The Vampire in European and American Culture Dr. Jeff Holdeman SLAV-T230 11498 (SLAV) (please call me Jeff) SLAV-T230 11893 (HHC section) GISB East 4041 Fall 2019 812-855-5891 (office) TR 4:00–5:15 pm Office hours: Classroom: GA 0009 * Tues. and Thur. 2:45–3:45 pm in GISB 4041 carries CASE A&H, GCC; GenEd A&H, WC * and by appointment (just ask!!!) * e-mail me beforehand to reserve a time * It is always best to schedule an appointment. [email protected] [my preferred method] 812-335-9868 (home)
This syllabus is available in alternative formats upon request.
Overview The vampire is one of the most popular and enduring images in the world, giving rise to hundreds of monster movies around the globe every year, not to mention novels, short stories, plays, TV shows, and commercial merchandise. Yet the Western vampire image that we know from the film, television, and literature of today is very different from its eastern European progenitor. Nina Auerbach has said that "every age creates the vampire that it needs." In this course we will explore the eastern European origins of the vampire, similar entities in other cultures that predate them, and how the vampire in its look, nature, vulnerabilities, and threat has changed over the centuries. This approach will provide us with the means to learn about the geography, village and urban cultures, traditional social structure, and religions of eastern Europe; the nature and manifestations of Evil and the concept of Limited Good; physical, temporal, and societal boundaries and ritual passage that accompany them; and major historical and intellectual periods (the settlement of Europe, the Age of Reason, Romanticism, Neo-classicism, the Enlightenment, the Victorian era, up to today). We will examine how the vampire first manifested itself in European literature and how it "shape-shifted" its way into the entertainment (and commercial) media of today, through numerous and various readings of fictional, ethnographic, and scholarly works, the analysis of folklore materials, as well as the viewing of movies, television shows, and Internet sites, not only from the U.S. and Europe but from around the world. By the end of the course, students will be able to discuss the origins, classifications, functions, natures, and evolution of the vampire and what that can tell us about historical periods and our own contemporary cultures.
Learning Objectives After successfully completing this course, students will be able to: * interpret a broad range of materials (folklore, literature, film, and manifestations/products of contemporary culture from a variety of countries) based on content and function, to place the materials within the era and culture that created them as well as: * identify, discuss, and compare the countries of eastern Europe, their capitals, religions, languages, history, and traditional social structure * discuss belief systems and how they manifest themselves in traditional and modern cultures * discuss the origins, classifications, functions, natures, and evolution of the vampire * analyze unfamiliar authentic folklore and urban materials for content, classification, theme, and purpose * compare contemporary Western culture (as well as select world cultures) with traditional eastern European cultures and belief systems * compare and contrast major historical and intellectual periods of Western culture, especially how they define and approach the concept of Evil (Romanticism, Neo-classicism, the Enlightenment, etc.) * express themselves more ably in spoken and written forms through the analysis of authentic folkloric texts, historical documents, works of literature, movies, and contemporary culture
Disclaimer In this course, we will be discussing and viewing sensitive topics: religion and belief systems, personal beliefs, "subculture" lifestyles, human sexuality, death and its physiology, and how all of these relate to vampire studies and their depictions in a range of media (which we will be viewing and examining). Some discussions will be frank, but academic. (I reserve the right to make puns, however.) If you feel that you might be bothered in any way, you might consider taking another course.
1 College of Arts and Sciences Learning Outcomes This course carries CASE A&H and CASE GCC credit:
Arts and Humanities (CASE A&H) courses examine the complexity of human experience, interrogate the range of human thought and emotion, interpret varieties of aesthetic expression, and grapple with moral issues. Such courses analyze written texts and works in literature, the visual arts, music, and the other performing arts, as well as philosophical and religious thought, and intellectual and cultural traditions from both contemporary and historical perspectives. They also develop the abilities to think rationally and to construct and assess opinions, ideas, and arguments. The approach may be comparative, historical, or analytical, but the emphasis is on developing students' interpretive and critical skills. Courses approved for Arts and Humanities Breadth of Inquiry credit explore and analyze the artifacts of human expression and/or put their knowledge into practice through producing work in (a) literary form, (b) the visual arts (painting, sculpture, textiles, etc.), (c) musical composition and performance, or (d) dramatic performance (live theater, video and film, dance, etc.). These courses should include some written component—whether an analytical paper, a research paper, or a response to an aesthetic experience.
Global Civilizations and Cultures (CASE GCC2) courses examine the distinctive worldview, institutions, and patterns of organization of a non-U.S. civilization or culture. A course might focus on the art, religion, literature, political and philosophical traditions, social behavior and institutions, etc. of a particular culture or civilization, but it would fulfill CASE GCC requirement only if it devoted a substantial amount of time to the relationship(s) between that specific aspect and the culture more generally. Alternately, a course might have a broad conceptual focus within a narrow geographical and temporal setting (e.g., religious practices in a particular country or across a specific time frame) or a narrow conceptual focus across a broad geographical or temporal setting (e.g., "global cities" on different continents or as manifest across broad expanses of time). Students who complete the CASE GCC requirement will be able to demonstrate: a) knowledge of non-U.S. cultures and civilizations (including beliefs, values, perspectives, practices, and products); b) an ability to explain the relational complexities of cultural forms and ideologies, institutional arrangements, social and political institutions, etc., whether studying a single culture and/or civilization or taking a comparative approach that examines cultures and civilizations across time and space; and c) facility in using a vocabulary of topics, tropes, narratives and other discursive strategies to analyze, interpret, and productively engage different cultures and civilizations on a global scale. [In SLAV-T230: we will examine the geography, village and urban cultures, traditional social structure, and religions of eastern Europe; the nature and manifestations of Evil and the concept of Limited Good in many cultures of this region (and parallels in British, American, and select world cultures; physical, temporal, and societal boundaries and ritual passage that accompany them; and major historical and intellectual periods (the settlement of Europe, the Age of Reason, Romanticism, Neo-classicism, the Enlightenment, the Victorian era, up to today). We will examine how the vampire first manifested itself in European (and specifically British) literature and how it "shape-shifted" its way into the entertainment (and commercial) media of today, through numerous and various readings of fictional, ethnographic, and scholarly works, the analysis of folklore materials, as well as the viewing of movies, television shows, and Internet sites, not only from the U.S. and Europe but from around the world. By the end of the course, students will be able to discuss the origins, classifications, functions, natures, and evolution of the vampire and what that can tell us about historical periods and our own contemporary cultures.]
General Education Learning Outcomes This course carries GenEd A&H credit. Of the seven GenEd A&H learning outcomes, this course is designed to develop the following four skills: AH-1. Students demonstrate knowledge of origins, varieties, and meanings of the expressions and artifacts of human experience, including (a) original written texts in various literary forms, (b) works of visual art and design, (c) musical compositions, and (d) dramatic performance (live theater, dance, film, video, digital, etc.). [In SLAV-T230: Students demonstrate the ability to express themselves more ably in spoken and written forms through the analysis of authentic folkloric texts, historical documents, works of literature, movies, and contemporary culture.] AH-2. Students demonstrate knowledge of the cultural, intellectual, and historical contexts through which these expressions and artifacts are interpreted. [In SLAV-T230: Students demonstrate knowledge of the cultural, intellectual, and historical contexts (pre-modern Central and East European civilization, then 19th-century British history and society, then 20th-century United States history and society, and into 21st-century global civilization) through which these expressions and artifacts (belief systems, literature, film, modern subcultures) are interpreted.] AH-3. Students demonstrate an understanding of the modes of symbolic expression and aesthetic and/or literary conventions that are used in these expressions and artifacts. [In SLAV-T230: Students demonstrate an understanding of the modes of symbolic expression (in belief systems, visual manifestations and descriptions, and the psychological and social functions of vampire beliefs), as well as aesthetic, literary, and cinematic conventions that are used in these expressions and artifacts.] AH-4. Students demonstrate the ability to develop arguments, ideas, and opinions about forms of human expression, grounded in rational analysis and in an understanding of and respect for the historical context of expressions and artifacts, and to express these ideas in written and/or oral form. [In SLAV-T230: Students demonstrate the ability to 2 develop arguments, ideas, and opinions about forms of human expression, grounded in rational analysis (a 10-point Perkowski analysis, a Vampire Threat Analysis, and readings from the academic literature on vampire studies) and in an understanding of and respect for the historical context of expressions and artifacts (through in-class mini- lectures and at-home readings and analysis homework assignments), and to express these ideas in written and/or oral form (through class discussions, group work, three long-essay exams, and two written analysis projects).]
This course carries GenEd World Cultures (WC) credit. Of the six GenEd WC learning outcomes, this course is designed to develop the following four skills: WLC-1. Students who complete the World Languages and Cultures requirement will demonstrate an understanding of culture within a global and comparative context (specifically, an understanding that a particular culture is one of many diverse cultures and that alternate perceptions and behaviors may be based in cultural differences). [In SLAV- T230: Students demonstrate knowledge of the genesis and function of vampires in pre-modern belief systems in Eastern Europe and their transformation into metaphors in 19th-century British literature and 20th-century American and world cinema, based on their specific cultural and social needs.] WLC-2. Students who complete the World Languages and Cultures requirement will demonstrate knowledge of global issues, processes, trends, and systems (such as economic and political interdependency among nations, environmental-cultural interaction, global governance bodies, and nongovernmental organizations). [In SLAV- T230: Students demonstrate knowledge of the cultural, intellectual, and historical contexts and trends (pre-modern Central and East European civilization, then 19th-century British history and society, then 20th-century United States history and society, and into 21st-century global civilization) through which these expressions and artifacts (belief systems, literature, film, modern subcultures) are interpreted and the transnational processes of cultural borrowing and adaptation.] WLC-3. Students who complete the World Languages and Cultures requirement will demonstrate knowledge of other cultures (including beliefs, values, perspectives, practices, and products). [In SLAV-T230: Students demonstrate an understanding of East European belief systems, British literature, and British and American film and popular culture, as well as aesthetic, literary, and cinematic conventions that are used in these expressions and artifacts from these regions.] WLC-4. Students who complete the World Languages and Cultures requirement will demonstrate the ability to use cultural knowledge, diverse cultural frames of reference, and alternate cultural perspectives to think critically and solve problems. [In SLAV-T230: Students demonstrate the ability to develop arguments, ideas, and opinions about forms of human expression, grounded in rational analysis (a 10-point Perkowski analysis, a Vampire Threat Analysis, and readings from the academic literature on vampire studies) and in an understanding of and respect for the historical context of expressions and artifacts (through in-class mini-lectures and at-home readings and analysis homework assignments), and to express these ideas in written and/or oral form (through class discussions, group work, three long-essay exams, and two written analysis projects).]
Texts and Materials Required: Ryan, Alan, ed. 1987. The Penguin book of vampire stories. New York: Penguin. (ISBN-13: 978-0140124453) [IU Bookstore: new $19.00, used $15.20, rental new $12.90, rental used $8.95; many used copies on-line are cheaper.] Stoker, Bram; Nina Auerbach and David J. Skal, eds. 1996. Dracula. Norton Critical Editions. or: Stoker, Bram. Dracula. (various ISBN-13) [Any unabridged edition will do; you may decide to buy an annotated edition (one that has extensive explanations and footnotes), which can prove to be an even more interesting read: $10–20 new; much cheaper used on-line] [IU Bookstore: new $5.70, used $4.55, rental new $4.70, rental used $1.15] [IUCAT: PR6037.T617 D7 2008b] Perkowski, Jan. 2006. Vampire lore: from the writings of Jan Louis Perkowski. Slavica. (ISBN-13: 978-0893573324) [IU Bookstore: new $42.70, used $34.15, rental new $30.35, rental used $17.10] [IUCAT: Folklore Collection: GR830.V3 P474 2006]
Other required readings: will be made available through Canvas
Additional readings to investigate for your own edification and entertainment: Florescu, Radu, and Raymond T. McNally. 1994. In search of Dracula: the history of Dracula and vampires. Houghton Mifflin. List price $16.00, Amazon price $14.00, 86 used & new available from $1.13. Melton, J. Gordon. 1998. The vampire book. Visible Ink Press. List price $24.95, Amazon price $18.21, 47 used & new available from $5.23. (There are thousands of other books, many that range from good to great. Always look before you buy! A short list of academic books, a list of recent vampire fiction, and a long list of movies can be found later in this syllabus.) 3
Course Policies Attendance Successful learning is a cumulative process which requires diligent preparation and active participation. For this reason, it is imperative that you attend class faithfully. Each day that you are absent will not only seriously affect your participation grade, but will also affect your performance on tests, quizzes, and homework. By missing class or coming to class unprepared, you are less likely to learn the material, you will be unable to participate fully in that day's lesson, you will require increasingly more time to do your homework, will be unable to achieve your own language learning goals, and will deprive your classmates of opportunities to learn as well. Each absence will seriously affect your participation grade. Daily participation and in-class work grades are designed to encourage steady, consistent effort. Class attendance and diligence in completing homework assignments are the most important components in studying any subject. Excused absences include death in the family, military orders, religious holidays, or an excuse from your doctor. You should provide your instructor with a photocopy of any excuse for his/her records, and at that time you should show the original to your instructor as well. The university's religious observance policy is available on the IU website (https://vpfaa.indiana.edu/policies/bl-aca-h10-religious-observances/index.html), as well as a student request form for accommodation (https://vpfaa.indiana.edu/doc/request-for-accomodation-religious-observances.doc). A student should notify the instructor of an absence for a religious holiday at the beginning of the semester; notification of any absence should be made to the instructor as soon as possible. A small number of university-related curricular and co-curricular activities may also be excused; contact your instructor as soon as possible to ask if one qualifies. Tardiness is not acceptable, since the very beginning of class is designed as a crucial part of warming up and reviewing past material. No lateness is acceptable, but lateness of more than five minutes will result in a reduction in your attendance and participation grade; habitual lateness will carry more serious consequences. (But still, late is better than never, so still come even if you are running late one day.)
Participation Students will receive a participation grade for each class, based on the following scale: x 0% = Did not attend class. √-- 50% = Not prepared for class, does not participate. √- 75% = Poorly prepared; rarely able to answer when called on, rarely volunteers but does not initiate participation; does not stay on task during partner/group work. √ 100% = Usually prepared, but preparation inconsistent; answers when called on but does not initiate participation; incorporates past and current material inconsistently or incorrectly when required; willingly participates in class activities; stays on task during partner/group work. √+ 100% = Regularly prepared; answers when called on; willingly participates in class activities; stays on task during partner/group work; makes a conscious effort to incorporate past and current material as much as possible; volunteers answers to open questions (not directed at anyone). √++ 100% = High level of preparation; answers when called on; willingly participates in class activities; stays on task during partner/group work; actively extends past and current material to relevant contexts beyond the scope of the course; volunteers answers to open questions (not directed at anyone); shares pertinent information; asks questions or volunteers information that is relevant to the class and contributes to the overall conversation.
Homework Homework will be assigned for most class meetings. Do your homework each day and be prepared to turn it in and/or discuss it in class. Make every effort to keep up (especially with readings)—it is much easier than trying to catch up! Since completing homework assignments reinforces what you have covered in class that day, prepares you for the next class's activities, and identifies gaps in your understanding, it is crucial to complete it the day that it is assigned. Therefore for every day that an assignment is late, 10% is taken off its grade. If homework is submitted more than two class periods late, no credit will be given for it. However, it is still in your best interest to complete the assignment and show it to your instructor. He may choose either to look it over or to direct you to classmates so that you can check it by theirs.
Homework and Assignment Rewrites Your instructor will give you a lot of feedback on your main assignments. Any homework, test corrections, project, etc. that has been poorly done or submitted incomplete will be returned with the note "Resubmit for credit", meaning that no grade has been given. Any work not resubmitted will receive a zero. Since it is better to submit a complete, thoughtful assignment rather than a hastily or partially done assignment (so as not to waste your time or that of your instructor), if you find yourself unable to do an assignment well, contact your instructor. Exceptions are made (your instructor understands you are human), as long as it does not become a frequent request; if you often can't complete assignments on time, see your instructor for help.
4 E-mail as Official Means of Class and University Communication E-mail will be the official means of communication for the class. This is in accordance with the University's official policy: "The university reserves the right to send official communications to students by e-mail with the full expectation students will receive and read these messages in a timely fashion. Official university e-mail accounts are available for all registered students. Official university communications will be sent to students’ official university e-mail addresses. For IU Bloomington, this is the @indiana.edu address. You are expected to check your e-mail frequently and consistently to stay current with university-related communications. [...] If you have your e-mail forwarded from your official university e-mail address to another address, you do so at your own risk. The university is not responsible for issues that may impact proper or timely transmission of—or access to—e-mail forwarded to any other address. Any such problems will not absolve you of your responsibility to know and comply with the content of official communications sent to your official IU e-mail address. Instructions to set up or cancel e-mail forwarding are available using the Email Management task at One.IU." source: http://enrollmentbulletin.indiana.edu/pages/email.php
You will be responsible for checking your IU e-mail on a very regular (preferably daily) basis in order to receive any updates about the class, assignments, and student-instructor meetings. Please use IU e-mail rather than Canvas to communicate with your instructor.
Personal Conduct Plagiarism (representing the work of others as your own) will not be tolerated. While students are encouraged to form study partnerships, each individual student is responsible for his/her own work. Please see the section of this syllabus concerning academic misconduct.
In this course, you will be asked to express personal opinions and to talk about yourself, your family, and friends. If you prefer, you do not need to discuss or reveal any personal information that makes you uncomfortable or that you do not want to disclose. If it is a recurring topic, please let your instructor know.
Discussion of sensitive topics (and we will hit on many sensitive topics, from belief systems to sex to life and death to lifestyle choices) often leads to conflicting views. It would be difficult to avoid all disagreement on topics about which individuals have strong opinions. As a class, we should come to an agreement about the limits for acceptable behavior. Here are a few ideas to get us started. In this class: 1. Everyone has a right to be addressed in a respectful manner. 2. Everyone has a right to be listened to without interruption. 3. Everyone has a right to feel safe. 4. No one has a right to threaten, harass, or demean others in the class.
Chewing gum and eating are not acceptable in a discussion class. Water and soft drinks are allowed, as long they do not interfere with your ability to speak.
Please turn off all cell phones during class. If you must have it on for an emergency (e.g., sick family member), please tell your instructor before class and arrange to sit by the door that day. Students found texting in class will receive a zero for that day's attendance/participation grade.
Please do not have laptops or other wireless devices open during class; it is too tempting to do other things (most of us can admit to this addiction or urge), and it too easily leads attention away from discussions. If you need a laptop as a documented adaptive technology accommodation, please notify your instructor. Otherwise, you must put away all screens.
From time to time, matters may come up that will require you to stop by your instructor's office(s). Every attempt will be made to find a mutually convenient time, but the responsibility is ultimately yours. You should be prepared to find some time to meet with your instructor during normal "business" hours.
IU Faculty and Staff as Responsible Employees As your instructor, one of my responsibilities is to create a positive learning environment for all students. Title IX and IU’s Sexual Misconduct Policy prohibit sexual misconduct in any form, including sexual harassment, sexual assault, stalking, and dating and domestic violence. If you have experienced sexual misconduct, or know someone who has, the University can help. If you are seeking help and would like to speak to someone confidentially, you can make an appointment with: * The Sexual Assault Crisis Services (SACS) at (812) 855-8900 (counseling services) * Confidential Victim Advocates (CVA) at (812) 856-2469 (advocacy and advice services) * IU Health Center at (812) 855-4011 (health and medical services) 5 It is also important that you know that Title IX and University policy require me to share any information brought to my attention about potential sexual misconduct, with the campus Deputy Title IX Coordinator or IU’s Title IX Coordinator. In that event, those individuals will work to ensure that appropriate measures are taken and resources are made available. Protecting student privacy is of utmost concern, and information will only be shared with those that need to know to ensure the University can respond and assist. I encourage you to visit stopsexualviolence.iu.edu to learn more.
Tests and Grading There will be occasional quizzes, two tests, two analysis projects, and a final essay exam. Class participation, including attendance, and written homework also figure into your grade. Final grades are calculated this way:
Grading scale 97–100 A+ 88–89 B+ 78–79 C+ 68–69 D+ 93–96 A 83–87 B 73–77 C 65–67 D 90–92 A- 80–82 B- 70–72 C- 0–64 F
Homework Grades Your homework assignments are a key part of your successful learning; they provide you ample and needed opportunity to implement and practice what we are learning in class. In doing your assignments, you are honing skills and testing whether you understand the material; it is both benchmarking and helping you formulate questions to pose if you do not understand. Therefore, for completing your assignments carefully and on time, you will receive full credit (100%). If an assignment is done incorrectly, sloppily, or incompletely, it will be returned to you with "Resubmit for credit". For an honest mistake, no loss of points will be assessed; for lateness or lack of attention, 10% will be taken off for each class period which passes until the assignment is completed satisfactorily. It is therefore in your best interest to do a good job on each assignment; doing so will ensure you stay up with the course and will greatly help your grade.
Essay Tests: Timed Concise Writing One of the skills that we will be working on over the course of the semester is timed concise writing: the ability to focus on making an argument using well-chosen supporting evidence in a limited amount of time. Before each essay test, we will review several keys to concise writing: 1) careful reading of the question, 2) brainstorming evidence for your answer, 3) outlining your answer to ensure you answer all parts of the question, 4) providing examples to support your argument (strive for three strong, convincing examples!), 5) generating your answer based on your outline and examples, and 6) proofreading your essay. Working on these steps, you will see your
80% Rule The material and analysis in this course are cumulative. If you don't know what is in Week 5, practically speaking you cannot go on to Week 6 missing this foundation. Thus, 80% is considered to be the minimum mastery level you should achieve to enable you to continue. Less than that puts you in the "C" range or below; while passing, it is not a very solid foundation to build on. So, if you achieve less than 80% on a test, you must see your teacher at least once, privately during office hours or another agreed upon time, to go over the mistakes you made on your test; this must be done prior to your taking the next test. It is your responsibility to initiate and schedule this appointment. If you fail to meet with your teacher, you will not be allowed to take the next test.
Analysis Projects You will complete a Perkowski analysis on your choice of two vampire works: movies, books, TV shows (at least three episodes), comic books or graphic novels, or short stories. And since this course is hosted by the Slavic department, international items are especially great. Unlike the short analyses we will do in class, these will be much longer since these works are longer. Each analysis should include extensive examples from the works. (If you have an idea for some more ambitious project, such as your own vampire short film or piece of original short fiction, you must get it approved by Halloween.) The projects are due at two points in the semester: Weeks 7 and 8 (Oct. 8 and Oct. 15, 2019), and the end of Week 14: Thur., Dec. 5, 2019. The full instructions can be found later in this syllabus.
Extra Credit There is so much great vampire material out there, and more is being generated every day all around the world. There is no way that any person (even a smart guy like your instructor) can keep track of it all. So, if you find something that you would think would be fun to share with your instructor and possibly incorporate into the class, you can get extra credit by bringing it in. The vampire item might be a product or advertisement for a product, a cartoon from the newspaper, a board or role- playing game, a newspaper article, an especially good website, etc. (These are things which are not long enough or extensive enough to be used for the final project.) Extra credit comes in two flavors:
6 * 1-point item: a picture of you with the item and a close-up picture of the item (the image needs to be at least 100K so that it can be enlarged, and make sure it is in focus!), where and how you found it, and how much it costs: please submit by e-mail * 2-point item: a 1/2 to 1 page, double-spaced, typed analysis of an item, including all of the information in a 1-point analysis and centered around a "Perkowski" analysis of it (as far as it is possible) or a discussion of the social and psychological function of the item in modern society, and a sentence about why you think it is worth sharing with the class Credit will not be awarded for items which have already been brought in by other class members, so make sure to be the first! For your efforts, you will get those points added on to your grade on Test 1 and/or Test 2. If your submission has shortcomings, your instructor reserves the right to ask you to make changes/additions and re-submit it. (If you bring in a physical item, it will be returned to you the next class period.) The deadline for these is Thur., Nov. 7, 2019 (so that there is time to grade them and share them with the class).
Calculating the Final Grade There will be no test make-ups, except in the case of death in the family, military orders, or an excuse from your doctor showing that you are physically incapable of taking the exam. Observance of religious holidays is considered an excused absence (see Attendance above), but notification should be made to the instructor at the beginning of the semester. At the end of the semester your final percentage will determine your final grade, as follows:
Attendance and participation 20% Homework 15% Tests and quizzes 30% Quizzes only if needed (quiz total equals one test grade) Analysis project 20% Final essay exam 15% (Tues., Dec. 17, 2019, 5:00–7:00 pm in our classroom)
Our Classroom Our class will be held in the Global and International Studies building (GA; GISB). Our classroom is equipped with movable desks, a video projector, dry erase boards, and sound system. There are public bathrooms, water fountains, and vending machines near our classroom. The nearest public computer lab and printing stations are in the Wells Library next door. [New for Fall 2019: There is now one Ricoh printer for student printing outside of classroom GA 0011!!!]
Beyond the Classroom Resources * The Wells Library at IU has extensive holdings on vampires, including books and videos. The Kent Cooper Room in the basement has reserves and carrels for viewing films on VHS and DVD. * The Kinsey Institute Library at IU has some very provocative holdings on some of the more controversial topics of vampire studies. [Do an IUCAT Advanced Search and limit the results to Blmgtn - Kinsey Institute Library.] * The Monroe County Public Library on Kirkwood also has extensive holdings on vampires, from novels and non-fiction to books on tape and CD to movies. Holdings can be searched on-line (http://www.monroe.lib.in.us). * Plan Nine Film Emporium is a locally-owned video rental store (213 N. Walnut) that offers a wide selection of specialty movies which include vampire movies (cult classics, international films, etc.). 812-333-0089. * Other video stores in Bloomington: Family Video (1202 S. Walnut; 812-336-9011). * Redbox (www.redbox.com) has vending machines around Bloomington. * Netflix.com has a large and growing selection of US and international vampire movies. * Hulu.com has an okay but growing collection of television shows and movies. * Amazon.com has an incredibly wide selection of domestic and international vampire movies for purchase or streaming, both new and used from a consortium of used book/video stores across the country. * The Internet has vast offerings on vampires, from scholarly to homegrown to subculture to obscene. Remember that vampires appeal to just about everyone, so you will find a seemingly limitless range of information and materials. Please be careful when doing research on-line and use your discretion. You don't have to be shy or embarrassed when sharing what you have found with your instructor, but please be mature and academic about it. * YouTube (www.youtube.com) has many film trailers and classic video clips. It also has an increasing number of rarer American and many foreign vampire movies that are hard to find (usually ones that have never been released on DVD). * The International Movie Database (www.imdb.com) has listings, descriptions, and information for most vampire movies ever made.
IU licensed software: Microsoft Office Suite, Adobe products, etc. 7 Get no-cost access to hundreds of software programs and applications through IUware (https://iuware.iu.edu/) and IUanyWare (https://uits.iu.edu/iuanyware). All you need is your IU email address. Use IUware to install software directly onto your hard drive. Use IUanyWare to stream 400+ apps on your desktop or through the mobile app with your IU login. Visit iuware.iu.edu and iuanyware.iu.edu, or contact the UITS Support Center to learn more.
Academic Misconduct As a student at IU, you are expected to adhere to all the standards and policies of the code of academic conduct. Any suspected infractions of this Code will be handled according to the official rules and policies of the University. Penalties for infractions may include a zero on the assignment, a reduction in your final course grade or a failing grade in the course. The Dean of Students may also impose additional disciplinary sanctions. See the Code of Student Rights, Responsibilities, and Conduct (www.iu.edu/~code) for full information.
The Indiana Promise: I promise that: * I will be ethical in my academic work. * I will take personal responsibility for what I say and what I do. * I will respect the dignity of others, treating them with civility and understanding.
Disability Statement Any student who feels he/she may need an accommodation based on the impact of a disability must register with Disability Services for Students first. According to DSS guidelines, only students who have registered their disabilities with DSS are officially eligible for accommodations. When the disability has been registered, the student will receive a letter describing any accommodations necessary which must be presented to the instructor in the first week of classes. Please contact Disability Services for Students at 812-855-7578 in the Wells Library, Suite W 302, to coordinate reasonable accommodations for students with documented disabilities. More information is available on the DSS web site (https://studentaffairs.indiana.edu/disability-services-students/).
Disclaimer All information in this syllabus, including course requirements and daily lesson plans, is subject to change and should not be considered a substitute for attending class or for any information that is provided to you by your instructor.
Course Project
For your course project, you will complete a Perkowski analysis on your choice of a vampire work: movie, book, TV show (at least 90 minutes worth of episodes), comic book or graphic novel, or short stories. And since this course is hosted by the Slavic department, works from our region are especially encouraged. Unlike the short analyses we will do in class, these will be much longer since these works are longer. The analysis will include extensive examples from the work. (If you have an idea for some more ambitious project, such as your own vampire short film or piece of original short fiction, you must get it approved by your instructor ASAP (by Oct. 1), since it will have different evaluation criteria.) The project is split into two installments: the first part (Perkowski #1–9) is due Tues., Oct. 8, 2019; the second part (Perkowski #1–10) is due on Oct. 15, 2019. Most students will need to resubmit revised drafts in the following weeks, for additional points back (sometimes drastically more points back...you may learn how little you understand about metaphor and contemporary culture), as part of the editing and learning process, so do submission of the two parts of the project is merely the beginning of the process.
Declaring your projects Since we want to learn about as many works as possible and not have overlaps, please notify me by e-mail of your choice of two works to analyze. Before you submit them, make sure you can acquire them...not everything is available through YouTube and Netflix, especially many of these movies. Every year, students don't do this, put off their projects, and then three days before they are due discover they can't find them. If you choose a work that has already been taken by someone else before you (the e-mail time stamp will be the final arbiter), you will need to look for another work to analyze. But don't worry, there are hundreds and hundreds of books, movies, TV shows, etc. to choose from. See this syllabus for a list of movies, novels, short stories, and TV shows. Also included in your syllabus are many sources for these.
Guidelines and format for projects * You need to focus on one vampire and one metaphor. This is not a movie/book review. This is a vampire analysis. As such, your Perkowski 10-point analysis, a Vampire Threat Analysis, and a project worksheet will be the basis of your project, and they serve to keep you focused and on track. * You need to pick a work that you can actually find, so after you find a few works that sound interesting, make sure right away that you can find them and have time to get a copy. If you have any problems, just contact your instructor.
8 * You should not be using any outside sources that discuss your works...you don't need to and this will ensure that this is totally your own work. More importantly, sources that you find may be bad; usually, your work will be much better than what you find. (If you absolutely must use outside sources on your movies, then make sure to properly cite your sources.) However, for the historical context/period in #10, you will however probably need some external sources for the historical context/period, which you should cite appropriately. If you get absolutely stumped at some point, see your instructor. * You already have the 10-point Perkowski analysis sheet in electronic form on Canvas. Please use this as the foundational document for each of your analyses, to save you some time and to make sure you cover everything. * For Points 1–9, use single-spaced bulleted points instead of prose. For Point 1, provide information on the work itself (for books, author, year, publisher, edition, city/country; for movies: director, year, studio, as well as DVD information like year of release and name of product), as well as what genre it is (short story, novel, graphic novel, movie). For Points 2– 9, make sure that if you are analyzing a short story or novel, note page numbers; for film, note the minute and second marks (failure to do this will result in a loss of 20 points out of 100!). Under each item, there should be as many facts from the work as you can find about the vampire lore in the work, not just one or two. If you find that there are only one or two for each item, you should choose another work, since this is an indication that the work isn't very "vampiric" (i.e., doesn't have much developed vampire lore in it). You will find that you will be taking a lot of notes while you are reading and viewing: don't wait until the end (or else watch it a second time) to take notes. I know that it is annoying to be constantly starting and stopping a film, but we are doing this for analysis, not for pure fun (sorry). * For Point 10 (the social/psychological role of the vampire in the work), you must write your analysis in 1.5-spaced prose. This is the place for your own interpretation based on the framework that we have discussed in class. Be guided by Nina Auerbach's quote that "every age creates the vampire that it needs." Start by identifying the "age" that this work was produced in and for [year, country, audience], what the nature of this vampire is, what the social and psychological concerns of that age are (morality, disease, religion, a new philosophy, a new technology, a new threat, a new esthetic, a concern for order/chaos, new ethnic immigration, new trends in religious or ethnic tolerance, a xenophobic chapter in national history, etc.)—yes, that means doing socio-historical background research. (Note #1: This "age" is the age in which the work was created, not when it was set!) Limit your choice to one main issue and focus your historical analysis to issues directly related to your argument in #10 (i.e., don't just rattle off a bunch of historical facts from, say, the Cuban Missile Crisis without showing how each directly relates to your argument). Make sure to use and cite your sources for the historical information! (This is to make sure your facts are coming from legitimate sources.) Next, identify what one function of one vampire in the work is (serving as a vehicle to: embody a specific social or political evil, criticize others' stance on a sensitive social problem, push a political or moral agenda, sympathetically portray an outsider minority or victimized group, etc.). In this process, discuss the traits of the vampire (use Points 1–9 that you inventoried: now is the time to discuss the special or novel traits he/she/they exhibit); from there, make the connection between these traits and the threat that it poses to others in that work. (Note #2: Just because a work was created during the time of the Gulf War does not mean that it was necessarily "about" or commenting on the Gulf War. If you have identified an analogy/metaphor, extend it all the way out. If you are right, it will hold.) You cannot just make up a lot of crap (the technical term we teachers use)...and you do not need to; we have seen over and over and over that these works are created in a specific historical and social context for a specific purpose. Please don't waste your time or mine. Use extensive examples from your work as support for your argument (i.e., the metaphor/analogy/allegory that you see). It is your responsibility to make a strong argument, and you don't get any re-do's on your second project since this is your final project. Expect to write at least four 1.5-spaced pages just for item 10 for each project. Make sure that in your first paragraph of this section you state "The author of {title} creates {vampire X or "a special type of vampirism"} in order to {criticize/sympathetically portray/embody the threat posed by/...}{name your social issue and an angle on it}", and make sure that the rest of your prose supports that idea (or the other social issues that you identify). And of course, don't just do a plot summary or talk about "themes" of the story; this is not a middle school book report. * You will find that your analysis (Points 1–9) for each work will be about 2–4 pages (single-spaced), and Point 10 will be another 3–5 pages (1.5 spaced): once you have found a good metaphor and are using your information from Points 1–9, this is not hard at all; if it is difficult, you probably are not on the right metaphor track. It might be a good idea to include a few pictures from the work (if it is a film, graphic novel, or other visual medium) to illustrate the physical appearance of the vampire (size, physical stature, fangs, etc.): a Google image search is good for this. These pictures do not count in the page count. They do not have to be in color, unless you have easy access to a color printer.
Special notes/hints: a checklist ___ Point 1: Your information for a film or book should contain the year, the country, the genre/medium, the creator/author, the studio/publisher, and similarly relevant information. ___ Point 2–9: For each attribute, mark whether it is truly folkloric (from what we read) [garlic is an apotropaic], commonplace modern belief about vampires which might not be true folklore [can turn into a bat], or a new creation [vampires sparkle in sunlight]. You can just write in square brackets: [folkloric], [modern], [new], [literary], [pseudo-
9 biological], [historical], etc. If you are not sure about one, put a question mark (e.g., "[new?]"). And an attribute might be more than one (e.g., "[literary/new]"). ___ Point 3: Remember, give the names of all vampires in the work (e.g., Louis, Lestat, ...). For up to 5 points extra credit on this assignment, if there are interesting names, explain their origin or etymologies (e.g., a vampire hunter named "Cushing" would refer to the famous vampire hunter actor Peter Cushing; a half-breed named "Damn Peer" refers to a dhampir, a folkloric vampire slayer; a vampire named Alucard is "Dracula" backwards). ___ Point 4: If there is a vampire hunter who has a special origin (i.e., more than just anyone with a stake), explain his/her origin. ___ Point 4: Is the transformation immediate (seconds? minutes? hours? days?)? Do there need to be multiple encounters (e.g., bites)? Is there a special process detailed? ___ Point 5: Since this is a work of fiction, detection is often possible only if someone knows the attributes and activity pattern (Points 6 and 7), e.g., someone knowing and seeing the traits in Points 6 and 7. ___ Point 6: If the vampires have fangs, are they canines, lateral incisors, or other teeth? How many? Top and bottom? Are they always visible? Why might that be? ___ Point 6: After you have collected them, sort them into categories (e.g., superhuman senses, superhuman charms, superhuman strength and endurance). ___ Points 8 & 9: If there is no precaution or cure, make sure to say this and make sure to include this fact as part of your analysis (Point 10). If folkloric or "traditional" precautions and cures (garlic, stakes) don't work, list them and try to explain why. ___ Point 10: FOCUS ON ONLY ONE VAMPIRE (OR TRAIT OF VAMPIRISM) AND ONE FUNCTION/METAPHOR. You can use others for comparisons to strengthen your argument, but your focus should be on only one thing. Make sure that you are clearly explaining the metaphor/allegory at work (we cover this in detail in Week 5 of the course). And (although this is stating the obvious) make sure to explain why these characters are vampires (and not just humans). ___ Point 10: Your thesis statement (generated from the worksheet) needs to be in the first paragraph of Point 10. ___ Point 10: Make sure to include the time stamp (for movies) or page number (for books) citations from the work (you have already worked hard to find these in Points 2–9, so use them); these act as citations of the original work so that your reader can quickly find them. ___ Point 10: Make sure to include your analysis from #1–9 in your analysis in #10...that is the point of doing the full analysis. ___ Point 10: Make sure to cite the sources for your history research. ___ Point 10: Make sure that you analyze how the film ends: is the threat eliminated? Is the ending optimistic or pessimistic? What is the message of the film and conclusion (as it relates to your thesis)?
Breakdown of grade Points 1–9: thoroughness 20 pts. Points 1–9: notes of page numbers or minute/second marks 20 pts. Points 1–9: classification of traits as folkloric/modern/new/... 10 pts. Point 10: analysis
Style manual Your analysis in #10 will require history and culture research, which means you will be citing sources. Pick a style manual to follow in order to be consistent in how you cite works, etc. Different disciplines use different style manuals, so feel free to use the one that your discipline (major) uses. Popular style manuals include: American Psychological Association (APA), Modern Language Association (MLA), The Chicago Manual of Style, The Bluebook, etc. A summary of different style manuals is available below in this syllabus (see "Academic Citation Format"). If you don't have a preference or you are not sure, please use the Chicago Manual of Style or the MLA, since they are preferred in the humanities, which this course falls under. Pay special attention to 1) how to format in-line citations, and 2) how to cite on-line sources. See the style sheet summary in this syllabus ("Academic Citation Format").
Submission You must submit the work both in hard copy (in class) and in electronic form (uploaded to Canvas).
Resubmission If you need to submit a new draft, I have Canvas set up to accept up to 6 drafts. Each upload will conveniently get time- stamped.
10 Academic Citation Format In citing sources for Perkowski analyses and for your project, you should use proper academic citation format. Here are two style manuals (among several) to choose from. You can choose either, but stick to one throughout the semester.
MLA STYLE MANUAL Article or chapter in an edited book Moszyński, Kazimierz. "Slavic Folk Culture." Vampire Lore: From the Writings of Jan Louis Perkowski. Ed. Jan Perkowski. Bloomington, IN: Slavica, 2006. 212–217. Print. Article in a scholarly journal Barber, Paul. "Forensic Pathology and the European Vampire." Journal of Folklore Research 24.1 (1987): 1–32. Print. Novel (prepared by an editor) Stoker, Bram. Dracula. Ed. Nina Auerbach and David J. Skal. New York: Norton Critical Editions, 1996. Print. Book by one author Rice, Anne. Interview with the vampire: a novel. New York: Knopf, 1976. Print. Wikipedia article "Metaphor." Wikipedia. Wikipedia, n.d. Web. 24 September 2016. Movie Strigoi. Dir. Faye Jackson. Breaking Glass Pictures. 2009. Film. Television episode "Welcome to the Hellmouth." Buffy the Vampire Slayer: The Complete First Season. Writ. Joss Whedon. Dir. Charles Martin Smith (and uncredited Joss Whedon). WB Television Network, 1997. DVD. Personal interview Holdeman, Jeff. Personal interview. 10 September 2016.
Source (and for detailed explanations and examples): MLA Style Manual (7th ed., 2009) https://owl.english.purdue.edu/owl/resource/747/06/ https://owl.english.purdue.edu/owl/resource/747/07/ https://owl.english.purdue.edu/owl/resource/747/08/ https://owl.english.purdue.edu/owl/resource/747/09/
CHICAGO MANUAL OF STYLE Article or chapter in an edited book Moszyński, Kazimierz. "Slavic Folk Culture." In Vampire Lore: From the Writings of Jan Louis Perkowski, edited by Jan Perkowski. 212–217. Bloomington, IN: Slavica, 2006. Article in a scholarly journal Barber, Paul. "Forensic Pathology and the European Vampire." Journal of Folklore Research 24, no. 1 (1987): 1–32. Novel (prepared by an editor) Stoker, Bram. Dracula, Edited by Nina Auerbach and David J. Skal. New York: Norton Critical Editions, 1996. Book by one author Rice, Anne. Interview with the vampire: a novel. New York: Knopf, 1976. Wikipedia article "Metaphor." Wikipedia. Accessed September 24, 2016. https://en.wikipedia.org/wiki/Metaphor. Movie Strigoi. Directed by Faye Jackson. 2009. Philadelphia, PA: Breaking Glass Pictures. 2011. DVD. Television episode "Welcome to the Hellmouth." Buffy the Vampire Slayer: The Complete First Season. Television series. Directed by Charles Martin Smith (and uncredited Joss Whedon). 1997. Beverly Hills, CA: Twentieth Century Fox, 2010. DVD. Personal interview Holdeman, Jeff, interview by John Smith, September 10, 2016, transcript.
Source (and for detailed explanations and examples): Chicago Manual of Style (16th ed., 2010) https://owl.english.purdue.edu/owl/resource/717/03/ https://owl.english.purdue.edu/owl/resource/717/04/ https://owl.english.purdue.edu/owl/resource/717/05/ https://owl.english.purdue.edu/owl/resource/717/06/ https://owl.english.purdue.edu/owl/resource/717/07/
11 Extra credit: Analysis of a vampire-themed commercial product
There is so much great vampire-themed material out there, and more is being generated every day all around the world. The fact that they are being marketed to us through an association with vampires fits very nicely into a commercial spin on "Every age creates the vampire that it needs."
For one extra credit point for each product (added to your final score on either Test 1 or 2; up to 5 points total for the semester):
1. At a local store or on the Internet, find a vampire-themed item (a product or advertisement for a product, a board or role- playing game, etc.). 2. Take two pictures of it: * a good-quality photo (at least 250KB) of you holding the item * a close-up picture of the item (avoid glares off of shiny surfaces!) 3. Write down the product information (Point 1 of Perkowski): * what it is called * what company makes it * where you found it * when you found it * how much it cost
For another extra credit point for each product:
4. Analyze the vampire portrayed: Perkowski Points 2–9, although many items will only have name information (Perkowski Point 2) and appearance (Perkowski Point 6). Make sure to give your thoughts on what type of vampire it is: traditional folkloric? Bela Lugosi-style Dracula? standard modern Western cinema vampire? 5. Analyze the function of this vampire for our society (Perkowski Point 10) by writing a brief explanation of: What is this vampire? To whom is it being marketed? Why does that audience need it? Is it scary or humorous (and why)? What is the sociological function: anxiety relief? turning a fear into something humorous? in-group solidarity?
Submission: * You will need to submit these in hard copy and as upload to Canvas. * The deadline for these is Thur., Nov. 7, 2019 (so that there is time to grade them and share them with the class).
Honors section, once you have completed a mandatory analysis of one product [see your HON sheet for the slightly different directions], any additional products will count as extra credit.
12 Test Corrections and Error Analysis (You can get up to a third of your points back for a thorough job!) developed by Dr. Jeff Holdeman
Test Corrections
When you get your test back, look over it carefully. You will have until the next class period to make all corrections, check them, and submit them to your instructor. If you got below an 80, you will have two class periods, since it will take much longer to make corrections, do rewrites, and perform the error analysis. The goal of this exercise is to figure out why you made these mistakes and work so that you will not make them again. Learning is cumulative (and involves a lot of repetition and practice), so you can expect to see these same types of questions again and again. Make sure not to miss points again on this material by making sure that you understand it.
1) In a different color ink or on a different sheet of paper, correct all mistakes. Where appropriate, write out the full sentence, not just the word that you missed. 2) First, look for careless errors that you know the answers to. 3) Then, correct errors for which you did not know the information (vocabulary, facts, concepts, etc.). 4) Check your answers with information in your notes and readings. 5) If needed, check your answers with a classmate. Get together one-on-one or meet as a group. Don't just give each other the right answer, but discuss why that answer is right and why you got it wrong. Simply putting down the right answer without understanding it will not help you. 6) If you have questions that you still cannot answer, contact your instructor to set up an appointment or to ask by e-mail that it be discussed in class. 7) If you need to, write out and review out loud problematic vocabulary words or concepts several times (as many times as you need to learn them; remember to review them again several hours later, then several days later). Working with a study partner or group is a great way to do this. Also, try to relate them to new information in class. 8) Then complete an error analysis...
Error Analysis
1) Look through your mistakes and problems. 2) Classify your errors by placing the following marks in the far left margin of the test, immediately to the left of where the error occurred (not on your corrections): * SMALL CIRCLE: Stupid mistakes from carelessness (proofreading, not reading directions, careless word choice) * BIG CIRCLE: Did not know the information (gaps in knowledge) * put a V in the circle for vocabulary * put an FC for facts from class * put an FR for facts from the readings * put a D for dates * put a WC for bad word choice * put an EX for examples (none, not enough, incorrect) * put a C in the circle for lower level concepts * put an SA for a poorly structured argument * SQUIGGLY LINE: Big picture conceptual problem (something you still do not understand) If you have more than one error on a line, put the marks side by side. 3) When you have classified and marked all of your errors, quickly look them over and try to find trends in the types of errors that you made. Having the marks in the far left margin make this very easy to do by bending the pages long-ways and splaying the pages until all the left-hand margins are visible.
13 Error Analysis: Points Missed
It is very informative to count up the points that you missed for each type of mistake. Realizing that you missed 12 points from careless errors, for instance, might provide extra motivation to proofread next time.
Error Analysis: Diagnosis and Prescription
SMALL CIRCLES: If you have a lot of small circles, you need to spend more time proofreading (or you need to learn how to proofread more effectively: ask your instructor if this is the case). Every time that you finish a test, write the time that you finished in the top left corner of the paper. If you turn in your test last (after most or all other people are done), you probably do not know the material well enough and therefore it takes you longer to produce it and you do not have time at the end to proofread. If you turn in your test with many minutes before the end of the test period and are making careless errors, you are not proofreading carefully enough. BIG CIRCLES: If you have a lot of big circles, you do not know the material well enough. If you have V-circles, focus more on vocabulary. If you have FC, FR, and/or D circles, you should work on processing factual information. If you have FR circles, you need to spend more time on your readings (actually reading, taking notes, reviewing notes, etc.). If you have EX or SA circles, you need to support your arguments better. If you already know that you are having trouble with one or more of these, see your instructor to discuss how you study and how you might improve or change your study habits. If you did not complete the test in time, you either do not know the information well enough to recall it quickly, or you are not writing concisely. See your instructor for tips. SQUIGGLY LINES: If you have a lot of squiggly lines, you are missing big picture concepts, either because you are not reading (and re-reading) the assignments, not paying attention in class (or worse, not attending class), missing some key information, and/or not asking questions or for help when you do not understand. It may also be that your mind simply has not yet grasped the concept. If this is the case, time and a little guided awareness may help. For this, see your instructor.
While planning to prepare for your next test, look over the error analysis from your previous test and devise a plan to avoid making the same kind of errors.
80% Rule
If you made below an 80% on your test, you must meet with your instructor to discuss your test. Make your appointment after you have completed and submitted your corrections and analysis. Do not make an appointment until these are done. The purpose of the meeting is to ensure that you have identified the source of your errors so that you can devise a plan to correct these mistakes and to avoid making these errors and similar errors in the future. This might involve finding more effective ways to study, which is often the main source of problems.
Error Analysis: Long-term Comparison
After several tests, compare the types of mistakes that you are making. Barring mistakes made because you did not have enough time to study (which is a time management problem), you should not see the same types of errors test after test. If you do, meet with your instructor to discuss how to fix the problem.
14 Advanced work for Honors section (SLAV-T230 13807) F2019
Since this is a hybrid course (both HON and non-HON students are enrolled), the Hutton Honors College requests that its students complete several advanced, more challenging assignments beyond the normal coursework.
1) Meeting #1: Quick getting-to-know-you [Tues., Aug. 27, 2019] First day of class: 15 minutes at the end of class to get to know each other and to discuss the Honors assignments. If a student misses this session, he/she will be required to meet individually with the instructor by the end of Week 2.
2) Analysis of a vampire-themed commercial product [due by Tues., Oct. 22, 2019] There is so much great vampire-themed material out there, and more is being generated every day all around the world. The fact that they are being marketed to us through an association with vampires fits very nicely into a commercial spin on "Every age creates the vampire that it needs."
1. At a local store or on the Internet, find a vampire-themed item (a product or advertisement for a product, a board or role- playing game, etc.). 2. Take two pictures of it: * a good-quality photo (at least 500KB) of you holding the item (make sure it is in focus!) * a close-up picture of the item and all packaging (avoid glare off of shiny surfaces!) 3. Type up all of the text on the packaging and product. 4. Do as much of a Perkowski analysis of it as possible: a. Write down the product information (Point 1): * what it is called * what company makes it * where you found it * when you found it * how much it cost b. Analyze the vampire portrayed: Points 2–9, although many items will only have name information (Point 2) and appearance (Point 6); otherwise, specify "no information given". Make sure to give your thoughts on what type of vampire it is: traditional folkloric? Bela Lugosi-style, cinematic (literary) Dracula? standard modern Western cinema vampire? c. Analyze the function of this vampire for our society (Point 10): write a 1-page, double-spaced, typed analysis of some indication of what the appeal is. What is this vampire? To whom is it being marketed? Why does that audience need it? Is it scary or humorous (and why)? What is the sociological function: anxiety relief? turning a fear into something humorous? in-group solidarity? (We will discuss examples of these when we do in-class extra credit assignments.) Make sure to comment on the product's practical function (e.g., a piggybank receiving deposits of money and holds them; an M&M is food; a costume or make-up kit disguises the wearer's identity or allows the wearer to be someone else) and then on why the concept of the vampire is used to market it. (Is the connection really clever, or is it like putting the picture of a puppy or a kitty on something since people/consumers will buy these just for the puppy/kitty/SpongeBob/vampire?)
3) Meeting #2: Mini-conference [Sun., Oct. 27, 2019, 5:30 pm] Week 10 (Sun., Oct. 27, 2019, 5:30 pm): Pizza and a mini-conference consisting of presentations of your vampire products and questions from the audience. Each person will get 10 minutes for their presentation and questions. Most people will opt for a (simple) PowerPoint: it is the best/fastest way to show your product, its features, and a summary of your analysis. There is no one right way to do it. One way is to take your Perkowski #1-10 and introduce it in bullets (the only running text should be the packaging). Pictures are great. Then, have talking points for #10. Why does our age need this vampire product? You have a total of 10 minutes: 6–7 minutes for the presentation, and 3–4 minutes for questions. If a student must miss this meeting, I will upload the projects after the mini-conference to a Canvas site: you will read through them and then send me a ranking of the products and then one page on the trends that you saw between the functions of the products. You will then present your product in class (if possible, the class period after our next test), which would fulfill the presentation component.
4) Meeting #3: Film viewing and discussion [Sun., Dec. 8, 2019, 5:30 pm] Week 15 (Sun., Dec. 8, 2019, 5:30 pm): A vampire film viewing and discussion, with pizza and soft drinks. If a student must miss this meeting, he/she will need to submit a 2- to 3-page single-spaced paper consisting of an analysis of the film.
15 5) Additional, advanced feedback on tests, projects, etc. While I will not grade students in the Honors section "harder", I will provide (even) more robust feedback on written work, with questions and things to think about.
Failure to complete Honors work In accordance with the wishes of the Hutton Honors College, if a student does not satisfactorily complete the advanced work outlined above, the student will receive the grade they earned in the course, but this course will not be counted as an Honors seminar. In such cases, the Honors College will be the final arbiter.
16 Additional readings on vampires In addition to the many works we read and discuss in class, there are numerous others to explore:
Folkloric vampires Barber, Paul. 1988. Vampires, burial, and death: folklore and reality. New Haven: Yale University Press. Dundes, Alan, ed. 1998. The vampire: a casebook. Madison, WI: University of Wisconsin Press. Summers, Montague. 1961. The vampire in Europe. New Hyde Park, NY: University Books. Summers, Montague. 2008 [1928, 1929]. The vampire, his kith and kin. New Hyde Park, NY: University Books.
Vlad Ţepeş, the historical Dracula Florescu, Radu, and Raymond McNally. 1972; updated 1994. In search of Dracula. Houghton Mifflin. Florescu, Radu, and Raymond McNally. 1989. Dracula: prince of many faces. Little, Brown and Co. Haworth-Maden, Clare. 1992. Dracula: everything you always wanted to know about the man, the myth, and the movies. New York: Crescent Books. Stoicescu, Nicolae [translated from the Romanian by Cristina Krikorian]. 1978. Vlad Tepes, prince of Walachia. Bucharest: Editura Academiei Republicii Socialiste Romania.
The vampire in fictional literature Dematteis, J. M. 1985. Greenberg the Vampire. Marvel Graphic Novel; No. 20. Ellis, Warren, Grant Morrison, and Michael Bair. 1996. Vampirella: 25th Anniversary Special. Harris. Skal, David J., ed. 2001. Vampires: encounters with the dead. New York: Black Dog and Leventhal. (Oh, and there is a 7-page list of vampire fiction series later in this syllabus...)
Works on various media (literature, film, and beyond) and society Auerbach, Nina. 1995. Our vampires, ourselves. Chicago: University of Chicago Press. Frost, Brian J. 1989. The monster with a thousand faces: guises of the vampire in myth and literature. Bowling Green, OH: Bowling Green University Popular Press. Gelder, Ken. 1994. Reading the vampire. New York: Routledge. Melton, J. Gordon. 1999. The vampire book: the encyclopedia of the undead. Detroit, MI: Visible Ink. Miller, Elizabeth, ed. 1998. Dracula: The Shade and the Shadow. Desert Island Books. Silver, Alain, and James Ursini. 1997. The vampire film: from Nosferatu to Interview with the Vampire. New York: Limelight Editions. Miller, Elizabeth. 2005. A Dracula handbook. XLibris. Miller, Elizabeth. 2009. Bram Stoker's Dracula: A Documentary Journey into Vampire Country and the Dracula Phenomenon. Pegasus Books. Skal, David J. 2004. Hollywood Gothic. New York: Faber and Faber. Skal, David J. 1996. V is for vampire: the A–Z guide to everything undead. New York: Penguin. Weiss, Andrea. 1993. Vampires and violets: lesbians in film. New York: Penguin Books.
Modern vampire subculture and vampire voices Belanger, Michelle A. 2004. Psychic vampire codex: a manual of magick and energy work. Boston: Weiser Books. Belanger, Michelle. 2007. Vampires in their own words: an anthology of vampire voices. Woodbury, MN: Llewellyn Publications. Guiley, Rosemary Ellen. 1991. Vampires among us. New York: Pocket Books. Hodkinson, Paul. 2002. Goth: identity, style and subculture. New York: Berg. Konstantinos. 1995. Vampires: the occult truth. St. Paul, MN: Llewellyn Publications. Page, Carole. 1991/1993. Bloodlust: conversations with real vampires. NY: Time Warner Paperbacks.
Books on Slavic folklore (in order to put vampires in their folkloric context) Barford, P. M. 2001. The Early Slavs: Culture and Society in Early Medieval Eastern Europe. Ithaca, NY: Cornell University Press. Gimbutas, Marija. 1963. The Balts. New York: Praeger. Gimbutas, Marija. 1971. The Slavs. New York, Praeger. Gimbutas, Marija. 2007. The goddesses and gods of Old Europe: myths and cult images. Berkeley: Univ. of California. Ivanits, Linda J. 1989. Russian folk belief. Armonk, NY: M. E. Sharpe. Ralston, W. R. S. 1872 [reprint 2004]. Songs of the Russian people as illustrative of Slavonic mythology and Russian social life. London: Ellis and Green [reprint: Whitefish, MT: Kessinger Publishing]. Ryan, William F. 1999. The bathhouse at midnight: magic in Russia. University Park, PA: The Pennsylvania State University Press. Trinkunas, Jonas. 1999. Of gods and holidays: the Baltic heritage. Vilnius, Lithuania: Tverme. 17 Vampire movies, TV shows, etc. [most information is based on the Internet Movie Database] [items marked (*) indicate works I have not yet purchased or have not been able to find/buy]
Movies Dracula (1920, Hungary)
18 Curse of the Undead (1959, USA), dir. Edward Dein; with Eric Fleming, Michael Pate as Drake Robey/Don Drago Robles, Kathleen Crowley
20 Vampyros Lesbos [West Germany, US title] (1971, West Germany), dir. Jesús Franco; with Soledad Miranda as Condesa Oskudar La noche de Walpurgis [Spain title] / Nacht der Vampire [West Germany title] / The Werewolf vs. Vampire Women [US title] (1971, Spain/West Germany), dir. León Klimovsky; with Paul Naschy, Gaby Fuchs, Barbara Capell
21 Il plenilunio delle vergini [Italy title] / The Devil's Wedding Night [US title] (1973, Italy [Virginia Cinematografica]), dir. Luigi Batzella [under the name Paolo Solvay]; Rosalba Neri (as Sara Bay) as La Contessa Dolingen de Vries, Xiro Papas as The Vampire Monster, ... (*) The Legend of the Seven Golden Vampires (1973, UK/Hong Kong [Hammer/Shaw Brothers]), dir. Roy Ward Baker; with Peter Cushing Dracula (1973, Canada [Canadian Television Network]), dir. Jack Nixon-Browne; with Norman Welsh as Dracula, Nehemiah Persoff as Dr. Van Helsing, ... Vièrges et vampires [France title] / Caged Virgins [US title] (aka Requiem for a Vampire) (1973, France), dir. Jean Rollin; with Marie-Pierre Castel, Mireille Dargent, Philippe Gasté Young Hannah - Queen of the Vampires [US title] / La tumba de la isla maldita [Spain title] (1973, USA/Spain), dir. Julio Salvador, Ray Danton; with Andrew Prine, Patty Shepard, Mark Damon Der Fluch der schwarzen Schwestern [West Germany title] / Devil's Plaything [US title] / Vampire Ecstasy [US title] (1973, West Germany), dir. Joseph W. Sarno; with Nadia Henkowa, Anke Syring, Ulrike Butz La comtesse noire [France title] / Female Vampire [US title] (1973, France), dir. Jesús Franco [as J.P. Johnson]; with Lina Romay as Countess Irina Karlstein Blood for Dracula [aka "Andy Warhol's Dracula"] (1974, Italy [Compagnia Cinematografica Champion]), dir. Paul Morrissey; with Udo Kier as Count Dracula Vampyres [UK title] / Vampyres: Daughters of Dracula [USA reissue title] (1974, UK [Lurco]), dir. José Ramón Larraz; with Marianne Morris as Fran, Anulka Dziubinska as Miriam The Legend of the Seven Golden Vampires (1974, Hong Kong), dir. Roy Ward Baker; with Peter Cushing as Prof. Van Helsing, John Forbes-Robertson as Count Dracula Tendre Dracula [France title] / Tender Dracula, or Confessions of a Blood Drinker [US title] (1974, France), dir. Pierre Grunstein; with Peter Cushing as MacGregor
23 Nosferatu a Venezia [Italy title] / Vampire in Venice (aka Nosferatu in Venice) [US title] (1988, Italy), dir. Augusto Caminito; with Klaus Kinski as Nosferatu, Christopher Plummer as Professor Paris Catalano, Donald Pleasence as Don Alvise To Die For (aka Bram Stoker's To Die For) (1988, USA), dir. Deran Sarafian; with Brendan Hughes as Vlad Tepish, ...
25 From Dusk Till Dawn 2: Texas Blood Money (1999, USA), dir. Scott Spiegel; with
26 Sangre eterna [Chile title] / Eternal Blood [US title] (2002, Chile), dir. Jorge Olguín; with Juan Pablo Ogalde as M, Blanca Lewin as Carmilla, Patricia López as Elizabeth, Carlos Borquez as Dahmer, ... Underworld (2003, USA [Lakeshore Entertainment]), dir. Len Wiseman; with Kate Beckinsale, Scott Speedman, Shane Brolly, Bill Nighy
31 Lead Me to the Dark (2015, United Kingdom), dir. James Twyman; with Joanna Pickering as Amy Cole, Maeve Kelly as Lily (*) Blood (2015–present, South Korea) [TV series], dir. Ki Min-Soo; with ... (*) Bullets, Fangs and Dinner at 8 (2015, USA), dir. Matthew Rocca; with ... (*) Dracula Reborn (2015, USA), dir. Attila Luca; with Tina Balthazar as Hannah, Yves Carlevaris as Corvinus, Ferencz Rozalia as Elizabeth Bathory (*) The Hybrids Family (2015, USA), dir. Tony Randel; with Paul Sorvino as The Count, Carolyn Hennesy as Aradia, Mojean Aria as Blaz, ... Strašidla [Czech Republic title] / The Spooks [US title] (2016, Czech Republic), dir. Zdenek Troska; with Karel Dobrý as vampire Ignác, ... (*)
TV series (also listed above) Dark Shadows (1966–1971, USA [Dan Curtis Productions])
Documentaries Cuadecuc, vampir [Spain title] (aka Vampyr) / Worm Tail, Vampire [English translation] (1971, Spain [Films 59]), dir. Pere Portabella, with Christopher Lee as Count Dracula, Herbert Lom as Prof. Van Helsing, Soledad Miranda as Lucy Westenra In Search of Dracula (1975, USA) Vincent Price's Dracula (1982, USA), dir. John Muller, Jerry Fijalkowski The Secret Life of Vampires (2005, USA [A&E])
Other Mona the Vampire: Freaky Fieldtrips (2006)
Non-vampire movies (but with some modern themes found in vampire movies) Ginger Snaps (2000, Canada)
34 Vampire fiction series (alphabetized by author last name)
Inanna Arthen Vampires of New England series (2008–present) Mortal Touch (2008) All the Shadows of the Rainbow (2013) The Longer the Fall (2010)
Keri Arthur Riley Jensen, Guardian series (2006–present) Full Moon Rising (Book 1) (2006) The Darkest Kiss (Book 6) (2008) Kissing Sin (Book 2) (2007) Deadly Desire (Book 7) (2009) Tempting Evil (Book 3) (2007) Bound to Shadows (Book 8) (2009) Dangerous Games (Book 4) (2007) Moon Sworn (Book 9) (2010) Embraced By Darkness (Book 5) (2007) Darkness Rising (2011)
L. A. Banks Vampire Huntress Legends (2003–present) Minion (Book 1) (2003) The Forsaken (Book 7) (2006) The Awakening (Book 2) (2004) The Wicked (Book 8) (2007) The Hunted (Book 3) (2004) The Cursed (Book 9) (2007) The Bitten (Book 4) (2005) The Darkness (Book 10) (2008) The Forbidden (Book 5) (2005) The Shadows (Book 11) (2008) The Damned (Book 6) (2006) The Thirteenth (Book 12) (2009)
Rosemarie E. Bishop The Moral Vampire Series (1999–2001) Search for a Soul (Book 1) (1999) Spiritual Vengeance (Book 3) (2001) A Matter of Conscience (Book 2) (1999)
Rachel Caine The Morganville Vampires series (2006–present) Glass Houses (2006) Ghost Town (2010) The Dead Girls' Dance (2007) Bite Club (2011) Midnight Alley (2007) Last Breath (2011) Feast of Fools (2008) Black Dawn (2012) Lord of Misrule (2009) Bitter Blood (2012) Carpe Corpus (2009) Fall Of Night (2013) Fade Out (2009) Daylighters (2013) Kiss of Death (2010)
P. C. Cast and Kristin Cast House of Night Novel series (2009–present) Marked (Book 1) (2009) Burned (Book 7) (2010) Betrayed (Book 2) (2009) Awakened (Book 8) (2011) Chosen (Book 3) (2009) Destined (Book 9) (2011) Untamed (Book 4) (2009) Hidden (2012) Hunted (Book 5) (2010) Revealed (2013) Tempted (Book 6) (2010) Redeemed (2014)
Justin Cronin trilogy (2010–2016) The Passage (2010) The City of Mirrors (2016) The Twelve (2012)
MaryJanice Davidson Undead (Queen Betsy) vampire series (2004–present) Undead and Unwed (Book 1) (2004) Undead and Uneasy (Book 7) (2008) Undead and Unemployed (Book 2) (2004) Undead and Unwelcome (Book 8) (2009) 35 Undead and Unappreciated (Book 3) (2005) Undead and Unfinished (2010) Undead and Unreturnable (Book 4) (2006) Undead and Undermined (2011) Undead and Unpopular (Book 5) (2007) Undead and Unstable (2012) Undead and Uneasy (Book 6) (2008) Undead and Unsure (2013)
F. D. Davis (Dyanne Davis) Adam Omega, Vampire Series (2007–present) In The Beginning: A Vampire Series (2007) Lest Ye Be Judged (2010) In Blood We Trust (2008) Adam Omega's Journal (2013)
Guillermo del Toro and Chuck Hogan The Strain Trilogy (2011–2013) The Strain (2011) The Night Eternal (2013) The Fall (2012)
P. N. Elrod Jonathan Barrett, Gentleman Vampire (1993–1996) Red Death (1993) Death Masque (1995) Death and the Maiden (1994) Dance of Death (1996)
Vampire Files (1990–present) Bloodlist (1990) Dark Sleep (1999) Lifeblood (1990) Lady Crymsyn (2000) Bloodcircle (1990) Cold Streets (2003) Art in the Blood (1991) Song in the Dark (2005) Fire in the Blood (1991) Dark Road Rising (2009) Blood on the Water (1992) The Devil You Know (2009) Chill in the Blood (1998)
Christine Feehan The Carpathians (Dark) Series (2005–present) Dark Prince (Book 1) Dark Demon (Book 16) (2006) Dark Desire (Book 2) Dark Celebration: A Carpathian Reunion (17) (2007) Dark Gold (Book 3) Dark Possession (Book 18) (2008) Dark Magic (Book 4) (2000) Dark Curse (Book 19) (2008) Dark Challenge (Book 5) (2000) Dark Slayer (Book 20) (2009) Dark Fire (Book 6) (2001) Dark Peril (Book 21) (2010) Dark Dream (Book 7) (2001) Dark Predator (Book 22) (2011) Dark Legend (Book 8) (2002) Dark Storm (Book 23) (2012) Dark Guardian (Book 9) (2002) Dark Lycan (Book 24) (2013) Dark Symphony (Book 10) (2003) Dark Wolf (Book 25) (2014) Dark Descent (Book 11) (2003) Dark Blood (Book 26) (2014) Dark Melody (Book 12) (2003) Dark Crime (Book 27) (2014) Dark Destiny (Book 13) (2004) Dark Ghost (Book 28) (2015) Dark Hunger (Book 14) (200__) Dark Promises (Book 29) (2016) Dark Secret (Book 15) (2005) Dark Carousel (Book 30) (2016)
Martin H Greenberg The American Vampire series (1997–1998) Southern Blood: Vampire Stories from the American Streets of Blood (1998) South (1997) Blood Lines: Vampire Stories from New England (1997)
Laurell K. Hamilton Anita Blake: Vampire Hunter (1993–present) [adult]
Deborah Harkness All Souls Trilogy [vampires, witches, and demons] A Discovery of Witches (2011) The Book of Life (2014) Shadow of Night (2012)
Janice Harrell Nightmares Series: Vampire Twins (1994–1995) [young adult] Bloodlines (vol. 1) (1994) Bloodchoice (vol. 3) (1994) Bloodlust (vol. 2) (1994) Blood Reunion (vol. 4) (1995)
Vampire's Love (1995) [young adult] Blood Curse (No. 1) (1995) Blood Spell (No. 2) (1995)
Charlaine Harris Sookie Stackhouse (Southern Vampire) Series (2001–present) [adult]
Lisi Harrison Monster High Series (2010–present) [pre-teen]
Tanya Huff Blood Books (1991–present)
E. E. Knight Vampire Earth series (2003–present) Way of the Wolf (2003) Fall With Honor (2008) Choice of the Cat (2004) Winter Duty (2009) Tale of the Thunderbolt (2005) March in Country (2010) Valentine's Rising (2005) Appalachian Overthrow (2013) Valentine's Exile (2006) Baltic Gambit (2014) Valentine's Resolve (2007)
37 Rosemary Laurey The Vampire Series (2004–2007) Kiss Me Forever (Books 1) (2004) Keep Me Forever (Book 4) (2006) Love Me Forever (Books 2) (2004) Midnight Lover (Book 5) (2007) Be Mine Forever (Book 3) (2005)
Rene Lyons Templar Vampire Series (2006–2007) Midnight Sun (Book 1) (2006) Tempting Darkness (Book 3) (2007) The Daystar (Book 2) (2007)
Katie MacAlister The Dark Ones series (2003–present) A Girl's Guide To Vampires (2003) Zen and the Art of Vampires (2008) Sex and the Single Vampire (2004) Crouching Vampire, Hidden Fang (2009) Sex, Lies, and Vampires (2005) In the Company of Vampires (2010) Even Vampires Get the Blues (2006) Much Ado About Vampires (2011) The Last of the Red Hot Vampires (2007) A Tale of Two Vampires (2012)
Richelle Mead Vampire Academy series (2007–present)
Sienna Mercer My Sister the Vampire series (2007–present) My Sister the Vampire #1: Switched (2007) My Sister the Vampire #9: Twin-Tastrophe My Sister the Vampire #2: Fangtastic! (2007) My Sister the Vampire #10: Bite Night (2012) My Sister the Vampire #3: Re-Vamped! (2007) My Sister the Vampire #11: Flying Solo (2014) My Sister the Vampire #4: Vampalicious! (2008) My Sister the Vampire #12: Stake Out! (2014) My Sister the Vampire #5: Take Two My Sister the Vampire #13: Fangs for the Memories My Sister the Vampire #6: Love Bites My Sister the Vampire #14: Flipping Out! (2014) My Sister the Vampire #7: Lucky Break My Sister the Vampire #15: Secrets & Spies (2014) My Sister the Vampire #8: The Bat Pack My Sister the Vampire #16: Fashion Frightmare! (2014)
Stephenie Meyer Twilight saga (2005–2010) [young adult]
Doug Moench and Kelley Jones The Batman and Dracula trilogy (1991–1999) Red Rain (1991) Crimson Mist (1999) Bloodstorm (1994)
Melanie Nowak Almost Human: The First Trilogy (2008) Fatal Infatuation (Volume 1) (2008) Evolving Ecstasy (Volume 3) (2008) Lost Reflections (Volume 2) (2008)
Almost Human: The Second Trilogy (2010–present) Born To Blood (Volume 1) (2010)
Jody Offen Guardian of the Night Vampire Series (2004–2009) Garden of Stones: Book 1 (2004) Claimed by a Vampire (2009) To Love a Vampire: Book 2 (2005) 38
Anne Rice The Vampire Chronicles series (1976–2003; 2014–present) [adult]
The new Tales of the Vampires series (1998–1999) [adult] Pandora (1998) Vittorio the Vampire (1999)
The Lives of the Mayfair Witches series (1990–1994) [adult]
The Vampire Chronicles and Lives of the Mayfair Witches had a few crossover novels making Lives of the Mayfair Witches part of the Vampire Chronicles world. They are: Merrick (2000) Blood Canticle (2003) Blackwood Farm (2002)
The Wolf Gift Chronicles (2012–present) [adult]
Lynsay Sands Argeneau Series (2005–present) A Quick Bite (#1) (2005) Under A Vampire Moon (#16) (2012) Love Bites (#2) (2004) The Lady Is A Vamp (#17) (2012) Single White Vampire (#3) (2003) Immortal Ever After (#18) (2013) Tall, Dark & Hungry (#4) (2004) One Lucky Vampire (#19) (2013) A Bite To Remember (#5) (2006) Vampire Most Wanted (#20) (2014) Bite Me If You Can (#6) (2007) The Immortal Who Loved Me (#21) (2015) The Accidental Vampire (#7) (2008) About A Vampire (#22) (2015) Vampires Are Forever (#8) (2008) Runaway Vampire Dante's story (#23) (2016) Vampire, Interrupted (#9) (2008) Immortal Nights (#24) (2016) The Rogue Hunter (#10) (2008) Immortal Unchained (#25) (2017) The Renegade Hunter (#11) (2009) Immortally Yours (#26) (2017) Born To Bite (#13) (2010) Twice Bitten (#27) (2018) Hungry For You (#14) (2010) Vampires Like It Hot (#28) (2018) The Reluctant Vampire (#15) (2011) The Trouble With Vampires (#29) (2019)
Ellen Schreiber Vampire Kisses Series (2003–2012) Vampire Kisses (Book 1) (2003) Royal Blood (Book 6) (2010) Kissing Coffins (Book 2) (2005) Love Bites (Book 7) (2010) Vampireville (Book 3) (2006) Cryptic Cravings (Book 8) (2011) Dance with a Vampire (Book 4) (2009) Immortal Hearts (Book 9) (2012) The Coffin Club (Book 5) (2009)
Joann Sfar Little Vampire Series (2003–2006) [for children] Little Vampire Goes to School (2003) Little Vampire (2006) Little Vampire Does Kung Fu! (2003)
Grand Vampire Series (2001–2005) [in French] [adults] Cupidon s'en fout (Book 1) (2001) Quai des brunes (Book 4) (2003) Mortelles en tête (Book 2) (2002) La communauté des magiciens (Book 5) (2004) 39 Transatlantique en solitaire (Book 3) (2002) Le peuple est un Golem (Book 6) (2005)
Vampire Loves [in English] Vampire Loves (2006)
Darren Shan [From the series The Saga of Darren Shan] The Vampire Blood Trilogy Cirque Du Freak (2000) Tunnels of Blood (2000) The Vampire's Assistant (2000)
The Vampire Rites Trilogy Vampire Mountain (2001) The Vampire Prince (2002) Trials of Death (2001)
The Vampire War Trilogy Hunters of the Dusk (2002) Killers of the Dawn (2003) Allies of the Night (2002)
The Vampire Destiny Trilogy The Lake of Souls (2003) Sons of Destiny (2004) Lord of the Shadows (2004)
Susan Sizemore Vampire Romance (2003–20010) I Burn For You (Book 1) (2003) Primal Heat (Book 5) (2006) I Thirst for You (Book 2) (2004) Primal Desires (Book 6) (2007) "A Touch of Harry," in the anthology The Shadows of Primal Needs (Book 7) (2008) Christmas Past Dark Stranger (Book 8) (2009) I Hunger for You (Book 3) (2005) Primal Instincts (Book 9) (2010) Master of Darkness (Book 4) (2006)
L. J. Smith The Vampire Diaries Series (trilogy plus one) (1991–1992) [young adult]
The Vampire Diaries: The Return (2009–2011) [young adult] Nightfall (Book 5) (2009) Midnight (Book 7) (2011) Shadow Souls (Book 6) (2010)
The Hunters Trilogy (2011–2012) [young adult] The Hunters: Phantom (2011) (written by a ghostwriter) The Hunters: Destiny Rising (2012) (ghostwriter) The Hunters: Moonsong (2012) (written by a ghostwriter)
The Salvation Trilogy (2013–2014) [young adult] Unseen (2013) (written by Aubrey Clark) Unmasked (2014) (written by Aubrey Clark) Unspoken (2013) (written by Aubrey Clark)
Angela Sommer-Bodenburg Little Vampire series [children] (1979–2007)
These have yet to be released with an English translation [German only]: The Little Vampire and the Dance Hour, vol. #17 The Little Vampire & the Night of the Shivers, vol. #19 The Little Vampire Has a Birthday, vol. #18 The Little Vampire and the Last Conversion, vol. #20
Christopher Pike Last Vampire series (1994–present) The Last Vampire (1994) The Last Vampire 6: Creatures of Forever (1996) The Last Vampire 2: Black Blood (1994) The Last Vampire 7: The Eternal Dawn (2010) The Last Vampire 3: Red Dice (1995) The Last Vampire 8: The Shadow of Death (2011) The Last Vampire 4: Phantom (1996) The Last Vampire 9: The Sacred Veil (2013) The Last Vampire 5: Evil Thirst (1996)
J. R. Ward Black Dagger Brotherhood series (2005–present) [adult] Dark Lover (Book 1) (2005) Lover at Last (2013) Lover Eternal (Book 2) (2006) The King (2014) Lover Awakened (Book 3) (2006) The Shadows (Book 13) (2015) Lover Revealed (Book 4) (2007) The Beast (Book 14) (2016) Lover Unbound (Book 5) (2007) Blood Kiss (Book 15) (Black Dagger Legacy #1) (2015) Lover Enshrined (Book 6) (2008) Blood Vow (Book 16) (Black Dagger Legacy #2) (2016) Lover Avenged (Book 7) (2009) The Chosen (Book 17) (2017) Lover Mine (Book 8) (2010) Blood Fury (Book 18) (Black Dagger Legacy #3) (2018) Lover Unleashed (Book 9) (2011) "Dearest Ivie" (Book 18.5) (2018) Lover Reborn (2012) The Thief (Book 19) (2018)
41 Weekly Topics and Assignments
"In class" refers to that date's subject matter. "Homework" refers to the work you will do that night, due at the beginning of the next class period. Readings should be completed in advance of class meetings. Key: * VL: Perkowski's Vampire Lore * Dracula * PB: Penguin Book of Vampire Stories * Canvas
Week 1
Tuesday, Aug. 27, 2019 In class: What we already know about vampires (boardwork and discussion); course overview and goals; Nina Auerbach quote: "Every age creates the vampire that it needs."; syllabus; [the last 15 minutes will be a meeting for the students enrolled in the Honors section] Homework: 1) Purchasing of course materials (see syllabus), if you haven't already 2) Information cards (submit by e-mail) 3) Labeling of map of Eastern Europe and completing of country survey (will be checked at the beginning of the next class) [see assignment sheet for full instructions]: map, country chart, and survey assignment are available on Canvas 4) Read the syllabus for policies, resources, and more.
Thursday, Aug. 29, 2019 In class: Overview of Eastern and Central European geography and its implications for folk beliefs and their dispersion (boardwork, pairwork, groupwork); the vampire as icon; defining the vampire; four types of vampires; Perkowski's 10- point analysis Homework: Reading: 1) Máchal's "Slavic mythology" (VL pp. 70–118) [this is a long reading, so taking notes will help you stay engaged and keep track of the information]; 2) Perkowski 10-point analysis (VL pp. 390–393); 3) Example of analysis based on Macedonian vampire account (VL pp. 393–397); 4) If you have time, read: VL pp. 60–69 [Introduction to Vampire of the Slavs] 5) If you haven't already, read the syllabus for policies, resources, and more. Homework: Written: 1) Now go back and do a 10-point analysis of p. 75 of Máchal, from the line "The belief in vampires..." to "...end to his evil doings." Blank analysis forms are available on Canvas. You will turn this in at the end of class.
Week 2
Tuesday, Sept. 3, 2019 In class: Overview of Eastern European religions and their implications: discussion of Máchal reading: the soul, the mora, the werewolf, the vampire, the remembrance of and interactions with ancestors, the house spirit, Fate, the navka and rusalka, vily/fairies, other spirits (of the forest, field, and water), deities of ancient Rus'; the eastern European folk vampire (pt. 1) Homework: Reading: 1a) Perkowski's "The vampire: a study in Slavic bi-culturalism" (VL pp. 173–176) [contains Perkowski's definition of a vampire and his four types with definitions, as well as information on Kashubian vampire beliefs]; 1b) Perkowski's "A recent vampire death" (VL pp. 191–194) [contains an overview of Perkowski's 10-point analysis and an interesting modern example], 1c) Moszyński's "Slavic folk culture [excerpts]" (VL pp. 212–217). Homework: Written: 1) Do a quick Perkowski analysis for "Slavic folk culture". Blank analysis forms are available on Canvas. You will turn this in at the end of class.
42 Thursday, Sept. 5, 2019 In class: The Eastern European folk vampire (part 2); the physiology of death; (if time: the incubus, the succubus, and the clinical nightmare) Homework: 1) Perkowski's "The sun, the Slavs, and vampires" (VL pp. 496–497, 501–503) [contains some vampire beliefs and some religious history of the Slavs, esp. pre-Christian, dualism]; complete a Perkowski analysis on the vampire material 2) Perkowski's "On the origin of the Kashubian succuba" (VL pp. 504–508) [vampire vs. succuba]; 3) Barber's "Forensic pathology" (Canvas, pp. 109–142); complete the worksheet chart available on Canvas [trait ➝ folk interpretation ➝ explanation from forensic pathology] [really, really cool, creepy article!] 4) If you have the time and energy, read: Afanas'ev's "Poetic views of the Slavs regarding nature" (VL pp, 195–211).
Week 3
Tuesday, Sept. 10, 2019 In class: Discussion of Barber; Afanas'ev: overlays of religion [Mother Moist Earth > male power gods > Christianity]: dual faith; Indo-Iranian religions [dualism: Mithraism, Manichaeism]; dual faith vs. dualism; Limited Good, Evil; the Fluids of Life (with breath [spiritus] thrown in for free); discussion of archaic/traditional Eastern European social structure (like the zádruga) and the problem of Evil in Eastern European religion and folklore Homework: 1a) "The Romanian folkloric vampire" (VL pp. 509–521), 1b) "The Bulgarian folkloric vampire" (VL pp. 527–537), 1c) "More on the Bulgarian folkloric vampire" (VL pp. 538–541), 1d) "Cats, bats, and vampires" (VL pp. 542–548). 2) Do a Perkowski analysis for each of these. Blank analysis forms are available on Canvas. 3a) Planning ahead: movie after Test 1: Before the next class after Test 1 (i.e., Sept. 24, 2019), watch the movie Daybreakers (2009, Australia/US), keeping in mind our new approach to vampires and what they tell us about our age. [Note: If you would like, I will arrange to show this movie in our classroom Sun., Sept. 22, 2019, 5:30 pm.] Mark your calendars now. I HIGHLY, HIGHLY RECOMMEND THAT YOU COME TO THIS SESSION RATHER THAN TRYING TO ANALYZE IT ON YOUR OWN. 3b) Do a quick Perkowski analysis as you watch Daybreakers. This is not due until Sept. 24, 2019.
Thursday, Sept. 10, 2019 In class: Introduction to boundaries, liminals, and the rites of passage (for the six big transitions); social and psychological function of the vampire (Perkowski point #10): explanation of the mysterious, anxiety reduction (anthropomorphization, scapegoating) Homework: 1a) Perkowski's "Demons in the lore of Bulgaria's Moslems" (VL pp. 598–602); 1b) Perkowski's "Vampires, dwarves, and witches among the Ontario Kashubs" [excerpts on vampires and succubae] (VL pp. 218–229); 2) Do a Perkowski analysis for each of these. Blank analysis forms are available on Canvas. 3) When you complete these analyses, collect all of your Perkowski analyses and compare/contrast them. What do they have in common? What variation do they show? (If you want, you can print out another Perkowski sheet and create a master list for yourself of the features you have seen.) This will help you see the big picture, which we will then analyze and discuss in class on Tuesday. 4) Begin studying for Test 1 (short and long essays) by reviewing your notes and syllabus. A study guide will be available on Canvas. If you don't write timed essays well or quickly, use the study guide as a source for sample topics and write for 15 minutes without notes on 1–3 topics of your choosing (contact your instructor for help if you are having a hard time); Study session, anyone? (perhaps Tuesday evening? I would be happy to provide pizza and soft drinks or desserts to fuel us.).
Week 4
Tuesday, Sept. 17, 2019 In class: Rites of passage and the undead; discussion/analysis of all Perkowski readings: social and psychological function of the vampire (continued): How are these reflections of the "age"? What does this "vampire" embody? Why does this age/society/culture "need" these vampires?; discussion: return to Week 1 (traits of a vampire, definition of a vampire; categorize answers: how much comes from actual folklore?); summary of the folkloric vampire Homework: Final studying for Test 1 (don't wait until Wednesday night or Thursday morning...give it time to sink in). Study session, anyone? (perhaps this evening? I would be happy to provide pizza and soft drinks or desserts to fuel us.). 43
Thursday, Sept. 19, 2019 In class: Test 1 [60 minutes] Homework: 1) Background reading: Wikipedia entries on "Cautionary tale" and "Deal with the Devil"; 2a) Movie: Before our next class, watch the movie Daybreakers (2009, Australia/US), keeping in mind our new approach to vampires and what they tell us about our age. [Note: I will arrange to show this movie in our classroom on Sun., Sept. 22, 2019, 5:30–8:30 pm. I will buy us pizza and soft drinks, and I will lead a discussion afterward which will we will not do in class, which will be very, very valuable and which you [I guarantee you] will not get by watching the movie on your own. Please, please come and watch it with us.] 2b) Do a quick Perkowski analysis as you watch Daybreakers. 3) Look through the film list in this syllabus and mark movies that might interest you to do as projects for this class. Everyone will have to do at least one international work (movie, book, etc.) for one of their projects. It is preferable that you pick a work from a culture that you know (from your family history, from foreign languages you have studies, from places you have traveled to, etc.). You can check the IMDB (www.imdb.com) for synopses to help you choose. Make a list in order of 5–8 movies that interest you, and make sure that you can actually acquire them (not everything is on Netflix and YouTube!). We will sign up at the beginning of class, so have your list ready. Only one person can do each work, so be prepared not to get your first couple of choices.
Week 5
Tuesday, Sept. 24, 2019 In class: Transition to the literary vampire (Part II of the course!); discussion of metaphor, analogy, and allegory; morality tale/play, parable, apologue, fable; blood metaphors (start your lists!); discussion of how the vampire could transition (in form and function) from folklore (pre-modern belief system) to cinema (and modern fictional media); analysis of Daybreakers; discussion of course projects and choosing movies (or books, etc.) to analyze; discussion of process, rationale, and benefits of Test Corrections and Error Analysis; return of Test 1 Homework: 1) If you still haven't chosen a movie, if you have changed your mind, or if you are having trouble finding a copy, contact your instructor. Make sure to (re)read the project description in this syllabus. 2) Background reading: Wikipedia articles on "Metaphor" (just the introduction section and the section "Comparison with other types of analogy"), "Analogy" (just the introduction section), "Allegory" (just the introduction section) 3) Complete Test Corrections and Error Analysis for up to a third of your points back. Make sure to read and follow the instructions very carefully (see instructions earlier in this syllabus), or they will be returned for resubmission. (grades in the 90s due one class period after receipt of the graded test; grades below 90 due two class periods after receipt of the graded test).
Thursday, Sept. 26, 2019 In class: Continuation of the discussion of metaphor (and Daybreakers) as it relates to "Every age creates the vampire that it needs"; continuation of discussion of how the vampire could transition (in form and function) from folklore (pre-modern belief system) to literature (modern fictional literature) Homework: 1a) Reading: Background on the genesis of Polidori's "The Vampyre" (PB pp. 1–2: preface to "The Vampyre") 1b) Background reading: Wikipedia article on "Lord Byron" 2) Complete Test Corrections and Error Analysis for up to a third of your points back. Make sure to read and follow the instructions very carefully (see instructions earlier in this syllabus), or they will be returned for resubmission. (grades in the 90s due one class period after receipt of the graded test; grades below 90 due two class periods after receipt of the graded test).
44 Week 6
Tuesday, Oct. 1, 2019 In class: Sign-ups for Project #1; discussion of the background of Polidori's "The Vampyre"; the theme of the pact with the Devil (and maybe a little about Faust!); class wars in our four stories Homework: 1) Polidori's "The Vampyre" (PB pp. 7–24): make sure to do a Perkowski analysis (to be turned in later) 2) Complete Test Corrections and Error Analysis for up to a third of your points back. Make sure to read and follow the instructions very carefully (see instructions earlier in this syllabus), or they will be returned for resubmission. (grades in the 90s due one class period after receipt of the graded test; grades below 90 due two class periods after receipt of the graded test).
Thursday, Oct. 3, 2019 In class: Using Perkowski's 10-point analysis to analyze vampire literature; Polidori's "The Vampyre"; introduction to Rymer's Varney the Vampyre; the "penny dreadful" genre; willing suspension of disbelief Homework: 1) Rymer's "Varney the Vampyre" [excerpt] (PB pp. 26–35); make sure to do a Perkowski analysis (will be turned in later) 2) Additional excerpts through Canvas: the conclusion of Varney and three articles on penny dreadfuls ("Penny dreadful", "Popular culture (1881)", "A Defence of Penny Dreadfuls (1901)") 3) Project #1: Perkowski analysis #1–9 of your chosen work due on Tuesday (Oct. 8, 2019). Make sure to (re)read the project description in this syllabus. There is a checklist to help you. 4) Use the Vampire Threat Analysis Worksheet to help you with #10. You will have to turn this in with your first project, part 1. Make sure to (re)read the project description in this syllabus.
Week 7
Tuesday, Oct. 8, 2019 In class: Collection of Project #1 (Perkowski points #1–9 and Project Worksheet); extra credit submissions? (analysis); initial reactions to Varney; pair work: analysis of Varney as a model Gothic text (worksheet and excerpt provided); background for "Carmilla" Homework: 1) "Carmilla" (PB pp. 71–137); make sure to do a Perkowski analysis (will be turned in later) 2) Honors students reminder: Product analysis due on Tuesday (Oct. 22, 2019)! 3) Work on your project, part 2 (#10).
Thursday, Oct. 10, 2019 In class: Extra credit submissions? (analysis); initial reactions to "Carmilla": how does it compare to and differ from Polidori and Rymer?; Bloch quote: "Carmilla is assuredly Varney's sister as Dracula is his brother." [reactions?]; the time period ("age") when "Carmilla" was written (Victorian Age: the age of certainty), vampire lit on the decline in popularity; themes (strangers, nobles, pacts, lesbianism, puberty anxiety, etc.); elements (multiple sources, backstory, etc.); "credible sources" and their relation to urban legends ("from a friend of a friend") Homework: 1) Skim "Carmilla" in PB and construct a list of sources and a chronology of the events in the story.
45 Week 8
Tuesday, Oct. 15, 2019 In class: Turn in your first project (all parts #1–10); extra credit submissions? (analysis); continuation of discussion of "Carmilla": themes: sources and time structure Homework: 1) Finalize all three Perkowski analyses for Polidori, Rymer, and Le Fanu: to turn in! 2) Background reading: Wikipedia articles on "Victorian Era" (especially the late period in Britain), "Vlad the Impaler" (a few pages, but important and interesting), "Elizabeth Báthory" (a few pages but interesting), "Victorian Morality" (short), and "New Woman" (a few pages).
Thursday, Oct. 17, 2019 In class: Extra credit submissions (analysis); "Carmilla" as a precursor to Dracula; the urban legend; historical figures related to Dracula: Vlad Ţepeş (the Impaler) (1431–1476): the historical Dracula, Erzsébet (Elizabeth) Báthory (1560–1614); background on Stoker and Dracula and the social issues of the late Victorian Era in England Homework: 1) Read Dracula, chapters 1–8. 2) Work on a Perkowski analysis of Dracula as you read. 3) Honors students reminder: Product analysis due on Tuesday (Oct. 22, 2019)!
Week 9
Tuesday, Oct. 22, 2019 In class: Extra credit submissions?; background on Stoker and Dracula; initial reactions, observations; comparisons/contrasts to Polidori, Rymer, and Le Fanu; Perkowski analysis of Dracula; themes, elements; the epistolary novel; the Victoria Age (1832/1837–1901): its origins, its literature, its social themes (technology; political and social reforms; industrialization, urbanization, prosperity; morality, prostitution ("The Great Social Evil", venereal diseases); class distinctions, rise of the educated middle class, rise of the reading public, fate of the nobility Homework: 1) Read Dracula, chapters 9–16. 2) Work on a Perkowski analysis of Dracula as you read.
Thursday, Oct. 24, 2019 In class: Extra credit submissions?; Dracula: plot summary so far, themes and elements (metaphors, Biblical allusions, inversions; blood and sexuality); Perkowski analysis (more sources, more attributes, ...); morality themes (secrecy, oaths and pacts, social class, gender roles, the fates of Lucy and Mina); the vampire as a "vehicle" to discuss societal issues Homework: 1) Read Dracula, chapters 17–23. 2) Work on a Perkowski analysis of Dracula as you read (to be turned in at the end).
Week 10
Tuesday, Oct. 29, 2019 In class: Extra credit submissions?; Dracula: plot summary so far, themes and elements; Perkowski analysis (more sources, more attributes, ...); Lucy's death(s); Mina's danger; more on the Victorian Age (again, what is it and where/how do we see it in Dracula?) Homework: 1) Read Dracula, chapters 24–end. 2) Work on a Perkowski analysis of Dracula as you read.
Thursday, Oct. 31, 2019
Week 11
Tuesday, Nov. 5, 2019 In class: Extra credit submissions?; turn in Perkowski analysis of Dracula at the beginning of class; discussion of Nosferatu homework assignment; Test #2 [60 minutes] Homework: 1) Background reading on the "age" in which Nosferatu was created in Germany (say, 1910–1922): historical events and aftermath, societal problems and fears, economy, state of cinema; find and read one article or website discussing Nosferatu (to be used in class discussion): read: a) Wikipedia article on "History of Germany" (the sections "German Empire, 1871–1918" and "Weimar Republic, 1919–1933") b) International Encyclopedia of the First World War: War Losses (Germany): http://encyclopedia.1914-1918- online.net/article/war_losses_germany c) [Optional: If you especially like film, read the Wikipedia article "F. W. Murnau" about the director of Nosferatu.] 2) Print out 5–6 blank copies of the Perkowski analysis forms, to be used for the 5 films we will watch in the next few weeks. 3) Submit new project draft if necessary.
Thursday, Nov. 7, 2019 In class: Introduction to the cinematic vampire: from the printed page to the silver screen; Nosferatu (Germany, 1922, dir. F. W. Murnau, starring Max Schreck) and its background; Discussion of your homework assignments and the age in which Nosferatu was created; viewing of Nosferatu (first 45 minutes): complete a Perkowski analysis as you watch Homework: 1) Look at what you wrote and researched for Tuesday's homework assignment and make notes of how you saw those themes in the movie (not every theme will be in there). We will discuss these in class. 2) Work on your Perkowski analysis of Nosferatu. 3) Submit new project draft if necessary.
Week 12
Tuesday, Nov. 12, 2019 In class: Viewing of Nosferatu (last 50 minutes); discussion of Nosferatu: themes, cinematography, how its plot and list of characters differ from Dracula; discussion of the "age" that the movie was created in and how we see it in the themes, images, and changes that were made (between the novel and the film); Test 2 returned (hopefully!). Homework: 1) Test corrections and error analysis for up to a third of your points back. Make sure to read and follow the instructions very carefully, or they will be returned for resubmission (grades in the 90s due one class period after receipt of the graded test; grades below 90 due two class periods after receipt of the graded test). 2) Finish your Perkowski analysis of Nosferatu, to be turned in on Thursday. 3) Submit new project draft if necessary.
Thursday, Nov. 14, 2019 In class: The vampire in modern culture: US history and the transformation of the vampire throughout (WWI, Great Depression, WWII, Baby Boom, Cold War, Korean & Vietnam Wars, diseases [venereal diseases, leukemia, sickle cell anemia, hemophilia, AIDS] Homework: 1) Read the Hayes Production Code article, available on Canvas [it is really interesting!]. Think about the movies you have seen in the past few years. For each production code rule, think of a movie or two from your list that would have violated it. Which ones would have probably been banned outright? Which ones would have been censored in order to be shown? Did any movies not have any violations? 2) Submit new project draft if necessary.
47 Week 13
Tuesday, Nov. 19, 2019 In class: The cinematic Dracula continued: adopting and adapting Stoker's Dracula: the flexible, adaptable vampire and what he tells us about the age when he was resurrected; The Hayes Production Code of the US Motion Picture Industry (1930– 1967); four film classics from different "ages": the first 10–15 minutes of: * Dracula (1931, dir. Tod Browning; starring Bela Lugosi as Dracula) * Horror of Dracula (1958, Hammer Studios, dir. Terence Fisher; starring Christopher Lee as Dracula) * Dracula (1979, dir. John Badham; starring Frank Langella as Dracula) * Bram Stoker's Dracula (1992, dir. Francis Ford Coppola; starring Gary Oldman as Dracula) Make sure to complete a Perkowski analysis for each as you watch! Homework: 1) Work on your Perkowski analyses of these four films. 2) Submit new project draft if necessary.
Thursday, Nov. 21, 2019 In class: The cinematic Dracula continued: four film classics from different "ages" and the "look" of the different Draculas: discussion of the beginnings of our four films; view the last 10–15 minutes of: * Dracula (1931, USA; dir. Tod Browning; starring Bela Lugosi), * Horror of Dracula (1958, UK [Hammer Studios]; dir. Terence Fisher; starring Christopher Lee), * Dracula (1979, USA; dir. John Badham; starring Frank Langella), * Bram Stoker's Dracula (1992, USA; dir. Francis Ford Coppola; starring Gary Oldman) Homework: 1) Finish work on your Perkowski analyses for the four films that we watched. Leave blanks for anything that was not covered in the clips that we watched. 2) Submit new project draft if necessary.
Week of Thanksgiving Break
Tuesday, Nov. 26, 2019: No class: Thanksgiving break Thursday, Nov. 28, 2019: No class: Thanksgiving break
Week 14
Tuesday, Dec. 3, 2019 In class: Review of the vampire in modern culture from before the break; the rise of the good guy vampire [the repentant/remorseful vampire, like Varney (1845–47), Jack Palance's Dracula (1973), Louis Pointe du Lac (novel 1976; movie 1994), crime fighters (Blood Ties, 2006)]; vampires as superheroes; parody; origins of the Goth movement.
Thursday, Dec. 5, 2019 In class: The vampire in modern culture (continued); Goths, modern vampire/vampyre subculture, music, Internet; a fifth type of vampire? Homework: 1) Begin to review for final exam. 2) Read the Hodkinson article (available through Canvas) on Goth subculture for some more background. 3) Read Merticus article (available through Canvas); complete a Perkowski analysis based on his interview. 4) Study session, anyone? Maybe Sunday evening (Dec. 15, 2019, 5:30 pm) over pizza and soft drinks (my treat!)? 5) Honors section: Last session Sun., Dec. 8, 2019, 5:30 pm: we will watch a movie together or explore an in-depth theme. 6) Submit new project draft if necessary.
48 Week 15
Tuesday, Dec. 10, 2019 In class: Goths and the modern vampire subculture (continued); if time, South Park Season 7 (Raisins), Season 12 (Ungroundable); the vampire in unexpected places: from your cereal box to your vacuum cleaner; vampires around the globe: transformation, adaptation, and what that says about individual cultures; if time: viewing of film clips (excerpts from world cinema: Pakistan, Germany, Cuba, Japan, Russia, and more). Homework: 1) Fill out the worksheet for the analysis of the five types of vampires. If you have questions or are not sure of something, make a note and ask about it in class. 2) Review for final exam; bring any questions to class or to the study session (Sun., Dec. 15, 2019, 5:30 pm).
Thursday, Dec. 12, 2019 In class: Review; final study guide available on Canvas and course overview; blood metaphors; flexibility of the vampire; course summary and conclusions Homework: Review for final exam.
Sunday, Dec. 15, 2019 Optional study session (Sun., Dec. 15, 2019, 5:30 pm, our classroom). I could provide pizza and soft drinks.
Finals Week
The final is on Tues., Dec. 17, 2019, 5:00 pm–7:00 pm in our classroom. The written test should only take 45–60 minutes, although you will have until 7:00 pm to complete it.
49 AUGUST / SEPTEMBER 2019 S M T W R F S WEEK 25 26 27 28 29 30 31 1 A U G 1 2 3 4 5 6 7 2 S E P 8 9 10 11 12 13 14 3
15 16 17 18 19 20 21 4 5:30 pm study ses? Test 1 22 23 24 25 26 27 28 5 5:30 pm Day- breakers
OCTOBER 2019 S M T W R F S WEEK 29 30 1 2 3 4 5 6 O Fall break C T 6 7 8 9 10 11 12 7 Project #1 pts 1–9 due 13 14 15 16 17 18 19 8 Project #1 all due
20 21 22 23 24 25 26 9 HON: product due 27 28 29 30 31 1 2 10 5:30 pm N HON mtg O V
NOVEMBER 2019 S M T W R F S WEEK 3 4 5 6 7 8 9 11 5:30 pm Extra study ses? Test 2 credit due 10 11 12 13 14 15 16 12
17 18 19 20 21 22 23 13
24 25 26 27 28 29 30 TB T h a n k s g i v i n g B r e a k
DECEMBER 2019 1 2 3 4 5 6 7 14 D E C 8 9 10 11 12 13 14 15 5:30 pm HON mtg 15 16 17 18 19 20 21 FINALS 5:30 pm 5:00 pm study ses? Final
50