modesto junior college course outline of record art 123course outline of record art 123 overview the...

Modesto Junior CollegeCourse Outline of Record

ART 123 OVERVIEW The following information will appear in the 2016 - 2017 catalog

ART 123—FIGURE DRAWING 3 UNITS

27 Lecture Hours, 81 Lab Hours , 54 Outside-of-Class Hours = 162 Total StudentLearning Hours Prerequisite: Satisfactory completion of ART 120.

Fundamentals of art anatomy and representation of the human figure. Drawing of both the nude anddraped figure in various media. Field trips might be required. Not repeatable. (A-F or P/NP) Transfer:(CSU, UC) (CC: ART 9A) (C-ID: ARTS 200) Local Requirement: (Activities)

I.

LEARNING CONTEXT Given the following learning context, the student who satisfactorily completes this course should be able to achieve thegoal specified in Section III, Desired Learning:

COURSE CONTENT

Required Content:

Anatomy and StructureA.

Anatomy

Human skeletal structure

Function and proper terminologyi.

a.

Human musculature

Function and proper terminologyi.

b.

Historical approaches to anatomyc.

1.

Proportion2.

Relating elements of the human bodya.

Land marks and building the figureb.

Mechanical systems for rendering the body in proportion

Mathematical ratiosi.

Ovoid structureii.

Geometric structureiii.

Planar structuresiv.

c.

1.

A.

II.

Division: Arts, Humanities & Communications 1 of 7 Printed on: 08/19/2020 10:01 AM

Meeting Date: 02/03/2015 ART 123EFFECTIVE: Summer 2016 Discipline(s)

ACTIVE COURSE Art (M)

Wire-frame structurev.

Shape and overlapping in depicting the formd.

Volume

Line and mark and creating volumea.

Using value in rendering the appearance of volume through the use of light and darkb.

Historical approaches to rendering volumec.

3.

The human body and aesthetic concernsB.

Expression

Gesture, motion spontaneity and rapid depiction.a.

Mark making concerns in figure drawingb.

Use of value to create an emotional responsec.

Problems in rendering the human figure both accurately and aestheticallyd.

Historical and contemporary approaches to the abovee.

1.

Formal concerns in depicting the figure

Directional forcesa.

Scaling the figure within a compositionb.

Closed composition and cropping the formc.

The figure and perspectived.

Setting the figure in space with figure/ground relatione.

Historical and contemporary approaches to the abovef.

2.

Depicting the human form with different media

The figure and graphitea.

The figure pen and inkb.

The figure and washc.

The figure and charcoald.

The figure and chalkse.

Mixed media approachesf.

Historical and contemporary approaches to the aboveg.

3.




Required Lab Content:

The anatomical, formal and aesthetic content introduced in lecture will be covered by thefollowing laboratory techniques.

A.

Discussion of human skeletal structures followed by oral examination1.

Discussion of human muscular structures followed by oral examination2.

Technique demonstrations3.

Material demonstrations4.

Drawing from the human skeleton5.

Drawing from casts6.

Timed drawing using the model7.

Individual critiques with individualized instruction8.

Group critiques of student work9.

Group discussion of contemporary and historical approaches to rendering the figure10.

2.

ENROLLMENT RESTRICTIONS

Prerequisites

Satisfactory completion of ART 120.

1.

Requisite Skills Before entering the course, the student will be able to:

Identify various drawing media and be able to determine the appropriate tool for the task. A.

Identify a variety of drawing surfaces and remain sensitive to their potential for visual effects. B.

Demonstrate the fundamentals of linear perspective through a sequence of increasinglycomplex studio assignments. The student will demonstrate an understanding of these conceptswith on-location freehand sketching of architectural forms.

C.

Identify the basic drawing element of line and determine the appropriate quality for its function:contour, gesture, construction, object and expressive.

D.

Identify the role of light and shade to create an illusion of form on the flat drawing surface. E.

Identify and label the patterns of tone on basic organic and geometric forms. Application isrequired on still-life subjects with studio light and landscape subjects with natural light.

F.

Demonstrate the use of texture to simulate roughened surfaces of the subject reference and tobecome sensitized to its expressive potential. Students experiment with and select appropriatetexture for developed study.

G.

2.

B.

HOURS AND UNITS

3 UnitsINST METHOD TERM HOURS UNITS

C.




Lecture 27 1.50Lab 81 1.50Discussion 0 0Activity 0

METHODS OF INSTRUCTION (TYPICAL) Instructors of the course might conduct the course using the following method:

Related material will be presented through designated class lecture and studio demonstration1.

Slides and digital presentations augment lecture content.2.

Instructor led in class drawing assignments designed to encouraged students to develop original andcreative solutions to specific problems in rendering the figure.

3.

Individual and group critiques require students to articulate their ideas and concepts both visually andverbally

4.

Discussion of human skeletal and muscular systems, followed by oral examination will assist thestudent in gaining command of the proper anatomical terms.

5.

D.

ASSIGNMENTS (TYPICAL)

EVIDENCE OF APPROPRIATE WORKLOAD FOR COURSE UNITS Time spent on coursework in addition to hours of instruction (lecture hours)

I. This course is a mixture of lecture and laboratory modes of instruction.

Lecture (assignments that require working outside of class)

Readings and study of human anatomy, weekly1.

Sketchbook homework assignments, weekly2.

Reading from the text or from online resources, weekly3.

A.

Laboratory

Materials exercises, per unit of lecture1.

Gestural exercises, daily2.

Directed timed drawing, daily3.

Discussion human skeletal and muscular structures, weekly4.

Discussion of contemporary and historical approaches to rendering the figure, per unit oflecture

5.

Individual critiques, daily6.

Group critiques, per unit of lecture.7.

B.

1.

EVIDENCE OF CRITICAL THINKING Assignments require the appropriate level of critical thinking

Each student produces an in-depth homework book based on specific assignments focusing onmodes of expression, proportions, anatomy, copies of master drawings and sketches from lifeand sculptures, which assists the student in gaining mastery of the various functions of figuredrawing.

A.

2.

E.




Specific assignments requiring reading and study of human anatomy will result in severalanatomical drawings. Students here must demonstrate understanding of the names andfunctions of basic muscular-skeletal systems, proportional systems of the body, head, hands,etc.

B.

Final examination of anatomical and proportional working knowledge. During a thirty minuteperiod students will render a human figure from memory, depicting the body in a non-schematicfashion (some motion). Drawing from memory and knowledge of anatomy students willdemonstrate their control in rendering the human figure as a whole. This examination givesstudents the opportunity to demonstrate other formal or aesthetic issues related to rendering thehuman form such as gesture, volume, composition, mood, etc.

C.

Closed composition studies using multiple figure. Set two or more models up in such a fashionthat they appear to overlap, and so that depicting both entirely would not be possible within thegiven time frame. Assign three closed compositions, where the student must crop portions ofthe figures, with an hour to complete all three. In creating these compositional studies studentswill demonstrate their understanding on anatomical structures and formal elements, theimportance of negative shapes and spaces, balance, and distribution of values in composing.

D.

TEXTS AND OTHER READINGS (TYPICAL)

Book: Goldstein, N. & Beal (2010). Figure Drawing: The Structural Anatomy and Expressive Designof the Human Form (7th/e). Harcourt Brace Publishers.

1.

Book: Aristides, Juliette (2011). Lessons in Classical Drawing: Essential Techniques from Inside theAtelier (1st/e). Watson-Guptill.

2.

F.

DESIRED LEARNING OBJECTIVES

Required Objectives Upon satisfactory completion of this course, the student will be able to:

Identify the psychological expression and applications of the human form as subject in painting,illustration, sculpture and design disciplines.

a.

Identify the history of the figure in its relationship to aesthetic, emotional and technicalapplication.

b.

Employ the skills to technically render the anatomy of the human form through the study, anddemonstrate knowledge of skeletal and muscular terminology and structure.

c.

Identify the kinetic possibilities of the human body and employ the skills for representing thoseactions on a two-dimensional surface.

d.

Prepare a comprehensive sketchbook summarizing the techniques and structures of artists'approaches toward the human figure throughout history.

e.

Analyze the use of the figure as a traditional, contemporary or avant-garde subject. f.

Demonstrate understanding of the structure and design of the human form in two-dimensionalartwork.

g.

Analyze the use of the materials and surfaces upon which artists use the human form.h.

Compare and contrast the work of fellow students by sharing a variety of visual solutions to acommon subject or pose.

i.

Examine and review the weaknesses and strengths of each student's composition, drawing orj.

1.

A.

III.




study.

Demonstrate proficiency with a variety of approaches to contour line drawing, gesture sketchesand compositional planning.

k.

Demonstrate the significance of light and shadow to find the volume of the human figure, identifythe values that occur, and control the quality of the edges and their role in unifying thecomposition.

l.

Lab Objectives Upon satisfactory completion of the lab portion of this course, the student will be able to:

REQUIRED OBJECTIVES:1. Identify and give the proper term for the major skeletal structures and muscles.

2. Complete drawings of the human figure with a wide variety of drawing media and surfaces.

3. Complete timed drawings which capture the gesture and movement of the figure.

4. Break the human figure down into basic forms using different drawing systems (i.e. ovoidforms, geometric forms, wire-frame).

5. Analyze the strengths and weaknesses in technique, composition and gesture of the studentsown work and the work of others.

6. Render and identify the structures of light and shadow on the human form.

7. Compose closed compositions depicting cropped portions of one or more figure.

2.

METHODS OF EVALUATION (TYPICAL) FORMATIVE EVALUATION

Timed drawing exercises1.

Group and individual critiques2.

Sketchbook assignments covering drawing techniques, anatomy, and traditional rendering of thehuman figure

3.

Oral examination covering the major muscle and bone groups of the human body4.

A.

SUMMATIVE EVALUATION

Midterm and Final portfolio evaluation1.

Performative midterm and final drawing examinations2.

Midterm and final examination of the major muscle and bone groups of the human body3.

B.

IV.




ART - 123: Figure DrawingCourse Learning Outcomes

Upon satisfactory completion of this course, the student should be prepared to:

Understand human anatomy on the surface,muscular and skeletal levels, as well as thebody's kinetic and static possibilities.

1.

Identify the kinetic and static possibilities ofthe human body and employ the skills forrepresenting those poses through the act ofgesture drawing.

2.

Understand the significance of light andshadow in human figure drawing.

3.

Create drawings of the human form with orwithout models.

4.





ART 129 OVERVIEW The following information will appear in the 2016 - 2017 catalog

ART 129—FIGURE DRAWING 2 3 UNITS

27 Lecture Hours, 81 Lab Hours , 54 Outside-of-Class Hours = 162 Total StudentLearning Hours Prerequisite: Satisfactory completion of ART 123.

Fundamentals of art anatomy and representation of the human figure. Drawing of both the nude anddraped figure in various media. Field trips might be required. Not repeatable. (A-F or P/NP) Transfer:(CSU, UC) Local Requirement: (Activities)

I.


COURSE CONTENT

Required Content:

Sketchbook representing the essential facts of the anatomy in a straight forward mannerA.

Problems in rendering the human figure both accurately and aestheticallyB.

Problems in expressive line through spontaneity and rapid movement; use of various types ofline:

C.

Contour1.

Cross contour2.

Gesture3.

Calligraphic4.

Problems in handling the proportion, perspective, form, light and shadow, tonal values andcomposition

D.

Problems to increase the student's sensitivity to responsive drawing and spatial control throughthe exploration of various materials:

E.

Pastel1.

Pencil2.

Pen and ink3.

Charcoal4.

Conte5.

Wash6.

1.

A.

II.




Mixed media7.


Employment of the skills to technically render the anatomy of the human form through the study,memorization and classification of skeletal and muscular structure.

A.

Identification of the kinetic possibilities of the human body and employment of the skills forrepresenting those actions on a two dimensional surface.

B.

Preparation of a comprehensive sketchbook summarizing the techniques and structures ofartists' approaches toward the human figure throughout history.

C.

Analysis of the use of the figure as a traditional, contemporary or avant-garde subject.D.

Description of the use of the human form as a source of structure and design with painting ordrawing.

E.

Analysis of the composition, materials and surfaces upon which artists have developed personalstyles, and from which students can derive inspiration and examples for developing their ownpersonal styles.

F.

2.

Recommended Content:

Development of personal styles through the development of working stratagies that lead to newpossibilities

A.

3.

ENROLLMENT RESTRICTIONS

Prerequisites

Satisfactory completion of ART 123.

1.

Requisite Skills Before entering the course, the student will be able to:

Produce balanced linear compositions based on the human figure in a variety of modes(structural, gestural, calligraphic etc.).

A.

Render the human form in a variety of chiaroscuro 'value' drawing techniques in various media(graphite, charcoal, conte, ink and wash, etc.).

B.

Work confidently in a variety of dry and wet media on a variety of paper surfaces. C.

Express the human form on a flat surface through linear perspective and atmosphericperspective techniques.

D.

Demonstrate a solid understanding of basic musculoskeletal form and terminology. E.

2.

B.

HOURS AND UNITS

3 UnitsINST METHOD TERM HOURS UNITSLecture 27 1.50Lab 81 1.50

C.




Discussion 0 0Activity 0


Lectures on the history, techniques and styles of figure drawing using internet and Power Pointpresentations.

1.

Demonstrations on the various techniques and methods of drawing the figure.2.

Lectures on skeletal and muscular anatomy using anatomical models and charts, and demonstrationson life models.

3.

Group and individual critiques.4.

D.



Daily in-class drawing exercisesA.

Weekly sketchbook homework assignmentsB.

Regular reading ssignments followed by quizzesC.

Midterm and Final anatomy examinationsD.

Midterm and Final portolfio submissionsE.

Regular discussion, individual critique, and group critiquesF.

1.


Using a 5 mm Mars Graphic Pigment Liner technical pen, on four pages of your HWB (one studyper page, numbered pages 1-4) of your make Contour Studies of your hand in the following fourtypes: Outline, Blind Contour, Modified Blind Contour and Free Contour. Follow the order listedand adhere to the instructions as provided by the examples and demonstration.

A.

With the large end of the Tombow pen produce two, three-figure Calligraphic Gesturecompositions following the simplified basic lines of the body. The objective is to produce strongand rapid modulated lines that define the motion of the body. These are created without a modelto allow creative poses. Draw slowly but with intent!

B.

The Measured Self-Portrait: with the aid of a mirror, an 18 inch ruler and an HB graphite pencilon an 19 X 24 inch sheet of Bristol Board, produce a bust-length Measured Self-Portrait (about 1hour). Make continuous lines, avoiding choppiness and do not include shadows or coloristiceffects except on the eyes, nostrils and mouth follow the techniques and measurement methodslearned in class.

C.

2.

E.


Book: Juliette Aristides (2012). Lessons in Classical Drawing: Essential Techniques From Inside theAtelier (First Edition/e). Watson-Guptill.

1.

Manual: Valery L. Winslow. Classic Human Anatomy: The Artist's Guide to Form, Function, and2.

F.




Movement . Watson-Guptill



Anatomy:Create drawings that demonstrate a basic understanding of human anatomy on the surface,muscular and skeletal levels. Knowledge in these areas will be demonstrated through properlylabeled and accurately rendered images of each of these three layers of the human form.

a.

Control of Anatomy and Structure:Create drawings that demonstrate an understanding of the various methods for depicting thebody focusing on drawing the human form without a model. Students will demonstrate theirknowledge of the proportional, structural and anatomical aspects of the human body in drawingsof the figure from memory, depicting poses that are not schematic in nature.

b.

Gesture Drawing:Create drawings that demonstrate an understanding of the kinetic and static possibilities of thehuman body and employ the skills for representing those poses through the development ofvarious gestural drawing techniques: contour, modified contour, blind contour, point-to-point andcalligraphic.

c.

Value:Create drawings that demonstrate an understanding of the significance of light and shadow inrepresenting volume while depicting the human figure. These drawings will represent the lusterpoints, highlights, half-tones, core shadows, reflected lights and cast shadows as reflected in thespecific lighting situations. These properties will also be employed to differentiate between thebodies structural tensions and relaxations, and differentiate the fatty areas from the bonyprotrusions, as well as the surface textures and translucency characteristics of skin, nails, eyesand hair.

d.

Critique:Employ the appropriate technical vocabulary necessary to examine and review the strengths andweaknesses of figure drawings created themselves and others and to intelligently defend theapproached they have employed. This ability will be demonstrated in classroom critiques.

e.

1.


REQUIRED OBJECTIVES:1. Anatomy:Create drawings that demonstrate a basic understanding of human anatomy on the surface,muscular and skeletal levels. Knowledge in these areas will be demonstrated through properlylabeled and accurately rendered images of each of these three layers of the human form.

2. Control of Anatomy and Structure:Create drawings that demonstrate an understanding of the various methods for depicting thebody focusing on drawing the human form without a model. Students will demonstrate theirknowledge of the proportional, structural and anatomical aspects of the human body in drawingsof the figure from memory, depicting poses that are not schematic in nature.

3. Gesture Drawing:Create drawings that demonstrate an understanding of the kinetic and static possibilities of thehuman body and employ the skills for representing those poses through the development ofvarious gestural drawing techniques: contour, modified contour, blind contour, point-to-point andcalligraphic.

4. Value:

2.

A.

III.




Create drawings that demonstrate an understanding of the significance of light and shadow inrepresenting volume while depicting the human figure. These drawings will represent the lusterpoints, highlights, half-tones, core shadows, reflected lights and cast shadows as reflected in thespecific lighting situations. These properties will also be employed to differentiate between thebodies structural tensions and relaxations, and differentiate the fatty areas from the bonyprotrusions, as well as the surface textures and translucency characteristics of skin, nails, eyesand hair.

5. Critique:Employ the appropriate technical vocabulary necessary to examine and review the strengths andweaknesses of figure drawings created themselves and others and to intelligently defend theapproached they have employed. This ability will be demonstrated in classroom critiques.

6. Anatomy: Render the human form accurately through direct observation.


Timed drawing exercises1.

Group and individual critiques2.

Sketchbook assignments covering drawing techniques, anatomy, and traditional rendering of thehuman figure

3.

Oral examination covering the major muscle and bone groups of the human body4.

A.


Final project1.

Midterm and final portfolio evaluation2.

Performative midterm and final drawing examinations3.

Midterm and final examination of the major muscle and bone groups of the human body4.

B.

IV.




ART - 129: Figure Drawing 2Course Learning Outcomes


Understand human anatomy on the surface, muscular and skeletal levels, as well as the body’s kinetic and staticpossibilities.

1.

Understand the significance of light and shadow in human figure drawing.2.

Create drawings of the human form with or without models.3.





COMM 102 OVERVIEW The following information will appear in the 2019 - 2020 catalog

COMM 102—INTRODUCTION TO HUMAN COMMUNICATION 3 UNITS

Formerly listed as: SPCOM - 102: Introduction to Human Communication 54 Lecture Hours , 108 Outside-of-Class Hours = 162 Total Student Learning Hours

A survey of the discipline of communication studies with emphasis on interpersonal contexts, small groupcommunication, and individual presentations in public settings. Examination and practice of humancommunication principles and theories, at a basic level, to develop critical thinking and communicationcompetencies in a variety of contexts. Field trips might be required. Not repeatable. (A-F or P/NP) Transfer: (CSU, UC) (CC: SPCOM 4) (C-ID: COMM 115) General Education: (MJC-GE: D2 ) (CSU-GE:A1 ) (IGETC: 1C )

I.


COURSE CONTENT

Required Content:

Principles of CommunicationA.

Definition of communication: communication as a transaction 1.

Purposes2.

Elements of communication3.

Types of communication 4.

Barriers5.

Ethics6.

Interpersonal Communication Elements and ConceptsB.

Perception

Definition a.

Self-conceptb.

Perceiving others in an interpersonal and intercultural contextc.

Judgmentsd.

Influencese.

1.

Nonverbal communication 2.

1.

A.

II.

Division: Arts, Humanities & Communications 1 of 6 Printed on: 08/06/2020 03:48 PM

Meeting Date: 10/23/2018 COMM 102EFFECTIVE: Summer 2019 Discipline(s)

ACTIVE COURSE Communication studies (speech communication) (M)

Nonverbal communication

Definition a.

Characteristics b.

Typesc.

2.

Verbal communication

Definitiona.

Relationship of language and meaningb.

3.

Listening and responding

Barriers to effective listening a.

Reasons to improve listeningb.

Styles of listening, including active listeningc.

4.

Interpersonal relationships5.

Self-disclosure a.

Defensivenessb.

Conflict resolutionc.

Contexts6.

Personala.

Professionalb.

Interculturalc.

Computer-mediatedd.

Familye.

Small Group CommunicationC.

Functions and roles 1.

Problem-solving2.

Leadership3.

Decision-making4.

Conflict management5.

Public CommunicationD.




The speaker-audience-subject relationship1.

Ethics 2.

Message preparation

Developing a thesis/purposea.

Researchb.

Use of supporting materials c.

Principles of persuasiond.

Principles of informal logic and argumente.

3.

Message presentation

Vocal elements a.

Visual elementsb.

Techniques to manage speech anxietyc.

4.

HOURS AND UNITS

3 UnitsINST METHOD TERM HOURS UNITSLecture 54 3.00Lab 0 0Discussion 0 0Activity 0 0

B.


Materials will be presented through lecture and discussion.1.

Instructor-supervised class activities which will be completed and analyzed to augment classroomlectures and discussions.

2.

Films and videotapes will be shown which supplement the lectures and readings.3.

Possible field trips.4.

C.



Preparation and presentation of a minimum of three speeches per term, including an informative,persuasive, and one additional oral presentation which may include, but is not limited to, a grouppresentation, debate, or individual speech.

A.

Participation in small groups, in-class exercises, which may require additional work outside ofclassroom to complete exercises.

B.

1.

D.




Meet outside classroom to prepare for one group presentation per term.C.

Daily reading of text materials, handouts, and/or Internet sources.D.


In a written assignment, explain communication principles and the application of these principlesto your own personal communication experiences.

A.

Demonstrate mastery of research, organizational, and delivery skills through oral presentations.B.

Prepare and present a 5-7 minute informative speech, including an outline and source citations.C.

Prepare and present a 6-8 minute persuasive speech, including an outline and source citations.D.

Design and present a 20-minute group presentation, including an outline and source citations.E.

Conduct an interview, utilizing a variety of questioning techniques.F.

2.


Book: Trenholm, S. (2017). Thinking Through Communication (8th/e). Taylor & Francis. 1.

Book: Adler, R., Rodman, G., & du Pre, A. (2016). Understanding Human Communication (13th/e).New York, NY Oxford Press.

2.

Book: Tubbs, S. (2012). Human Communication: Principles and Contexts (13th/e). New York, NYMcGraw-Hill.

3.

Book: Hamilton, C., Creel, B., & Kroll, (2018). Communicating for Success (2nd/e). Taylor & Francis. 4.

E.



Explain and apply the basic concepts of the field of communication. a.

Explain the similarities and differences between the fields of interpersonal communication, smallgroup communication, and public speaking.

b.

Demonstrate interpersonal concepts of perception, self-concept, nonverbal communication, andverbal communication.

c.

Demonstrate active listening skills. d.

Understand ethical perspectives in communication. e.

Utilize conflict management strategies in interpersonal and small group contexts. f.

Summarize and explain an expanded world perspective that demonstrates an appreciation of thediverse range of individuals, communities, and viewpoints.

g.

Describe the nature of groups and function effectively within small groups in which theyparticipate.

h.

Participate in small groups and achieve group goals through understanding and application ofi.

1.

A.

III.




leadership, problem solving, role orientation, and conflict management strategies.

Prepare, deliver, and evaluate speeches, which demonstrate correct use of research,organizational, and delivery skills performed before an audience.

j.


Written unit examinations to include essays1.

Speaking and writing assignments2.

Group discussions3.

Problem-solving exercises4.

A.


Final examination, essay, or project1.

Oral presentation (group, debate, or individual) in front of a live audience2.

B.

IV.




COMM - 102: Introduction to Human CommunicationCourse Learning Outcomes


Prepare and deliver speeches which demonstrate adaptation to audience and correct use of research,organizational, and delivery skills.

1.

Demonstrate effective group communication skills. 2.

Demonstrate effective communication skills in interpersonal contexts. 3.






COMM 105—INTERCOLLEGIATE SPEECH AND DEBATE 3 UNITS

Formerly listed as: COMM - 105: Intercollegiate Forensics,SPCOM - 105: ForensicsDebate,SPCOM - 105: Forensics Workshop 36 Lecture Hours, 54 Lab Hours , 72 Outside-of-Class Hours = 162 Total StudentLearning Hours

Preparation, including research and writing; for participation in intercollegiate speech and debatetournaments and/or community events as a judge and/or competitor. Four completions allowed. Fieldtrips are required. (A-F or P/NP) Transfer: (CSU) (CC: SPCOM 7) (C-ID: COMM 160B) LocalRequirement: (Activities)

I.


COURSE CONTENT

Required Content:

Preparation for presentation of a variety of forensics and/or community events; and, to judgedifferent events for the high school forensics competitions.

A.

Parliamentary Debate1.

Facta.

Valueb.

Policyc.

NFA L/D Debate2.

Policy Team Debate3.

Congress4.

L/D Value Debate5.

Cross X Debate6.

Parli-Pro Debate7.

Informative Speaking/Expository Speaking8.

Persuasive Speaking9.

Communication Analysis10.

After Dinner Speaking/Speech To Entertain11.

1.

A.

II.





Extemporaneous Speaking12.

Impromptu Speaking13.

Readers' Theatre14.

Prose Interpretation15.

Poetry Interpretation16.

Dramatic Interpretation17.

Oral Interpretation/Thematic Interpretation18.

Humorous Interpretation19.

Duo Interpretation20.

Application of theory and principles of communication to forensics and/or community eventsB.

Information competency as it pertains to the research, analysis, and writing for an eventC.

Practicing advocacy and presentational skills for eventsD.

Participation in competitive forensics and/or community eventsE.

Ethics and etiquette for participation at eventsF.


Practice under the guidance of coaches and with peers in preparation for competitive forensicsand/or community events such as:

A.

Parliamentary Debate1.

Facta.

Valueb.

Policyc.

NFA L/D Debate2.

Policy Team Debate3.

Congress4.

L/D Value Debate5.

Cross Ex Debate6.

Parli-Pro Debate7.

Informative Speaking/Expository Speaking8.

Persuasive Speaking9.

2.




Communication Analysis10.


Extemporaneous Speaking12.

Impromptu Speaking13.

Readers' Theatre14.

Prose Interpretation15.

Poetry Interpretation16.

Dramatic Interpretation17.

Oral Interpretation/Thematic Interpretation18.

Humorous Interpretation19.

Duo Interpretation20.

Application of Information Competency as it pertains to preparing for event participationB.

Participation in competitive forensics and/or community eventsC.

Post-event participation evaluation and self-reflection under the guidance of coaches and peersD.

HOURS AND UNITS

3 UnitsINST METHOD TERM HOURS UNITSLecture 36 2.00Lab 54 1.00Discussion 0 0Activity 0 0

B.


Lecture1.

Demonstrations2.

Discussion3.

Instructor and peer coaching for participation at competitive forensics and/or community events4.

Judge's or Director's feedback from participation at the competitive forensics and/or communityevents

5.

C.



Research on the yearly NFA L/D topic.A.

Research on the multiple unknown topics that may exist in parliamentary debate.B.

1.

D.




Compose debate briefs for all debates.C.

Choose 1 of 3 questions, then after researching typical news sources, compose a 7-minutespeech in 30 minutes.

D.

Research literature to be performed.E.

Create a 10-minute performance of various types of literature.F.

Research and compose a 10-minute platform speech.G.

Choose 1 of 3 prompts, then after 2 minutes perform a 5-minute speech.H.


Be prepared to support the resolution that the United States Federal Government shouldsubstantially increase its constructive engagement with Cuba.

A.

Be prepared to debate against the resolution that the United States Federal Government shouldsubstantially reduce its agricultural support, at least eliminating nearly all of the domesticsubsidies, for biofuels, Concentrated Animal Feeding Operations, corn cotton, dairy, fisheries,rice soybeans, sugar, and/or wheat.

B.

You have 30 minutes to prepare a speech where you will be citing 10 different sourcesanswering the question: Can the U.S. Health Care system truly be fixed?

C.

Create a ten-minute persuasive speech on pay-day loans.D.

Create a ten-minute oral interpretation revolving around the topic of apathy.E.

2.


Book: Kyle B. Dennis (2015). The Parli Debate Prepbook: A Community-Driven Guide to ModernParliamentary Debate (1st/e). Liberty, MO The National Parliamentary Tournament of Excellence.

1.

Other: 1. Current Event Publications2. Sample Speeches3. Instructor-Created Resources

2.

E.



Increase speaking effectiveness and confidence by managing communication apprehension. a.

Demonstrate improvement in delivery skills. b.

Exhibit the ability to write for the ear in addition to writing for the eye. c.

Integrate coach, peer, and self-critique for the purpose of speech and delivery improvements. d.

Employ the tools of Information Competency including but not limited to logical thinking, effectiveadvocacy, appropriate use of forms of support, and critical deliberation for event preparation.

e.

Foster personal growth as a result of the competitive forensics experience. f.

1.

A.

III.




Distinguish major types of competitive speeches. g.


REQUIRED OBJECTIVES:1. Demonstrate improvements with Information Competency and delivery.

2. Recognize major types of competitive speeches.

2.


Coach evaluations1.

Assessments of peer evaluations2.

Assessments of self-evaluations3.

Written assignments4.

A.


Participation in Forensics Tournaments1.

Participation in Community Events2.

Faculty Ballots3.

B.

IV.




COMM - 105: Intercollegiate Speech and DebateCourse Learning Outcomes


Create presentations using proper documentation and organizational techniques. 1.

Deliver presentations using proper delivery techniques. 2.

Demonstrate critical thinking skills. 3.






COMM 110—PERSUASION 3 UNITS

Formerly listed as: SPCOM - 110: Persuasion 54 Lecture Hours , 108 Outside-of-Class Hours = 162 Total Student Learning Hours

Development of abilities to plan and deliver persuasive presentations through a combination of methodsinvolving the study of "real" communicative events; i.e., trials, sales presentations, political campaigns,sermons, etc., and the preparation and presentation of own works. Survey of recent research in attitudechange and persuasive communication. Field trips might be required. Not repeatable. (A-F or P/NP) Transfer: (CSU, UC) (C-ID: COMM 190) General Education: (MJC-GE: D2 ) (CSU-GE: A1 ) (IGETC: 1C)

I.


COURSE CONTENT

Required Content:

Classical Rhetorical and Modern Theories of PersuasionA.

Aristotle’s definition of Persuasion1.

SMCR Model of Persuasion2.

French & Raven's Five Bases of Power3.

Rank's Model of Persuasion4.

Doublespeak5.

Persuasion in an Information Age6.

Persuasion in a Technological Age7.

Perspectives on Ethics in PersuasionB.

Approaches to Persuasion ResearchC.

Qualitative1.

Quantitative2.

Content Premises in PersuasionD.

Types of Evidence1.

1.

A.

II.




Types of Reasoning2.

Logical Syllogisms3.

Toulmin Format4.

The Making, Use, and Misuse of SymbolsE.

Langer's Approach1.

Semantic Approach2.

Burke's Approach3.

Semiotic Approach4.

Audience-Topic Analysis for Purpose of Message DesignF.

Message DesignG.

For Structure1.

For Motive Appeal2.

For Logical Appeal3.

For Ethos4.

Attitude Formation and Change5.

Compliance-gaining6.

Classical and Contemporary Persuasive PracticesH.

Modern Media and Persuasion1.

Social Mediaa.

The Use of Persuasion in AdvertisingI.

Becoming Critical Consumers of Persuasion1.

HOURS AND UNITS

3 UnitsINST METHOD TERM HOURS UNITSLecture 54 3.00Lab 0 0Discussion 0 0

B.




Activity 0 0


Lecture1.

In-class discussion of performances2.

Demonstration of persuasive performances3.

Use of audio-visual materials4.

Possible field trips5.

C.



Prepare and practice several speeches utilizing various persuasive designs. A.

Prepare a rhetorical analysis presentation evaluating a persuasive message.B.

Critique an outside persuasive speech act, one per term.C.

Daily reading of textbook and other supplementary readings.D.

Prepare for weekly quizzes, which may include short essays.E.

Prepare for final examination.F.

1.


Critiques of student speechesA.

Example Prompt: Did the speaker use Monroe's Motivated Sequence effectively? Were youpersuaded? Explain your answer.

1.

Midterm and Final Exam EssaysB.

Example Question: Define audience demographics and psychographics. Give examples ofeach and describe why they are important to persuasion.

1.

Rhetorical Analysis PresentationC.

Example Prompt: Using one of the rhetorical theories discussed in class, prepare a 7-9minute presentation that analyzes a communicative artifact and identifies its persuasivestrategies.

1.

2.

D.


Book: Larson, C.U. (2012). Persuasion: Reception and responsibility (13th/e). Boston, MAWadsworth, Cengage Learning.

1.

E.




Book: Lillian Beeson (2014). Persuasion: Theory and Application (1st/e). Oxford University Press. 2.

Book: Richard M. Perloff (2017). The Dynamics of Persuasion: Communication and Attitudes in theTwenty-First Century (6th/e). New York, New York Routledge.

3.



Recall classic theories of persuasion including the nature and role of logos, pathos, and ethos. a.

Relate the role of advocacy and persuasion in free society. b.

Identify a basic survey of modern research findings concerning persuasion. c.

Research and prepare oral and written persuasive communications adapted to a variety ofreceiver situations.

d.

Analyze and critique persuasive communications in a variety of contexts in terms of their logical,emotional and personal persuasive appeals.

e.

Analyze epidictic situations and prepare presentations suited to those situations. f.

Examine print, audio and video records of advocacy. g.

Prepare one major paper describing and evaluating a persuasive event, performer or campaign. h.

Differentiate between ethical persuasion and unethical means of influence such as manipulation,coercion, and propaganda.

i.

Construct and deliver ethical persuasive messages directed toward a specific audience in frontof a live audience or other pedagogically appropriate medium.

j.

1.

A.

III.


Speaking and writing assignments1.

Oral persuasive presentations, evaluated for both form and content including: 3-4 minute speech to convince5-6 minute speech to convince

2.

Quizzes3.

Written evaluation of an outside persuasive speech event4.

Written peer-evaluations and self-evaluations5.

A.


9-10 minute policy speech1.

Final rhetorical analysis paper or presentation applying one of the models of persuasion from thecourse content to analyze a current persuasive event

2.

B.

IV.




Final examination emphasizing both concepts and applications of persuasion3.




COMM - 110: PersuasionCourse Learning Outcomes


Explain past and present theories of persuasion. 1.

Perform persuasive speeches. 2.

Apply persuasive theories to real world persuasive events. 3.




ART-123_SU16ART-129_SU16COMM-102_SU19COMM-105_SU19COMM-110_SU19

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