UHD Class Session Notes: Horror, Syllabi, and Engagement
Scheduling, meetings, and points
Meet with Asha: First meeting must be completed by October 3 (a Friday). Second meeting must be completed after October 3 but before November 21 (also a Friday). So there are two required meetings labeled as meeting one and meeting two.
Rationale for scheduling: Earlier in the semester (first half) is better; avoid clustering visits in one busy week when Asha is final-exams focused and helping other first-year students.
Points for visits: There is some confusion in the transcript about the exact points per visit. The instructor states both possibilities:
Either points per visit (for a total of points for two visits), or
points per visit (which would make a two-visit total of points).
Action step: Verify the exact points with the official syllabus/CANVAS materials to resolve the discrepancy and ensure accurate counting.
Classroom setup and expectations
The class is in a more conducive room: closer seating reduces shouting and facilitates group work; weekend homework expected.
Reading assignment: Students must read a short Psychology Today article titled “Why it's healthy to like horror” by Doctor Jeffrey Debbies Carl. The article is linked in Canvas.
Task for Monday: Bring your notes on the article and be ready to share them in class.
Purpose of notes-sharing: Compare your notes with classmates to understand what others find important, interesting, and what questions arise. Asking questions is a valid form of participation.
Model for questions in class:
Good question example: "Professor, I did not understand the first third of this article. Could you explain? Specifically? I didn't understand this concept. Page 25."
Not-so-good question example: "I didn't really like this. I didn't understand it. Could you explain it to me?" or a non-specific comment.
Target for questioning: Aim for at least one specific, articulate question per class session with concrete details (e.g., reference to a page, concept, or example).
Etiquette guidance:
Do not say in front of a professor that something is boring. If you find material unengaging, discuss it privately or in group settings, but maintain respectful classroom decorum.
Eye contact in class is encouraged; it’s noted as a 'gift' when students maintain engagement.
In-class practice: On Monday, bring your notes, open your notebook, and be prepared to discuss the article; there will be a comparison activity.
Emphasis on curiosity and participation: Even if you’re not sure about something, ask a specific question or request more information about a particular aspect (e.g., why a concept works, or more details about x).
Readiness for class discussion and note-sharing exercise
The instructor emphasizes that many first-year UHD students may not yet know how to participate effectively; the class should be interactive and engaging.
There is an emphasis on continuous attendance, participation, and meaningful engagement as keys to success in college-level classes.
Group work and introductions activity (in-class exercise)
Students are instructed to break into small groups (various grouping references appear in the transcript, e.g., "+1 23", "+1 234", "one two three" as group indicators).
First step in groups: introduce yourself by sharing your major, your class schedule, and the professor of each class.
Example prompts to say aloud: "I am taking UHD 13 o four with Professor Jackson"; "I am taking English 1301 with Professor Smith"; "I am taking Biology…"; and so on.
Each person should state their classes with both prefix-number and full course name when possible.
The goal: know the class names, numbers, and instructors to situate yourself in the UHD environment.
After introductions, there should be three questions about syllabi:
Each person should have one question about this class’s syllabus and one about another class’s syllabus.
This activity is expected to take about fifteen minutes, followed by a class-wide pause.
The process for sharing questions: take turns in a coordinated manner (e.g., one, two, three; or group-by-group) so everyone has a chance to participate.
Example questions and topics shared in the transcript include:
Booking timelines for assignments and class expectations; whether there is a correct format for assignments (e.g., formatting).
Questions about required materials: how to obtain books, whether opt-out affects access, and where to go for information (Bookstore on the Third Floor; Financial Aid nearby).
Clarifications about online vs. in-person course expectations; whether meetings with professors are required or if work can be completed online; and start times (e.g., class starting at 1 PM).
Queries about how to handle required materials if financial aid or course materials are involved.
Emergency and accommodation questions about the syllabus:
If there is an emergency, email the professor from Gatormail explaining the situation and asking for an alternative plan; late work generally does not be allowed except in emergencies.
How to contact the instructor: use the official university email format (e.g., first.last@uhd.edu).
The value of sharing contact information:
Students are advised to exchange contact details (two people per person) to catch up if absent, with options like GroupMe, Instagram, Discord, etc.
The goal is to have at least two reliable contacts to verify what happened if someone misses class and to stay connected.
Resources and offices mentioned:
Bookstore and Financial Aid on the Third Floor.
Writing Center for English-related needs; Center for Math and Statistical Support (for math classes); Math SI (Supplemental Instructor) program as an alternative to visiting the Math Center for support.
If not enrolled in a math course:
An alternative path is provided via the Center for Math and Statistical Support or consulting with the professor about options; if needed, inform via email to coordinate.
The importance of keeping track of calendars and due dates:
The instructor encourages students to keep their eye on calendars for all classes; some professors are explicit about schedules, others are not yet sure, but dates and deadlines will come.
Credits and the writing requirement:
A student asks whether this is a writing class; answer: this is not a required writing class, but there may be a writing requirement for your major as determined by your advising/degree plan; consult the advising office to confirm.
The instructor’s closing advice:
Do not rely on luck; attendance alone does not guarantee success—the class requires active participation.
If students do not participate, their participation grade may suffer; group work helps enforce accountability.
Homework related to syllabi and participation:
Students are reminded that they should come to class with the homework completed and ready to discuss.
There will also be a reading and discussion session on the psychology article and the approach to analyzing horror.
Horror genre: key concepts and the slasher subgenre (lecture content)
The overarching framework: The lecture connects popular culture to academic knowledge by examining the horror genre at three levels: production, elicitation, and representation.
Definitions:
Horror: A genre designed to produce, elicit, and represent fear and disgust; the goal is to evoke these affects in the reader/viewer.
Subgenre focus: Slasher as a subgenre within horror.
Three levels of analysis for horror (as introduced in the class):
Production: The author or creator’s process of making the horror (planning, drafting, experimenting with form, etc.).
Elicitation: The way horror language and scenes evoke fear and disgust in the reader/viewer.
Representation: How fear and disgust are represented on the page/screen and how readers emotionally respond.
The pleasure of horror: Horror is described as a form of pleasure for readers; fear and disgust can be thrilling and entertaining when encountered through fiction.
The structure of horror storytelling: The content often involves characters who feel fear and disgust; the voice/narrator may be paranoid, fearful, or morally compromised, contributing to the sense of dread.
Distinctions among three forms for Poe’s era and beyond:
Short story (e.g., Poe) as the initial medium; psycho-emotional effects are crafted through concise, intense language.
Film (slasher adaptations) as a later medium with visual and auditory means to elicit fear.
Novel as a broader, more extended exploration of fear and disgust.
Poe as exemplar: Focus on how Poe’s short stories produce fear and disgust using language, narrator perspective, pacing, and imagery; the short story is designed to elicit visceral reactions and a sense of unease.
Core elements of horror according to the lecture:
Production: creative process in bringing horror into existence (writer’s craft).
Elicitation: reader’s or viewer’s emotional response (fear and disgust).
Representation: how those emotions are depicted and conveyed in the text or film.
The three-fold purpose of horror: to produce, to elicit, and to represent fear and disgust, all often intertwined to deliver pleasure to the audience.
The slasher subgenre: a specific focus within horror with defining components:
Monster: typically a human being, usually a white male, who has a severe psychological break from reality. Occasionally the monster may be nonhuman or supernatural, but the stereotypical slasher monster is a disturbed human.
Victim: usually human; multiple victims are common; sometimes animal victims appear as initial threats or psychological devices.
Weapon: a very sharp instrument is common (knife, butcher’s knife, axe, chainsaw, pickaxe, razor, glass shard, etc.).
Violence: the relationship between monster and victim is mediated by violence; social relations are fractured or cut by violent acts.
Why the white male monster matters: The slasher’s archetype emphasizes a psychologically disturbed, often white male perpetrator, which intensifies the horror by making the threat feel close to home (i.e., someone who could be a neighbor, relative, or familiar figure).
Monster-victim dynamic: The slasher’s violence targets human beings and can explore themes of monstrosity within the human psyche and within ordinary social relationships.
The aesthetic aim of slasher horror: to create fear and disgust through a realistic, human threat that makes the danger feel plausible and imminent.
Practical classroom implications: Understanding the slasher’s components helps students analyze how fear and disgust are constructed through narrative and visual techniques.
Case study plan for next class: The course will cover Poe next (short stories) to examine production, elicitation, and representation before moving to slasher-focused analysis across short stories, film, and the novel.
Poe and the horror framework (case-study preparation)
The three Poe short stories to be studied: "Berenice," "The Tell-Tale Heart," and "The Black Cat".
The class discusses how Poe’s language and narrative choices produce fear and disgust and how the reader experiences pleasure through horror.
Historical context: The discussion promises to return to the historical and cultural context in which Poe wrote and how it informs the reception of horror.
Time orientation: The course moves from eighteenth/nineteenth-century horror (Poe) to twentieth/twenty-first century horror (film and novel as later forms).
End-of-class reminders and next steps
Homework: Students must have their notes ready for discussion on Monday; bring notes on the Psychology Today article.
Upcoming reading: Revisit the plan for the next unit on slashers; the class will discuss Poe’s horror and then proceed to a case study of a slasher across different media.
Class logistics recap: The calendar, attendance expectations, and communication protocols (email via Gatormail for emergencies; in-class absence requests).
Final notes: The instructor emphasizes active participation, keeping calendars visible, and staying engaged throughout the semester to build strong study habits and academic discipline.