Daily Practice & Guided Reflections

The guided reflections are an opportunity to reflect on the significance of several practices described in assigned readings, and to explore connections between those practices and a daily practice you create for yourself. Write as if you were articulating your thoughts not just for your own reflection or for me to assess, but also to provide explanations for a peer (vs. a specialist) who is unfamiliar with the topic.

The sequence and due dates of these assignments are as follows, with links to the more detailed instructions listed further below.

Due Dates
Assignments
February 22
turn in daily practice text
March 10
written assessment of practice text after this date
March 8
first guided reflection worksheet (India)
March 15
April 14
second guided reflection worksheet (China)
April 21
May 12
first guided reflection worksheet (Comparison)
May 19
final reflection (Comparison)
May 10-21
oral assessment of practice text

Daily Practice

This assignment is designed to get you to experience for yourself what it is like to engage in a daily art form or ritual that manifests some culture in which you participate. You will need to refer to this practice in step # 3 of each guided reflection (see below).

Instructions:

1. Choose one of the art forms or rituals listed below, which should take 2-5 minutes to complete. It should be something that helps you think about your place in the world, or your relationship to some greater reality, or is in some other way significantly meaningful to you--SOMETHING THAT YOU WILL BE WILLING TO DO EVERY DAY. You may also email me with an alternative that you feel better meets your needs; but note that practices done without approval early in the term will NOT receive full credit.

Texts, songs, etc. for all of these may composed either by you or someone else. In particular, in the first option listed above, you may copy someone else's work.

2. Find a set time every day when you are able to do your practice. Pick a time that you will be able to keep daily as much as possible.

(a) If you recite something as part of your practice, to begin with you may read your text, but after a couple of weeks you should make a specific effort to memorize it to whatever extent you haven't already done so.

(b) If you are creating something as part of your practice, written or other (see the first option above), make sure to keep a record of your work.

As you do the daily practice, pay attention to what happens to your thoughts and mood.

Assessment: Description, including text of any passage recited, DUE beginning of class Thursday, February 22.

(a) If you recite something as part of your practice, memorization of your chosen practice text will be assessed, first, in writing during a class session (unannounced), sometime after March 10 (end of Unit 1), and then orally, during a private appointment scheduled at the end of the term (see schedule above).

(b) If you are creating something as part of your practice, I will ask you to write a description of what you have done in the previous week when others write out their passage, and then bring the products of your creative activity during your end-of-term appointment

In either case, you will use this practice as a reference point in the third part of each of the reflections described below.

Extra Credit: if you choose a text that is composed in a classical language--i.e., Latin, Classical Greek, Hebrew, Sanskrit, Classical Chinese, etc.--you will receive up to 5 extra points (depending on your success) for your overall score.

Asian Practices & Related Terms

Guided reflections require that you select one practice for each unit from the list below, which is divided into two groups:

A. practices found in sources assigned for TRAs and TAs.

(I generally expect a greater degree of precision in guided reflections that draw on (A) the first group of sources, since we have analyzed them together in class.)

B. those found in optional sources available for extra credit.

(I generally am more flexible in scoring guided reflections that draw on (B) the second group of sources, and will award up to five points of extra credit for the additional reading required to complete the assignment. Extra credit sources listed in either group can also be read & analyzed independently in order to increase TRA scores.)

Each practice is followed by two sets of terms:

These are to be analyzed in the second part of the guided reflection worksheet (download PDF/MS Word for Units 1 & 2).
**IMPORTANT: you must analyze at least one term from each of the two sets.**

Unit 1

A. Practices described in ASSIGNED sources
(with some additional, extra credit readings)

  • writing & illustrating history in Akbar's court
    (unseen: Allah, Creator, divine decree, Shaykh Salim)
    (community: Abul Fazl, court, sufi orders)
    [extra credit: Qur'an, chapters 19, 24-25 (IAR, 389-95)]
  • Jahangir's memoir writing & study of paintings
    (unseen: beauty, God, Doomsday, atonement)
    (community: Goa, masters of painting, Inayat Khan)
  • Caitanya Vaishnavite kirtana
    (unseen: Vishnu, Krishna, avatara, bhakti)
    (community: satsang, Brahman, Caitanya sect)
    [extra credit: Bhagavad Gita, chapter 11
    (IAR, 360-62) & EB overview
    ]
  • Sikh hymn composition & recitation
    (unseen: [Divine] Name, God/Lord, creator, judgement, Kaliyuga)
    (community: 10 human Gurus, warrior caste, khalsa, Harmandir Sahib)
    [extra credit: Japuji [excerpts] (IAR, 363-65)
    & "Sikh Celebrations and Festivals " (web site)]
  • displaying symbols of power at Tipu's court
    (unseen: God, shakti/devi, barakat)
    (community: Mughal dynasty, Sri Rangapattana)
  • writing & reading RK Narayan's English novels
    (unseen: poltergeist, public reputation, education)
    (community: Co-Operative Society, Ram Mohan Roy, M.K. Gandi)
  • storytelling & worship of Mother Ten
    (unseen: Lakshmi, Odasa, Sitala, sword husband)
    (community: Brahmin, king, Holi, Shobhag Kanvar)

B. Practices described only in additional, EXTRA CREDIT sources

  • salat & Sufi dhikr
    EB: "Islam: the Five Pillars" (p.11-16), "Sufism" (p.6-9)
    [or IAR, 65-76] + "How to Perform Salat" (web site)
    (unseen: Allah, Gabriel, grace)
    (community: Muhammad, hadith, fraternal orders)
  • Pakistani celebration of Muhammad's birth
    EB: "Islam: the Five Pillars" (p.11-16)
    & "Sufism" (p.6-9) [or IAR, 65-76] +
    "...Celebration of Muhammad's Birth" (RAP, 73-78)
    (same terms as for "salat & sufi dhikr" above )
  • image worship in medieval South India
    "Chola Bronzes from South India" (web site)
    **READ THE "PRACTICE" SECTION CAREFULLY**
    (unseen: Vishnu, Shiva, Ganesha, Uma)
    (community: sculptors, priests, temple festival)
  • Ramprasad Sen's Shakta poetry writing & singing
    "Bengali Songs to Kali" (RAP, 49-60)
    (
    unseen: brahman, Durga/Uma, Kali, bhakti)
    (community: satsang, Durga Puja, Ram Mohan Roy)
  • R.R. Varma's 19th century painting
    "The Artist as Charismatic Individual" (ASA, 167-76)
    + "The Genius of Raja Ravi Varma" (on-line prints)
    [optional: Shakuntala (MOO, 232-48)]
    & Brhaddharma & Vishnu Puranas (IAR, 355-59)]
    (unseen: Hinduism, Shakuntala, Hindu gods/goddesses)
    (community: Royal Academy, Kerala, Puranas, pandits)
  • storytelling & worship of Sitala
    "...the Smallpox Goddess" (RAP, 79-87) + IAR 53-56
    (unseen: Sitala, Manasa, Shakti, Kali)
    (community: Bengal, smallpox, Krshnarama, left-handed worship)
  • medieval Jain storytelling
    "Stories of Renunciation" (RAP, 88-93) + IAR, 101-108
    [optional: "Gandhi's Favorite Hymns" (web site)]
    (unseen: Jina, jiva, karma)
    (community: confession, Svetambara, M.K. Gandhi)
  • formal poetry study in medieval Bengal
    "The Treasury of Well-Turned Verse" (MOO, 316-28)
    (unseen: beauty, time, Kama, god of love)
    (community: Jagaddala, peasants/farmers, monastery)
  • designing and building imperial Mughal tombs
    "Orthodoxy, Innovation & Revival" (ASA, 101-15)
    (unseen: God, death, nature)
    (community: Mughal dynasty, Khusraw, saints' tombs)
  • Rajasthani royal portrait painting
    "Timeless Symbols: Royal Portraits..." (ASA, 116-26)
    (unseen: eternity, time, nature, reality)
    (community: Rajput, Mughals, darbar, Holi)
  • designing the new city of Chandigarh
    "The East-West Opposition in Chandigarh..." (ASA, 177-88)
    (unseen: modernity, Phoenix, Indian nation)
    (community: Nehru, partition, M.K. Gandhi
  • modern Theravada meditation & ascetic practice
    "What is Theravada Buddhism" + "Ajaan Sao's Teaching"
    (unseen: karma, duhkha, interdependent arising, nirvana)
    (community: sangha, Theravada, Sri Lanka)
  • modern vedanta ascetic practice & reflection
    Teachings of Sri Ramana Maharshi, chapter 12 (IAR, 362-63)
    "Vedanta Monasticism" (web site) & IAR, 31-40, 46-48 & 94
    (unseen: brahman, karma, purusha)
    (community: samnyasa, Vivekananda, Vedanta society)

Unit 2

A. Practices described in ASSIGNED sources
(with some additional, extra credit readings)

  • creating & viewing landscape paintings during the Song dynasty
    (unseen: nature, dao, mind, Heaven)
    (community: civil service, Song dynasty, emperor Taizu)
  • daily monastic ritual in the Chan "great assembly"
    (unseen: dharma, bodhisattva, shunyata, pure land)
    (community: vinaya, assembly, Baizhang Huaihai)
  • neo-Confucian sacrifice to ancestors
    (unseen: ancestors, tianming, qi & li)
    (community: Zhu Xi, neo-Confucian, Song dynasty)
  • designing & displaying imperial spaces in Beijing
    (unseen: dao, Taiji, Yellow Emperor, Guandi)
    (community: Confucius, Yuan dynasty, imperial city, Boxer Rebellion)
  • printing & distribution of "morality books"
    (unseen: shen, Wendi, Laozi, dao)
    (community: Qinghe, administration, Qing dynasty)
  • Liu T'ieh Yün's novel writing
    (unseen: poltergeist, public reputation, education)
    (community: Co-Operative Society, Ram Mohan Roy, M.K. Gandi)

B. Practices described only in additiona, EXTRA CREDIT sources

  • Confucian study
    IAR 210-23 + Analects & Xun Zi [excerpts] (IAR, 374-79)
    (unseen: jen, ancestors, tianming)
    (community: civil service, yi, five relationships)
  • Tang & Song dynasty Pure Land practice
    "Death Bed Testimonials" (RAP, 282-92) + IAR, 250-60
    [optional: Pure Land Sutra (web site)
    & Lotus Sutra [excerpts] (IAR, 380-81)]
    (unseen: Amitabha, Pure Land)
    (community: Shandao, Shaokang, Lady Yuego, Mr. Pei)
  • ritual of the Celestial Masters & later Daoist reformers
    IAR, 198-206 + EB: (TBA)
    & "Daoism Burning" (video) [--> advance to 30:50 - 36:15]
    (unseen: Laozi, shen, dao, yin/yang)
    (community: Sichuan, Maoshan, Tang dynasty, Taiwan)
  • Guanyin sutra recitation
    "The White-Robed Guan Yin" (RAP, 350-58)
    (unseen: Guan Yin, bodhisattva, dharma)
    (community: male heir, Qu Riji, Yan Daoche)
  • channeling a martial god in Malaysia
    "Teachings of a Spirit Medium" (RAP, 266-75)
    (unseen: Second Commander of the Eastern Quarter, Taiji, Dao li)
    (community: Southern Min, Confucian scholar, Boxer Rebellion)
  • dedication & offering at local Song Confucian shrines
    "Shrines to Local Former Worthies" (RAP, 405-17)
    (unseen: tianming, ancestor, learning)
    (community: Zhu Xi, Mencius, teacher/student)
  • composing & placing Song dynasty tomb contracts
    "Laws of the Spirits" (RAP, 396-404)
    (unseen: spirit, law/justice, netherworld)
    (community: Song dynasty, family, law codes)
  • translating Buddhist sutras into Chinese (IAR, 237-48)
    (unseen: bodhisattva, shunyata, Mahayana)
    (community: Silk Road, Dunhuang, Tiantai)
  • Wu Ch'eng-En's adaptation of Journey to the West
    Monkey (MOO, 477-96)
    (unseen: Jade Emperor, Immortal, Heaven)
    (community: Hsüan-tsang, Holy Terrace Mountain, sangha)
  • Lu Hsün's short story writing
    "Madman's Diary," "Medicine" & "Soap" (MOO, 531-56)
    (unseen: death, filial duty)
    (community: National Peking University, Communist revolution, family)
  • Maoist adaptations of Shanghai opera
    "The Red Lantern" (MOO, 556-62) & EB: "Qing dynasty"
    [optional: "Women in Maoist China" (web site)]
    (unseen: Confucius, bodhisattva, virtue, humanity)
    (community: boxer rebellion, Communists, Peking opera)
  • viewing paintings in Ming dynasty period
    "Practices of Vision" (ASA, 352-61)
    (unseen: beauty, dao, nature)
    (community: Ming dynasty, literati, Shangqing school)
  • Qing period painting by Chen Shu
    "The Conventional Success of Chen Shu" (ASA, 380-94)
    (unseen: Confucian virtues, Guanyin, nature)
    (community: Qing dynasty, Qian Chenqun, concubines/courtesans)
  • representing & displaying Mao Zedong
    "Quotations from...Mao Zedong" & "Icons of Power" (ASA, 431-47)
    (unseen: the people, culture, mandate of Heaven)
    (community: Cultural Revolution, Red Guards, post-Mao reformers)
  • contemporary Chinese art of Wenda Gu & Xu Bing
    "Pseudo-languages: a Conversation..." (ASA, 462-75)
    (unseen: language, heaven, global community)
    (community: Cultural Revolution, Qin Shi Huang, Ludwig Wittgenstein)
  • Falun Gong practice
    "Falun Gong Exercises" (web site)
    (unseen: Falun, qi, yin/yang, xinxing)
    (community: Li Hongzhi, Communism)

Unit 3

A. Practices described in ASSIGNED sources
(with some additional, extra credit readings)

  • design of and worship at Angkor Wat temple
    (unseen: Vishnu, deva, naga, milk ocean)
    (community: Khmer culture, Suryavarman II, Angkor dynasty)
  • Thai Buddhist temple consecration
    (unseen: 4 noble truths, pratitya-samutpada, ñana)
    (community: Sri Lanka, Theravada)
    [extra credit: Indian Buddhist Sources [excerpts] (IAR, 367-71)]
  • Tibetan Buddhist fasting ritual
    (unseen: Avalokiteshvara, shunyata, passion)
    (community: Gelukpa, Mahayana, Vajrayana)
    [extra credit: Chittavisuddhi Prakarana & Dohakosha (IAR, 371-73)]
  • Japanese tea ceremony with Korean tea-bowls
    (unseen: beauty, nature, Dao)
    (community: Choson dynasty, Zen, Tea masters, Toyotomi Hideyoshi, mingei)
  • Japanese Buddhist monasticism in the Meiji period
    (unseen: great mind, passion, filial care/ respect, kami)
    (community: Chan, Soto Zen school, Mencius, Shinto, Meiji restoration)
  • Yasunari Kawabata's short story writing
    (unseen: Amaterasu, kami, shintai)
    (community: Shinto, Meiji restoration, Mishima)
    [extra credit: Nihongi & Norito [excerpts] (IAR, 684-88)]

B. Practices described only in additional, EXTRA CREDIT sources

  • making & focusing on Tibetan Buddhist images
    "Image as Presence" (ASA, 140-46) &
    "Buddhist Worlds of Southeast Asia & the High Himalayas " (part 3)
    (please inquire about terms)
  • Tibetan prayer & study to prepare for death
    "A Prayer for Deliverance from Rebirth"
    [+ optional: "Prayer Flag for Tara"]
    (please inquire about terms)
  • recitation & study in a Tibetan monastery
    "The Regulations of a Monastery " (RAP, 539-55)
    (please inquire about terms)
  • writing & hearing Tibetan legend
    "Guidebook to Lapchi" (RAP, 490-504)
    (please inquire about terms)
  • a Tibetan exorcism ritual
    "Turning Back Gossip " (RAP, 572-82)
    & Buddhism (p.66)
    (unseen: gossip girl)
    (community: Padmasambhava, China)
  • building & using skyscrapers in East & SE Asia
    "Skyscraper Competition in Asia" (ASA, 189-97)
    (please inquire about terms)
  • study of and commentary on the Mangala Sutta
    "Auspicious Things" (RAP, 237-51)
    (please inquire about terms)
  • creating & viewing Thai Buddhist temple murals
    "Excerpts from Merit Making, Making Art" (ASA, 147-62)
    (please inquire about terms)
  • creating & viewing landscape paintings in Korea
    "True-View Landscape Painting of the Choson Dynasty" (ASA, 395-405)
    (unseen: nature, reality, mind, Heaven)
    (community: sirhak, Yi Ik)
  • ritual/customs of the Unification Church, Korea
    "Blessing in the Unification Church" (web site) + IAR, 330-34
    OR "Christianity: Missions to Asia" (p.196), "Unification Church"
    (please inquire about terms)
  • novel writing of an 11th CE Japanese court lady
    "'The Oak Tree,' fromThe Tale of Genji"
    (please inquire about terms)
  • sculpting and viewing Buddha statues in 11th-12th CE Japan
    "Jocho's Statue of Amida at the Byodoin" (ASA, 295-310),
    IAR, 306-16 & "Temples & Icons of Japan" (part 3)
    (please inquire about terms)
  • creating & viewing Japanese suiboku paintings
    "A Theme in Japanese Ink Painting of the 15th Century" (ASA, 325-36)
    (please inquire about terms)
  • tea ceremony in 16th CE Japan
    "Tea & Politics in the Momoyama Period" (ASA, 338-48)
    (please inquire about terms)
  • printmaking & viewing prints in 17th-19th century Japan
    "...Western Perspective in Edo Popular Culture" (ASA, 408-21)*
    (please inquire about terms)
  • making independent art in mid-20th century Japan
    "...Yomiuri Indépendent Artists...in the 1960s" (ASA, 448-60)
    (please inquire about terms)
  • Zen Buddhist meditation and koan study
    "Awakening Stories of Zen Buddhist Women" (RAP, 270-81)
    (please inquire about terms)
  • popular Zen practice for laypeople
    "Zen Buddhist Tracts for the Laity" (CP, 119-25)
    (unseen: bodhisattva, shunyata, dharma)
    (community: Bodhidharma, Chan, Soto Zen, Mencius, Meiji restoration)
  • writing & viewing No plays
    "The Deserted Crone" & "Princess Hollyhock (MOO)
    (please inquire about terms)
  • self-immolation by Vietnamese Buddhist monks
    "The Self-immolation of Thich Quang Duc" (web site)
    (please inquire about terms)
  • Cao Dai practice
    "Cao Dai Spiritual Messages" (web site)
    (shen, Holy Trinity, "High Palace," Quan Am
    ( Le Van Trung, Religious, Mediums)


Guided Reflections (Units 1 & 2)

Intended Audience:

Think of your audience for the guided reflections as an American peer who is keenly interested in Asian culture, but who has not studied it in an academic context. This person wants to know about (1) some specific example of what real people in Asian cultures actually do--their art forms, rituals and customs. Yet (s)he is also interested in (2) what those people think and say about the unseen powers and forces that they relate to what they do, and the social context for their individual actions. Finally, the most interested of such conversation partners will want to understand (3) not only contrasts but also similarities between their own American cultural context and those you have studied in the course. The worksheet provided below challenges you to address these questions in detail; you will then use the material generated by your responses on the worksheet to write a more cohesive, 5 page essay or story intended for the above reader.

Step 1: Worksheet

Choose one of the Asian art forms, rituals, or customs (all broadly referred to as "practices") listed for the relevant unit under "Asian Practice & Related Terms" above. Make sure that

Ideally, the Asian art form, ritual, or custom you choose should also have something in common with your own daily practice, although that Asian practice will most likely also be quite different from what you are doing each day.

Once you have chosen your story, complete all three parts of the "Guided Reflection Worksheet" available for download (PDF/MS Word), which asks you to address the three points numbered in the first paragraph above. Although the questions on the worksheet are laid out for you, the thinking process required is the most challenging task you will undertake for this course, requiring you to integrate many of the skills honed through team assignments.

A completed worksheet, submitted BOTH in the SacCT dropbox (under "Assignments") AND brought to class, will receive 25 out of the total number of points for the assignment. No partial credit will be given; incomplete forms will be returned for completion.

Step 2: Peer Review

Once you have completed the worksheet, bring a printed copy of it with you on the day it is due (March 17 for Units 1-2, May 12 for Units 3-4). At the beginning of these classes, you will exchange your worksheet with another student, making sure to find someone who has chosen a source different than yours to focus on. You will have 5-7 minutes to read each others' papers and make marks and notes, as follows:

When the time for reading has elapsed, exchange papers again and read the comments on yours. Then ask questions about anything you don't understand, and thank the person for their feedback.

Unless your partner for this exercise is a speed reader & writer, you will not receive comments on the entire worksheet and will need to complete this stage outside of class. Your options are:

A completed worksheet, turned in with a minimum of 10 comments (at least 3 praises and 3 critiques), will receive 25 out of the total number of points for the assignment. No partial credit will be given; unreviewed or incomplete forms will be returned for completion.

Step 3: Final Product

The final step of this assignment is to write a 5 page essay based on the deep analysis and reflection stimulated by the worksheet and its review. Your paper should include the same three things addressed in the worksheet:

  1. vivid description that brings to life a practice(s) featured in an assigned or optional source from the relevant unit;
  2. balanced selection and clear connection of three terms that follow it in the list of practices & terms, which highlight reflection & social realities related to the practice as described in assigned sources; and
  3. comparison of the way the Asian practice, ideas and social realities resembles and differs from the practice, reflection and social context of your own daily ritual of recitation or artistic creation, again brought to life by vivid description.

These three points should be integrated by extracting the most important details from the GRW, as suggested by questions 1(g)/(h), 2 (e)/(f), 3(c)/(d) & summary B. This final product will be assessed based on (a) thoughtfulness with which initial responses on the worksheet have been revised and integrated and (b) the extent of and insightfulness with which the essay, story, etc. addresses the three points ennumerated above.

Creative Options: I encourage you to consider options other than the 3rd person, declarative prose of a standard academic paper, including but not limited to:

IMPORTANT: If you choose one of these alternative genres, make sure to include parenthetical page numbers references within the text--e.g., "The Rg Veda praises the sun" (p.105)--*even if you don't quote your source directly*, and even such references seem out of place in such non-academic writing.

Standard Paper Option: If you choose to write in 3rd person, declarative prose, make sure to frame your paper in a way that is understandable to someone unfamiliar with the class or the assignment (see "Intended Audience"). Such a person would not know what you mean by "my chosen Asian practice," "the term I chose that relates to the unseen/to community," or "my daily practice;" so delete these phrases and talk in more generally understanding terms about what you and people do, what they think about what they do, and who they relate to as they do it. Also make sure to include

Cutting and pasting responses from your worksheet may provide a solid foundation for the final product, but note that in most cases (as suggested in GRW summary B) such responses will require substantial revision to receive an adequate score.

Finally, please observe two WRITING TIPS for standard academic prose:

  1. If you find yourself using a hyperbolic phrase such as "greatly important," "hugely significant," "incredibly powerful" to describe some detail, issue or theme, delete the phrase and focus more precisely on expressing what is important or significant about the issue or theme you are highlighting, and why.

  2. If you find that you have written any sentence such as

"All cultures have practices that inspire people in various communities to reflect..."
"Throughout this course we have studied many examples of people in Asia doing practices that inspire reflection."
"In considering this practice, it is very important to understand term X."
"There are many similarities but also some differences between my practice and that of culture Y."

delete it and focus more precisely on the details of the practice & terms and what you want to say about them. For example

"The practice of A in culture B vividly demonstrates that reflection and community can...."
"At least some of the people engaged in the practice of X necessarily reflected on the concept of Y, as evidenced by..."
"While A is done in culture B and what I do is part of contemporary American culture, they both serve the purpose of..."

NOTE: you can view samples of final products in the "learning modules" tab in SacCT.

REMINDER: As noted in the syllabus, I will generally elect severe penalties for academic dishonesty (which in journal reflections usually involves inclusion of material from uncited sources): a zero score for the assignment, and failing the course for a second offense. You are responsible for reading my comments regarding the importance of academic honesty, and my no-tolerance policy for incidents of dishonesty, in FAQ, #10-13; as well as for requesting clarification if there is anything you do not understand.

Other Requirements for Final Product (Stage 3):

**IN CASE OF LOSS, ALWAYS KEEP AN ELECTRONIC COPY!! **

See also FAQs re: late papers & formatting.

Extra Credit: up to five points of extra credit may be given for any reflection that indicates thorough reading of one of the optional primary sourceslisted for the relevant unit under "Asian Practice & Related Terms" above. Make sure to hand-write "PLEASE CONSIDER FOR EXTRA CREDIT" at the top of your paper if you wish you reflection to be considered.

Final Reflection (Unit 3)

Intended Audience:

As you approach the end of your term in this course, the peer addressed in your first two guided reflections wants to know: Is Asian culture an irresolvable diversity, or are there unifying cultural threads binding all of Asia together? And what about Asian culture outside of India and China? And what are the most important differences and/or similarities between the different Asian cultures you've been telling me about?

The Final Reflection worksheet guides you through the in-depth process of comparing examples from two different parts of the course, using the same structure as in the first two reflections, which culminates in a 5 page paper. Once again, the steps are clearly laid out by the form, but the thinking process required for this final assignment is even more challenging than before.

Step 1: Worksheet

Rather than focusing on a single Asian art forms, rituals, or customs (i.e, "practices"), for this assignment you should choose two similar or contrasting Asian practices: one from Unit 3 (chosen from those listed under "Asian Practice & Related Terms" above) and the other from either Unit 1 or 2 (chosen from the earlier lists for those units). The practice from Unit 1 or 2 can be the one that you already considered in an earlier reflection, or it can be something new.

As before, the Asian art form, ritual, or custom you choose should ideally also have something in common with your own daily practice, although that Asian practice will most likely also be quite different from what you are doing each day.

Once you have chosen your story, complete all three parts of the "Final Guided Reflection Worksheet" available for download (PDF/MS Word), which asks you to address the same three points as before, with two changes: compare two practices in #1, one term addressing reflection of the unseen and one addressing community for each practice (a total of four terms) in #2. As before, the thinking process required is the most challenging task you will undertake for this course, requiring you to integrate many of the skills honed through team assignments.

As before a completed worksheet, submitted BOTH in the SacCT dropbox (under "Assignments") AND brought to class, will receive 25 out of the total number of points for the assignment. Again, no partial credit will be given; incomplete forms will NOT be returned for completion since this is the end of the term, and will receive a zero for this part of the assignment.

Step 2: Peer Review

The peer review process for the final guided reflection is the same as that for the previous two reflections. As before, no partial credit will be given. Unreviewed or inadequately reviewed forms will NOT be returned for completion since this is the end of the term; they will receive a zero for this part of the assignment.

Step 3: Final Product

Once again, the final step of this assignment is to write a 5 page essay based on the deep analysis and reflection stimulated by the worksheet and its review. Your paper should include the same three things addressed in the worksheet, which in this case are

  1. vivid description that brings to life two similar or contrasting practice(s) featured in an assigned or optional source from Unit 3 as well as one of the earlier units;
  2. balanced selection and clear connection of four terms that follow these practices the list of practices & terms--two related to each of the two practices--which highlight reflection & social realities related to the practice as described in assigned sources; and
  3. comparison of the way the two Asian practices, related ideas and social realities resemble and differ from the practice, reflection and social context of your own daily ritual of recitation or artistic creation, again brought to life by vivid description.

Remember that these three points should be integrated by extracting the most important details from the GRW, as suggested by questions 1(g)/(h), 2 (e)/(f), 3(c)/(d) & summary B. As before this final product will be assessed based on (a) thoughtfulness with which initial responses on the worksheet have been revised and integrated and (b) the extent of and insightfulness with which the essay, story, etc. addresses the three points ennumerated above.

Creative Options: As before I encourage you to consider options other than the 3rd person, declarative prose of a standard academic paper (see options listed under "Guided Reflections (Units 1 & 2)"), making sure to include parenthetical page numbers references within the text even if you don't quote your source directly.

Standard Paper Option: If you choose to write in 3rd person, declarative prose, make sure that you adapt what you have written in your worksheet for a more general audience and provide a clear structure as advised for the previous two reflections. Remember that cutting and pasting responses from your worksheet may provide a solid foundation for the final product, but in most cases such responses will require substantial revision to receive an adequate score.

[Please review the writing tips and samples mentioned under "Guided Reflections (Units 1 & 2)"]

REMINDER: As noted in the syllabus, I will generally elect severe penalties for academic dishonesty (which in journal reflections usually involves inclusion of material from uncited sources): a zero score for the assignment, and failing the course for a second offense. You are responsible for reading my comments regarding the importance of academic honesty, and my no-tolerance policy for incidents of dishonesty, in FAQ, #10-13; as well as for requesting clarification if there is anything you do not understand.

Other Requirements for Final Product (Stage 3):

**IN CASE OF LOSS, ALWAYS KEEP AN ELECTRONIC COPY!! **

Review also FAQs re: late papers & formatting.

Extra Credit: up to five points of extra credit may be given for any reflection that indicates thorough reading of one of the optional primary sourceslisted for the relevant unit under "Asian Practice & Related Terms" above. Make sure to hand-write "PLEASE CONSIDER FOR EXTRA CREDIT" at the top of your paper if you wish you reflection to be considered.

 

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