CORE HUMANITIES SEMINAR 1001-102 T 6.10-8.50 White 120

Prof. Hugh Ormsby-Lennon Dept of English SAC 466; Phone/ Voice-mail 94655

Office hours: Tuesday and Thursday 5.00-6.00 pm and by appt.

Home Phone/ Voice-mail 215-592-8102. (It's best to call me at home.)

E-mail: Hugh.Ormsby-Lennon@Villanova.edu (use this rather than Voicemail)

Home fax: 215-238-1187 (Alert me first, please.)

Home Page: url: http//www60.homepage.hugh.ormsby-lennon/ villanova.edu/ My home page is most easily accessible from "My Classroom," a site that we all share for 1001-102. The home page is also accessible via the Villanova Faculty Directory on WWW. My home page will have a link to this syllabus, continually updated, and to other important information concerning this class.

Theme: "The Birth of the Modern (with some Augustinian caveats)."

Seminar Description: Many historians have dated "the birth of the modern world" from the beginning of the seventeenth century. In the history of ideas, Descartes's introduction of an innovative philosophical method and the brilliant achievements of the scientific revolution--particularly in England, under the impetus of Bacon, the Royal Society, and Sir Isaac Newton--have been seen as a crucial and radical break with a late medieval world. That old world, we are assured, was still hamstrung by an exaggerated respect for classical philosophy and science and for the logomachies of scholastic theology. We shall study the ideas of Descartes, Bacon, and Newton in order to see what constitute some key ideas of modernity: scientific discovery, democracy, progress, meliorism, and improvements in technology and medicine. Together these comprise the dream of "the Enlightenment," that period of transatlantic history lasting from the mid-seventeenth to the early nineteenth century.

During this semester (and this semester only!) we shall also read (and see) Tom Stoppard's Arcadia which is a play based upon a "post-modern" vision of the world, chaos theory, that challenges the Newtonian world-picture. Please note that on February 13 the class will attend the Villanova Theater's production (on campus at Vasey Hall) which begins at 8 p. m. Admission is free. Note too that we shall first meet, as usual, in our classroom (White 120) at our regular time of 6.10 p.m. for a pre-production discussion. It is crucial that you attend this performance.

In the course of the semester we shall pay particular attention to America and England during the seventeenth and eighteenth centuries. Our local genius, Ben Franklin represents the ideology of progress at its best. In addition to reading his Autobiography, a home-spun masterpiece, we shall consider Franklin's many philanthropic and scientific projects ranging from fire-insurance companies, hospitals, and the University of Pennsylvania to lightning rods, bifocal lenses, and the glass harmonium. Out of Franklin's Philadelphia came The Declaration of Independence and The American Constitution, two crucial documents of the Enlightenment which we shall reread with an eye to their continuing relevance and importance to our country and to the world.

Across the Atlantic things looked different. In Voltaire's Letters, we shall examine how a great French philosopher contrasted a progressive England with the ancien regime of France. But we shall also discover how Voltaire offered a skeptical vision of universal progress in Candide. To Jonathan Swift--an Anglo-Irishman and an Anglican parson who composed many of his hilarious and satirical works in Dublin--things also looked different. Swift writes within a great Augustinian tradition of Christian pessimism and skepticism (and, some might add, sexism). Convinced of the ineradicability of original sin, Swift skewered fantasies of progress, exposed delusions of spiritual pride, underscored the problem of evil, and demonstrated that none of us can escape the snares of our postlapsarian language. What might Swift have made of America's Declaration and Constitution?

Does the world get better? Technological progress is indisputable, but there is often a price to be paid. Yet do people ever improve? An Augustinian perspective will not only warn us to be skeptical of undue faith in meliorism but will also alert us to those factors that ineluctably hinder "progress." The last century witnessed the Holocaust, one of the bloodiest events in human history. In the section of this class that I taught in Fall 2000, we began our discussions by comparing Maus, an imaginative account of the Holocaust, with the visions of progress that Bacon and Descartes had earlier opened up. In Spring 2001, however, we shall first have to accommodate a discussion of Stoppard's Arcadia and of the challenges of chaos theory to the world pictures of Newton and even of Einstein; the intellectual rhythms of the class have thus been adjusted accordingly.

We shall end the semester by considering how Franklin's reputation declined (in the hands of such commentators as E. A. Poe, Mark Twain, and D. H. Lawrence) during the nineteenth and twentieth centuries. Examining Franklin within this "aesthetics of reception" will tell us much about the following centuries. A discussion of two counter-Enlightenment works from the nineteenth and twentieth centuries, Lewis Carroll's Alice stories and T.S. Eliot's The Waste Land will also enable us to reflect upon the loss of Enlightenment certitudes. We shall also reexamine Maus in this context.

Reading List:

Dave Robinson and Chris Garratt, Introducing Descartes (Totem)

Paul Strathern, Descartes in 90 Minutes (Dee)

Francis Bacon, New Atlantis (Crofts)

William Rankin, Introducing Newton (Totem)

Voltaire, Letters Concerning the English Nation (Oxford)

Tom Stoppard, Arcadia (Faber)

Ziauddin Sardar and Iwona Abrams, Chaos Theory (Totem)

Jonathan Swift, Writings (Norton); it is important that you buy this edition.

Art Spiegelman, Maus (Volume I)

Benjamin Franklin, Autobiography (Norton); it is important that you buy this edition.

Voltaire, Candide (Dover)

Lewis Carroll, Alice (Yearling)

Frank Kermode ed, Selected Poems of T. S. Eliot (Penguin)

Brief Holt Handbook (3rd ed.). A good dictionary which students must bring to class.

Links: A variety of useful and unusual links may be found on my home page. For members of the class, accessible from this syllabus are: "First Aid for Introducing Descartes and Introducing Newton," "First Aid on Descartes," and "First Aid on Voltaire." Curious students may enjoy reading, for pleasure and profit, the "First Aid on Hobbes" which I prepared for a previous section of this Core Seminar.

E-mail: All students are required to activate their VU e-mail--addresses and forwarding capacity. Students are required to check their mail regularly. Important information about paper topics, class-discussion, and other important matters will be communicated by e-mail. (See also below: class communication.)

Writing assignments: All papers must be typed, except for those completed in the classroom. The arrival of late essays will be noted and the student's final grade will be penalized accordingly. Students must retain a printed copy of their papers. The assumption that a copy of an essay will continue to reside on a diskette or a hard drive does not remain an acceptable substitute for hard copy. In the event that a paper goes unaccountably astray, it is the student's responsibility to have a replacement. Papers should, ideally, be handed to me in the classroom; but, in certain circumstances, they can be handed to a secretary in the English Department (please make sure that she has noted the time and date the essay was submitted. Papers can also be slipped under my office door (but this is the least desirable mode of submission).

Because of viruses NO essays will be accepted on e-mail. With the instructor's prior approval, papers may be faxed on certain occasions.

Formal essays should have a title and an epigraph. For further advice about my criteria for a successful essay, please see the link to "Tips on Writing" on my home page. Those tips will be further updated with links to comparable advice provided by fellow instructors in the Core Humanities Program and in the English Department. Other useful information about papers and journals is provided from links on my home page. For example, there are links to "Keeping a Journal" by Professor Evan Radcliffe and to "Effective Use of Quotation from Other Writers" by Professors Debra Romanick and Professor Margaret Boerner.

For journals, in-class assignments, and the final examination, please see the next two sections.

CHS 1001: A Writing Intensive Course. This seminar is designated "Writing Intensive" by the University and thus requires 6000 words from each student in the course of the semester. This adds up to some thirty pages @ roughly 200 words per page; some students write more words per page, others less, but I keep a tally of each student's productivity in my file on her.

There will be four formal papers (3-8 pp, of increasing length) and each student will revise at least one paper (for details of revisions please see the section on "Grades"). Brief descriptions of the essay topics (and of the dates on which the essays are due) are provided in this syllabus. Further clarification and help will be provided in class discussion and in e-mail communications. Students will also keep a journal of at least 15 pages. For details of the final examination, please see the section on "Grades."

On several occasions during the semester I shall distribute anonymous sections from student papers for classroom analysis. Students will be encouraged to engage in constructive "workshop" analysis.

Journals: Journals will enable undergraduates to complete some of their writing in more informal circumstances; these are designed to promote confidence and fluency. Handwritten journals will be accepted (but my experience is that such journals tend towards the ill-conceived and the slapdash). Most students now compose even informal documents upon the screen. I have not always mandated the subjects upon which students write in their journals. Some undergraduates have chosen to reflect upon their individual experiences at Villanova, some of which have been cultural. By and large, however, I actively discourage autobiography.

What I expect to read in journals submitted for CHS 1001 are: brief but coherent explorations of works that we have read together and themes we have discussed in class; accounts of significant cultural experiences, preferably in Philadelphia; accounts of poetry readings or lectures on campus to which I drawn your attention; and a brief review of at least one of the films screened during "The Play's the Thing," Villanova's semester-long Cultural Film and Lecture Series. (Films are screened weekly in the Connelly Center Cinema: Sat 7 pm; Sun 3.30 and 7 pm; Mon 7 pm. There will be lectures after each Monday screening. Students should acquire a program of the movies that will be shown.)

Journals must be dated; the total page count should be at least fifteen pages, but students are actively encouraged to explore at greater length the topics upon which they have chosen to write. The journals will be collected twice, first at mid-term, and again towards the end of the semester. Longer journals of quality will be rewarded. Students will also deliver informal reports in class which they will write up in their journals.

A helpful discussion of "Keeping a Journal" by one of my colleagues, Professor Evan Radcliffe, is available on a link from my home page.

Classroom discussion: "Speaking across the curriculum"--that is, the encouragement of a student's ability to speak eloquently and intelligently--has been accorded a new importance on campuses across America. Core 1001 is a discussion class and it will thrive only if students contribute to our joint enterprise of opening Augustinian perspectives on "the modern world." Once the class has got under way, there will be a regular schedule of reports and of student responses to them; a roster will be posted on a link on my home page, and students will be responsible for knowing the dates and subjects of their reports or responses. These reports and responses will not, however, represent an opportunity for other students to abstain from debate. I shall keep a record of individual student contributions in my files. Please note that your performance in classroom discussion will account for 20% of your final grade.

Grades: Final grades will be based primarily upon the performance of undergraduates as writers in the formal writing exercises (the "essays" or "papers") and in the final examination. I acknowledge a recurrent paradox: that some students who write well are not active in classroom discussion. The requirement that all students contribute to classroom discussion is designed to smoke the laconic out of their lairs.

All students are encouraged to revise every paper (but every student must revise at least one). The new grade will not replace the old one, but improvements will be registered in a new grade which should improve the undergraduate's overall grade. Please note that a revision will NOT be accepted as a revision UNLESS it is accompanied by a copy of the original paper with my suggestions and corrections upon it. Undergraduates are encouraged to visit the Writing Center; I shall keep a copy of the peer counselor's report in each student's individual file.

Student journals will not be graded, but I shall keep an informal record of student performance. E-mail has become an important part of all our lives; I shall keep a record of each undergraduate's communications with me. E-mails sent during the course should not be treated as "shopping lists" or as other casual scribbles designed "for your eyes only." Grammar, spelling, and general literacy will thus be scrutinized.

The final examination is open-book: bring notes, syllabi, e-mails, and whatever else you wish to the examination room. In certain circumstances, laptops may be permitted. This examination is important insofar as I am convinced that a student's performance on the identification and commentary question reflects her familiarity with crucial ideas and themes in the works that we have discussed during the semester. Please note that I often comment in the class-room that "This is an important passage; students should realize that it comprises just the kind of passage that will appear in the identification and commentary question." (Hint: take notes.) Student essays on the final will provide further indications of a student's familiarity with works and themes. Questions will be asked in which, for example, students will be invited to compare Swift, Voltaire, and Franklin.

A variety of other "imponderables" also enters into the assignment of a final grade. Improvement (particularly in writing) can prove a major consideration. Remember to bring your books to class; remember to take your books out of your book-bag; remember to open your books to the pages that we are discussing. Don't fall asleep in the classroom; don't stare blankly out the window; or don't endeavor, surreptitiously, to catch up with work for other classes. Don't chatter with, or pass clandestine notes to, your colleagues. Read the newspaper at home, please. A student's overall attitude is important, and it will be noted. Please remember, too, that grades in every class must display some "curving."

Grading is an art not a science. I refrain from assigning "cut-and-dried" percentages for written work, for classroom discussion, for the final examination, and for other components of the semester's grade. I do, however, expect a competent performance on the final examination. (Taking into account "speaking across the curriculum," I offer as a rule of thumb of percentages: 40% writing; 20% final exam; 20% class discussion; 20% journal.) Rest assured that I try to be scrupulously fair and, all things being equal, invoke mercy as well as justice.

Conferences: At least two conferences will be scheduled with each student. You are expected not only to be on time but to have something to say about your work. "Blowing off" a conference will adversely affect a student's cumulative grade. If circumstances prevent you from keeping an appointment on the day of our conference, call the English Department secretary and leave a message; I do not have e-mail facilities in my office so an e-mail will not reach me there. Conference appointments will be faithfully observed (and cumulative grades will suffer from any cavalier disregard by students). Come to conferences with something to say; don't stare at me like a fish. My time is important; yours should be too. Would you present yourself for an important job interview in a casual or unprepared fashion?

Class communication: Students are expected to read their e-mails (since the e-classroom becomes more of a reality each year). If you arrive in class and find yourself in a minority of one (or two or even three) as regards a missive from me, there is clearly something wrong with your communication system! Often I make significant remarks in e-mails about the works we have discussed. The serious student will keep a record of these. Students (particularly those who have been absent from class, for whatever reason) are required to remain familiar with syllabus and fresh postings about the class.

Academic honesty: Given the enticements of the Web (schoolsucks.com etc), plagiarism seems to have gone high tech. You should realise, however, that your instructors' search engines are awesomely powerful . . . At a more old-fashioned level, professors pass students' papers around and I may well have read "that paper you borrowed from a friend who submitted it to another class." We shall probably be visited by a member of the university administration who will discuss, in greater detail, the principles of academic honesty, the search-and-destroy techniques for rooting out academic dishonesty, and the procedures for dealing with reports of student dishonesty that have been formally lodged by instructors.

You are required to familiarize yourself with the latest statements of the university's policies on academic honesty. You will also read "Documenting Sources, MLA Style," Brief Holt Handbook, and "Avoiding Plagiarism, Brief Holt Handbook. Read this material in the Handbook with particular attention to problems of using work not your own. In this class, I design my paper topics in such a way as to discourage any temptation to plagiarism. The final is tamper-proof.

You should be aware that I have reported students for plagiarism in the past and that I shall not hesitate to do so again. The university protocols for dealing with my reports protect the interests of both professor and student, but they are, necessarily, time-consuming and labor-intensive. Far better that you should avoid, scrupulously, any suspicion of plagiarism on your part. Let me underscore my previous remarks about the web. Students should be aware that powerful search-engines have been devised for detecting any plagiarism from materials on the www; the resources of the web may seem to make it easier to pull of plagiarism, but they make academic dishonesty far more detectable.

Etiquette: Gentlemen may wear hats. Undergraduates are requested to eschew the use of bubble-gum in the classroom and during conferences. (Chewing gum, by contrast, is permissible.) Unexplained absences, as well as late arrivals to class, will be recorded by the instructor. (If you arrive late in class or turn in a late paper, please confirm that I have made appropriate changes in my record book.) Please familiarize yourself with university policy on absences that lack a legitimate excuse. Students can, alas, encounter sudden crises in their lives--I am always sympathetic--but please do not wait until the end of the semester to explain why you haven't attended class or submitted papers. I am not nosey about your personal dramas, but a call from the University's Counseling Center or a doctor's note will help substantiate your explanations. The university requires that students be prepared to document their reasons for missing class. Please note university deadlines for "WXing a class." If your name appears on my grade sheet and you have, for whatever reason, disappeared from class without leaving a paper trail, I gather from the Registrar's Office that your capacity to receive a passing grade will be very gravely compromised.

Conference appointments will be faithfully observed (and cumulative grades will suffer from any cavalier disregard displayed by undergraduates). Students who neglect to bring their books invite summary extrusion from the classroom. Students (particularly those who have been absent from class) are required to remain familiar with the syllabus and with fresh postings on my home page.

Academic Accommodations for Qualified Students with Disabilities. "It is the policy of Villanova University to make reasonable academic accommodations for qualified individuals with disabilities. If you are a person with a disability and wish to request accommodations to complete your course requirements, please make an appointment with the course professor as soon as possible to discuss the request. If you would like information on documentation requirements, contact the Office of Learning Support Services at 610-519-5636, or visit the office in Geraghty Hall."

Pizza Party. Stand by for details!

SYLLABUS: Please note that this syllabus is not graven in stone, particularly since we shall be meeting only once a week; students are invited to make constructive suggestions about the scheduling of our readings; any changes to the syllabus will be announced in class and will also be posted on the Web.

Jan 16 Introduction to the course. Screening of Crumb.

23 Introducing Descartes, 1-74, 98-102; Bacon, The New Atlantis (36-83, esp. 71-83); Swift, "The Lady's Dressing Room," "A Beautiful Young Nymph Going to Bed," Writings, 535-540. Begin Strathern, Descartes in 90 Minutes.

30 Introducing Descartes, 75-160 (surf); Swift, Writings, 345-355 (sheer madness), 389 (death of Descartes); "A Tritical Essay," 422-26; Bacon, The Great Instauration (pp. 1-32; it's heavy going, but try); Introducing Newton, 8-17, 37-79 (ancient, Renaissance and Cartesian science), 98-137 (Newton's Principia Mathematica). Complete Strathern, Descartes in 90 Minutes.

Feb 6 Stoppard, Arcadia; Introducing Chaos. First Paper Due

13 Attend Villanova Theatre for performance of Arcadia at 8 p. m. Meet first in White 120 at 6.10 p.m. for a discussion of Arcadia and Introducing Chaos Theory

20 Complete discussion of Arcadia and Introducing Chaos; Spiegelman's Maus; Swift, "Satirical Elegy," Writings, 528-9.

27 Swift, Gulliver's Travels, Books I and II; movie screening

Second Paper and Journals Due

Mar 6

13 Swift, Gulliver's Travels, Books III and IV; movie screening.

20 Voltaire, Letters, 9-32, 49-53, 61-66, 116-121 (On the Quakers, On the Church of England, On the Presbyterians, Socinians etc, On the Lord Bacon, On the Royal Society, ). Read (insofar as you are able to penetrate his satire!) Swift's parody of quakerism and fanaticism, Tale of a Tub, Writings, 340-345, 360-367, 399-414; Swift, "On Stella's Birthday, 1719, 1721," 525-28. Bring Introducing Newton. Please examine the extracts from Max Weber's The Protestant Ethic and the Spirit of Capitalism, reprinted in Franklin, Autobiography, 279-288.

27 Voltaire, Letters, 61-86 (On Descartes and Newton, On Attraction, On Newton's Opticks, On Infinites and Newton's Chronology); reread Introducing Descartes and Descartes in 90 Minutes; read Introducing Newton, paying particular attention to 159-171 (Newtonian physics and thereafter); Voltaire, Letters, 33-41, 54-60, 107-111 (Parliament, Government, Locke, Pope and other Famous Poets); Swift, "The Progress of Beauty," "Strephon and Chloe," "Cassinus and Peter," 522-525, 540-550

Apr 3 Franklin I, Autobiography, 1-76 (esp. 1-29, 32-40, 45-51, 64-76). Adams on Franklin, 243-248. Franklin, "handouts." [Browse in Swift's "Partridge Papers," Writings, 436-441; Franklin imitated these when establishing his reputation as the author of his very lucrative Poor Richard's Almanac.] Begin reading negative evaluations of Franklin by E. A. Poe, Mark Twain, D. H. Lawrence, Autobiography, 258-266, 272-4, 288-299. Please reread Max Weber, Autobiography, 279-288

10 Franklin II, Autobiography, 77-146 (esp. pp. 77-82, 87-89, 97-107, 131-134, 140-141. Voltaire, Candide. Continue readings on Franklin by Poe and others.

17 Franklin III: Achievement and reputation. Screening of The Madness of King George.

Third Paper Due

24 Guest lecturer: Declaration of Independence and The American Constitution. Please consult, too, Swift, Tale of a Tub, Writings, 301-310.

May 1 Maus reconsidered. Carroll, Alice. T. S. Eliot, "The Love Song of J. Alfred Prufrock" and The Waste Land.

BRIEF PAPER TOPICS (AND DUE DATES)

Topics will be fully discussed in class and in e-mail communications from the instructor; student input into the shaping of the topics is actively encouraged. Students are also encouraged to propose their own topics. Please reread "Tips for Writing" and "Effective use of Quotation from Other Writers" as linked to my home-page.

First paper: due Feb 6, 3-4 pages.

Heretofore I have invited students to explore Spiegelman's quasi-Augustinian vision of the world in Maus alongside their appraisal of the meliorism and progressivism championed by Bacon and other English scientists. During this semester, however, our reading of Stoppard's Arcadia in the context our theater visit and of chaos theory will precludes such a topic for our first paper.

Instead I now invite students to write upon one of the following two topics--or to suggest a topic of their own devising.

One. The satirists R. Crumb and Jonathan Swift have offered images of women that some viewers have found deeply grotesque and misogynistic. Yet some feminists discern an uncompromising honesty in their male depictions of the female body. James Joyce once remarked "Woman, she's the beauty" and Crumb's defenders see in the cartoonist's critique of women's bodies a critique of the male gaze that fetishizes the body beautiful. Crumb's caricatures, on this reading, prove harshly critical of most men (who emerge from his comics as more objectionable than the women whom they objectify). Referring to the movie Crumb (or to his comic books) and Swift's poems about women as selected for the syllabus, explore the accusations that have been made against these two satirists and offer a conclusion of your own.

Two. Our introductory readings have all dealt with innovation and progress in modern philosophy and science. Examining the claims made by Bacon, Descartes, and (if possible) Newton, consider the plausibility of the rhetoric they employ and the significance of the achievements they have made. Introducing, if you can, some examples from contemporary science (e.g. "Monkey Born with Genetically Engineered Cells" as reported in The New York Times by Gina Kolata, Jan 12, 2001, p. A1) explore the promise and the dangers of contemporary science. At what juncture--and can we tell?--do our angelic laboratory technicians metamorphose into mad scientists like Dr. Frankenstein?

Second Paper: Due Feb 27, 4-6 pages

Journal: Due Feb 27, at least 8 (dated) pages

In this paper you should discuss Stoppard's Arcadia within the context of chaos theory. This will strike many as an arcane topic and we shall discuss alternatives to it during class discussion. For example, you may wish to analyze the plot or the characters in a more traditional way, not least by paying especial attention to women. Or you may wish to examine the ways in which the producer, James J. Christy, has interpreted Stoppard's page for presentation on the stage. Did Christy fulfill your expectations? If not, why not? Most students will probably wish to combine elements of each of the topics that I have here sketched Please note that you should quote passages from Stoppard's text in order to support your arguments. You may wish to use Introducing Chaos for further documentation and argument. None of my suggestions precludes further discussion in class.

Third Paper: Due April 17, 5-8 pages

Here I am offering you several choices. You will have longer to work on this paper and we shall devote part of a conference to discussing your drafts.

Either: Compare the visions of the world conjured up by Art Spiegelman in Maus and by Francis Bacon in The New Atlantis. Making careful reference to the text, you should explain which seems more realistic and why. Which involves an "Augustinian" vision of the world? Which strikes you as more unrealistic?

Or: Compare the text of Gulliver's Travels with the satire's presentation on film. What changes to the organization of Swift's satire did the director have to make to render Gulliver's Travels successful as a mini-series? To what degree do these changes compromise the impact of Swift's satire? If you prefer, you may write an essay that concentrates on Book III of Gulliver's Travels (in which Swift's satire of modern science displays an obvious, if sardonic, debt to Descartes and to Bacon's New Atlantis) and show how Swift's dyspeptic or dystopian views of progress shed light upon themes that we have been discussing during the semester. In the past, some students have preferred to write a more general paper on Swift, taking into account his satire on women as well as his satires on human progress.

Or: Compare the world views of Swift and Franklin. Both men worked on the fringes of the British Empire but whereas Franklin worked hard (and successfully) to improve the lot of ordinary Philadelphians and to make the world a better place, Swift preferred to pen general satires upon a humanity that he believed nothing could redeem. (Note, however, that Swift was a charitable man and an excellent church administrator; he had many friends and was not--in any normal sense of the word--a misanthrope.)

Fourth Paper: due date to be established, 5-7 pp.

Journals: due date to be established; at least 7 (dated) pages

The final paper will involve a trip to the Philadelphia Museum of Art, or to the Benjamin Franklin Museum, or to the Mutter Museum. Students will be assigned certain artifacts and works of art to compare. These have been chosen to shed light on transitions from the early modern period to the nineteenth century and to "modernity." I shall schedule a class outing to the Mutter Museum which I hope students will be able to attend. Please note that this paper will require advance planning on your part. We shall discuss in detail the requirements for this paper.