This extra credit assignment was designed for a joint humanities course in English and Black Studies, combining first-year writing and an introductory survey of African American Literature. Throughout the semester, students are encouraged to complete extra credit assignments, such as this film/tv review, to earn additional points (up to 5%).
Combining rhetorical analysis with applied research, students have a list of films or television shows to choose from, as well as the ability to select their own related media, and write a response that includes a synopsis, analysis of plot, character development and themes, and personal response to the text in light of our course topics and learning outcomes. No secondary sources were required, but this assignment can easily be updated to include additional sources.

This is a research proposal assignment, including a student worksheet, for a first-year composition classroom. This assignment is used as part of the inventive stages of the first-year research essay. It allows students an introduction to a new genre along with the opportunity to practice college-level research. The proposal acts as a tool for students to work towards developing a thesis driven essay. The worksheet helps guide students through this new genre by offering a template for content. This proposal works as a pedagogical tool allowing the instructor to offer meaningful feedback to guide the student through the critical thinking and research process.

The "Flipping the Script: Challenging Our Perceptions about Race”  Lesson Plan provides a step by step plan on how to conduct this workshop. Also, the Lesson Plan provides a link to an After Event Toolbox that was designed to allow participants to continue the conversation after the workshop is completed. 

Major narrative texts from diverse Western cultures, beginning with Homer and concluding with at least one film. Emphasis on literary and cultural issues: on the artistic significance of the chosen texts and on their identity as anthropological artifacts whose conventions and assumptions are rooted in particular times, places, and technologies. Syllabus varies, but always includes a sampling of popular culture (folk tales, ballads) as well as some landmark narratives such as the Iliad or the Odyssey, Don Quixote, Anna Karenina, Ulysses, and a classic film. This class will investigate the ways in which the formal aspects of Western storytelling in various media have shaped both fantasies and perceptions, making certain understandings of experience possible through the selection, arrangement, and processing of narrative material. Surveying the field chronologically across the major narrative genres and sub-genres from Homeric epic through the novel and across media to include live performance, film, and video games, we will be examining the ways in which new ideologies and psychological insights become available through the development of various narrative techniques and new technologies. Emphasis will be placed on the generic conventions of story-telling as well as on literary and cultural issues, the role of media and modes of transmission, the artistic significance of the chosen texts and their identity as anthropological artifacts whose conventions and assumptions are rooted in particular times, places, and technologies. Authors will include: Homer, Sophocles, Herodotus, Christian evangelists, Marie de France, Cervantes, La Clos, Poe, Lang, Cocteau, Disney-Pixar, and Maxis-Electronic Arts, with theoretical readings in Propp, Bakhtin, Girard, Freud, and Marx.

Please find an example of a syllabus for an online, English composition course.

The purpose of this course is to provide further practice with a variety of genres that you’ll use throughout your college career and in your professional life. These genres include reflection, analysis, reporting, arguing, and self-assessment. While you likely had experience with these genres in your primary and secondary education, this class will provide you with an opportunity to expand and develop your range. In addition to exploring these genres, we will also develop our research practices to make use of City College’s virtual library.

This syllabus is for a Freshmen Inquiry Writing Seminar, which is a two-section, collaboratively taught course wherein one of the two courses engages students in critical thinking, reading, and writing about the issue of language and literacy, while the other introduces students to conventions of academic writing and mentors them in social and rhetorical writing processes. Thus, this course draws on the topic of language and literacy as a vehicle for critically analyzing students' own languages and literacies and developing especially their academic and information literacies.
Throughout the course, students are encouraged to reflect on their writing practice. As a culminating assignment for the course, students are asked in this assignment prompt to analyze their writing and writing process. They are asked to reflect on whether or not they met the course outcomes in their final paper and support their analysis with artifacts from their participation throughout the course.

This is a syllabus for a Freshman Inquiry Writing Seminar (FIQWS) content section on American Musical Theatre. FIQWS is a six-credit courses taught by two instructors that combines a specific topic and an intensive writing seminar.

This assignment was developed with the global learning core competency rubric and its dimensions in mind. The objective is for students to understand and articulate the intention of a play and the significance of choices the playwright makes. Students are also expected to articulate how the play fits into a social/political context on a global level and articulate how the student can relate or not relate to the point of view and why. This process provides the student an opportunity to open their minds to plays beyond entertainment purposes and have a deeper understanding of a writer‰Ûªs intention.
LaGuardia‰Ûªs Core Competencies and Communication Abilities
Main Course Learning Objectives:
To understand and articulate the intention of a play and the significance of choices the playwright makes. Additionally, to understand and articulate how the play fits into a social/political context on a global level and articulate how the student can relate or not relate to the point of view and why. This process provides the student an opportunity to open their minds to plays beyond entertainment purposes and have a deeper understanding of a writer‰Ûªs intention.

This assignment is designed for any lecture based course that does not inherently have collaborative work or assignments as part of the curriculum. For any student taking a theatre arts course, understanding how it is to work with others and create something is one of the biggest lessons that can be learned. To take the pressure off the idea of "performance", this playwriting assignment starts with the role of the Playwright and how to create from the ground up.

A survey of hazards specifically associated with working in theatres, performance venues, fabrication shops and live performances. Topics include potentially toxic chemicals, vapors, fumes and ventilation; shop conditions and working attitudes; proper preparation and planning; hazards associated with welding; and fire and life safety codes that relate to working in live entertainment.

Each student will select a class session in which to present a brief (1-2 minute) "fun fact" based on their own research that relates to the time/place being studied. It should be something that is of interest to you, and (hopefully) to the whole class – cultural, political, sociological, scientific, medical…. For example, for the class on Roman Tragedy, the factoid might be about what a citizen in ancient Roman ate for supper! Originality counts.
Due on date of presentation: A one-paragraph description of the fun fact, in your own words, and cite at least one source--that is not Wikipedia. Sign-up for this will be in the first week of class. (5% of total grade)

A syllabus designed for a course covering the history of popular music (country, rock, hip hop, R&B, etc.) from 1960 to today.

This course is a survey of the development of architectural and scenic styles in the physical structure of theatre from its beginnings in ancient Greece to its most current forms, with an emphasis placed on the stylistic influences of theoreticians and artistic movements. The class is a conversation between theater history and architecture. As such, the work focuses on purpose-built and adapted spaces for live performance. Each week we will examine historical theatre spaces and technologies in the context of prevailing cultural and social forces in order to better understand audience/stage relationships.

This course develops the theory and design of hydrofoil sections, including lifting and thickness problems for sub-cavitating sections, unsteady flow problems, and computer-aided design of low drag cavitation-free sections. It also covers lifting line and lifting surface theory with applications to hydrofoil craft, rudder, control surface, propeller and wind turbine rotor design. Other topics include computer-aided design of wake adapted propellers, steady and unsteady propeller thrust and torque; performance analysis and design of wind turbine rotors in steady and stochastic wind; and numerical principles of vortex lattice and lifting surface panel methods. Projects illustrate the development of computational methods for lifting, propeller and wind turbine flows, and use of state-of-the-art simulation methods for lifting, propulsion and wind turbine applications.

Approaching analysis of Dramatic Literature can easily be accomplished via class discussion and through writing. Since plays are “written to be performed”, other approaches of analysis must be explored. The collage assignment and synthesis focuses on the visual aspects of the writing and how the playwright offers clues as to what can or should be focused on.

This course is an interdisciplinary exploration of three broad topics concerning music in relation to time.Music as Architecture: the creation of musical shapes in time;Music as Memory: how musical understanding depends upon memory and reminiscence, with attention to analysis of musical structures; andTime as the Substance of Music: how different disciplines such as philosophy and neuroscience view the temporal dimension of musical processes and/or performances.Classroom discussion of these topics is complemented by three weekend concerts with pre-concert forums, jointly presented by the Boston Chamber Music Society (BCMS) and MIT Music & Theater Arts.

An introduction to the entertainment and interactive media technology industry including working methods, processes, equipment and facilities for live, recorded, and interactive environments, including theatre, opera, dance, concert productions, theme parks, themed-retail, cruise ship venues, video production, immersive, interactive and virtual environments, and gaming technology.

A collection of nine blog prompts developed for an introductory music course that incorporates world music, popular music, and Western art music through a topical (rather than chronological) organization. Each prompt asks students to synthesize course content or apply course concepts to music apart from their assigned listening. Full credit is earned if the student: writes around 200 words; uses musical and/or textual evidence to back up their observations; and leaves a substantive comment (2-3 sentences) on a classmate’s blog. These blog prompts reference passages and assigned listening from Cornelius and Natvig, Music: A Social Experience (2nd ed).