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 1118 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. Although this format will remain the same throughout the year, you should be prepared for writing assignments and evaluation processes to be significantly different in the spring semester (IDS 1128).

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

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.

The use of electronic devices, except laptops, is strictly prohibited in Heritage presentations and discussions. Laptops may be used during presentations if, and only if, you sit in the top of AC/215 in rows 2, 3, and 4. If you use a laptop for any purpose other than a Heritage related one, you will be asked to leave and counted absent. The use of cell phones is prohibited for any purpose.

B. Attendance (Co-curricular events)

In addition to the regular class meetings, the Heritage Program sponsors a special co-curricular event 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 fall the events are Hindu celebration Diwali (Sunday, October 26, starting in the Lewis Art Gallery, 6:00 p.m.) and Verdi’s Rigoletto (Saturday, November 15, 7:30 p.m., Thalia Mara 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 or her 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; you will be given an opportunity to revise the first of them for credit. Late assignments will not be accepted without a verifiable excuse for a tragic, or near-tragic event. Your average on these short writing assignments will figure as 20% of your final grade. 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. Fall Semester Project – What Do You Want To Know?

“The past is never dead. It’s not even past,” observed novelist William Faulkner (Requiem for a Nun, 1951). “The past is a foreign country,” wrote novelist L. P. Hartley, “they do things differently there” (The Go-Between, 1953). Neither of these authors wrote as a historian; yet their contradictory views are equally true in the largest sense. On the one hand, it is obvious that those of us living in the modern West have inherited a great deal of our culture from the ancient and pre-modern eras—in politics, law, religion, art, architecture, literature, philosophy, science, and many other aspects. But, then again, we also find it very difficult to understand the worldviews of people who took for granted such institutions as monarchy, aristocracy, theocracy, polytheism, and slavery in societies that were largely non-literate and pre-scientific.

The Fall Project is an invitation to conduct your own approach to the past. You will choose one ancient phenomenon stemming from the Heritage curriculum – that is, one interesting human accomplishment (text, idea, structure, invention, etc.) dated before c.400 CE – and then ask and answer a significant question about it. In a 7-10 page paper, you will demonstrate your chosen subject’s importance to the society or societies in question, explaining also why we ought to know about it. In the handling of primary and secondary sources, your skills in critical thinking and analytical writing must be showcased. The topic may be one that we discuss explicitly or merely allude to—or even one that we have not had time for at all. For example, you might learn from Dr. Forbes that the democratic institutions of Periclean Athens were funded by an immense system of slave labor and virtual tyranny over the other Greek city-states. But you go on to wonder: what was the basis of ancient slavery? What precisely was the status of a slave in Athens? What could a female slave expect of life in Egypt or Rome? Similarly, Dr. Elise Smith could explain to us that nakedness represents low social status in Egyptian religious painting. But, in reading our art text independently, you apply Dr. Smith’s insights and ask yourself: what does Egyptian art reveal of the relation between gods and people in that time and place? You may hear Dr. Griffin claim that Chaucer was a third-rate writer from a rinky-dink country and not worthy of serious scholarly attention. So what makes Dante so much better? What insights about the human condition does he reveal that should command our attention? Or, taking another tack entirely, you are curious to learn how such ancient documents from Greece, China, or India have been handed down to us in the first place: where do manuscripts come from? What does their transmission teach us about the literate elites that copied and preserved them? From Dr. Williamson you may learn that Israelite literature has an ancient context, not a modern one. How then can the Israelite literature be understood to apply to modern and contemporary issues? How fluid in interpretation are Israelite literature and “The Bible”? As a final example, we may hear from Dr. Ammon that Greek philosophy searches for an ultimate ONE. Is this quest similar to that of Hindus and Buddhists?

The starting point for your project lies somewhere in our common Heritage work. Be creative and original as you investigate and interpret the evidence. You have very broad latitude in how you construe your theme, but be sure that your ideas are supported by the available evidence. The Heritage faculty will be happy to consult with you as you sound out the possibilities. As you progress through our fall and spring semesters, bear in mind the contrasting perspectives of Faulkner and Hartley. How, actually, are we related to those who came before?

Though it is not a typical research paper—the best Fall Projects minimize reporting and maximize analysis—it will be necessary for you to do research in order to find your best evidence and develop your argument. Preliminary investigation of the topic must begin well before you submit your Phase I paper on Friday, October 10. This paper will provide a general explanation of the aim and rationale of your project and also an analysis of one key primary source for your project. It counts as one of your Heritage Short Essays (section D). The Fall Project is due on Monday, October 27. Every Fall Project will include a substantial written discussion of the chosen artifact, but other elements, such as photographs or drawings, may play a part in illustrating your conclusions. The bulk of your paper should be devoted to presenting a coherently-argued answer, based on the evidence that you have gathered, to your own significant question. A revision of your Fall Project, taking into account critical reviews your Project will have received, will be due on Monday, November 17. The sanction for handing in the Fall 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 Fall Project will count 20% of your final grade. The Fall project will be given a non-binding tentative grade so that you have a good idea of the quality of your work to date. The final grade will be assigned to the revision. Keep in mind that revising is not “tinkering” – adding a word here or there, deleting a comma, etc. A revision is just that: a “re-visioning” of the entire work. If you merely “tinker” with the project, instead of substantively revising, your final grade may be lower than the earlier paper.

As with all Heritage assignments, the Fall 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 Fall Project.

Wikipedia, Encarta and dictionaries do not count as scholarly sources. Your discussion leader will advise you on the use of on-line sources.

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, 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 Diwali and Verdi’s Rigoletto.

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 some kind of 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 Monday, December 1.

What events should you review?

Everyone is required to hand in a review of the required co-curricular events, Diwali and Verdi’s Rigoletto. 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, off-campus 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 here on the Millsaps website; 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 Art 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.

Paper Format:
All typed papers should be submitted in 10-12 pt. font, stapled in the upper left corner, no cover sheet, paginated, with "Works Cited" page when relevant, and with the following information in the top left of the first page:

Your Name
Date
Name of discussion section leader
[Ammon, Forbes, Griffin or Williamson], Section # and time

 The four reviews need not have a title; but for the other papers, center the title.

5. Grading

Since this is your first semester at Millsaps, it might be helpful to you to understand how you will be graded in Heritage. 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, September 1: Short Essay #1
• Monday, September 15: Short Essay #2
• Monday, September 22: Sectional Exam #1 in AC Recital Hall
• Friday, October 3: Short Essay #3
• Friday, October 10: Fall Project Phase I
• Sunday, October 26: Diwali Celebration (required event)
• Monday, October 27: Fall Project  is due
• Friday, October 31: Sectional Exam #2 in AC Recital Hall
• Saturday, November 15: Verdi’s Rigoletto (required event)
• Monday, November 17: Fall Project revision
• Monday, December 1: all four reviews completed (Diwali, Rigoletto, and two events of your choosing)
• Monday, December 8: Final Exam in AC Recital Hall, 9:00 a.m.

7. Policy Concerning 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. Click on the word NetJuke.
3, In the User Login, for e-mail write "heritage@millsaps.edu".
4. Your password is "listen".
5. Click LOGIN.
6. Find COMMUNITY, click it, and look for the HERITAGE MUSIC LECTURES playlist. 6. To hear a selection, click 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)

Students can use ARTstor, our new database of digital images, in various ways. You can review the images after a class, 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. Here are the directions:

1. To register and login: Go to www.artstor.org. Register by clicking on the GO button at the top right, and when the main search page appears click ‘Log In’ at the top right. If this is your first time to use ARTstor, click on ‘Not registered?’ and enter your Millsaps email and password. You only need to register once, but you do have to log in each time you use ARTstor.

2. To see the images for class:  Click on the area in the middle entitled 'Folders and Image Groups', click on the plus sign beside the appropriate course folder (usually the teacher’s last name and course title) and then select the image group and hit 'Open'.

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.

You can also compare two images. First make sure that under ‘Display Options’ on the toolbar you’ve got it set to ‘Bring Image Windows to Front’. Double-click on the first image so it enlarges, then double-click on the second one (the first image will have minimized when you enlarge the second one, but you can find it on your bottom bar and click it so it’ll come up large on your screen next to the other image).

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: On the main page of ARTstor you’ll usually do a Basic Search in ‘All Collections’ (which is the default setting). You can enter the artist’s name if you want to browse through that artist’s work, or you can enter the name and the title of the work. 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 example, certain works can be listed under more than one title. So if you’re having trouble finding a particular image try browsing through all works by the artist. To limit your search, use the Advanced Search option, and for general themes that interest you try various possible keywords. See the ARTstor ‘Help’ for searching tips. 

When you find an image you want in your image group, click once on the image to highlight it (the frame will turn bright red). You can highlight as many images as you want. Once you have them all selected right click anywhere on the screen (or go to ‘Organize’ on the toolbar) and select ‘Save selected images to’. Then save your images in ‘My Work Folder’, type in the name you want to give this image 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 study images: To study for an exam you can either look at the image groups for our course on your computer screen (the advantage to this is that you can enlarge each image and can also zoom into it) or you can print them out. 

a) To print a complete Image Group from our class: First open it by going to ‘Folders and Image Groups’, selecting the course folder and then the Image Group. When you see the thumbnail images on the screen, go to 'Share' on the toolbar and select ‘Print image group’. You'll be given the option to print the full record (all of the data associated with the image) or brief record with commentary (only the creator and title, and any instructor's comments or personal notes, if there are any). When the window appears with the images and data ready to be printed, click the Print icon at the top. Each page will have 3 or 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 selected images from the course folder: Go to the Image Group and highlight each image that you want by clicking on it once to turn the frame bright red. 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 test1).  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 print 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 ‘Save Current View’ icon and following the simple instructions. The image will usually download as a low resolution jpeg file, although some are available in higher resolutions.

5. To send a link to your Image Group: Each Image Group has its own unique URL, including those in ‘My Work Folder’. If you want to share the images you’ve collected in your work folder with your teacher or anyone else, open the image group, click on ‘Share’ at the top and scroll down to ‘Generate Image Group URL’. The URL will appear in a box and you can highlight and copy it (Control C), then paste it (Control V) into an e-mail.

C. Instructions for Course Connection (an online site for accessing Heritage readings)

How to log in to Course Connect:

1. Go to http://courses.millsaps.edu

2. Click the "Login" link in the top right.

3. Use your Millsaps ID and password. You should now be logged in. If you got a login error, please double-check your password and ID. Try using the same credentials to login to email.

4. Scroll down and find "Heritage - IDST-1118 (Ammon, Forbes, Griffin, Williamson)" and click on the name of the course. You will need to enter an enrollment key the first time you go to your course. The enrollment key is "heritage".

5. Go back to the main Course Connect Page, find the Heritage section you are in (for example, "Heritage - Section 01 & 05 (Ammon)". Click the name of the course. You will need to enter an enrollment key the first time you go to your course. The enrollment key is "heritage".

You are now a member of Course Connect for the Heritage Lecture and Section.  You will see two courses listed when you login next time. If you have any problems, Contact ITS User Services 601.974.1144, E-mail: helpdesk@millsaps.edu, Academic Complex 105, Monday - Friday; 8:00a.m. - 4:30p.m.

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. Amy Forbes - Christian Center 29 - 1369
Dr. Eric Griffin - English House - 1312
Dr. Lynn Raley - Academic Complex 248 - 1423
Dr. Elise Smith - Academic Complex 323 - 1432
Dr. Lola Williamson - Christian Center 10 - 1333
Katie Collins - Ford Fellow - collikl@millsaps.edu
Candice Fisher - Ford Fellow - fishecm1@millsaps.edu

10. Heritage at the Movies

The Millsaps Library holds a number of films on VHS and DVD that may be of interest to Heritage participants. Here are some relating to our fall semester topics that are worth seeing not only for their narrative content but also as distinctive achievements of filmmaking art.

Quest for Fire (1981). Trying to regain fire for their group, some Paleolithic humans make contact with a different culture and learn new tricks. The film features special languages invented by English novelist Anthony Burgess (A Clockwork Orange).  Directed by Jean-Jacques Annaud (The Bear, Seven Years in Tibet). 

Little Buddha (1993). Fascinating child's-storybook vision of the Buddha's life intertwined with a contemporary search for the lineage of enlightenment.  With Chris Isaak, Bridget Fonda, and Keanu Reeves as the Buddha; directed by Bernardo Bertolucci (The Conformist, Last Tango in Paris, The Last Emperor).

Medea (1970). A modern reinterpretation of the ancient Greek story emphasizing the contrast between archaic and "rational" mentalities.  Contains an interesting re-creation of human sacrifice. With Maria Callas as Medea. Directed by Pier Paolo Pasolini (The Gospel According to St. Matthew).

The Gospel According to St. Matthew (1964).  A powerfully visualized, "matter-of-fact" presentation of the gospel story by Pier Paolo Pasolini (Medea), shot in southern Italy with non-professional actors. Makes an interesting comparison with other Jesus movies.

The Last Temptation of Christ (1988).  Nikos Kazantzakis' controversial, spiritually intense 1955 novel embracing Jesus and "the struggle between God and man" brought to the screen (with new storms of controversy) by Martin Scorsese (Taxi Driver, Goodfellas). With Willem Dafoe as Jesus, Harvey Keitel as Judas, and Barbara Hershey as Mary Magdalene.

Simon of the Desert (1965). St. Simon Stylites was an early Christian ascetic who perched on a pillar for many years. A weird view of a weird character by the surrealist Luis Buñuel (Un Chien Andalou, The Discreet Charm of the Bourgeoisie, Belle de Jour). 

Destiny (1997). A zesty recreation of Cordoba in the late 12th century during the golden age of Muslim rule in Spain, featuring the philosopher Ibn Rushd (Averroes), high judge and adviser to the caliph, whose appeals to reason a lot of people can't handle. Remarkable for how it speaks to contemporary issues of religious fundamentalism. A movie serious about philosophy that includes high adventure, strong female characters, and even a few rousing musical numbers. Made by Egyptian director Youssef Chahine (Alexandria, Why?).

Alexander Nevsky (1938). Trouble between medieval Russians and Teutonic Knights, featuring a famous battle on ice. By the Russian montage genius Sergei Eisenstein (The Battleship Potemkin), with great music by Prokofiev.

The Seventh Seal (1957). A knight (Max von Sydow) returns from a late crusade to plague-wracked Sweden, heading inexorably toward the famous Dance of Death.  Is it an allegory of the modern nuclear peril? Or strictly of spiritual danger? One of the most memorable films by Ingmar Bergman (Wild Strawberries, Smiles of a Summer Night, Cries and Whispers).

The Passion of Joan of Arc (1928). One of the most intense and beautiful films of the silent era, making extensive use of close-ups, by the Danish director Carl Dreyer (Day of Wrath). Compare with Luc Besson's very different Joan of Arc film, The Messenger (1999).

A Man for All Seasons (1966). Renaissance and Reformation issues vividly portrayed in this witty and moving account of Thomas More's refusal to support Henry VIII in breaking with the Roman Church.  With Robert Shaw as Henry VIII and the much-too-little-seen Paul Scofield as More; directed by Fred Zinnemann; based on Robert Bolt's play. Not the same as the TV movie made later by Charlton Heston.

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.