Core 100: Liberal Arts Seminar

Bob Dylan and the American Century

Scarboro / Fall 2017

I. Description:

This course is designed to foster and develop critical reading skills.  Collectively, we will work towards “reading with understanding” by carefully focusing on texts by and about Bob Dylan.  An underlying conceit of the course is that Bob Dylan’s work is, at its root, an investigation of the meaning and message of “Americaness”—what it means to be an American.  In reading and thinking about the career of Bob Dylan we will be tracing the trajectory of 20^th Century American history, notions of identity and performativity, and the relationship between artist and society. 

II. Purpose:

The ability to read with understanding and critical judgment cannot be underestimated.  Academic success, professional competence, cultural literacy, and intellectual development depend fundamentally on flexible reading skills that can be applied to a wide range of texts.  Reading with “understanding” involves several important processes: comprehending and contextualizing information; identifying meaningful patterns and conventions; identifying key ideas, claims, and assumptions; synthesizing an author’s ideas with the reader’s experiences and knowledge; and developing a comprehensive and well-informed interpretation.  Reading with “critical judgment” is a similarly complex task that includes reading with a sense of objectivity, asking questions about what a text literally says and what it implies, evaluating an author’s reasoning, and assessing the degree to which a writer has achieved his or her purpose.  This seminar provides students with opportunities to develop these skills.  

A. Objectives for the student:

Successful completion of this course will enable the student to

1. identify the tone, purpose, audience, and main idea of a text
2. determine the meaning of a text through close textual analysis
3. annotate, outline, summarize, and evaluate a text
4. situate a particular text within a larger cultural and critical context
5. understand different uses of language and writing conventions
6. determine the uses and validity of different kinds of evidence
7. find and evaluate sources from a variety of mediums (books, journals, magazines, newspapers, the Internet, and so on)
8. synthesize materials from several sources to express ideas, formulate positions, and construct arguments in spoken and written forms

B.  General Learning Outcomes for the Student:

This course aims to help students

1. understand the crucial role that critical reading plays in academic work
2. approach reading as a process in which critical understanding occurs gradually over time with rereading and as new information is acquired
3. recognize the ways in which reading can foster intellectual, moral, and spiritual enrichment and contribute to a satisfying and purposeful life
4. better understand the role of language in everyday life (business, politics, humanities, sciences, etc.) and how it is used to explain, inform, influence, persuade, express, and entertain 
5. take pleasure in the process of making and defending interpretations
6. appreciate the importance of looking at and discussing an issue from a variety of perspectives and disciplines
7. develop the skills and habits of good scholarship—critical reading, logical thinking, effective oral and written argumentation, and academic integrity
8. recognize the personal significance and social relevance of intellectual questioning and liberal arts learning

III. General Requirements

A. Course Readings:

Dylan, Bob, Chronicle, Volume One, Simon and Schuster, 2005

Marcus, Greil, The Old Weird America: The World of Bob Dylan’s Basement Tapes, Picador, 2001

Marcus, Greil, Like A Rolling Stone: Bob Dylan at the Crossroads, Public Affairs, 2005

Wilentz, Sean, Dylan in America, Doubleday, 2010

B.  Course Films:

The films for the course are an intrinsic part of the course--they will be the centerpiece of class discussion on the week they are shown, and viewing them is a requirement for the course.   The films will be available on reserve at the King's College Library (please remember that there are roughly 20 people taking this class, so plan accordingly).  A subscription to Netflix <<www.netflix.com>> (shared or otherwise) is an inexpensive way to watch the films on your own time.  

Haynes, I’m Not There, Weinstein, 2007

C.  Assignments

1. Exams

This class will have two midterm examinations (held October 2^nd and November 6^th).  These examinations will ask you to read and contextualize a short text.  You will need to read for thesis; outline major questions addressed in the piece; trace the form of the authors argument; and connect it to the larger question of “Dylan’s project” as understood by other authors in the course.

2. Quizzes

There will be 10 pop-quizzes over the course of the semester.  These short quizzes will test your careful reading of the assigned texts.  You will be asked to read for themes and thesis and to contextualize the readings with other sources used, and topics covered, in the class.

3. Syntheses                                                                                                               2-3 pages

Four times this semester you will be asked to synthesize the readings assigned for a section of the course.  These syntheses should include: 1) a thesis for each of the readings; 2) a discussion of an analysis of the evidence used in arriving at the thesis; and 3) a discussion of how these articles are in conversation with one another (i.e. what are the shared themes? Points of agreement? Points of contestation?).

Schedule for Syntheses:

4. Group Album Presentation

As part of your coursework this semester you will work as part of a group that will develop a presentation on one of five Dylan albums.

This presentation should last approximately 20 minutes, should address the major themes and thesis of the album and should situate the album within the context of Dylan’s career and project.  Following the presentation, your group will lead the class in a discussion of the album—to that end, you should be prepared with a powerpoint presentation and a list of 8-10 questions emailed to the class no later than 5:00 the evening before your presentation.

As part of this work, you will be required to assign a grade to your group-mates, assessing their work on the project (this will count for 5% of the total grade for the course).

5.  Class Participation

King’s College regards student participation in class as essential to the learning process.  Therefore, regular class attendance is required of all students.  After three unexcused absences your class participation grade will drop a letter grade (from A to B).  Each subsequent absence will result in another letter grade deduction.  Please see the King’s College Student Handbook for policies regarding excusing absences and campus attendance policies.

In a class of this nature it goes without saying that a classroom environment in which everyone feels comfortable is essential.  You should treat your fellow classmates with respect, listen carefully to their comments and respond to them in a polite manner. 

6. Final Assignment: Tell Tale Signs                                                                        4 pages

Your final assignment will be to contextualize Bob Dylan’s Tell Tale Signs: The Bootleg Series, vol. 8, released 2008 within the larger framework of “Dylan’s Project.”

IV. Grading:

It is your responsibility to understand why you have achieved a certain grade, and what steps you can take to maintain or improve your grade.  You should consult with the instructor during office hours or by appointment before and after exams and written assignments.  Your final grade will be based on the following percentages:

Your grade distribution for class assignments is as follows:

Academic Integrity:

The Department of History adheres to guidelines on academic integrity outlined in the Student Conduct Code in the Student Handbook: 

http://www.kings.edu/student_handbook/studentregulations_rights/conductcode.htm

Cheating and plagiarism will be penalized in accord with the penalties and procedures indicated in that source.  All students are responsible for familiarizing themselves with the definition of these infractions of academic honesty. 

Absences:

I will regularly take attendance in this class. Absences due to college activities, emergency or extended illness may be excused by the appropriate college official. You should consult with the professor about making up missed work in advance or as soon as possible after your return.  Other absences are unexcused and will lower the class participation portion of your grade. After any absence, you are responsible for requesting hand-outs and already returned assignments from me or borrowing notes from other students. If you miss an exam, contact me as possible. You may take a missed exam only at the discretion of the instructor.

Disabilities:

King’s College and I will make every effort to accommodate students with a bona-fide disability that impacts on their ability to learn the course material.  Please meet with me privately so that appropriate arrangements can be made to help in the learning process.

V. Course Schedule

Section I: Dylan’s Project?

Introduction

Monday, August 28^th

Dylan in America

Wednesday, August 30^th

**Readings: Sean Wilentz, Dylan in America, pp. 1-84

**Songs:          1) Aaron Copeland, “Hoe Down,”

                        2) Dylan, “High Water,” live August 23, 2003 from Tale Tell Signs: The Bootleg Series,

    vol. 8, 2008

Dylan and the Self

Wednesday, September 6^th

**Film: Todd Haynes, I’m not there (entire)

**Songs:          1) “Brownsville Girl,” from Knocked Out Loaded, 1986

                        2) “Subterranean Homesick Blues,” from Bringing it all Back Home, 1965

                        3) “Can’t Escape from You,” from Tell Tale Signs: The Bootleg Series, vol. 8, 2008

Dylan as Magpie

Monday, September 11^th

**Readings: Richard Thomas, “The Streets of Rome: The Classical Dylan” (moodle)

**Song:            1) Dylan, “When I paint my Masterpiece,” from Bob Dylan’s Greatest Hits, vol. II, 1971

                        2) Dylan, “Lonesome Days Blues,” from Love and Theft, 2001

Section II: Becoming Bob Dylan: Finger Pointing Songs

Dylan in New York

Wednesday, September 13^th

**Readings:      1) Dylan, Chronicles, volume 1, “Markin’ up the Score,” and “The Lost Land,” 1-104  

                        2) Dylan, “My Life in a Stolen Moment” (moodle)

**Songs:          1) Dylan, “Song for Woody” from Bob Dylan, 1961

**First Synthesis Due: Dylan’s Project

Monday, September 18^th

**Readings:      1) Nat Hentof, “The Crackin,’ Shakin,’ Breakin’ Sounds” (moodle)

**Songs:          1) Dylan, “A Hard Rain’s A-Gonna Fall,” from The Freewheelin’ Bob Dylan, 1963

                        2) Dylan, “With God on our side,” from MTV Unplugged, 1996

Album Presentation (Group 1): The Freewheelin’ Bob Dylan

Wednesday, September 20^th

**Readings: Lyrics, The Freewheelin’ Bob Dylan (moodle)

Section III: “Judas”—Running Away to Join Little Richard’s Band

The Old Weird America (Another Country?), part I

Monday, September 25^th

**Readings:      1) Marcus, The Old Weird America, 1-40

**Songs:          1) Pete Seeger, “If I had a Hammer,” from Hootenany Records, 1950

                        2) Dylan, “Paths of Victory,” from the Bootleg Series vol. 1-3 (Rare and Unreleased,                                   1961-1991), 1991

Like a Rolling Stone, part I

Wednesday, September 27^th

**Readings:      1) Marcus, Like a Rolling Stone, 1-68

**Songs:          1) Sam Cooke, “A Change is Gonna Come,” from Ain’t that Good News, 1964

                        2) Dylan, “Bob Dylan’s 115^th Dream,” from Bringing it all Back Home, 1965

**Second Synthesis Due: Becoming Bob Dylan

First Exam

Monday, October 2^nd

Like a Rolling Stone, part II

Wednesday, October 4^th

**Readings:      1) Marcus, Like a Rolling Stone, 69-134

**Songs:          1) Dylan, “Like a Rolling Stone, from Highway 61 Revisited, 1965

                        2) Dylan, “Like a Rolling Stone,” Live from Manchester 5/17/66 from The Bootleg

                            Series, vol. 4 “The Royal Albert Hall Concert,” 1998

Like a Rolling Stone, part III

Monday, October 9^th

**Readings:      1) Marcus, Like a Rolling Stone, 135-203

**Songs:          1) Dylan, “It takes a Lot to Laugh, It takes a Train to Cry,” from Highway 61 Revisited,

                            1965

Plugging in

Wednesday, October 11^th   

**Readings:      1) Dylan Plugging in at Newport (moodle)

**Songs:          1) Dylan, “Tombstone Blues,” from Highway 61 Revisited, 1965

                        2) Dylan, “From A Buick 6,” from Highway 61 Revisited, 1965

Album Presentation (Group 2): Bringing it all Back Home

Monday, October 16^th

**Readings: Lyrics, Bringing it all Back Home

Section IV: Into the Basement

New Mornings

Wednesday, October 18^th

**Readings:      1) Dylan, Chronicles, volume 1, “New Morning,” 105-143

**Songs:          1) Dylan, “The Day of the Locust,” from New Morning, 1970

                        2) Dylan, “The Man in me,” from New Morning, 1970

Basement Tapes

Monday, October 23^rd

**Readings:      1) Marcus, The Old Weird America, 41-122

**Songs:          1) Clarence Ashley, “Coo Coo Bird,” Columbia Recording, 1929.

                        2) Dylan, “Lo and Behold” from The Basement Tapes, 1975

                        3) Dylan, “Tears of Rage” from The Basement Tapes, 1975

                        4) Dylan, “I shall be Released,” from The Basement Tapes, 1975

**Third Synthesis Due: Judas

Ghosts

Wednesday, October 25^th

**Readings:      1) Marcus, The Old Weird America, 123-229

**Songs:          1) Dock Boggs, “Sugar Baby” from the Anthology of American Music, 1951

                        2) Dock Boggs, “Country Blues,” from the Anthology of American Music, 1951

Album Presentation (Group 3): Blood on the Tracks

Monday, October 30^th

Section V: Knocked Out Loaded (or Dylan and Jesus) (or Dylan and Delia)

New Mornings, part II

Wednesday, November 1^st

**Readings:      1) Dylan, Chronicles, volume 1, “Oh Mercy!” 143-223

**Songs:          1) Dylan, “Ring them Bells,” from Oh Mercy! 1989

                        2) Dylan, “Shooting Star,” from Oh Mercy! 1989

Second Exam

Monday, November 6^th  

Dylan and Delia

Wednesday, November 8^th

**Readings:      1) Wilentz, “All the Friends I Ever Had Are Gone,” 209-236

**Songs:          1) Dylan, “Delia,” from World Gone Wrong, 1993

                        2) Dylan, “World Gone Wrong,” from World Gone Wrong, 1993

Delia and the Old Weird America

Monday, November 13^th

**Readings:      1) Wilentz, “Dylan and the Sacred Harp,” 237-260 

**Songs:          1) Dylan, “Lone Pilgrim,” from World Gone Wrong, 1993

**Fourth Synthesis Due: Knocked Out Loaded

Dylan and the Blues

Wednesday, November 15^th

**Readings:      1) Gray, “Dyin’ Crapshooter’s Blues” excerpt from Song and Dance Man III (moodle)

**Songs:          1) Blind Willie McTell, “Dyin’ Crapshooter Blues,” from the Archive of American Folk

                            Music of the Library of Congress, 1940

Album Presentation (Group 4): Oh Mercy!

Monday, November 20^th

**Readings: Lyrics, Oh Mercy! (moodle)

Section VI: Old Testament Prophet of America (Almost went to See Elvis)

Dylan and the Blues, part II

Monday, November 27^th

**Readings:      1) Wilentz, “Many Martyrs Fell,” 172-209

**Songs:          1) Dylan, “Blind Willie McTell,” from The Bootleg Series, vol. 1 (Rare and Unreleased

    1961-1991), 1991

Dylan’s Project

Wednesday, November 29^th

**Readings:      1) Ross, “The Wanderer” (Moodle)

**Songs:          1) Dylan, “Not Dark Yet,” from Time out of Mind, 1997

Dylan’s Project, part II

Monday, December 4^th

**Readings:      1) Dylan, Chronicles, volume 1, “River of Ice,” 225-293

**Songs:          1) Dylan, “Mississippi,” from “Love and Theft”, 2001

Album Presentation (Group 5): “Love and Theft”

Wednesday, December 6^th

**Readings: Lyrics, “Love and Theft” (moodle)