Comprehensive Study Notes: Humanities, Renaissance, and Course Logistics

Office hours, contact, and class logistics

  • Time window noted for class activities: from 11:30 to 12:15 (11:30-12:15). If changes are needed, updates will occur on the instructor's platform.
  • Location and contact preference:
    • Instructor can be found in the JKB on Thursdays (most Thursdays).
    • Best to send a message to schedule a meeting; in-department meetings occur about once a month on Thursdays.
    • Primary communication: LearningSuite messages; the instructor often checks LearningSuite before email due to syllabus checks and course updates.
    • Email is also monitored, but LearningSuite takes priority for course-related issues.
  • Alternative contact: Abigail (the TA) can be reached with questions; if she doesn’t know the answer, she will ask the instructor. Abigail’s contact details are listed on LearningSuite.
  • During the next class, every student will give a one-minute class introduction (one-minute, given the class size of around 40-45 students). Practice is required.

One-minute introductions and the idea of second languages

  • The instructor explains a “second language” concept inspired by a magazine piece: multiple languages exist beyond spoken language (e.g., art, poetry, music, dance, technology, math, engineering, even the spirit).
  • Each student will present one of their second languages in their one-minute introduction. Examples given:
    • The instructor’s second language: knitting (offers to teach knitting during office hours).
    • Personal anecdotes: river guiding in college; knitting as a personal example.
  • The purpose of the exercise: articulate a language you love, something you could discuss endlessly with someone who speaks that language.
  • The class shows a range of interests; students may share non-academic passions as part of their introduction.

Instructor and student bios; humanizing context

  • Personal/professional context shared:
    • The instructor: loves literature, art, and music; family details used as examples.
    • Family: husband named Max; four sons named Jonah (studying at the University of Utah), Wyatt (on a mission in Thailand), Emmett (a junior), and Owen; family dog Nimrod (biblical name meaning “the mighty hunter”).
  • Quick aside about seeing and talking about second languages beyond academics to illustrate broader humanities connections.

Why humanities? purpose and benefits

  • Humanities helps us join the human conversation about what it means to be human, across history and cultures.
  • Benefits highlighted:
    • Understanding how art, philosophy, and culture influence each other (e.g., how art informs philosophy and vice versa).
    • Developing empathy by seeing through another person’s eyes via books, paintings, etc.
    • Aligning with the idea that humanities contribute to becoming more compassionate and understanding, which the instructor relates to spiritual aims (references to empathy and the Savior).
  • The class will use a short clip to frame creativity and humanities discussions (emphasizing that reading is required, with the caveat that some material may be read rather than watched in full).

Syllabus overview and course structure

  • Access: Syllabus and slides are available on LearningSuite before each class; slides may be posted in advance.
  • Course expectations: Students are responsible for knowing course policies; the instructor will not read the entire syllabus aloud.
  • Key policies: no late work accepted; accommodations available (students must contact the instructor/Abigail ahead of due dates to arrange extensions).
  • Extra credit: Abundant opportunities exist, but must align with the material studied and be completed before the end of the semester (not at the very end). Examples include:
    • Renaissance, Baroque, classical music, neoclassical art, romanticism modules.
    • Live performance attendance (BYU and other venues).
    • Museum visits (e.g., MOA, Springfield Art Museum).
    • Met Opera on Demand access via BYU.
    • Creating a Spotify playlist of music related to the course topics.
    • An “artful” contemporary artist video project.
    • Additional opportunities are listed in the schedule; many require timely completion.
  • AI policy and writing integrity: the class strongly discourages AI-generated writing for assignments; use your own brain and the BYU Writing Center for help. Acceptable: spell-check and grammar tools; unacceptable: using AI to generate or significantly rewrite submitted work and passing it off as your own. If AI use is detected, instructors will address it; repeated violations could lead to dismissal from the course. Brainstorming with AI is discouraged if it leads to unoriginal wording; notes can be generated with AI, but final written work must be your own.
  • Nudity in art policy: nudity will appear in texts and media; there is a clear distinction between pornographic material (intended to arouse) and art that depicts the human body as part of its educational and cultural context. Students uncomfortable with nudity may switch to a course that does not include nudity (e.g., History 202, Music 202 is another option). The syllabus includes a broader policy on nudity and its educational purpose.
  • Class format: the course functions as a survey of humanities topics, designed to skim across many works rather than deep-diving into every piece; the goal is analytical understanding rather than simply identifying artwork or artist.

Texts, readings, and course materials

  • Culture and Values (core textbook): available in digital form or physically; either format is acceptable; a course reserve option exists in the library (two-hour check-out windows) if a student cannot purchase or rent a book.
  • Don Quixote: substantial reading; availability and translations discussed:
    • Edith Grossman translation recommended for readability; older translations exist but may be harder to follow.
    • Read a large portion (roughly 150 pages out of ~1000) as the class progresses; the book is divided into Part I and Part II; ensure you don’t confuse which part you’re reading.
    • Reading benchmarks: benchmarks are set periodically (e.g., First benchmark: 67 pages) with a follow-up question about the reading; additional benchmarks occur as we move through the text.
  • The Lincoln Highway (novel by Amor Towles, published 2020-2021): used after Don Quixote; described as a modern odyssey about two brothers; similar reading benchmarks and structure apply.
  • Other primary texts: Rules of Disability (referenced in relation to discussion topics); context provided for how texts align with the Renaissance and modern era discussions.
  • Course reserves: Edith Grossman translation recommended; if digital access is not available, the library reserves section can provide a two-hour loan; the library’s main information desk is the point of access for course reserves.
  • Required supplementary readings: a mix of Don Quixote, Lincoln Highway, and other readings to accompany daily lectures; the exact schedule may shift with the syllabus, but major texts remain core.

Reading responses, benchmarks, and expectations

  • Daily reading responses: due by 12:30 on class days (not midnight the prior day).
  • Response format: typically a 1-2 paragraph thoughtful response addressing the prompt; bullet points are discouraged unless explicitly allowed.
  • Multi-part prompts: some responses require answering two parts; sometimes students may be asked to upload a photo or perform a short creative task.
  • Grading of reading responses: each response is worth a total of 10 points: a 0-5 completion score (whether all readings and videos were completed) and a 0-5 quality score (quality and completeness of the answer). This yields a combined score of up to 10 points per response.
  • Length guidance: there is no strict word count, but the instructor expects a college-level response that adequately answers the prompt and demonstrates engagement with the material.
  • Submission issues: if you have trouble submitting, email the assignment to the instructor or TA.
  • Schedule and look-ahead: some readings or benchmarks are opened two weeks before due dates; if a student needs earlier access, they can ask.

Key concepts and terms in Renaissance and humanities studies

  • Core historical shifts:
    • The Renaissance as a rebirth: rediscovery of classical Greek and Roman learning; rise of humanism and the exaltation of human potential.
    • The shift from a church-centered authority to more secular/nationalistic governance and educational avenues; the growth of individualism.
    • Nationalism and patronage: the rise of strong patrons (e.g., Medici) and the role of the pope and state power in funding art.
    • The Reformation and reevaluation of truth and knowledge; how to distinguish truth from fiction becomes a central concern, foreshadowing contemporary concerns about AI and information.
  • Patronage: who pays for art and how that affects artistic choices; a recurring theme throughout the semester.
  • Central artists and works:
    • Leonardo da Vinci: a quintessential “Renaissance man,” based in Tuscany/Florence; fields include art, engineering, anatomy; features of his painting include balance and order; soft chiaroscuro and sfumato; notable works: central compositions with stable pyramidal balance.
    • Michelangelo: pivotal sculptor and painter; Rome as a major site due to Pope Julius II; David (the giant sculpture cut from a single block of marble) epitomizes the freeing of a form; contrasts between public and private patronage; the tomb of Julius II (a grand, multi-figure project) and the Sistine Chapel ceiling (a monumental commission that defined high Renaissance painting); notable techniques: contrapposto, sfumato, dramatic lighting; Michelangelo’s self-signature as “the sculptor” on the Sistine ceiling.
    • Raphael: key figure in high Renaissance; School of Athens as a programmatic monument to human knowledge; unity of perspective and incorporation of philosophers from different traditions (Aristotle and Plato in the center; others like mathematicians and artists included); use of orthogonals and one-point perspective to create depth.
    • Donatello: mentioned as a earlier Renaissance artist; not covered in depth here but part of the Ninja Turtles motif.
  • Artistic terms to know:
    • Balance and order: a hallmark of Renaissance composition; stable, calm pyramidal structures.
    • Chiaroscuro: the contrast between light and dark; Leonardo’s softer use vs more dramatic examples elsewhere.
    • Sfumato: smoky transitions between colors and tones (Leonardo’s hallmark).
    • Contrapposto: a sculptural pose with weight on one leg, creating a natural, dynamic stance (notably used by Michelangelo).
    • Orthogonals and one-point perspective: imaginary lines converging at a vanishing point; in one-point perspective, all lines converge at a single point (often the central figure or focal point).
    • One-point linear perspective: all orthogonals converge at a single vanishing point, creating a sense of depth; the center of the composition is often aligned with the vanishing point.
  • Notable works and scenes discussed:
    • The School of Athens (Raphael): central placement of Aristotle and Plato; use of orthogonals; a visual metaphor for the unity of knowledge across disciplines.
    • The David (Michelangelo): a sculptural tour de force, carved from a single block; represents a moment of potential energy and tension (before action), not after beheading as earlier works depicted.
    • The tomb of Julius II (Michelangelo): commission for a grand tomb; included several life-size figures and allegorical representations; the project spanned years and faced interruptions.
    • Moses (Michelangelo): part of the Julius II tomb or related projects; the sculpture captures a moment of tension and anticipation.
    • The Sistine Chapel ceiling (Michelangelo): monumental ceiling project; features dramatic scenes from Genesis; sculptural quality in painting; Michelangelo signs as a sculptor on the painting; Last Judgment is another major work by Michelangelo discussed later in life.
  • Thematic through-lines:
    • Humanism and the elevation of human potential through education, art, and science.
    • The role of sculpture and painting in expressing ideas about the divine, humanity, and order.
    • The use of art to comment on civic and political life (e.g., Florence’s identity in relation to David and the Goliath metaphor).
    • The tension between religious authority and individual human agency as civilization moves toward modernity.

Examinations, grading, and expectations

  • Examinations: two midterms and a final; each exam may include an essay component; the instructor is considering a non-essay option for the last exam, but this has not been decided yet.
  • Syllabus and schedule changes: the schedule is subject to change, but changes are usually announced well in advance to avoid last-minute adjustments.
  • Class pace and expectations: the course aims to cover a broad range of topics; students should be prepared to think critically about how works fit into larger conversations about humanity, creativity, and culture.

Don Quixote and Lincoln Highway: reading plan specifics

  • Don Quixote: wide-scale reading with benchmarks; first benchmark involves reading up to 67 pages; there is a second part; awareness that the text has two parts and different pagination; Edith Grossman translation recommended for readability; some students may access through course reserves if needed.
  • Reading benchmarks: set at specific points (e.g., benchmark 1: 67 pages); later benchmarks align with the Lincoln Highway; reading benchmarks include a response requirement and a question about what was read.
  • Lincoln Highway: read after Don Quixote; modern odyssey about two brothers; recent publication (2020-2021); similar benchmark structure as Don Quixote for consistency.
  • Practical reading tips: the instructor emphasizes not needing to memorize every artist or artwork; instead, focus on understanding why a work is included and what it demonstrates about Renaissance and later conversations.

Additional course policies and cultural notes

  • Media considerations: occasional nudity in class materials; educators carefully curate content to balance educational value with sensitivity; classes with strong nudity concerns may be unsuitable for some students.
  • Empathy and perspective-taking: humanities content is framed as a way to see through others’ eyes and to cultivate empathy, aligning with broader moral and spiritual aims discussed in class.
  • Real-world connections: discussions connect past art and philosophy with current topics such as digital media, AI, and information literacy; students are encouraged to think about how age-old questions about truth, beauty, and human potential apply today.
  • Extra credit availability and management: students can pursue multiple extra-credit opportunities; timing is important to align with current units and topics; many options require attendance or pre-approved arrangements.

Summary of practical takeaways for exam preparation

  • Know the big Renaissance themes: rebirth of classical learning, humanism, individualism, patronage, and the shift from centralized church authority to more secular/national frameworks.
  • Be able to discuss key artists and works, with an emphasis on how they embody Renaissance principles (Leonardo, Michelangelo, Raphael) and technical terms (balance, order, sfumato, chiaroscuro, contrapposto, orthogonals, one-point perspective).
  • Understand concepts like patronage and its influence on artistic production and subject matter.
  • Be able to analyze art and literature in terms of broader humanistic questions (what it means to be human, how knowledge is produced, how art communicates across boundaries).
  • Prepare for reading-based assessments with an emphasis on analytical, paragraph-length responses that address prompts comprehensively rather than merely identifying names.
  • Keep in mind the class’s policies on late work, accommodations, AI usage, and nudity in art, and how these might influence how you approach assignments and in-class discussions.
  • Remember the structure of the course texts and readings: Culture and Values as a core text; Don Quixote and Lincoln Highway as major reading blocks; use of course reserves if needed; and the potential for flexible last-exam formats.
  • Practical notes for study: use LearningSuite for slides and schedule; plan for two midterms and a final; engage with extra-credit options if you want to boost your grade; and practice explaining a “second language” (one of your personal passions) during your one-minute intros to connect with the class's humanities focus.

Quick glossary of key terms mentioned

  • Balance and order: foundational composition principle in Renaissance art.
  • Chiaroscuro: pronounced light-dark contrast in painting.
  • Sfumato: smoky transitions in shading, especially used by Leonardo.
  • Contrapposto: weight shift in sculpture creating natural stance.
  • Orthogonals: imaginary lines to vanishing points in perspective drawing.
  • One-point perspective: all orthogonals converge at a single vanishing point.
  • Don Quixote: major novel; parts I and II; translation choices affect readability.
  • The Lincoln Highway: modern novel as a companion text.
  • Patronage: who pays for art; influences artistic direction and content.
  • The Sistine Chapel ceiling: monumental fresco cycle by Michelangelo; includes Adam and God, various biblical scenes; Michelangelo signs as “the sculptor.”
  • The Last Judgment: another Michelangelo work, noted for its sculptural quality.
  • Moses, David: major Michelangelo sculptures discussed for form, tension, and symbolism.
  • Aristotle and Plato (in Raphael’s School of Athens): central figures in the composition; relationships to forms and knowledge in Renaissance thought.
  • The Medici: prominent patrons who supported Renaissance art in Florence.
  • Julius II (the Warrior Pope): a central patron in Rome; his tomb and church projects shaped Renaissance art in Rome.
  • Edits and translations: Edith Grossman recommended for Don Quixote; older translations available but often less readable.
  • BYU policies: AI usage, nudity, accommodations, late work, and extra-credit rules summarized above.