Fall Program Requirements

Unlike many honors programs, Millikin University doesn't reward hard-work and academic success simply with more work. Instead Millikin Honors Students are afforded freedom and flexibility as they complete their University Studies requirements. Millikin Honors courses are engaging and enriched, student-driven courses made possible by the passion and intellectual curiosity of both the honors faculty and students. Honors students also engage significantly with both the honors community and the campus and larger community through service and outreach activities. Below are Honors pathways for both incoming freshman and transfer students. For questions, contact the Honors Director, Dr. Michael Hartsock.

Click on the link below for Spring 2020 Honors course descriptions.

Spring 2020 Honors course descriptions

Honors Students follow the Honors curriculum presented here rather than the University Studies Program Requirements presented elsewhere in the bulletin. Honors Students are still responsible for all other applicable requirements as defined by their academic programs of study (e.g., college and major specific requirements). Non-honors students must complete 37 -- 41 credit hours for University Studies, and the 29 credit hours described below replace those 37 -- 41 hours. The Millikin Honors Program is "instead of" not in addition to." Honors students take ownership of their general education experience and select from a variety of topic-oriented courses.

Honors Students must complete the following courses (29 credits)

  • HN183. Honors University Seminar (3 credits)
  • ​HN150. Honors Writing Studio I (3 credits)
  • ​HN151. Honors Writing Studio II (3 credits)
  • Three of the following (9 credits total):
    • HN202. Creative Arts Honors Seminar (3 credits)
    • HN203. Humanities Honors Seminar (3 credits)
    • HN204. Natural Science Honors Seminar (3 credits)
    • HN206. Social Science Honors Seminar (3 credits)
    • HN207. Mathematics Honors Seminar (3 credits)
  • HN300. Honors Interdisciplinary Colloquium (3 credits)
    Students may meet this requirement by taking an additional HN350 course.
  • HN350. Honors Global Interdisciplinary Colloquium (3 credits)
    Students studying abroad for Millikin credit may articulate an IN350 eligible course with either HN300 or HN350 (but not both) to fulfill this requirement.
  • IN490. Honors Independent Study (4 credits) May be articulated with a course or set of courses in another academic department (e.g., research hours in the natural sciences or an internship) via an Honors Program Capstone Contract.
  • HN400. Honors Symposium (1 credit)
  • HN300. Honors Interdisciplinary Colloquium (3 credits)

Honors Capstone Project

The Honors Capstone Project provides Honors Students with an opportunity to pursue artistic achievement, traditional or interdisciplinary research, or service-learning and community-based projects. The Honors Capstone could be an enrichment or extension of an academic project, creative activity, or practical experience in which the student is already engaged through her major area of study. It could also be a fully distinct project of the student’s choosing. To qualify as an Honors Capstone Project, a project must be judged to be of Honors-level work by the Honors Director and the Student’s Honors Project Advisor.

Transfer students who participated in the honors program at their most recent former institution of higher education are invited to petition the Honors Director for admission into Millikin University’s Honors Program. Students transferring from two-year institutions with which Millikin has a formal Honors Program articulation agreement are automatically invited to join the Honors Program. Honors coursework will be transferred as determined by the Honors Director and the University Registrar. Students who have earned an Associates of Arts or an Associate of Sciences and successfully completed their 2 year institution’s honors program will be regarded as having met all 100 and 200 level honors program requirements.

Why should a student transfer into the Millikin Honors Program?

As a transfer student, joining the Honors Program gives you the opportunity to continue your honors experience at Millikin. Our Honors Community is strong, supportive and vibrant. Transferring into the Honors Program, allows you to plug yourself directly into a community of intellectually curious and academically engaged students, students like you. The Honors Program also affords you an opportunity to complete remaining general education courses and meet a variety of other graduation requirements in an Honors environment. Transfer Honors students share all of the benefits enjoyed by all Millikin Honors Students.

Exclusive and engaging Honors Courses that:

  • Are flexible and student driven
  • Cover a wide variety of topics taught by Honors Faculty
  • Feature innovative and experimental pedagogy
  • Fulfill all University Studies requirements
  • Opportunities for individualized & self-motivated scholarship or creative projects.
  • Interaction with campus leaders among students, faculty, and administrators
  • Service and outreach activities which enrich and serve the Honors, Millikin, and larger community.
  • Access to a dedicated Honors Student Lounge.
  • Freshman and Sophomore residential Honors Communities
  • Early Registration for courses.
  • Ability to register for up to 21 credits per term at normal, full-time tuition rate.

Honors Program Requirements

  • HN300. Honors Interdisciplinary Colloquium (3 credits)
    Students may meet this requirement by taking an additional HN350 course.
  • HN350. Honors Global Interdisciplinary Colloquium (3 credits)
    Students studying abroad for Millikin credit may articulate an IN350 eligible course with either HN300 or HN350 (but not both) to fulfill this requirement.
  • IN490. Honors Independent Study (4 credits)  May be articulated with a course or set of courses in another academic department (e.g., research hours in the natural sciences or an internship) via an Honors Program Capstone Contract.
  • HN400. Honors Symposium (1 credit)

Honors Capstone Project: The Honors Capstone project provides Honors Students with an opportunity to pursue artistic  achievement, traditional or interdisciplinary research, or service-learning and community-based projects. The Honors Capstone could be an enrichment or extension of an academic project, creative activity, or practical experience in which the student is already engaged through her major area of study. It could also be a fully distinct project of the student’s choosing. To qualify as an Honors Capstone Project, a project must be judged to be of Honors-level work by the Honors Director and the Student’s Honors Project Advisor.

* Honors students who did not complete the honors program at their previous institution may need to complete additional Millikin Honors Program courses. See the Millikin University Bulletin and contact the Honors Director, Dr. Michael Hartsock for further information.

These are broken up into three groups: Honors Writing Studio II, 200 level seminars, and 300 level colloquia. All first year honors students need to take an Honors Writing Studio II & a 200-level seminar in the spring. All honors students are welcome to take any of the 200 or 300 level courses, whether you “need” them or not!

Honors Writing Studio II​:

Honors Writing Studio II (HN151-01)
Dr. Michael O’Conner
CRN: 30068
Tuesday & Thursday 11:00 AM – 12:15 PM
Honors Writing Studio II (HN151-02)
Dr. Michael O’Conner
CRN:  30069

Tuesday and Thursday 9:30 AM – 10:45 AM 

Honors Writing Studio II (HN151-03)
Dr. Anne Matthews
CRN: 30070   
Monday, Wednesday & Friday 10:00 AM – 10:50 AM

Honors Writing Studio II (HN151-04)
Dr. Anne Matthews
CRN: 30071
Monday, Wednesday & Friday 1:00 PM – 1:50 PM

Honors Writing Studio II (HN 151-05)
Dr. Tony Magagna
CRN:  30072
Monday, Wednesday & Friday 10:00 AM – 10:50 AM
 

Honors Writing Studio II (HN151-06)
Dr. Tony Magagna

CRN:   30073
Monday, Wednesday & Friday 12:00 PM – 12:50 PM

                                                   

200 Level Honors Seminars:

Comic Books from Page to Screen (HN 202-01)
Eric Hector​
CRN:  30074
Monday, Wednesday & Friday 11:00 AM – 11:50 AM

An in-depth exploration of the comic book medium and the current domination of comic books as a primary source material for popular film and television.  Students will explore different comics and their migration from printed illustrations and text to motion pictures.  From the earliest comic films to “Avengers End Game” the highest grossing movie of all time, students will discuss the history of a myriad of comic book properties and their transitions from page to screen.  From obvious comic book adaptations like Christopher Nolan’s “The Dark Knight” to more obscure offerings like “A History of Violence,” students will examine and explore the reasons for the current success of comic book movies and television.  Finally students will choose a comic or graphic novel and perform a detailed dissection of the story’s voyage from printed pulp to final film.  The class will be led by Eric Hector. Eric has worked in the entertainment industry for over 26 years working in both comic books and film for clients including Archie, Dark Horse, DC, Disney, Image and Marvel.

 

Honors Seminar:  American Film (HN 203-01)
Dr. Dr. Michael O’Conner
CRN:  30075
Monday, Wednesday & Friday 2:00 PM – 2:50 PM

This three-credit film studies honors seminar is essentially an introduction to viewing film as an aesthetic art form, with some emphasis on cinema terminology and technique, the history of film, and the relationship between film and literature. A significant theme running throughout the course will be "the American Dream, the American Nightmare," or an examination of how cultural and national identity, including our hopes and fears, are reflected in the films we make and watch in the United States. These films often include examinations of issues of race, class, or gender.   Influential and award-winning films used in the past have included Birth of a Nation, The Gold Rush, Citizen Kane, Stagecoach, It's a Wonderful Life, The Godfather, The Maltese Falcon, Do the Right Thing, American Beauty, War of the Worlds, Singin’ In the Rain, Juno, and others. Fulfills a humanities honors seminar requirement for Honors Students.  If Honors student does not continue on as a JMS student, can fulfill the College of Arts & Sciences literature course requirement, and/or can count as an IN250 requirement.

 

Reacting to the Past (HN203-02)
Dr. Brian Mullgardt
CRN:  30076
Monday, Wednesday & Friday 1:00 PM – 1:50 PM

In this Reacting to the Past™ course students relive key points in United States history through elaborate role-playing games.  Divided into teams students, informed by primary and secondary historical texts and guided by the instructor, compete in simulation games to advance their agendas and “win” each game.  During the spring course students will play roles in games addressing United States history after the Civil War.

 

Video Games & Digital Literatures (HN 203-03)
Dr. Tony Magagna
CRN:  30077
Tuesday & Thursday 11:00 AM – 12:15 PM

When one thinks of literature, the foremost image that comes to mind is, of course, a book—the printed word.  But as new media and digital technologies have proliferated and evolved in the last decade or so, storytellers have begun to explore new ways of crafting narratives.  While much of the world of digital culture is missed often as mere distraction or entertainment, artists and authors have increasingly embraced these new forms as a means both to weave tales that sweep us away, and to engage us with complex themes.  Most exciting, digital tools have allowed the most innovative of these storytellers to craft narratives in ways not possible in printed form, immersing audiences in their works—and in their themes—as never before.   In this course, we will explore these intersections of digital technology and literature.  We will examine contemporary literature that experiments with the new forms and techniques made possible through digital media, including video games, interactive app-based fiction, and social media narratives.  We will apply the traditional tools of literary study to investigating these artifacts as texts, as tales not only worth reading, but worth studying closely.   Ultimately, we will come to consider the ways in which our work as readers and writers in the 21st century can evolve and expand to engage with these digital literatures.

TWO IMPORTANT NOTES:  1) this course requires that all students enrolled have everyday access to a laptop or tablet device; 2) there will be no traditional texts to purchase for the class; however, the course will require some expenditures for personal copies of software or online subscriptions (apps, video games, etc.).  At most, these expenditures should amount to no more than $80 total; however there will be ways that such expenses can be reduced or avoided by utilizing shared or borrowed media/technology, or through online sales/discounts.

 

Existentialism  (HN203-04)
Dr. Eric Roark​
CRN:  30078
Tuesday & Thursday 11:00 AM – 12:15PM

This course will survey the most influential traditions within existentialism with focus toward the ideas of: Sarte, Camus, Kierkegaard, and Nietzsche.  Topical issues will to be discussed will include theories of being, responsibility, and freedom. 

 

Biology of Spiders (HN204-01)
Dr. Marianne Robertson​
CRN:  30079
Monday, Wednesday & Friday 9:00 AM – 9:50 AM

The goal of this course is to develop an appreciation of biology in general, using spiders as a learning tool.  We will examine structure and function as a background to understanding the ecology and behavior of these animals.  Lectures require class participation by all students!! Laboratory work will emphasize spider natural history and identification. This course counts as your Natural Science with lab requirement, so there is a significant laboratory component representing performance learning in action!  My class motto is: Bring Your Enthusiasm!!!!!!!!!!!!!!!!

 

Entrepreneurship Infused Digital Fabrication (HN204-02)
Dr. Kyle Knust
CRN:  30080
Tuesday & Thursday 12:30 PM – 1:45 PM

An Entrepreneurship infused honors seminar to introduce digital fabrication technologies and their diverse applications.  Through a combined lecture and laboratory approach, the operating principles for digital fabrication technologies such as 3D printing, laser cutting, and computer numerical control (CNC) milling will be studied. Students will use computer-aided design (CAD) software to generate models.  Hands-on experience operating fused deposition modeling (FDM) and stereolithography (SLA) 3D printers will be provided during laboratory work to demonstrate the application and limitations of these technologies. Student teams will employ an entrepreneurial mindset to complete a series of projects utilizing digital fabrication to convert ideas into physical solutions addressing real-world problems. The course will culminate with a team-developed project to prepare a prototype that creates financial or social value.

 

Evolution & Interpersonal Communication (HN206-01)
Dr. Amy Delaney​
CRN:  30081
Tuesday & Thursday 2:00 PM – 3:15 PM             

An evolutionary approach to communication scholarship merges the social sciences with biology and physiology, considering how one’s biology and social environment are intricately tied. For example, several communication behaviors such as conflict, affection, and emotional expression have significant biological links. In this course, we examine associations between physiological processes, interpersonal communication, and individual/relational outcomes. We will consider research from a variety of disciplines, including communication, but also human development, health psychology, and evolutionary biology. We will investigate ways that physiological processes affect communication and ways that communication impacts mental and physical health outcomes.

 

Money and Generosity (HN206-02)
Dr. Jorge Chavez-Rojas​
CRN:  30082
Tuesday & Thursday 2:00 PM – 3:15 PM

This course introduces students to the understanding of the interplay between people’s appeal for money and the impact it may have on their generous behavior. Generosity is not new to human societies; in fact, it is deeply embedded in many religious beliefs and human traditions.  The study of generosity is important because it is a concept that rests deep in our value system that influences the decisions we make. Money facilitates market exchange, but the social significance of money goes beyond its obvious importance in modern market economies. We will explore how money can create tensions between our consumerism habits and the desire of becoming a generous person. We will also analyze some assumptions about the concept of money that may undermine some pro-social values.

 


The Signal and the Noise:  How Data Affects our Lives (HN207-01)
Dr. Emily Olson​
CRN:  31123
Tuesday & Thursday 12:30 PM – 1:45 PM

Data and its subsequent analysis influence domains as wide reaching as baseball, weather, finance, politics, and national security.  Given the ubiquity of data-driven technology in our world, it is essential to consider the influence and ethical ramifications of human biases in the use of data. Through Nate Silver’s The Signal and the Noise, Cathy O’Neil’s Weapons of Math Destruction, and other readings, this course explores the use of data-driven mathematical predictions in modern society.

 

300 Level Honors Colloquia

Hemingway and 20th Century World (HN300-01)
Dr. Dan Monroe (HN300-01)​
CRN:  30083
Tuesday & Thursday 2:00 PM – 3:15 PM

Hemingway and the American Century

Course Description:   The most important American writer of the 20th century was Ernest Hemingway.  As a young, expatriate newspaper columnist in Europe, Hemingway wrote fiction that was characterized by simple declarative sentences and scant use of adjectives and adverbs, a distinct contrast to the flowery verbiage typical of 19th century fiction.  Yet, though devoid of adjectives, Hemingway's stories still conveyed tremendous emotion and intellectual power, and his unique style was quickly recognized, celebrated, and imitated.  A generation of young writers emulated Hemingway's hard-boiled prose, if not the stylistic force and power conveyed in his fiction.  He became a national celebrity whose movements about the world were chronicled in major dailies.

The course considers Hemingway's stylistic innovation through reading representative works, allowing students to weigh the importance of his contribution to American letters.  Hemingway's handiwork also reflected the historical period in which it appeared, and consequently, provides a window for discussion of American culture and life in each decade of Hemingway's life.  Hence students will also investigate and discuss the historical context of Hemingway's greatest novels and short stories as a window into each respective period.  In the 1920s, a time of sober reflection if not outright disillusionment among American writers and intellectuals, Hemingway wrote The Sun Also Rises, "Big Two-Hearted River," and "Soldier's Home," fiction that neatly captured the prevailing sense of despair and malaise that afflicted the post-World-War-One intelligentsia.  During the Depression, Hemingway wrote To Have and Have Not, "Wine of Wyoming," and other stories and novels that reflected the ethos of the economic crisis.  He was savagely criticized by the political left for writing about bullfighting and marlin fishing instead of contributing articles on the ongoing class struggle, criticism that Hemingway rejected, in strong language, yet may also have internalized, based on his work after 1935.  His politics amounted to a strong libertarianism, a suspicion of and distaste for government at all levels, and a fierce determination to remain independent as an artist.  He savagely criticized the Franklin D. Roosevelt administration and the New Deal for creating a dependency culture, and he disparaged the federal government for criminal incompetence in failing to evacuate WPA workers, most of whom were veterans of the Great War, who were building a railroad to Key West when killed in the historically massive hurricane of 1935.  In the 1940s, Hemingway labored as a war correspondent; he had warned of the coming of World War Two in his novel, For Whom the Bell Tolls, published in 1940.  He had advocated for the repeal of the Neutrality Acts and for American rearmament.  His subsequent experience as a war correspondent, he landed in Europe soon after D-Day, is represented in his short story, "Black Ass at the Cross Roads," and in the novel Across the River and Into the Trees.  With the Cold War as a backdrop in the 1950s, Hemingway wrote his classic short novel The Old Man and the Sea and a number of works that were published posthumously that were experimental in nature, e.g., The Garden of Eden.  His later work suggested Hemingway's continuing willingness to challenge convention in both style and subject. 

 

Global Science Policy (HN350-01)
Dr. Laura Zimmerman​
CRN:  30084
Monday, Wednesday & Friday 9:00 AM – 9:50 AM

This course will discuss how science policy is created, analyzed, and put into action as well as its impact and importance across the globe.  The role of players such as scientists, politicians, the government, industry, media and the public will be discussed.

 

Global Graphic Novels
Dr. Ngozi Onuora (HN350-02)​
CRN:  30085
Tuesday & Thursday 9:30 AM – 10:45 AM

This course is an examination of graphic novels that focus on historical, cultural, or social issues from countries other than the United States. Students will use literary criticism to analyze specific graphic texts and research a global issue related to the required readings

 

Magic, Realism, and Metafiction (HN 350-03)
Dr. Anne Matthews​
CRN:  30086
Tuesday & Thursday 3:30 PM – 4:45 PM

We will read some of the most challenging fiction from the 20th century – not just stories, but stories about telling stories, stories that use magic and the supernatural to get at some fundamental truths about identity, family, community, memory, history.   Possible authors include Juan Rulfo (Mexico), Jorge Luis Borges (Argentina), Gabriel Garcia Marquez (Colombia), Toni Morrison (US), Isabel Allende (Chile), Amos Tutuola (Nigeria), Salman Rushdie (India), Italo Calvino (Italy), Angela Carter (England), Margaret Atwood (Canada), and Helen Oyeyemi (Ghana/England).

 

Your Brain on Music (HN 350-04)
Anna W. Alex​
CRN:  31124
Monday, Wednesday, and Friday 10:00 AM – 10:50 AM

You know that feeling you get when someone is playing the piano and they hit a wrong note in one of the chords?   You instantly recognize the mistake and find it unpleasant, even if the song is completely new to you.  But why do we have such a visceral response, it’s just one wrong note?  What is it in our brains that makes us detect and react the way we do to “clashing” notes in chords?   How much of these reactions are cultural or taught to us and how much is rooted in something deeper in our brains?   Furthermore, why are certain melodies pleasant to some cultures but classified as noise in others?  Questions like this will be discussed and analyzed through research, readings, and class discussions throughout the course

 

 

In these courses, Honors Students showcase and discuss their capstone Honors Projects with their Honors Program peers and faculty. Students must be able to communicate fundamental and essential aspects of their capstone project to their Honors Program Peers. This will include a clear articulation and defense of the nature and significance of the project, its method or media, and its results or outcomes. This course should be taken during the semester in which the student plans to complete their Honors Capstone Project (usually first or second semester of their Senior Year).  If you have completed an Honors Capstone Contract and plan to graduate in May 2020, you must enroll in this course.

Below is a sample of honors courses that were previously offered at Millikin:

Previous Honors Courses

Global Haiku Traditions
Dr. Randy Brooks
This course examines the origins and spread of Japanese poetics from Japan around the world, with a special focus on the adaptation of haiku into other cultures and languages. This course explores the role of haiku as a social literary art—both the art of reading and art of writing haiku emphasize the importance of shared collaborative aesthetic experiences (shared acts of the imagination). There is a very active global haiku community of writers, editors, scholars and associations celebrating participation in this literary art. We will study the history of haiku and related poetics in Japan, and then examine the contemporary internalization of haiku in various cultures. Students complete both an analytical study of a contemporary haiku poet or issue in the haiku community as well as various creative projects connecting haiku to other arts. There are numerous web resources available for this course located at: http://performance.millikin.edu/haiku

Stress and Disease
Dr. Travis Wilcoxen
Understanding the health and physiology of humans can be greatly improved by studying nonhuman animals. Humans have retained many ancestral physiological traits, such as stress responses, that are beneficial to many other animals, but are somewhat useless, or even harmful, to us. Further, as human populations continue to grow and encroach on populations of wild animals, diseases that are often found in other animals occasionally jump into human populations. In this course, students will gain an understanding of the interrelatedness of stress and disease of humans and other animals through the reading of primary sources and nonfiction works with scientific topics. This course also includes hands-on laboratory activities.

It Came From Memphis
Dr. Dave Burdick
It Came from Memphis is an examination of the origins of Rock and Roll artistry and how this artistry was developed and commercialized through recording technology. Artistry can best be understood through a larger examination of social/historical context and the very nature of artistic creation. So, even though this is not really a history course, there is a strong component of historical study with the intent being to place artistry and recording technology – coupled with the music entrepreneurs whose vision provided the means for artists to attain commercial success in time, and thus understand sequences of events and influences that have led us to where we are today regarding Rock and Roll music. It Came from Memphis includes a field trip to Memphis over the first weekend of Fall break so that we may “walk in the footsteps of history”.

International Trade and Economic Development
Dr. Najiba Benabess
This course is composed of two parts. In the first part, we examine why nations trade, what they trade, and whether trade is beneficial for a country. We cover the comparative advantage theory, which explains international trade with the differences in labor productivity and resource endowments. International labor capital movements and foreign outsourcing will be also discussed. The second part focuses on the relationship between international trade and economic development. We discuss how international trade affects economic growth, income inequality, and poverty reduction in the trading countries. We will also study the trade policies such as tariff and nontariff instruments and their impact on welfare under different market structures. In particular, we evaluate the effectiveness of trade policies in developing countries in promoting economic development. The evolution of regional free trade agreements and the new world trading system under the WTO will be reviewed and discussed.

Horror in Film and Fiction: Daring the Nightmare
Prof. Judi Crowe
This course explores the genre of horror in fiction and film, its historical, social, political, and cultural underpinnings, and what is at stake in the genre as a whole in terms of issues of religion, psychology, science, ethics, gender, race, and culture. We will examine and discuss a variety of scholarly, historical, literary, and pop culture sources as well as view films representative of various subgenres (monster, psychological, etc.) of horror. Core texts by Stephen King and our reading packet offer diverse grounding of a topic that continues to disturb, sometimes disgust, yet ever intrigues us. Indeed, as King points out, we do so like to dare the nightmare……..

Sex, Lies, and the Brothers Grimm: The Real Fairy Tales
Dr. Anne Matthews
We know fairy tales mostly through Disney versions—Beauty and the Beast, in particular, has enjoyed multiple iterations and interpretations. But if we go back to the original stories (or as close as we can get in origination and translation), we quickly find that the once familiar tales are actually quite strange: more raw, more complex, more challenging and disturbing. Still, the old tales have much to tell us about love, sex, marriage, family, childhood, society, violence, abandonment, and perhaps most important of all, transformations from one way of being into another. In short, the storytellers had the same questions we have: who are we? What is my relationship to others? Why should I care about my community? Where am I going? These are only some opening questions—no doubt we will think of others as we read and talk and write about these weird works of the human imagination.

Psych for a Popular Audience
Dr. Melissa Scircle
Psychology for a Popular Audience will investigate the science of psychology through reading books written about psychology for a mass audience, watching TED talks, listening to podcasts, reading news articles, and - yes - reading the original research articles. We will explore what makes science writing different from scientific writing, how scientists can effectively communicate their research findings to non-scientists and discover how psychological research goes beyond the laboratory to make a broader impact on the world. Plan to read, watch, listen, discuss, write…and maybe even give your own TED talk.

Monsters, Exiles & Others
Dr. Anne Matthews
Of all the definitions of “monster”—abnormal, grotesque, repulsive, among others—I like the Latin one best. From the word “monere”—to monitor, to warn—and from the word “monstrum”—a divine omen, a portent, a sign—the monster emerges as an observer, as well as a messenger. What does the monster see? What news has she come to give us? What warning must we heed? In our reading, which will include Beowulf, Frankenstein, Dr Jekyll and Mr Hyde, The Island of Dr Moreau, and one or two other narratives, we will attend to the monsters’ tales, taking in their knowledge and discerning what they are asking us to do.

Creating the Documentary: Telling the Story of a Lifetime
Dr. Ngozi Onuora
This 3 credit hour course allows student scholars to research and create an 8 to 10 minute documentary about a national, historical, or social issue for which they are passionate and want to bring to the consciousness of the campus and the greater (local) community. Working in teams of 35 people (depending on class size), students will take on key roles as part of a film crew while engaging in critical thinking, reading, writing, research, and creative problem-solving to plan the content of the documentary and the execution of filming/editing/producing the final movie to tell a story they have always wanted to tell. To prepare for the process of creating a quality documentary, scholars will watch and critique several documentaries throughout the first half of the semester; learn about copyright laws and fair use policies; address ethical issues in documentary storytelling; learn ways documentaries can address historical, social, cultural, and political issues; practice effective use of video recording devices; and, experiment with editing footage using video editing software such as iMovie, Final Cut Pro, Adobe Premiere, etc. (depending on available software), among other preparatory learning activities. The culminating event will be Millikin University’s fifth Blue Docs Rock documentary film festival. Film crews will advertise and generate a publicity campaign to garner support for the premiere of their documentaries. Finally, students may be encouraged to submit their documentaries to appropriate film festivals or online venues to experience entering a film contest.