsibility to inform your section leader as soon as you have a schedule of the anticipated absences. A small number of absences (normally not more than three presentation absences and/or three discussion absences beyond the free allowance) due to college-sponsored activities or serious health problems will be eligible for make-up work to avoid the absence penalty.

B. Attendance (Co-curricular events)

In addition to the regular class meetings, the Heritage Program sponsors special co-curricular events each semester that you are required to attend as an integral part of your work for the course. We announce these events early so that you can make whatever arrangements are necessary in order to attend. In the spring semester, the events are a Jazz Concert by Prof. Russell Thomas, Jackson State University, Wednesday, April 2, 6:00 p.m. , Ford Academic Complex Recital Hall and Carl Orff's Carmina Burana, Friday, April 25, 7:30 p.m. , Ford Academic Complex Recital Hall.

C. Class Participation

The thrice-weekly meetings of your discussion section will provide the best opportunity for you to raise questions, debate issues, and pursue further information concerning topics raised in readings and presentations. At the end of the semester, your discussion section leader will assign you a grade for class participation based on his assessment of the quantity and quality of your participation in class discussions and other in-class group activities over the course of the semester, taking into account also your short responses from large group meetings (see G. below). That grade will figure as 10% of your final grade for the course.

D. Analytical Essays

During the course of the semester you will be required to write three short (approximately 600-900 word) essays, one of which will be a prospectus for the Spring Project. You will be given an opportunity to revise the first of them for credit. Late assignments will not be accepted; that is, the sanction for not handing in such an assignment on time will be a grade of zero on the assignment. Your average on these short writing assignments will figure as 20% of your final grade for the course. Due dates for these assignments are noted both in part 6 of this syllabus and on the weekly assignment sheets that constitute the second half of this syllabus. Unless you are advised differently by your instructor, a hardcopy of your paper is due at the deadline: electronic submission is not acceptable.

E. Spring Semester Project

A monument is usually a structure, such as a building or sculpture, erected as a memorial, something venerated for its aesthetic and/or historical significance. A monument is a way to remember or remind us of something.

Throughout much of human history, many cultures have used monuments to tell the stories of persons, places, and/or events. Much of our immediate contact with our own personal histories, culturally, geographically, socially, politically--even thematically--is through our contact with and our "reading" of monuments. I develop my understanding of my mother's/father's and/or the U.S. 's role in Vietnam as I journey through the names on the Vietnam Memorial in Washington D.C. I engage the issues of civil rights as I make my way around the black circle of the Civil Rights Memorial in Montgomery, Alabama. As I make my way across the Civil War battlefield in Vicksburg, the meaning of "southern heritage" is both affirmed and questioned. Our monuments are read by us as expressions which highlight the important cultural events of our histories.

Your assignment is to "read" two monuments for their social, political and aesthetic implications, and to create conceptually a monument that you believe that this city, state, country, world needs.

First of all, what is a monument? Keep in mind that a dictionary definition may be too limited and limiting; a wide variety of objects, places (natural or constructed/landscaped) or events may count as monuments. Do not limit your conception of monument to a stone statue in the town square, for paintings or musical compositions might be monuments. So, your first order of business is to define the term ‘monument' for the purposes of your paper in such a way that one could take your definition and pick out the monuments in a culture. Next, decide which two monuments you will "read" and ask questions such as: How do monuments in general function in a culture? How do the monuments you picked function in the immediate and larger communities in which they reside? Do you suppose that they function the same way today as when they were constructed? What are the political implications of the monuments? If your monuments tell a story of a people's heritage, who is telling the story and why? What aesthetic considerations contribute to the monument's message(s)? Does the structure/design of the monument contribute to its message? If possible, visit the monuments you choose.

Second, in creating (conceptually) your own monument, you will consider a person or event or series of events, past or present, whose story needs to be told through a monument. Justify why whatever you pick to memorialize deserves such attention, and then describe the monument you would construct. Would it be a statue, a museum, a unique place for a unique yearly activity, a grove of trees, a new highway, what? Finally, how does your monument continue the legacy of the other monuments you chose, if it does? Perhaps YOUR monument undermines the stories of other monuments; perhaps it merely tells another side of a story that is already memorialized. At any rate, your monument must be put into some relation to the other monuments you choose to discuss so that your paper will cohere.

Third, research is required. At least five intellectually substantial and scholarly works must be consulted and used within the paper. You need to research the monuments you choose as well as the broader ideas and stories that the monuments represent/tell. To this end, Wikipedia, Cliffnotes, Sparknotes, et. al. are unacceptable, but some of the readings assigned in Heritage may be relevant. If you cannot verify the scholarly authenticity of the source, do not use it. The primary texts of widely respected authors do not, of course, need to be verified. However, unverified and unverifiable junk from the WWW is the cat that will wet on your paper. Beware.

Your reading of these monuments may take on several approaches. Perhaps you will choose monuments which suggest a particular theme, for example, civil rights, and, in turn, talk about the various perspectives these monuments give on the history of civil rights. Your chosen monuments may reflect a contemporary cultural reading of our society; for example, who are our heroes (visit Graceland!)? Your monuments may vary in theme, and yet your discussion may be on the political and social nature of monuments, that is, who gets to tell the story and how the story is told. ***Keep in mind that if you choose a museum as one of your monuments your goal is not to explore individual items as monumental but rather why the museum is a monument.

There are various methods for presenting your project; however, everyone must submit a written component with the project. You may also do a photographic essay of your monuments accompanied by written commentary. You may wish to compose music that reflects your understanding of the nature and function of monuments, while also exploring through written commentary the options you've chosen. You may represent your explorations through drawing and painting. In short, feel free to augment your project with supplemental materials.

Your project will run seven to ten pages long, though longer if you supplement it. Monuments you may wish to visit (though you are not limited to) are: Delta Blues Museum, Graceland, Vicksburg Military Park, Confederate Women's Monument, Old Capital Museum, Old Courthouse Museum, Civil Rights Memorial in Montgomery, AL, Civil Rights Museum in Memphis Smith Robinson Museum, Jackson State Memorial for Slain Students, Poverty Point in Louisiana, Emerald Mound, certain grave markers. Faculty members will help in suggesting other memorials, as well as directing you to the ones listed. Please feel free to suggest others to the Heritage staff.

As with all Heritage assignments, the Spring Project must represent your own best work, not someone else's. Read the information in part 7 of this syllabus for strategies to reduce the risk of plagiarism. Unless permission is explicitly granted by the faculty involved, Heritage work may not be submitted to fulfill a writing requirement for another course. Likewise, work submitted for credit in another course may not be submitted to fulfill the Heritage Spring Project, nor any other Heritage assignment.

The sanction for handing in the Spring Project late will be the loss of one full letter grade from your grade on the paper, for each day that the paper is late. Your grade on the Spring Project will count 20% of your final grade.

The project will be graded and also evaluated for the purposes of meeting the Millsaps Writing Requirement. You must submit two copies of the paper to your section leader.

F. Exams

There will be three exams: two sectional exams (each worth 15% of your final grade) during the course of the semester and a final exam (worth 15% of your final grade) at the semester's conclusion. All three exams will be administered in AC 215 or AC Recital Hall, and all three will have both an in-class component and a take-home essay due at the start of the exam. It is necessary that you be present for all exams, as make-up exams will be administered only in cases of documented school-related absences and of absences due to dire and documented medical or personal difficulties. It is equally necessary that you turn in your take-home component on time, since a late essay is equivalent to a missed exam. Students with documented disabilities must speak in advance with their discussion leaders about needed accommodations. The dates of the exams are noted both in part 6 of this syllabus and on the weekly assignment sheets that constitute the final section of this syllabus.

G. Shorter Writings

Short Responses: During the semester you will be asked to write brief paragraphs in our large-group meetings in answer to specific questions posed by the presenter. Your answers will demonstrate your engagement with assigned readings and the day's presentation. They will also demonstrate your attendance, a practice subject to the rules of the Honor Code. You will receive feedback on this writing in the course of the semester. Taken together, these brief writings count for half of your class participation grade, i.e. , 5% of your final grade for the course.

A good short response is more than a single, hurried exclamation, such as, "Great lecture!" or, "What nonsense!" It is an opportunity to clarify your thinking in reaction to the day's topic. Good responses make use of specific information, ideas, details, and diction from the speaker's remarks; the best ones also include a relevant connection to the day's assigned reading. Despite constraints of time, even a few seconds of reflection before writing can make all the difference. Always include your name, your instructor's name, and your section number (or discussion time: either 9:00 or 11:00).

As you leave AC 215 after the day's presentation, place your short response essay in a designated box labeled with your instructor's name.

Reviews: You are encouraged to take advantage of off-campus and on-campus events on a regular basis and to draw on such experiences in your participation in Heritage. You are also required to hand in, during the course of the semester, four word-processed reviews of cultural events that you have attended during the semester, two of which must be on the Co-curricular events Carmina Burana and Professor Thomas' Jazz lecture/performance. Here's what to do:

A review of an event must be handed in within forty-eight hours of the event itself. It will be concise, around 300 words in length. Keeping mere description of the event to a minimum, not taking (in the case of performing arts events) the quality of performance as its subject ("The singers were very talented"), and completely eschewing bland and uninteresting judgments ("I liked it because it held my interest"), a review will instead develop an interpretive comment or question that makes a link with something that we have talked about, or could talk about, in Heritage.

Reviews that meet the criteria stated in the previous paragraph will receive a grade of "satisfactory," while reviews that do not meet those criteria will receive a grade of "unsatisfactory. " Students who have handed in all four "satisfactory" reviews by the end of the semester will receive 5% toward their course grade. Students who have not handed in all four "satisfactory" reviews by the end of the semester will lose those five points. Should you receive a grade of "unsatisfactory" on a review, you must submit a new review of a new event. The deadline for completing this requirement is 9:00 a.m. on Monday, 28 April.

What events should you review?

Everyone is required to hand in reviews of the required co-curricular events, the Jazz Performance, April 2 and Carmina Burana, April 25. This semester you will not be excused from these events should they conflict with parties and other comparable non-academic events. Plan ahead. Your two other reviews will be of cultural events of your own choosing. Concerts that fall within the very broad area of "rock music" are not candidates for reviews. Nor are sports events. The goal of this assignment is to encourage you to have an experience that you might not otherwise have. If you are uncertain whether an event qualifies as a cultural event suitable for this assignment, ask your discussion section leader ahead of time. We have listed, insofar as we knew them at press time, events of significant interest in Jackson on the weekly schedule pages that constitute the final part of this syllabus. Information about on-campus events may be found at many of the links under "news, events & sports" on the Millsaps web page (www.millsaps.edu); additionally, many are publicized by means of flyers posted around the campus and by means of e-mail messages. Such on-campus events regularly include the following:

Exhibitions in the Lewis Art Gallery (on the 3rd floor of the Academic Complex) are frequently organized and publicized by the Art Department.

Each semester, the Southern Circuit Film Series brings several filmmakers to the campus to screen and discuss their works. These events are always on Tuesdays at 7:30 p.m. in AC 215. For the dates and details of this year's films, consult the web page and look for e-mail announcements.

Millsaps Forums (that is, talks on a wide variety of topics given by both on-campus and off-campus speakers) are held on most Fridays throughout the academic year, at 12:30 in AC 215. These events are both listed on the web page and announced by e-mail by the faculty's Public Events Committee.

Each semester the Millsaps Arts and Lecture Series brings several prominent speakers to the campus. Consult the web page for dates and details of this year's events.

The Millsaps Players perform several plays each semester in the auditorium of the Christian Center. For the dates and details of this year's theatre program, consult the web page and look for e-mail announcements.

The Millsaps Chamber Singers give several concerts each semester, often in the Recital Hall of the Academic Complex. For the dates and details of this year's program (as well as those of other on-campus musical events organized by the Performing Arts Department), consult the web page and look for e-mail announcements.

In addition to the aforesaid regularly-organized on-campus events, there are always a fair number of special events (films, lectures, discussions, etc. ) sponsored by the Campus Ministry Team, various student organizations, and different academic departments, and these are typically announced by e-mail.

5. Grading

Often students equate effort, good intentions, and length of time spent on an assignment with grades. These are not the criteria that Heritage instructors will use in evaluating your written and oral contributions to the course. The following is an explanation of how your grade on any particular assignment reflects your performance:

An "A" grade means that you have produced a highly impressive, exemplary paper. You have presented your thesis coherently, you have organized your thoughts effectively, and you have supported your assertions and interpretations meticulously. In Heritage, an "A" paper exhibits a clear grasp of the historical and cultural issues at stake and it succeeds in synthesizing evidence, and methods of interpreting evidence, from a variety of disciplines. It is also excellent in style and voice or tone. Furthermore, an "A" paper, attends to form (spelling, grammar, punctuation, etc. ) as rigorously as to content.

A "B" grade means that you have succeeded in important ways. For example, you have successfully balanced description with analysis; well-chosen evidence is offered in support of your assertions and interpretations; you express yourself clearly, and meaningfully.

A "C" grade means that you have met the minimum requirements of the assignment, but your work is still lacking in important qualities.

A "D" grade means that you have not met the minimum requirements of the assignment. Your paper has major problems.

In evaluating your written work, instructors will focus on how you present your overall idea, how you organize the paper, the style and voice of your presentation, how you use evidence and documentation to support your ideas, how thoroughly and how persuasively you interpret and analyze, and how carefully you handle spelling, grammar, punctuation, and proofreading. Throughout, the complexity of your thinking is of great importance and is one of the ways in which "A" papers are distinguished.

On some assignments faculty may choose to assign a numerical grade, in which case you can determine the letter equivalent by using the following scale:

Your final grade in the course for the semester will be determined as follows:

6. Summary of Due Dates

Important due dates, chronologically, are as follows:

• Monday, January 28: Analytical Essay #1
• Monday, February 11: Sectional Exam #1 in Academic Complex Recital Hall
• Monday, February 18: Analytical Essay #2
• Monday, March 3: Prospectus for Spring Project
• Friday, March 14: Sectional Exam #2 in Academic Complex Recital Hall
• Monday, March 31: Spring Project Due
• Monday, April 21: Revision of Spring Project Due
• Monday, April 28: All Four Reviews Completed: (Jazz performance, Carmina Burana, and two events of your choosing)
• Monday, April 28: Final Exam in AC Complex Recital Hall, 9am

7. Academic Honesty

Millsaps College is an academic community where persons pursue a life of scholarly inquiry and intellectual growth. The foundation of this community is a spirit of personal honesty and mutual trust. Through their Honor Code, adopted by the student body and approved by the faculty and by the Board of Trustees in 1994, members of the Millsaps community, faculty and students, affirm their adherence to these basic ethical principles.

An Honor Code is not simply a set of rules and procedures governing academic conduct. It is also an opportunity to put personal responsibility and integrity into action. When faculty and students agree to abide by an Honor Code they liberate themselves to pursue their academic goals in an atmosphere of mutual trust and confidence.

The success of the code depends upon the support of each member of the community. Students and faculty alike commit themselves in their work to the principles of academic honesty. When they become aware of infractions, both students and faculty are obliged to report them to the Honor Council, which is responsible for enforcement.

The pledge signed by all students upon entering the College is as follows:

As a Millsaps College student, I hereby affirm that I understand the Honor Code and am aware of its implications and of my responsibility to the Code. In the interests of expanding the atmosphere of respect and trust in the College, I promise to uphold the Honor Code and I will not tolerate dishonest behavior in myself or in others.

Each examination, quiz, or other assignment that is to be graded will carry the written pledge: "I hereby certify that I have neither given nor received unauthorized aid on this assignment. (Signature)" The abbreviation "Pledged" followed by the student's signature has the same meaning and may be acceptable on assignments other than final examinations.

It is the responsibility of students and faculty to report offenses to the Honor Code Council in the form of a written report. This account must be signed, the accusation explained in as much detail as possible, and submitted to the Dean of the College.

Because plagiarizing the work of another and allowing one's own work to be plagiarized by another are violations of the Honor Code, it is extremely important for you to understand, and to take all necessary measures to avoid, plagiarism.

What is plagiarism?

Plagiarism is borrowing someone else's ideas, information, or language without documenting the source and plagiarism is documenting the source, but paraphrasing the source's language too closely, without using quotations to indicate that the language has been borrowed.

What is a paraphrase?

A paraphrase is a rewording and restructuring of what is said in a source that does not change the meaning of what is said in a source.

When is it necessary to use in-text citations to document a source?

Whenever you quote a source directly and whenever you summarize or paraphrase a section of your source and whenever you refer to an idea (an opinion, a hypothesis, a conclusion) from a source and whenever you rely on a source for factual information that would not be considered common knowledge for your audience.

In short, you must always make unmistakably clear the distinction between your own voice (i.e. , your ideas, hypotheses, conclusions, opinions, facts, words, language) and the voices of your sources (i.e., their ideas, hypotheses, conclusions, opinions, facts, words, language).

In-text citations are used to make it clear to readers that something contained in your paper is derived from someone else. Therefore, readers will assume that anything in your paper that is not documented by means of in-text citations comes from you. Therefore, if it is the case that your paper contains things that come from someone else but are not documented by means of in-text citations, then you have misled the reader in presenting those things as your own, and this is a form of academic dishonesty and is unacceptable.

How does one use in-text citations to document a source?

In Heritage (and in many of your other classes) you will be expected correctly to use the Modern Language Association (MLA) format for in-text citations, which is outlined in the writing manual that you will purchase and use in connection with Core 1.

How does one compose a "Works Cited" page (i.e. , a list of the sources that one has cited in one's paper)?

In Heritage (and in many of your other classes) you will be expected correctly to use the MLA format for lists of works cited, which is outlined in your writing manual.

Collaboration among students flourishes at a college, all the more so when a large number of students go through a program like Heritage together. On the one hand, it is hoped that you and your peers will often help each other to learn. On the other, you must be aware of, and avoid, the threat of one person's work substituting for another's. For practical tips on how to reduce the risk of plagiarism, consult the links on the Millsaps homepage for the Writing Program. Additionally, we urge you to give yourself enough time to think your assignments through for yourself and to encourage others to do the same, and we strongly caution you against lending your writing to someone else and against borrowing someone else's writing in order to study. Should you decide to use a peer's ideas or expressions in the course of making your own points, be sure to credit him or her just as you would document any other source, using quotation marks and in-text citations for direct quotes and indicating paraphrases and summaries by means of in-text citations.

8. Heritage Online

Because instructors will make frequent use of electronic mail, it is vital that you learn to use the Outlook E-mail package as soon as possible at the start of the semester, and that you check your e-mail regularly. The Heritage syllabus is online at http://www.millsaps.edu/heritage/.

In Heritage we also make regular use of digital resources in studying music and visual arts.

A. Instructions for NETJUKE (a campus-restricted web site for audio music clips for Heritage)

1. Go to the web page: http://mil-strmedia01/netjuke/login.php
2. In the User Login, for e-mail write "heritage@millsaps.edu". 3. Your password is "listen". 4. Click LOGIN. 5. Find COMMUNITY, click it, and look for the HERITAGE MUSIC LECTURES playlist. 6. To hear a selection, click on its musical note symbol or place a checkmark in the appropriate box and click "play selected" up at the top. 7. (Your computer may ask you which media player you prefer, unless you have it set to a default).

B. Instructions for ARTSTOR (an online site for art images)

You can use the ARTstor database of digital images to review images after a lecture, study for an exam (either on-line or with print-outs), research images in any or all of the ARTstor collections, and create your own student folders of images.

1. To register and logon: Go to www.artstor.org. Register by clicking on the LAUNCH button at the right. When the next page appears, click on Register at the right and follow the simple instructions. Use your Millsaps e-mail address and password. Note: You only need to register once, but you have to logon each time you use ARTstor by following the above steps but clicking on Logon rather than Register.

2. To see the Heritage images: Go to the area entitled View Image Groups (near the top right), select the appropriate course folder (e.g. , HERITAGE Unit IV) and then select the image group (e.g. Baroque) and hit Submit.

You can enlarge an image by double-clicking on it (if your computer has pop-ups blocked, then you'll have to unblock them to do this - see the ARTstor Help for instructions). Once the image is enlarged you can zoom in by clicking on it

Note that most of the Image Groups will have more than one page. Use the arrows at the top left to navigate to the next page.

3. To do research and/or create your own personal image groups: Go to 'Home' and do a keyword search or browse through the collections. ARTstor is still working on the data that go along with the images so you sometimes have to be inventive and persistent in your searches if you're looking for something particular. For general themes that interest you, try various possible keywords. See the ARTstor ‘Help' for searching tips.

Whenever you find an image you want in your image group, click once on the image to highlight it (the frame will turn bright yellow). You can highlight as many images as you want. Then go to 'Image Groups' on the top toolbar, and 'Save selected images into new group'. You'll be prompted to select your Image Group Folder and you should choose the default setting of ‘My Work Folder'. Then type in the name you want to give this image group, check ‘Create New Group', and hit ‘Save' (or ‘Save and Open' if you want it to open right away). You can keep adding images to that group, and also you can create as many image groups as you'd like in your personal ‘My Work Folder'. This folder is viewable only by you.

4. To print out images: The advantage to looking at images on your computer screen is that you can enlarge each image and zoom into it. But you may wish to print some images out.

a) To print a complete Image Group (e.g. from a Heritage lecture or a research folder): First open it by going to ‘View Image Groups', selecting the folder (e.g. , HERITAGE Unit IV) and selecting the Image Group. When you see the thumbnail images on the screen, go to 'View' on the toolbar and select 'Image group print preview'. You'll be given several options, to print all of the data associated with the image or only the creator and title (and any instructor's comments or personal notes, if there are any). When the window appears with the thumbnail images ready to be printed, click the Print icon at the top. Each page will have 4 images. You can print in color or B&W (to print B&W go to File - Print - Properties - Grayscale Printing).

Note that some Image Groups have many slides, so it would take a lot of paper and ink to print out the whole group. In these cases you might want to do the following:

b) To print a selection of images from an Image Group: Go to the Image Group and highlight each image that you want by clicking on it once to turn the frame bright yellow. After you've highlighted all the images in that group that you want to print, right click with the mouse and select Save Selected Images into New Group. A prompt will come up and you should select My Work Folder (scroll up to the top to find it) and then type in a title for this new image group (something like test4). Then go to any other Image Groups for this unit and follow the same procedure. If an Image Group has more than one page, you can continue highlighting page by page whichever images you want, and do the Save Selected Images into New Group process after you've looked at the whole group.

c) To print individual images: You can also download individual images from ARTstor by double-clicking on the thumbnail image in the Image Group to enlarge the image, then clicking on the Print icon at the lower right. You can also download an image by clicking on the Download Image icon and following the simple instructions. The image will download as a low resolution jpeg file.

9. Directory

The Heritage Office is room 30 of the Christian Center and the phone extension is 1309. The staff assistant, Ms. Louise Hetrick (ext. 1309 – Christian Center-30), can help you with materials and with many questions. Office hours are Monday through Friday, 8:00 a.m. – 4:30 p.m. Individual faculty offices and telephone numbers are as follows:

Faculty Member - Campus Office - Extension

Dr. Ted Ammon - Christian Center 23 - 1332
Dr. James Bowley - Christian Center 09 - 1328
Dr. David Davis - Christian Center 31 - 1292
Dr. Eric Griffin - English House - 1312
Dr. Lynn Raley - Academic Complex 248 - 1423
Dr. Elise Smith - Academic Complex 323 - 1432
Thomas Richardson - (Ford Fellow) - richacd2@millsaps.edu

10. Heritage at the Movies

The Millsaps Library has acquired a number of distinguished films on VHS and DVD that are of interest to Heritage participants. For the spring semester, these include the following:

A Man for All Seasons. Renaissance and Reformation issues are vividly portrayed in this witty and moving story of Thomas More's refusal to support Henry VIII in breaking with the Roman Church.

Mughal-E-Azam. The preeminent Bollywood blockbuster musical of 1960, something like the Indian Gone with the Wind. Desperate romance between the son of Emperor Akbar and a dancing girl at court; musical numbers must be seen to be believed.

Kagemusha. Akira Kurosawa's vivid historical epic set during the Japanese civil wars leading up to the Tokugawa Shogunate. A thief involuntarily becomes a great warlord's double and then must fill in for him after he dies.

Day of Wrath. Carl Dreyer's profound study of the witch craze in Early Modern Europe.

The Mission. Roland Jaffe's haunting portrayal of a beleaguered Jesuit mission in South America.

Barry Lyndon. Stanley Kubrick's gorgeously stylized, critically controversial study of 18th century European civilization.

Danton. Absorbing treatment of the French Revolution in the pivotal period leading to Danton's fall from power and his execution.

Napoleon (1927). Directed by Abel Gance. One of the most cinematically thrilling movies of all time, newly presented by Francis Ford Coppola in 1981. Four hours long, culminating in a 3-screen display, better than Cinerama!

Amadeus. Exhilarating film of Mozart and his times, with a surprising point of view; justly called Milos Forman's highest achievement.

Birth of a Nation. Civil War epic by D.W. Griffith, full of exciting and embarrassing material.

Tess. Roman Polanski's beautiful filming of the Thomas Hardy novel, with a harrowing portrait of industrialization in the countryside of 19th-century England.

The Battleship Potemkin. Early Soviet film by Sergei Eisenstein of the 1905 revolution sparked by sailors' mutiny. Famous "montage" presentation of czarist troops massacring civilians on the Odessa Steps.

October (a.k.a. Ten Days that Shook the World). Eisenstein's film of the crucial days of the 1917 Russian Revolution; like Potemkin, a good example of his distinctive techniques.

All Quiet on the Western Front. Powerful antiwar statement on World War I from a German point of view.

Gallipoli. The Gallipoli campaign of World War I from an Australian point of view. Powerful statement of the war's futility.

Paths of Glory. Kubrick's brilliant examination of a disillusioning army injustice in World War I.

Sergeant York. Gary Cooper as the pacifist Tennesseean who becomes America's most famous World War I hero; a very revealing examination of American attitudes toward war.

Nanook of the North. The first great documentary film (1922), by Robert Flaherty, shows how the camera extends the Western exploration of all pockets of the globe.

The General Line. Eisenstein's presentation of the collectivization of Soviet agriculture c. 1930. Warning: the kulaks are evil.

A Nous la Liberte. Sweet and hilarious film by Rene Clair with a critique of modern industrial civilization that inspired Chaplin's Modern Times.

Modern Times. The first sound film by Charlie Chaplin (though he was only heard singing one gibberish song), with extremely funny factory scenes.

Triumph of the Will. Leni Riefenstahl helped stage the 1934 Nazi party rally at Nuremberg, which she brilliantly filmed. Called "the greatest propaganda film of all time".

The Conformist. A compelling study of a man caught up in fascism in Italy; breakthrough film by Bernardo Bertolucci.

Night and Fog. Alain Resnais's shocking, ethically charged documentary of the German concentration camps.

Gandhi. Ben Kingsley stars in Richard Attenborough's important telling of Gandhi's non-violent political struggles beginning in South Africa and culminating in India's independence.

The Battle of Algiers. A riveting docu-drama presentation of the struggle between Algerian liberation fighters and the French.

Dr. Strangelove. Masterful satire on Cold War thinking by Stanley Kubrick, with multiple performances by Peter Sellers.

The Year of Living Dangerously. Peter Weir's intense story of the build-up to the 1965 upheaval in Indonesia that caused half a million deaths, starring a young Mel Gibson and Sigourney Weaver and a weirdly ageless Linda Hunt (who got an Oscar for this role).

Hearts and Minds. Influential documentary shows the Vietnam War diverging horribly from what Americans had hoped to accomplish.

2001: A Space Odyssey. Stanley Kubrick and Arthur C. Clarke's vision of the meaning of human history, with a fantastic visualization of the near future (compare with Fritz Lang's silent-era science fiction classic, Metropolis).

Romero. A window onto Central American conflict in the 1980's in which U.S. involvement was highly controversial. Raul Julia very effectively plays the martyred Archbishop Romero of El Salvador.

11. Heritage Transfer of Credit

IDS 1118-1128 is a 16-hour program, the equivalent of four courses. The evaluation of transfer credits is always a matter to be determined by the school receiving the credits and is contingent upon that school's particular core and major requirements. However, the recipient school usually accepts the recommendations of the originating school. Millsaps College, in addition to noting that Heritage fulfills the Millsaps core requirement in Fine Arts, recommends the following equivalencies for the total 16-hour Heritage Program:

12. Problems

If a problem arises during the course of the semester that prevents your academic achievement, then do not hesitate to tell your advisor or Heritage discussion leader, if you feel comfortable doing so. We are here to help you attain your goals, and there are many resources on campus at your disposal. The bottom line is: do not suffer in silence.

If you have any needs or require accommodations related to a disability, please contact Patrick Cooper to register for disability services. You can reach him via e-mail at coopeap@millsaps.edu or by calling extension 1228. Accommodations will not be granted until a meeting has taken place with Patrick and letters have been received by your Heritage instructor.