Term Information General Information Offering Information Prerequisites

Home , Jamie McKelvie, Kieron Gillen, Peter Gross (comics), Peter Kuper

COURSE REQUEST Last Updated: Heysel,Garett Robert 3350 - Status: PENDING 10/26/2017

Term Information

Effective Term Autumn 2018

General Information

Course Bulletin Listing/Subject Area Hebrew Fiscal Unit/Academic Org Near Eastern Languages/Culture - D0554 College/Academic Group Arts and Sciences Level/Career Undergraduate Course Number/Catalog 3350 Course Title In the Beginning Was the Word…and the Image: Genesis in Graphic Narrative Transcript Abbreviation BibleComics Course Description This course will examine the varied and rich interconnections between graphic narrative and narratives in the Bible, focusing on the historical and aesthetic development of comics and the graphic novel and the ways in which biblical narratives can be read as literary texts and sequential art. OSU's Billy Ireland Comics Library and Museum will be a constant resource for the course. Semester Credit Hours/Units Fixed: 3

Offering Information

Length Of Course 14 Week Flexibly Scheduled Course Never Does any section of this course have a distance No education component? Grading Basis Letter Grade Repeatable No Course Components Lecture Grade Roster Component Lecture Credit Available by Exam No Admission Condition Course No Off Campus Never Campus of Offering Columbus

Prerequisites and Exclusions

Prerequisites/Corequisites English 1110 Exclusions Electronically Enforced No

Cross-Listings

Subject/CIP Code

Subject/CIP Code 16.1102 Subsidy Level Baccalaureate Course Intended Rank Freshman, Sophomore, Junior, Senior

3350 - Page 1

COURSE REQUEST Last Updated: Heysel,Garett Robert 3350 - Status: PENDING 10/26/2017

Requirement/Elective Designation

General Education course: Visual and Performing Arts The course is an elective (for this or other units) or is a service course for other units

Course Details

Course goals or learning • Students demonstrate knowledge of the history and development of comics and graphic narratives in the United objectives/outcomes States. • Students perform a close reading of comics, using field-specific terms and incorporating visual and narrative analysis, and situate the texts in their cultural, political and historical contexts. • Students can differentiate and compare approaches to common themes within texts from diverse social and historical contexts. • Students analyze, appreciate, and interpret significant works of art. • Students engage in informed observation and/or active participation in a discipline within the visual, spatial, and performing arts.

Content Topic List • Comics Comics and Religion Genesis and art Bible and art Literary approach to bible Hebrew bible Bible as literature Graphic novel Graphic narrative Jewish culture Israeli culture American Comics Sought Concurrence No

Attachments • Syllabus - Hebrew 3350 - Bible Comics.docx: Hebrew 3350 Syllabus (Syllabus. Owner: Smith,Jeremie S) • GE Visual and Performing Arts Expected Learning Outcomes_Comics_genesis.docx: Hebrew 3350 - GE Assessment Plan

(GEC Course Assessment Plan. Owner: Smith,Jeremie S) • GE Rationale for Visual and Performing Arts_Heb Bible_comics.docx: Hebrew 3350 - GE Rationale

(GEC Model Curriculum Compliance Stmt. Owner: Smith,Jeremie S)

Comments

3350 - Page 2

COURSE REQUEST Last Updated: Heysel,Garett Robert 3350 - Status: PENDING 10/26/2017

Workflow Information Status User(s) Date/Time Step Submitted Smith,Jeremie S 10/26/2017 10:28 AM Submitted for Approval Approved Liu,Morgan Yih-Yang 10/26/2017 10:44 AM Unit Approval Approved Heysel,Garett Robert 10/26/2017 12:11 PM College Approval

Nolen,Dawn Vankeerbergen,Bernadet Pending Approval te Chantal 10/26/2017 12:11 PM ASCCAO Approval Oldroyd,Shelby Quinn Hanlin,Deborah Kay Jenkins,Mary Ellen Bigler

3350 - Page 3 Hebrew 3350: In the Beginning Was the Word…and the Image*: Genesis in Graphic Narrative Syllabus

Term: Fall 2018 Instructor: Dr. Lynn Kaye Credit Hours: 3 Office: Hagerty 361 (Mailbox in Hagerty 300) Class Time: W/F 11.10-12.30 Office Hours: M/W 9.30-10.30, and by Location: TBA appointment Email: [email protected] Office Phone: 614-688-1552

Course Description This course will examine the varied and rich interconnections between graphic narrative and narratives in the Bible, focusing on two main aspects. First, it will look at the historical and aesthetic development of comics and the graphic novel, media to which biblical motifs contribute from the first graphic novel, Will Eisner’s A Contract with God (1978). Second, it will study the ways in which biblical narratives as literary texts on the one hand, and sequential arts on the other hand, engage four central themes in divergent and mutually illuminating ways: creation and the artistic process, personal choice and the responsibility of being chosen, contracts, rule-keeping and rule-breaking, and the origins and meaning of human conflict. Students will read biblical texts closely (with attention to stylistic elements such as character development, narrative themes and structure) and then analyze interpretations of those texts in comics. At the same time, students will practice close reading of sequential art and graphic narrative, both their visual aspects (panel design, drawing style, connections between panels) and verbal/textual features (dialogue balloons, narrative boxes) along with overall narrative development. This will make it possible to consider each work’s use of biblical motifs to advance its own concerns, which may differ from those of the biblical narratives with which it engages. The course will take advantage of OSU’s exceptional resources in the Billy Ireland Comics Museum and Library, and is inspired by a 2015 exhibition at the Israeli Comics Museum in Holon - research help from the museum archive and its head of collections is gratefully acknowledged. *This sentence is not from Genesis, but rather from the New Testament, but its reference to words made it a neat title.

Learning Objectives GENERAL EDUCATION: Visual and Performing Arts

Goals: Students evaluate significant works of art in order to develop capacities for aesthetic and historical response and judgment; interpretation and evaluation; critical listening, reading, seeing, thinking, and writing; and experiencing the arts and reflecting on that experience.

Expected Learning Outcomes: 1. Students analyze, appreciate, and interpret significant works of art. 2. Students engage in informed observation and/or active participation in a discipline within the visual, spatial, and performing arts.

This course develops students’ analytical skills and ability to appreciate significant works of art within the medium of graphic narrative, through engaging with a variety of examples of sequential art (comics), combining words and images. Students acquire and use technical and theoretical language to analyze and interpret comics and the ways meaning can be produced in this hybrid visual/textual art-form, through secondary readings and practice in class discussions, and close-reading assignments, both written and oral. Students use critical language and analytical categories to deepen their appreciation of the works and to enhance their ability to describe what they see and experience. This informed observation and participation in the field of comics and sequential arts coalesces around comics’ engagement with biblical narratives, primarily form the book of Genesis, as foundational myths and references for their own themes and concerns. The theoretical concept of “intertextuality” challenges students to understand the complex ways that texts, whether visual or literary, communicate and connect with other texts within and across time and cultures. Assigned texts include significant examples of comic arts from the US (see below) as well as plays that enrich the themes under discussion and connect with the comics and biblical texts, such as the 2008 television play, “God on Trial.” Class discussions are enriched with visual analysis of paintings and sculpture relating to the Genesis narratives, as points of comparison, giving students further opportunities to engage in informed observation in the broad field of visual arts, whether comics or other media in visual arts. Finally, students contextualize the works of art in their original social, political and historical contexts, while assessing their continued relevance or resonance today.

Course-Specific Expected Learning Outcomes: 1. Students demonstrate knowledge of the history and development of comics and graphic narratives in the United States. 2. Students perform a close reading of comics, using field-specific terms and incorporating visual and narrative analysis, and situate the texts in their cultural, political and historical contexts. 3. Students can differentiate and compare approaches to common themes within texts from diverse social and historical contexts.

Teaching Method: Lectures and Discussion Required Texts: 1. The Jewish Study Bible, JPS, 2nd Ed., ed. Marc Zvi Brettler and Adele Berlin, 2015 2. Robert Alter, The Art of Biblical Narrative, 1981 3. Scott McCloud, Understanding Comics: The Invisible Art, 1993. 4. Douglas Wolk, Reading Comics: How Graphic Novels Work and What They Mean, 2008 5. Elie Wiesel, “The Trial of God” paperback ed. Schocken, 1995 6. Various articles available as .pdf on Carmen

All of the comics below are either available on Carmen, or on reserve at the Billy Ireland Comics Library and Museum Reading Room (M-F 9am-5pm, Su 1pm-5pm).

7. Master Race by Bernie Krigstein (& Al Feldstein) in: Impact #1, EC Comics, USA, April 1955 available online at: https://fromdusktilldrawnblog.wordpress.com/2016/05/02/master- race-by-bernie-krigstein-usa-1955/ 8. Thor #4 Tom DeFalco and Ron Frenz, 1991 9. The Wandering Jew, Ze’ev Engelmeier [Hebrew, selections transl. by L Kaye], 2011 10. The Book of Sarah, Sarah Lightman (Myriad, 2018, forthcoming) 11. The Wicked and The Divine #6, Kieron Gillen and Jamie McKelvie, Image Comics, 2014 12. A Contract with God, Will Eisner, 1981 13. Calvin and Hobbes, Bill Waterston, Andrews and McMeel, 1987 (Selections) 14. Avengers #2, #3 and #6, Jonathan Hickman and Jerome Opena, 2012 15. All Star Superman, Grant Morrison and Frank Quitely, 2008 16. The Book of Genesis Illustrated by R. Crumb, 2009 17. The Acme Novelty Library Final Report to Shareholders and Rainy Day Saturday Afternoon Fun Book, Chris Ware, Pantheon / Cape, 2005 18. We Are On Our Own, Miriam Katin, 2006 19. Watchmen, Alan Moore and Dave Gibbons, 1986 20. To Live from the Bible – Genesis and Exodus, Efraim Sidon and Avner Avrahami [Hebrew, selections trans. by L Kaye], Keter, 1988 21. Sticks and Stones, Peter Kuper, 2004 22. Sandman #9: Master of Dreams #9, Neil Gaiman and Malcolm Jones III, 1989 23. The Unwritten #35, Mike Carey and Peter Gross, 2012 24. New X Men 1, #121 Grant Morrison and Frank Quitely, 2007

Assignments and Assessment: 1) First (midterm) Examination (30%) and Second Examination (30%). The first exam covers material from the first half of the semester. The second exam covers material from the midterm onwards. There is no cumulative examination. Exams will include identifying images, short answers and multiple choice questions as well as one essay question. I will circulate the essay questions before the exam to give you time to prepare, but the examinations will be closed- 3

book. Please bring blue-books to the examination and if you receive accommodations for disabilities, please speak to me at the start of the semester so we can put provisions in place before the exams. 2) Oral Presentation (20%). Each Student will present a close-reading of either a particular image or series of images from that day’s reading or short extract from the biblical text focusing on specific literary or artistic techniques. You should not do any outside research for these brief presentations; rather, you should pick a panel or a set of panels that you find particularly compelling and spend some extra time thinking about and analyzing it. Consider both its visual aspects (panel design, drawing style, connections between panels) and its verbal/textual features (dialogue balloons, narrative boxes) along with its overall narrative development and its place in the larger story. Grades will reflect clarity of argument, use of evidence, eye contact and body language during the oral presentation and other public-speaking techniques, as described on the Carmen site. More detailed guidelines for oral presentations can be found on the Carmen site. 3) Discussion Board Posts (10%). Each student must post on the class discussion board once during the semester. Detailed guidelines for posts are available on Carmen. Posts should be 200-250 words long and include discussion of a specific aspect of the assigned text/s and a connection with another element of contemporary culture, linking to an image or other relevant online resource. 4) Video Presentation (10%). Each student will record a video presentation of 3 minutes about a comic or graphic narrative from the Billy Ireland Library. Specific guidelines available on Carmen. The presentation should include: the name and author and date and publisher of the comic, a summary of the plot, articulation of key themes of the comic and analysis of one exemplary image or several panels from the comic, noting the artistic elements (see above in description of close-reading for the oral presentation) and their connections to the wider themes. The comic must not be on the syllabus, and can either relate to the bible, or to another sacred text, or be unrelated to themes of religion and sacred texts. Students must also research the historical context of the comic and make sure to include an explanation of how the social and historical contexts of the comic contribute to it. You can ask the research librarians for guidance on researching the history of your chosen comic. The presentations will be graded on demonstrations of grasp of historical/social context of the comic and its meaning in its own time and place, visual analysis of the comic including clarity of description of the artistic elements, depth of analysis and argument about the ways that the chosen extracts advance the theme or the comic. Video quality should be clear and steady, and should include a view of the chosen page/s of the comic.

Due Dates for Assignments and Examinations 1) Midterm Examination: Week 8 1b) Second Examination: Week 15 4

2-3) Discussion Board Posts and Oral Presentations: Each student has different date for each one. Discussion board posts follow alphabetical order, Oral presentations are in reverse alphabetical order. See schedule on Carmen. Students may switch weeks – if they do so, please inform the professor. 4) Video presentation due Wednesday in the 12th week of semester, upload via Carmen

Grading: Unless otherwise noted, your letter grade on an assignment represents the lowest percentage in the grade range for that grade. 93 -100 A (4.0) 90 - 92 A- (3.7) 87 - 89 B+ (3.3) 83 - 86 B (3.0) 80 - 82 B- (2.7) 77 - 79 C+ (2.3) 73 - 76 C (2.0) 70 - 72 C- (1.7) 67 - 69 D+ (1.3) 63 - 66 D (1.0) 60 - 62 D- (0.7) 59 and below E (0.0)

What Do Letter Grades Mean? (from Ohio State University’s Art and Technology Department, adapted for this class) A represents outstanding distinction and excellence. 90-100% - These are not impossible to achieve but are rare and difficult to come by. B signifies levels of solid accomplishment and goodness. 80- 89% - Good is more common than excellent but more rare than average. While there is merit to hard work and long hours, it does not always guarantee success. Goodness refers to the combined results not just the effort. C signifies average- simple, common, adequate but ordinary 70-79%

- C is a very respectable point. Recognize what more is needed; plan to move ahead, improve and grow. D represents results less than standard and/or mediocre- just passable 60-69% - Perhaps priorities about school or life have not been established. Recognize however, that a D can also mean that you truly do not understand what is expected. You should make an office appointment to discuss how you might take action on your future and upcoming assignment problems. E is a clear failure. < 59% -It represents lack of effort/interest. It is a cause for deep concern.

Attendance: Attendance at lectures and discussion sections is mandatory. More than two unexcused absences will result in a percentage point deducted from the final grade for each absence. STUDENTS WITH DISABILITIES that have been certified by the Office for Disability Services will be appropriately accommodated, and should inform the instructor as soon as possible of their needs. The Office for Disability Services is located in 150 Pomerene Hall, 1760 Neil Avenue; telephone 292-3307, TDD 292-0901; http://www.ods.ohio-state.edu/.

Academic Misconduct: It is the responsibility of the Committee on Academic Misconduct to investigate or establish procedures for the investigation of all reported cases of student academic misconduct. The term “academic misconduct” includes all forms of student academic misconduct wherever committed; illustrated by, but not limited to, cases of plagiarism and dishonest practices in connection with examinations. Instructors shall report all instances of alleged academic misconduct to the committee (Faculty Rule 3335-5-487). For additional information, see the Code of Student Conduct (http://studentlife.osu.edu/csc/)

For Your Safety, the OSU Student Safety/Escort Service is available after 7 p.m. by dialing 292- 3322.

Gender And Diversity “Title IX makes it clear that violence and harassment based on sex and gender are Civil Rights offenses subject to the same kinds of accountability and the same kinds of support applied to

offenses against other protected categories (e.g., race). If you or someone you know has been sexually harassed or assaulted, you may find the appropriate resources at http://titleix.osu.edu or by contacting the Ohio State Title IX Coordinator, Kellie Brennan, at [email protected]” “The Ohio State University affirms the importance and value of diversity in the student body. Our programs and curricula reflect our multicultural society and global economy and seek to provide opportunities for students to learn more about persons who are different from them. We are committed to maintaining a community that recognizes and values the inherent worth and dignity of every person; fosters sensitivity, understanding, and mutual respect among each member of our community; and encourages each individual to strive to reach his or her own potential. Discrimination against any individual based upon protected status, which is defined as age, color, disability, gender identity or expression, national origin, race, religion, sex, sexual orientation, or veteran status, is prohibited.”

Course Schedule University calendar: http://registrar.osu.edu/staff/bigcalsem.asp

Weekly Readings and Discussions Readings should be completed prior to class meeting

1. Introduction No Readings

2. What Are Readings: Jessica Abel’s What is a Graphic Novel (Carmen) Comics? http://dw-wp.com/resources/what-is-a-graphic-novel/; Hillary Chute, “Comics as Literature’ (Carmen); MASTER RACE by Bernie Krigstein (& Al Feldstein) in: Impact #1, EC Comics, USA, April 1955 available online at: https://fromdusktilldrawnblog.wordpress.com/2016/05/02/master- race-by-bernie-krigstein-usa-1955/

3. Reading Comics Readings: McCloud, “The Vocabulary of Comics” (chapter 2); as a Critical Excerpt from Alison Bechdel, Fun Home (Carmen) Perspective

4. What is the Readings: Jewish Study Bible, Introductions on pp. 1-7, 451-461, Bible? A Brief 1275-1279 and “The Modern Study of the Bible” by Marc Zvi History of the Brettler and Adele Berlin, pp. 2084-2096 Bible

5. Reading the Readings: Robert Alter, The Art of Biblical Narrative, 1-24; Genesis Bible as 37-43 Literature

6. Tour of the Billy Readings: McCloud, Understanding Comics Ch.3 “Blood in the Ireland Comics Gutter; David Wolk, Ch. 5 “Pictures, Words and the Space Between Museum and Them” pp. 118-134 Library, with Introduction to the Reading Room and Resources 7. Chosen By God Readings: Jewish Study Bible “Introduction to Genesis” by Jon D. and Choosing Levensohn (pp.8-10); Genesis 12-22 to be Super Part 1: Responsibility and Choice 8. Chosen By God Readings: Wolk, “Superheroes and Superreaders,” pp. 89-117; Thor and Choosing #4 by Tom DeFalco and Ron Frenz, 1991 to be Super Part 2: Responsibility and Choice 9. Chosen By God Readings: Genesis 16-21; “Genesis 22” by Ze’ev Engelmeier and Choosing [Hebrew, transl. by L Kaye] from The Wandering Jew, 2011; The to be Super Book of Sarah, Sarah Lightman (Myriad, 2018, forthcoming) Part 3: Childbearing and Choice 10 Chosen By God Readings: Genesis 15, 17, Exodus 19, 31; Encyclopedia Judaica, and Choosing “Covenant” (available online through the library) to be Super Part 4a: Mutuality and Biblical Covenants 11 Chosen By God Reading: A Contract with God, Will Eisner, 1981; Wolk, Reading and Choosing Comics pp. 166-180 to be Super Part 4b: Mutuality and Covenants 12 Part 4c: Screening a of “God on Trial” 2008, by F. Cottrell Boyce, dir. by Mutuality and Andy de Emmony Covenants Reading: Elie Wiesel, “The Trial of God” paperback ed. 1995. Note: Wiesel’s and Frank Cottrell Boyce’s plays are not the same. In class

we will discuss and compare the two works.

13 Part 3d: Discussion of “God on Trial” and “The Trial of God” in relation to A Mutuality and Contract with God by Will Eisner Covenants 14 Chosen By God Readings: Jewish Study Bible, “Introduction to the Twelve Minor and Choosing Prophets” by Ehud Ben Zvi 1139-1141; Jonah (entire book); video to be Super excerpt from “The Jews are Coming” (Carmen) Part 4d: Rejecting or Accepting Power 15 Chosen By God Readings: Alter, Art of Biblical Narrative “Characterization and the and Choosing Art of Reticence,” pp. 143-162; The Wicked and The Divine #6, to be Super Kieron Gillen and Jamie McKelvie, Image Comics, 2014 Part 4e: Rejecting or Accepting Power 16 First (Midterm) Examination 17 Creation and Genesis 1-3; Alter, The Art of Biblical Narrative, “Between Narration Creativity Part and Dialogue,” pp. 79-110 1: Two Creation Stories 18 Creation and Reading: Miriam Katin, We Are On Our Own: A Memoir (2006) Creativity Part 2: Light and Darkness 19 Creation and Readings: All Star Superman, Grant Morrison and Frank Quitely, Creativity Part 2008; Wolk, Reading Comics, 258-288 3a: Gods and Superheroes 20 Creation and Readings: The Acme Novelty Library Final Report to Shareholders Creativity Part and Rainy Day Saturday Afternoon Fun Book, Chris Ware, Pantheon 3b: Gods and / Cape, 2005; Wolk Reading Comics, pp. 347-358 Superheroes 21 Creation and Readings: Calvin and Hobbes, Bill Waterston, Andrews and McMeel, Creativity Part 1987 (Selection); Watchmen, Alan Moore and Dave Gibbons, 1986; 3c: Gods and Avengers #6, Jonathan Hickman and Jerome Opena, 2012 Superheroes 22 Creation and Readings: Robert Crumb, The Book of Genesis: Illustrate, Chapters Creativity 4a: 1-3; Wolk, Reading Comics, “Auteurs, The History of Art Comics and Creation and How to Look at Ugly Drawings” pp. 29-59

People 23 Creation and Readings: Sticks and Stones by Peter Cooper, 2004; “Genesis Creativity 4b: Chapter 3” by Ze’ev Engelmeier, 2014 (Carmen) Creation and People 24 Creation and Readings: Avengers #2 and Avengers #3 by Jonathan Hickman and Creativity 4c: Gerome Opena, 2012; Recommended: Flex Mentello: Man of Creation and Muscle Mystery, by Grant Morrison and Frank Quitely, 1996 People 25 Cain and Abel: Readings: Genesis 4-5; Erich Auerbach, Mimesis: The Origins of Representation of Reality in Western Literature, trans. Willard R. Human Conflict Trask. Princeton, 1953, repr. 1974, “Odysseus’ Scar” available Part 1 online at http://www.westmont.edu/~fisk/Articles/OdysseusScar.html; 26 Cain and Abel: Readings: Robert Crumb, The Book of Genesis, Illustrated (2009) Origins of Chapters 4-5 Human Conflict Part 2 27 Cain and Abel: Readings: Sandman #9: Master of Dreams #9, Neil Gaiman and Origins of Malcolm Jones III, 1989; “The ‘Outsider’: Neil Gaiman and the Old Human Conflict Testament” by Cyril Camus, Chapter 17 in Visualizing Jewish Part 3 Narrative Jewish Comics and Graphic Novels, edited by Derek Parker Royal, 2016 (Carmen) 28 Can and Abel: Readings: Excerpts from Efraim Sidon, To Live from the Bible New X Origins of Men 1, #121 by Grant Morrison and Frank Quitely, 2007 Human Conflict Part 4 29 Cain and Abel: Reading: The Unwritten #35, Mike Carey and Peter Gross, 2012 The Original Story 30 Second Examination on material covered since the first (midterm) examination

GE Visual and Performing Arts Rationale Hebrew 3350: In the Beginning was the Word…and the Image: Genesis and Graphic Narrative

GE Rationale for Visual and Performing Arts Visual and Performing Arts GOALS: Students evaluate significant works of art in order to develop capacities for aesthetic and historical response and judgment; interpretation and evaluation; critical listening, reading, seeing, thinking, and writing; and experiencing the arts and reflecting on that experience.

Students develop their analytical skills through engaging with visual arts in the form of comics alongside prose texts of the bible in translation. The theoretical concept of “intertextuality” challenges students to understand the complex ways that texts, whether sequential art or literature with words alone, communicate and connect with other texts within and across time and cultures. Students perform visual and narrative analysis of comics and graphic narrative and learn the theoretical categories and tools with which to describe and analyze sequential art.

Through engaging with graphic narrative, students learn to process and express on their own responses, adopt categories for analysis in different art forms, and practice expressing their opinions and writing analyses about graphic narrative and its relation to cultural touchstones, especially for this class, the Bible.

Students gain knowledge of the social, political and historical contexts in which the pieces of art were produced. Students learn about the history of comics arts, through practical hands-on research in the Billy Ireland Comics Library and Museum and through the lectures and readings. Students learn about the contribution of different comics’ artists from the United States and will be able to discuss the different theoretical approaches to studying comics as part of literature and visual culture.

Assessment Plan GE Visual and Performing Arts Hebrew 3350- In the Beginning There was the Word…and the Image: Genesis and Graphic Narrative

GE Visual and Source of Direct Change Measure of Data Collected Indirect Change or Success Performing Data for Assessment Success by Indirect Assessment Arts Expected Direct Method Assessment Method Learning Assessment Outcomes 1. Students First and Rate student 1 2 3 4 5 Success is Whether Opinion Survey Success is if 75% analyze, Second papers from A 3 5 15 25 8 75% of students see of students report appreciate, Examination 1-5 on Z 1 1 17 8 3 students course as opportunities to 5 7 and interpret Essay analysis, rating in successful at analyze,

significant Questions appreciation middle-high providing appreciate and and Table rates students works of art. (Appendix range for opportunities to interpret works of interpretatio from 1-5 on x axis and A:1) analysis, analyze, art. n of work of y axis is demonstration appreciation appreciate and (Appendix B) art. of analysis, and interpret appreciation and interpretatio significant works interpretation of art n of art of art. work in first and last essay.

Expect that in first essay majority of students’ analysis, appreciation and interpretation of art will be superficial.

By last essay expect more students to demonstrate greater skill in analysis, appreciation and Assessment Plan GE Visual and Performing Arts Hebrew 3350- In the Beginning There was the Word…and the Image: Genesis and Graphic Narrative

interpretation of art works.

2. Students Insert Short- Rate 1 2 3 4 5 Success is Students’ Opinion Survey Success is if 75% engage in Answer students M 3 8 15 15 8 75% of perception of of students report informed Questions in from 1-5 on F 5 1 17 7 3 students course providing opportunities to 5 observation First performanc rating in opportunities to participate in and/or active (Midterm) e of middle to participate informed way in Table rates students participation and Second informed higher actively within a discipline within from 1-5 on x axis and in a discipline Examination observation ratings. discipline in arts. arts. (Appendix B) y axis is performance within the (Appendix of visual of informed visual, A:2 ) arts observation of art spatial, and work in midterm and performing final exam. arts.

Expect that question in final exam will demonstrate greater attention to style and greater level of detail, and contextualization of artwork.

Assessment Plan GE Visual and Performing Arts Hebrew 3350- In the Beginning There was the Word…and the Image: Genesis and Graphic Narrative

Course Source of Direct Change Measure of Data Collected Indirect Change or Success Specific Data for Assessment Success by Indirect Assessment Expected Direct Method Assessment Method Learning Assessment Outcomes 1. Students Insert Short- Rate 1 2 3 4 5 Success is Whether Opinion Survey Success is if 75% demonstrate Answer student A 3 5 1 2 8 75% of students see of students report knowledge of Questions in papers from 5 5 students course as opportunities to the history First 1-5 on Z 1 1 1 8 3 rating in successful at analyze, and (Midterm) knowledge 5 7 7 middle-high providing appreciate and development and Second of history range for opportunities to interpret works of of comics and Examination and Table rates students analysis, learn the history art. graphic (Appendix developmen from 1-5 on x axis and appreciation and (Appendix B) narratives in A:3) t of comics y axis is demonstration and development of the United ion the US. of analysis, interpretatio comics and States. appreciation and n of art graphic narrative interpretation of art in the US. work in first and last essay.

Expect that in first essay majority of students’ analysis, appreciation and interpretation of art will be superficial.

By last essay expect more students to demonstrate greater Assessment Plan GE Visual and Performing Arts Hebrew 3350- In the Beginning There was the Word…and the Image: Genesis and Graphic Narrative

skill in analysis, appreciation and interpretation of art works.

2. Students First and Rate 1 2 3 4 5 Success is Whether Opinion Survey Success is if 75% perform a Second student A 3 5 1 2 8 75% of students see of students report close reading Examination papers from 5 5 students course as opportunities to of comics, Essay 1-5 on their Z 1 1 1 8 3 rating in successful at perform a close using field- Questions use of field- 5 7 7 middle-high providing reading of comics, specific terms (Appendix specific range for use opportunities to using field-specific and A:1) terms and Table rates students of field- perform a close terms and incorporating incorporatin from 1-5 on x axis and specific reading of incorporating visual and g visual and y axis is demonstration terms, comics, using visual and narrative narrative of analysis, incorporating field-specific narrative analysis, analysis, and analysis, appreciation and appropriate terms and and situate the situate the and interpretation of art analysis and incorporating texts in their texts in their situating work in first and last contextualizi visual and cultural, political cultural, the texts in essay. ng the arts. narrative and historical political and their analysis, and contexts. historical cultural, Expect that in first situate the texts (Appendix B) contexts. political and essay majority of in their cultural, historical students’ close political and contexts. readings and historical utilization of field- contexts. specific terms will be shaky and more superficial.

By last essay expect Assessment Plan GE Visual and Performing Arts Hebrew 3350- In the Beginning There was the Word…and the Image: Genesis and Graphic Narrative

more students to demonstrate greater skill in using field- specific terms to perform close-readings and visual analyses.

3. Students First and Rate 1 2 3 4 5 Success is Whether Opinion Survey Success is if 75% can Second student A 3 5 1 2 8 75% of students see of students report differentiate Examination papers from 5 5 students course as opportunities to and compare Essay 1-5 on Z 1 1 1 8 3 rating in successful at differentiate and approaches to Questions analysis of 5 7 7 middle-high providing compare common (Appendix common range for opportunities to approaches to themes A:1) themes Table rates students analysis of differentiate and common themes within texts within texts from 1-5 on x axis and common compare within texts from from diverse from y axis is demonstration themes approaches to diverse social and social and diverse of analysis of common within texts common themes historical contexts historical social and themes within texts from diverse within texts (Bible and comics). contexts historical from diverse social and social and from diverse (Appendix B) (Bible and contexts. historical contexts. historical social and comics). contexts. historical Expect that in first contexts (Bible essay majority of and comics). students’ analysis of common themes and different approaches to such themes will be superficial.

By last essay expect Assessment Plan GE Visual and Performing Arts Hebrew 3350- In the Beginning There was the Word…and the Image: Genesis and Graphic Narrative

more students to include more original analysis and connections between the different texts.

Assessment Plan GE Visual and Performing Arts Hebrew 3350- In the Beginning There was the Word…and the Image: Genesis and Graphic Narrative

Appendix A 1. Sample Essay Questions for First (Midterm) and Second Examinations – for Learning Outcome “Students analyze, appreciate, and interpret significant works of art”

1. Explain the role of Cain and Abel in Neil Gaiman’s Sandman #9, and how Gaiman’s Cain and Abel differ from the characters’ portrayal in Genesis. Give specific examples from the comic, using technical terms for the different parts of work, and making sure to discuss the relation between word and image. Cite specific verses from Genesis and provide a close-literary reading, emphasizing specific narrative techniques to support your characterization of Cain and Abel in Genesis. 2. Superhero comics relate again and again to questions of responsibility, emphasizing personal choice and the internal struggles of Individuals. Being chosen by God sometimes leads to dilemmas of responsibility in the Bible. Choose one comic and one biblical narrative that we have discussed in class and compare and contrast the portrayals of the themes of choice and responsibility in each. Give specific examples from the comic, using technical terms for the different parts of work, and making sure to discuss the relation between word and image. Cite specific verses from the Bible and provide a close-literary reading, emphasizing specific narrative techniques to support your argument. 3. Choose one portrayal of gods or god-like beings from a comic we have studied, and one portrayal of God from a Biblical narrative we have studied and describe the narrative and visual techniques used to build each characterization. Draw specific comparisons and contrasts between the portrayals of God’s/god’s/god-like figure’s character in each text. Mention specific narrative techniques and sequential artistic techniques to support every element of the characterization. 4. Explain the biblical concepts of covenant and contract, citing specific examples from biblical texts and secondary sources we have studied. Describe how Will Eisner’s portrayal of bargaining with God echoes and diverges form biblical features of covenant. Cite specific examples from both the graphic narrative and the Bible, using technical terms for the different parts of work, and making sure to discuss the relation between word and image. You may choose to refer to other texts we have studied/viewed to help you illustrate your arguments.

Assessment Plan GE Visual and Performing Arts Hebrew 3350- In the Beginning There was the Word…and the Image: Genesis and Graphic Narrative

2. Sample Short Answer Question for First (Midterm) and Second Examinations – for Learning Outcome “Students engage in informed observation and/or active participation in a discipline within the visual, spatial, and performing arts.

Identify the creators of the following work, the title and year from which it is drawn, and perform a brief close-reading of the excerpt, highlighting its visual aspects (panel design, drawing style, connections between panels) and its verbal/textual features (dialogue balloons, narrative boxes) along with its overall narrative development and its place in the larger story.

Assessment Plan GE Visual and Performing Arts Hebrew 3350- In the Beginning There was the Word…and the Image: Genesis and Graphic Narrative

Identify the creator of the following work, the title and year from which it is drawn, and perform a brief close-reading of the excerpt, highlighting its visual aspects (panel design, drawing style, connections between panels) and its verbal/textual features (dialogue balloons, narrative boxes) along with its overall narrative development and its place in the larger corpus of this comic.

Assessment Plan GE Visual and Performing Arts Hebrew 3350- In the Beginning There was the Word…and the Image: Genesis and Graphic Narrative

3. Sample Short Answer Question for First (Midterm) and Second Examinations – for Learning Outcome “Students demonstrate knowledge of the history and development of comics and graphic narratives in the United States.” Identify the source of the panel below and explain its relevance for the history of comics in the United States

Assessment Plan GE Visual and Performing Arts Hebrew 3350- In the Beginning There was the Word…and the Image: Genesis and Graphic Narrative

Appendix B Opinion Survey Please rate your answers to the following questions: a) I am better at responding to critical questions and analyzing arts and literature than I was at the beginning of the semester. 1 Disagree 2 Somewhat Agree 3 Agree b) I am able to access and use relevant information critically and analytically. 1 Disagree 2 Somewhat Agree 3 Agree c) I had opportunities to analyze, appreciate and interpret significant works of art. 1 Disagree 2 Somewhat Agree 3 Agree d) The course provided opportunities to participate actively within a discipline in arts. 1 Disagree 2 Somewhat Agree 3 Agree e) The course provided opportunities to learn the history and development of comics and graphic narrative in the US. 1 Disagree 2 Somewhat Agree 3 Agree f) The course provided opportunities to perform a close reading of comics, using field-specific terms and incorporating visual and narrative analysis, and situate the texts in their cultural, political and historical contexts. 1 Disagree 2 Somewhat Agree 3 Agree g) The course provided opportunities to differentiate and compare approaches to common themes within texts from diverse social and historical contexts (Bible and comics). 1 Disagree 2 Somewhat Agree 3 Agree Assessment Plan GE Visual and Performing Arts Hebrew 3350- In the Beginning There was the Word…and the Image: Genesis and Graphic Narrative

Notes on GE and Course-Specific Learning Outcomes I see the course-specific learning outcomes as the field-specific expressions of the more generally-constructed Visual and Performing Arts Expected Learning Outcomes. Thus, for the direct assessment of these expected learning outcomes, the first goal of “Students analyze, appreciate, and interpret significant works of art” is augmented by the course specific analytic goals, “Students perform a close reading of comics, using field-specific terms and incorporating visual and narrative analysis and situate the texts in their cultural, political and historical contexts,” and Students can differentiate and compare approaches to common themes within texts from diverse social and historical contexts” (comics and bible). All three goals are assessed directly in the essay questions in the two exams. The second goal of engagement in a meaningful way with arts, “Students engage in informed observation and/or active participation in a discipline within the visual, spatial, and performing arts” is augmented by the course-specific goals of “demonstrating knowledge of the history and development of comics and graphic narratives in the United States.” Therefore, the short-answer questions provide the direct assessment opportunities for the GE and course-specific goals.