Karen Malouf Ostlund
Professor of English
St Louis Community College at Forest Park
5600 Oakland Avenue
St Louis, Missouri 63110
Title VI-A Year Two Project
Global Infusion: Arabic and Muslim Cultures
THE FOLKTALE CONNECTION
FINAL FINAL PROJECT REPORT
Karen Malouf Ostlund
Professor of English
St Louis Community College at Forest Park
5600 Oakland Avenue
St Louis, Missouri 63110
Title VI-A Year Two Project
Global Infusion: Arabic and Muslim Cultures
THE FOLKTALE CONNECTION
Final Project Report
TABLE OF CONTENTS
I.
II.
III.
Proposed Course Title and Number
Aim of Project
Description of Project
IV.
Project Objectives
V.
Semesters Course will be offered, delivery methods, and
anticipated enrollment
VI.
Course Outcomes with the specific outcomes affected by
the modules presented
VII. Basic Outlines of Learning Units
VIII. Student Assessments
IX.
Student Evaluations of the assignments
X.
Overall assessments by the Instructor of this module
XI.
Use of technology necessary
XII. Bibliography and Works Cited Sources used in the
development of this project
Karen Malouf Ostlund
Professor of English
St Louis Community College at Forest Park
5600 Oakland Avenue
St Louis, Missouri 63110
Title VI-A Year Two Project
Global Infusion: Arabic and Muslim Cultures
THE FOLKTALE CONNECTION
Final Project Report
I. Proposed Course Title and Number: English 101 and English 102
Although it is the primary intention to use this information in both beginning
“freshman” composition and advanced composition courses, it will also be used in a
Coordinated Studies Course. Coordinated Studies at Forest Park Community College is a
Learning Community designed to offer Introduction to Psychology, Literature of
American Minorities, and English Composition as interrelated subjects. The Coordinated
Studies Course began in the Fall of 1997 and is taught by a team of three instructors:
Donald R. Cusumano, PhD (Psychology), Ron Hughes (English Literature), and Karen
Malouf Ostlund (Professor of English). The project will also be applicable to English
Composition Courses which already focus on comparisons of communication strategies
between Collectivist and Individualist Cultures.
II. Aim of Project:
My aim is to demonstrate that the distrust we harbor toward the “unfamiliar” is
based on lack of exposure to the human face of that “other”. We are, by our very nature,
xenophobic creatures. While it is not always considered a positive trait, xenophobia can
also be seen as a basic survival skill that might “protect” us from potential conquering
raiders. While the primary focus of this project is to introduce awareness of the Family
and Culture of Middle Eastern Countries through their folktales, the project also will
provide familiarity with “the other” and allow students an opportunity to use critical
thinking skills to determine the roots and destinies of not only North Africans and the
Middle Eastern part of the world, but also Asian, West African and even Native
American cultures.
Such a study naturally lends itself to the ultimate study of “self”. A survey of
basic story themes allows students to recognize similar story lines appearing in folk and
fairy tales from all over the world. Julius E. Heuscher, in his text A Psychiatric Study of
Myths and Fairy Tales: Their Origin, Meaning and Usefulness, states, “Many of the basic
plots and themes of myths and fairy tales can be found all over the world. For example,
there must exist several hundred variants of the Cinderella story among the fairy tales
from Egypt, India, all parts of Europe, and even North America.” (Heuscher 35)
Heuscher goes on to suggest that similarity of fairy tales can be explained in two ways. It
is possible that “…merchants, adventurers, migrants and mariners carried these stories
from land to land.” If this was the case, it is highly likely that the stories were adapted
and then gradually changed to appeal to particular cultures, tribes and religions.
Heuscher also recognizes that a second reason for the similarity of plots and themes can
also be examined. Heuscher writes “…the similarity of basic themes and plots is also due
to the fact that these tales express deep experiences, problems and challenges facing
people everywhere in their collective as well as in their individual evolution.” (Heuschler
36) Heuschler suggests that the relationships of fairy tale, folktale and epic topics could
be the result of “…sublimated, distorted, partial or symbolic expressions of the basic, and
fairly universal, conflicts and hopes which are not allowed direct expression or acting
out, but which can be mitigated by indirect, veiled, permissible outlets.” With this
explanation, Heuschler poses the notion that fairy tales could resemble the same kind of
dreams that Sigmund Freud explained as “disguised fulfillments of frustrated or
forbidden wishes, and [explained] by Jung as outlines of not yet realized potentials.”
(Heuscher 36)
In fact, Carl Gustav Jung described in his writing what he labeled archetypes
based on patterns of thought and action “that re-appear time and again across people,
countries and continents.” (Jung, C.G. Man and His Symbols. New York: Doubleday and
Company, Inc., 1964)
In his writings, Carl Jung suggested that the archetypes he described were a result
of heredity. In this sense, Jung considered the archetypes to be instinctual. However, as
Jung expanded his work to include investigations across cultures, he discovered that the
same archetypes existed in widely disparate cultures. He then suggested that the
archetypes might be fundamental forces of human development. A study of folktale
samples from Asian, African, Arabic and even American literature suggests that there are
basic themes that appear consistently within literature and those themes might be rooted
in basic psychology.
Regarding this Title VI-A Project, Coordinated Studies is a course that readily
lends itself to global infusion since the underlying theme of the course is: Ways of
Knowing Yourself and Others. Since 2003, the instructors have applied the History,
Family, and Culture of China and Latin America to the Coordinated Studies curriculum.
Other additions to the curriculum include Communication Strategies of China and Asian
Cultures. In 2008, the addition of West African fables, folktales and fairy tales expanded
the global focus of the class while, at the same time, allowed students the opportunity to
learn more about a little known and often misunderstood part of the world.
With the introduction of Arabic and Persian folktales, the students can now
explore ramifications of common themes in folktales and discover the psychological
origins that might possibly account for the universality of themes seen in folktales.
III. Description of Project:
In the United States, there has been an pervasive distrust of the Arabic people and
the traditions of the Muslim religions, particularly since the attacks in September 11,
2001 by terrorists described as Muslim extremists. Even after several years, stereotypes
abound. An Arabic man has dark, swarthy skin tones, large noses and violent and
frightening demeanors. An Arabic woman wears veils, is exotic and mysterious and
hidden from the world. She is kept prisoner first by her father and then by her husband.
The religion of Islam has been thought to be a religion of violence which rewards the
male and suppresses the female.
The conventional wisdom of many Midwestern college students is that these
stereotypes are true and Arabs are inherently bad. This project will help polish the skills
of investigative research and critical thinking to determine the causes for customs that
might be labeled negative in our society but which may well have a valid origin.
In the application of this project, comparisons will be drawn between the value
systems of different cultures. Contrasts will also be examined with a focus on geography
and history to determine the causes that may have separated the cultures. At the same
time, the students will be encouraged to research possible threads that tie the cultures
together. Through the study of folktales, students will discover that common themes link
all people in their humanity.
Instruments used in the presentation of this course will be lectures to present the
backgrounds of the cultures. Students will be assigned literature on basic themes (family,
relations, childhood, politics, social order) from the points of view of four cultures:
Chinese, Arabic, Western African and U.S. Students will then be expected to
demonstrate their understanding of the material through assigned, researched essays.
This project will focus on polishing students’ research strategies, critical thinking
skills, writing skills and communication skills. Inclusion of this material in the
curriculum will enhance student understanding of other cultures and religious traditions
that have been restricted to stereotypes and generalizations. Such understanding
developed at the college classroom level will help ease tensions as our students move out
of the classroom to become global citizens.
In addition, by exploring what might be the most basic psychological and
instinctual behaviors that are revealed in the themes of cross cultural folktales, our
students can better understand their own actions and reactions to experiences they face
throughout their own lives.
IV. Project Objectives:
The objectives of this project will be to infuse information about another country,
culture and religious tradition into the information already scheduled for presentation into
an existing course. Composition students have a better chance of success when they are
given a focus subject. This project will challenge students to exercise their critical
thinking abilities as they examine other beliefs and then find ways to understand the
common themes that apply to all cultures. Students will have the opportunity to study
folktales and determine where the common themes appear and how they apply to cultural
development.
V. Semesters Course will be offered, delivery methods, and anticipated
enrollment:
Coordinated Studies is offered during Fall Semester to attract entering freshman
with the objective of helping students new to the college find ways to become part of
learning communities. Additionally, Coordinated Studies helps students see acquisition
of knowledge, skills and information holistically with emphasis on applying information
and integrating knowledge into all the courses they will be taking during their college
careers. It is hopeful that students will continue to integrate all knowledge as they
continue on a journey as lifelong learners.
Delivery Method for the information utilizes a variety of teaching and learning
strategies. There is a strong emphasis on group learning. There is application of lectures
and problem solving with a high expectation of student participation. This has been the
established format for Coordinated Studies and continues to be the established format for
my English 101 and 102 courses.
My workload allows for two English Composition courses each semester. In the
Fall Semester, I teach with the Coordinated Studies team (Donald R. Cusumano, PhD and
Ron Hughes) and our estimated enrollment ranges from 45 to 60 students. My English
101 Courses are taught both Spring and Fall Semesters and usually result in enrollments
of 26 students per class.
VI. Course Outcomes with the specific outcomes affected by the
modules presented: For the specific modules included in this project, the general
course outcomes are stated as follows:
OBJECTIVES: By the end of these teaching modules, students will be able to:
1. Examine their personal and subjective biases regarding how their own
value system has been formed;
2. Examine the fairy tales, folktales and myths they have grown up with;
3. Research the origins of fairy tales, folktales and myths they are
familiar with;
4. Recognize common themes that appear in the fairy tales, folktales and myths
they are familiar with;
5. Discuss how their current beliefs and biases may have been guided by
exposure to popular fairy tales, folktales and myths;
6. Explore their own biases against other cultural beliefs and examine the origin
of those biases, the power of those biases, and the effect of the biases on our
collective behaviors and choices;
5. Examine how our own popular cultures may generate bias against other
cultures;
6. Examine how literature and oral storytelling of other cultures can demonstrate
common goals and objectives of all human beings;
7. Examine the possible causes for the development of common story themes in
any culture.
VII /VIII). Basic Outlines of Learning Units and Student Assessments:
Title VI-A Project
2008-2009
Global Infusion:
Developing Modules for an Existing Course: Coordinated Studies and
English Composition – Folklore, Myths and Legends of Middle Eastern,
Arabic and Muslim Cultures
Sample Teaching Module I:
Once Upon A Time: The Stuff That Stereotypes Are Made Of
RATIONALE:
Before introducing legends and folktales of a new culture, it is important that students
have the opportunity to explore their exposure to the legends and folktales of their own
cultures. Many younger students have not given much thought to the origin of some of
the simple folktales they grew up on. Many of those students will claim that the fairy
tales, folktales, Disney characters, and stories from the sanitized version of Brothers
Grimm have had no effect whatsoever on the value systems they now subscribe to. The
purpose of this early Teaching Module is to help students recognize the power of the
storyteller in any social grouping.
OBJECTIVES: By the end of this teaching module, students will be able to:
1. Examine their own personal and subjective biases regarding how their own
value system has been formed;
2. Recognize the possible fallacies that may exist in some of the literature and
fiction that they had not previously questioned;
3. Show how their current beliefs and biases may have been misguided by their
exposure to biases developed through literature and fiction;
4. Explore their own biases against other cultural beliefs and examine the origin
of those biases, the power of those biases, and the effect of the biases on our
collective behaviors and choices;
5. Examine how our own popular cultures may generate bias against other
cultures;
6. Examine how literature and oral storytelling of other cultures can demonstrate
common goals and objectives of all human beings;
7. Examine the possible causes for the development of common story themes in
any culture;
8. Be able to discuss the archetypes posed by Carl Jung
BRIDGE-IN: “Tell Me A Story”
As a bridge in activity, students will be asked to write an original fairy tale. The fairy
tale must have certain elements:
1. There has to be a protagonist
2. There has to be an antagonist
3. There must be a theme
4. There must be a plot
5. There must be a moral to the story
Either in small groups or a large full class discussion, the stories will be read.
PRE-TEST: Discussion or short quiz
1. Students will be asked to identify the elements of the other students’ fairy tales
2. Students will be asked to analyze possible sources for some of the elements of
the fairy tales
3. Students will be asked to analyze the possible lessons a child would learn from
the fairy tales
PARTICIPATION:
1. Students will be shown the video documentary Mickey Mouse Monopoly:
Disney, Childhood & Corporate Power which explores the impact of the media
on children’s attitudes toward sexism, commercialism, violence, and racism.
2. Students will be given an opportunity to respond to the video. Students should be
encouraged to offer both positive and negative observations of the construction of
the video.
3. Either in groups or in a full class discussion, students should also be encouraged
to look for logical fallacies presented in the video. In addition, students could
offer suggestions for ways to make the video stronger.
4. Students will be given a brief writing assignment to argue either for or against the
premise of the video.
5. Students will be assigned readings from Arabian Nights: The Marvels and
Wonders of the Thousand and One Nights (Adapted from Richard F. Burton’s
Unexpurgated translation by Jack Zipes. New American Library: New York,
1991)
6. After reading the assignments from Arabian Nights: The Marvels and Wonders of
the Thousand and One Nights students will be asked to identify the following:
a. The protagonist
b. The antagonist
c. The theme
d. The plot
e. The moral to the story
7. Students will also be asked to analyze and discuss:
a. Possible sources for some of the elements of the Arabian Nights: The Marvels
and Wonders of the Thousand and One Nights
b. Possible lessons a child would learn from the Arabian Nights: The Marvels
and Wonders of the Thousand and One Nights
c. Possible themes directing the stories
d. Reasons for the morals to the stories
POST-TEST: Formal Writing Assignment
Students will be expected to write a 3-4 page essay exploring the answers to one of the
following topics:
1. Compare examples from fairy tales or folktales of at least two different
cultures and discuss the possible source for some of the common themes of
children’s fairy tales across cultures.
2. Compare or contrast some of the Arabian Nights: The Marvels and Wonders of
the Thousand and One Nights with some of the Grimm’s fairy tales as represented
by Disney Productions
3. What is the role of animals in folktales or fairy tales of China, West Africa and
the Middle East?
4. How do oral history, folktales and fairy tales control the behaviors of an
individual?
5. How do oral history, folktales and fairy tales control the development of a
culture?
SAMPLE TEACHING MODULE II:
Happily Ever After Is A Point of View
RATIONALE:
According to Lutz Rohrich (qtd in The Brothers Grimm and Folktale, p. 3), “Fairy Tales
and legends are like a mirror: everyone sees his or her own face in them, that is,
something of his or her own personality.” Rohrich goes on to suggest that every story
can have a vastly different meaning to both narrators and listeners. He also suggests that
the meaning of a story can change for an individual in the course of his or her own life.
The purpose of this Teaching Module is to introduce students to the concept of High and
Low Context communication as seen in folktales and fairy tales. It will also help
students understand that oral and even written literature is sometimes as dependent on the
listener as it is on the narrator.
OBJECTIVES: By the end of this teaching module, students will be able to
Examine a fairy tale from the point of view of “early listener” to explore the
possible reactions of a first time listener to a tale;
2. Examine the same tale from the point of view of a “mature listener” to explore
the subtext of the tale;
3. Determine symbols, recurring themes, and circumstances that will alter the
interpretation of the tale by the listener;
4. Predict the reactions of a listener to a tale based on the listener’s point of view
and experiences
1.
BRIDGE IN: Students will be asked to post a journal entry regarding their favorite
childhood “fairy tale”. Part of the prompt for the journal will include initial reaction to
the fairy tale and circumstances under which the fairy tale became a favorite part of the
student’s childhood memory.
PRE-TEST: Discussion or short quiz
1.
Students will be asked to list possible motivations of the protagonist
antagonist in Cinderella myth.
2. Students will be asked to speculate on the possible motivations for creating a
story based on the Cinderella myth.
3. Students will be asked to speculate on the possible reactions of various
demographic groups to the Cinderella myth.
PARTICIPATION:
1. Students will read selections (such as Aladdin and the Magic Lamp) from Arabian
Nights: The Marvels and Wonders of the Thousand and One Nights.
2. Students will be shown the Disney Production of Aladdin.
3. Student will be asked to list the differences between the two representations of the
same tale.
4. Students will read “The Quest of Meaning in Folk Narrative Research” by Lutz
Rohrich.
5. In small groups, students will create a list of motivations for the protagonist.
Each group will be assigned the task of looking at the motivations from the point
of view of a different race or culture.
6. Student groups will report to the class on their conclusions.
POST TEST: Through individual essays, students will discuss possible causes for the
common or diverse conclusions reached as reported by the groups. Assessment of
success will be based on rubrics for evaluation of essays seen below.
Sample Teaching Module III:
You’re Never Too Jung to Find the Moral of the Story
RATIONALE:
According to C.G. Jung (Man and His Symbols. New York: Doubleday and Company
1964), there is a large number of archetypes which may overlap and even appear in the
same person. In the list of archetypes, Jung included “Family” archetypes, “Story”
archetypes, and “Animal” archetypes. In his study of multiple cultures, Jung reported
that the same archetypes appeared universally. Eventually, Jung characterized the
archetypes as “fundamental forces that somehow exist beyond us.” Jung said these forces
“have existed in ancient myths as elemental spirits” which Jung linked with deep and old
experience.
OBJECTIVES: By the end of this teaching module, students will be able to
1.
2.
3.
4.
Identify the three family archetypes described by Carl G. Jung;
Identify the seven story archetypes described by Carl G. Jung;
Identify the three animal archetypes described by Carl G. Jung;
Recognize the archetypes in the samples of folktales and fairy tales seen in
Arabian Nights: The Marvels and Wonders of the Thousand and One Nights
5. Recognize the archetypes in the folktales and fairy tales they have heard as
children and now read to their own children;
6. Related the archetypes to “stereotypes” and generalizations that affect their lives;
7. Relate the archetypes to literature.
BRIDGE-IN: Students will be shown pictures representing Jung’s various archetypes.
Without naming the archetype, the instructor will ask the students to write brief
personality sketches for each of the pictures. This can be done in groups with each group
being given one picture to report on.
PRE-TEST:
1. Students discuss popular fairy tales and folktales they are familiar with
2. Students are asked to identify recurring characters in the fairy tales and folktales
3. Students are asked to speculate on the reasons for these particular characters
appearing in fairy tales and folktales
PARTICIPATION:
1.
Students will learn about Carl G. Jung’s “archetypes” including:
a. The Shadow which reflects deeper elements of our psyche
b. The Anima and Animus which is the soul and the route to communication
with the collective unconscious. The anima/animus represents the true
self as opposed to the masks we wear every day. It is the source of our
creativity
c. The Self
2. Family Archetypes will be discussed including:
a. The Father: stern, powerful, controlling
b. The Mother: feeding, nurturing and soothing
c. The Child: represents birth, beginnings, salvation
3. Story Archetypes will be discussed including:
a. The Hero: rescuer, champion
b. The Maiden: purity, desire
c. The Wise Old Man: knowledge, guidance
d. The Magician: mysterious, powerful
e. The Earth Mother: nature
f. The Witch or Sorceress: dangerous
g. The Trickster: deceiving, hidden
4. Animal Archetypes will be discussed including:
a. The Faithful Dog: unquestioning loyalty
b. The Enduring Horse: never giving up
c. The Devious Cat: self-serving
5. Following reading of several selections, students will identify, classify and
discuss the concepts of Jung’s archetypes as they are seen in literature.
POST TEST: Formal Writing Assignment
Students will be expected to write a 3-4 page essay exploring the answers to one of the
following topics:
1. Discuss the concept of archetypes as described by Carl G. Jung and show how
modern literature throughout the world continues to use those archetypes
2. Discuss how the archetypes discuss by Carl G. Jung might be linked to
stereotypes or generalizations in contemporary Asian, Western African, or Middle
Eastern culture
Sample Teaching Module IV:
The Shadow Knows What Chaos Lurks in the Hearts of...Fairy Tales
RATIONALE:
One of the archetypes described by Carl G. Jung was “The Shadow”. The Shadow is
described as a common archetype that reflects deeper recesses of our psyche. This is
where our “latent” dispositions dwell. These dispositions are common to all people
across cultures. The Shadow as an archetype is unknown and troubling because of its
tendency to generate chaos and exploit the wildness in our character. It is the part of us
which has the tendency not to obey rules. It is eager to explore new lands and has no
problem with plunging itself into chaos and battle. According to Jung, we see The
Shadow in others. If we dare to examine ourselves, we will also see it in ourselves. A
recurring theme might be the powerful goal to re-unite The Shadow (or our dark side)
with The Light (which is the “real” self). Jung believed that our shadow could appear in
dreams, hallucinations and creative imaginings. Encounters with it as it resides in the
subconscious might reveal to us our deeper fears.
Examining and exploring The Shadow Archetype is a basic foundation for students of
literature as they begin to study folktales and fairy tales and even more formal literature.
OBJECTIVES: By the end of this teaching module, students will be able to:
1. Discuss the concept of Carl Jung’s “Shadow” archetype;
2. Relate the Shadow archetype to the fairy tales and folktales they read;
3. Relate the Shadow archetype to the contemporary literature they will be
reading;
4. Recognize the Shadow archetype in the selections they will be reading from
Arabian Nights: The Marvels and Wonders of the Thousand and One Nights ;
5. Connect the Shadow archetype with possible psychological conditions as seen
in cross cultural fairy tales or folktales.
BRIDGE-IN: Students will be asked to write a journal entry defining the word
“Shadow”. They will be asked to define it in terms of Denotative and Connotative
definitions. Students will discuss their definitions and then relate their definitions to
contemporary film or literature. If time allows, portions of the 2008 Batman: The Dark
Knight can be shown to the students. In a quiz or a discussion, students can talk about the
nature of the Bruce Wayne/Batman character in terms of light and shadow and good and
evil.
PRE-TEST: Students will be given a quiz to identify the archetypes proposed by Carl
G. Jung and the characters in 1001 Arabian Nights.
PARTICIPATION:
1.
2.
3.
4.
5.
Students will read the passage from Man and His Symbols by Carl G. Jung that
describes the nature of archetypes (Jung, C.G. Man and His Symbols. New York:
Doubleday and Company, Inc., 1964)
Students will read assigned stories from Arabian Nights: The Marvels and
Wonders of the Thousand and One Nights, (Translated by Richard F. Burton.
New America Library: New York, 1991).
Working either in groups or independently, students will identify The Shadow
archetype that appears in each assigned story.
Working either in groups or independently, students will explore the motivations
of the Shadow archetype as it appears in the story
Working either in groups or independently, students will formulate a defense for
the Shadow archetype’s actions in the story. The defense must document the
source or motivations for the behaviors and possible suggested “treatment” or
actions that can be taken to deal with the behaviors.
POST TEST: Formal Writing Assignment
Students will be expected to write a 3-4 page essay exploring the answers to the
following topic: Discuss the concept of Carl Jung’s archetypes and show how the
Shadow Archetype appears in any of the tales from Arabian Nights: The Marvels and
Wonders of the Thousand and One Nights
Sample Teaching Module V:
Nasruddin the Man of Wisdom, the Trickster, the Historian, the Voice of
Collective Folk Humor
RATIONALE: The identity of the Mulla Nasruddin has been claimed by at least
three countries: Afghanistan, Iran and Turkey. According to Idries Shah, in her book The
Sufis, there are thousands of tales of Nasruddin representing him as a man of wisdom or a
trickster or a historian or all three. Many of the Nasruddin stories can be told as jokes. It
is important, however, that each Nasruddin story can be understood and interpreted in
several ways and at many depths. In this sense, the tales of Nasruddin are ideal examples
both of Middle Eastern folklore and High Context literature. Students examining the
nature of communication will have the opportunity to discover the difference between
high and low context communication and, at the same time, look at examples of Middle
Eastern and Muslim folklore.
Through the study of the Tales of Mulla Nasruddin, students will be able to recognize the
nature of a collective community in contrast to an individualist community and how the
collectivist culture is more fertile ground for High Context Communication styles.
OBJECTIVES: By the end of this teaching module, students will be able to:
1.
2.
3.
4.
5.
6.
7.
8.
Identify the Middle Eastern folk hero/trickster/mullah named Nasruddin and the
position the character plays in Middle Eastern and Muslim culture;
Identify the Jungian Story Archetypes of The Trickster and The Wise Old Man
Identify religious and cultural elements of both Muslim and Middle Eastern
people;
Identify morals embedded in the High Context nature of the Nasruddin “jokes”;
Identify the cautionary tale and the role such tales play in the organization of a
collective community;
Compare the “lessons” or “morals” of the Nasruddin stories to similar “lessons”
or “morals” seen in cautionary tales of other cultures such as “The Monkey King”
in China and “The Tales of Amadou Koumba” by Birago Diop in Western Africa.
Compare or contrast the “lessons” or “morals” cautionary tales from several
cultures with cautionary tales representing the Individualist culture of the West;
Identify the differences between High Context Communication and Low Context
Communication and show how the different communication styles work to
promote a cultural foundation to keep the community intact.
BRIDGE IN: Students will bring in their favorite joke or fable and share it with the
class. Through discussion, the students will determine what “lesson” was supposed to be
learned from the joke. Students will organize the “lessons” in terms of theme and topic
and then discuss their findings.
PRE-TEST: Students will be quizzed on the meanings of some of the terms that will
be the focus of this teaching module. The terms will include:
1. Archetypes
2. Trickster
3. Wise Old Man
4. Analogy
5. Metaphor
6. Fable
7. Joke
PARTICIPATION:
1. Students will read selections from “The Sufis” by Idries Shah
2. In groups, or individually, students will be assigned one of the Mulla Nasruddin
“jokes” to discuss
3. Each group or individual student will report on both the Low Context
interpretation of the “joke” and the High Context interpretation of the “joke”.
4. As groups, or as individuals, the students will report on the possible lessons that
are the objectives of the “jokes”.
5. As groups, or as individuals, the students will create their own Nasruddin “joke”
or story to serve as a cautionary tale for assigned “lessons” to preserve and protect
the community
POST-TEST: Formal Writing Assignment
Students will be expected to write a 3-4 page essay exploring the answers to one of the
following topics:
1.
Discuss the value of the cautionary tale to serve the good of the community. In
your discussion, include possible reasons for the lesson as well as expected
outcomes of the lesson. Show how the cultures of the Middle East react to the
Nasruddin stories and compare that reaction to what might be expected from a
Western culture.
2. Explain the nature of High Context and Low Context communication styles and
show how those styles are results of cultural development. Show how the styles
of communication are demonstrated in the literature of the culture.
IX). Student Evaluations of the assignments will follow the standard format
used for all writing assignments in my composition courses.
Example #1 (Cause and Effect):
Prompt: In a 3-4 page essay, suggest a possible cause (or effect) for the
common themes seen in a folktale or fairy tale from two different
cultures.
Expectations
1. Title Page (5)
________________
Follow Format
Include One Sentence Thesis Statement
INTRODUCTION:
2. Establish the Event you are focusing on (5)
________________
3. Focused and Interesting Thesis Statement (10)
________________
BODY:
4. Acknowledge there may be other causes/effects (5)
________________
5. Distinguish between immediate and remote causes/effects (5)
________________
6. Distinguish between primary and secondary causes/effects (5) ________________
7. Use of Outside Sources (5)
________________
Integration into text of essay
Credit given to the source within the text of your essay
Appropriate to the text of your essay
8. Development of Ideas (10)
9. Organization of Ideas (10)
________________
________________
10. Content (10)
________________
CONCLUSION:
11. Look to the future (5)
________________
12. Mechanics (15)
________________
13. Rough Draft (5)
________________
14. Peer Edit Sheets (5)
________________
OUTLINE (10)
________________
Title
Thesis Statement
Second Level Divisions
WORKS CITED PAGE (10)
120 Points Possible
________________
Example #2 (For Comparison or Contrast Topics):
Expectations
In a 3-4 page essay, discuss the similarities (or differences) between two
folktales or fairy tales from separate cultures. Example: Discuss the
Cinderella Theme as seen in two separate cultures.
1. Title Page (10)
_____________
Follows Format
Thesis Statement
Title does not use V, VS, or Versus
2. Interesting and Focused Thesis Statement (10)
a.
b.
c.
d.
_____________
States the subject
States if it’s a comparison or contrast
Grabs readers’ attention
May show author’s preference
3. Introductory Paragraph (10)
_____________
4. Development of Body (15)
_____________
Details and descriptions to develop examples
Use of outside source as support
In-text citation must be given for outside sources
5. Organization (5)
_____________
6. Content (10)
_____________
7. Concluding Paragraph (10)
_____________
8. OUTLINE (10)
_____________
Title
Thesis Statement
Second Level Divisions
9. WORKS CITED PAGE (10)
_____________
10. Mechanics (15)
_____________
11. Rough Draft (5)
_____________
12. Peer Edit Sheets (5)
_____________
115 Points Possible
X). Overall assessments by the Instructor of this module:
Standard pre and post-test assessments will be used
XI). Use of technology necessary:
Material will be presented to students through the use of Power Point
Presentations as well as Blackboard applications.
XII). Bibliography and Works Cited Sources used in the development
of this project:
WORKS CITED PAGE
Africa (Third Ed.) (Edited by Phyllis M. Martin and Patrick O’Meara). Indiana
University Press: London, 1995.
Ascher, Barbara Lazear. “On Compassion.” The Bedford Reader (9TH Edition). Edited
by X.J. Kennedy et al. Bedford St. Martins: Boston, 2005.
Bettelheim, Bruno. The Uses of Enchantment: The Meaning and Importance of Fairy
Tales, Knopf, New York, 1976.
Book of Negro Folklore (edited by Langston Hughes and Arna Bontemps). Dodd, Mead
and Company: New York, 1958.
Burton, Richard F. Arabian Nights: The Marvels and Wonders of the Thousand and One
Nights, vol. 1.,New America Library: New York, 1991.
Conover, Sarah amd Freda Crame/ A yat Jamilah: Beautiful Signs (A Treasure of
Islamic Wisdom for Children and Parents). Eastern Washington University Press:
Spokane, Washington, 2004.
Christensen, A.M.H. Afro-American Folk Lore: Told Round Cabin Fires on the Sea
Islands of South Carolina. Negro Universities Press: New York, 1969.
Diop, Birago. Tales of Amadou Koumba. Longman Group: England, 1985.
------. Les Contes D’Amadou-Koumba (Original French). Présence Africaine: Paris,
1961.
------. Mother Crocodile (Maman-Caïman). (Translated and adapted by Rosa Guy).
Doubleday: New York, 1993.
Game Over: Gender, Race and Violence in Video Games. Produced & Directed by Nina
Huntemann. Executive Producer Sut Jhally. Edited by Jeremy Smith.
Copyright 2000.
Harris, Joseph E. Africans and Their History. Meridian (Published by Penguin Books):
New York, 1998.
Heuscher, Julius E. Myths and Fairy Tales: Their Origin, Meaning and Usefulness.
Charles C Thomas, Publisher: Springfield, Illinois, 1974.
Jung, C.G. Man and His Symbols. New York: Doubleday and Company, Inc., 1964.
Lott, Joanna. “Keepers of History.” Penn State Online Research: Penn State, May 8,
2002, January 27, 2008. http://www.rps.psu.edu/0205/keepers.html.
McGlathery, James M. (ed) The Brothers Grimm and Folktale. Chicago: University of
Illinois Press, 1988.
Mercurio, James P. “Bruno Bettelheim’s The Uses of Enchantment: The Meaning and
Important of Fairy Tales. Creative Screenwriting. Vol 6: 2,
http://www.jamespmercurio.com/review_enchant.html (2/3/2008)
Mickey Mouse Monopoly: Disney, Childhood & Corporate Power. Media Education
Foundation Video. Produced & written by Chyng Sun. Directed, filmed and
edited by Miguel Picker. An ArtMedia Production. Educational Distribution by
the Media Education Foundation. Copyright 2001.
Mullah Nasruddin Jokes. Afghanistan Online. http://www.afghan
web.com/culture/jokes.html 27 February 2009.
Rohrich, Lutz. “The Quest of Meaning in Folk Narrative Research” qtd The Brothers
Grimm and Folktale. Chicago: University of Illinois Press, 1988.
Karen Malouf Ostlund
Professor of English
St Louis Community College at Forest Park
5600 Oakland Avenue
St Louis, Missouri 63110
Title VI-A Year Two Project
Global Infusion: Arabic and Muslim Cultures
THE FOLKTALE CONNECTION
Final Project Report
TABLE OF CONTENTS
I.
II.
III.
Proposed Course Title and Number
Aim of Project
Description of Project
IV.
Project Objectives
V.
Semesters Course will be offered, delivery methods, and
anticipated enrollment
VI.
Course Outcomes with the specific outcomes affected by
the modules presented
VII. Basic Outlines of Learning Units
VIII. Student Assessments
IX.
Student Evaluations of the assignments
X.
Overall assessments by the Instructor of this module
XI.
Use of technology necessary
XII. Bibliography and Works Cited Sources used in the
development of this project