Based on the Composition Exam evaluations, some first-year students may be placed in FWIS 100 in the fall semester (and FWIS in the Spring). FWIS 100 introduces students to academic conversation through topic-based courses designed to develop the reading, writing, presentation, and critical thinking skills necessary to be successful in a FWIS seminar and many other Rice courses. Typical assignments might ask students to prepare a summary of a text, to keep a response journal, to present research on a specific topic, or to write a defense of an original idea.
As a prerequisite for FWIS, FWIS 100 uses engaging topics to introduce students to an academic field of inquiry. The course descriptions below are designed to give you an idea of the texts you will encounter and the subject matter you will explore as you develop the reading, writing, and presentation skills necessary to participate in an academic conversation.
- FWIS 100 Telling Stories
- FWIS 100 Post-Apocalyptic Literature and Film
- FWIS 100 Interrogating Success
- FWIS 100 Global English: Diversity, Demand, and Dominance
- FWIS 100 Prosperity Prophets, Televangelists and Faith Healers: Religion in America
- FWIS 100 Building Dread: The Idea of Place in Gothic Horror
FWIS 100, Elizabeth Cummins Munoz, MWF 9:00 – 9:50, MWF 10:00 – 10:50, MWF 11:00 – 11:50
What makes a story compelling? What kind of truths do myths explore? How is history shaped by choices about when to begin and where to end? Can a personal narrative about racial profiling heal a community? This course explores the idea that storytelling is fundamental to shared values and that the way in which stories are told is as important as the events they convey. As we look at examples of myths, legends, oral histories, testimonials, and storytelling as performance, we will explore the form and function of story and the limits of truth, fiction, and the narrative form. Along the way, students will build academic reading, writing, and presentation skills and learn to use research, analysis, and exploratory writing to ask original questions, seek out answers, and communicate their discoveries. They might even be inspired to tell a story or two themselves.
Post-Apocalyptic Literature and Film
FWIS 100, Laura Richardson, MWF 1:00 – 1:50, MWF 2:00 – 2:50
What would the world be like after a pandemic, nuclear war, large asteroid collision, or ecological disaster? The post-apocalyptic genre considers these very questions, often tracking a small group of survivors as they reconfigure human society while navigating new environmental dangers and devastation. Like much science fiction, the post-apocalyptic is a cultural laboratory for understanding humanity’s fears about our future in the face of often manmade apocalypses. Just as the zombie has become a shambling, brain-craving machine for the expression of political, social, and aesthetic concerns, so too do our visions of the world’s end reflect symptoms of anxieties that are already too realistic for comfort. In this course, you’ll learn how to interpret these anxieties by analyzing literature and film. You will also learn how to: communicate critical analysis through both argumentative academic writing and oral presentation; understand, summarize, and respond to peer-reviewed scholarship; and employ effective visual communication.
FWIS 100, Burke Nixon, MWF 3:00 – 3:50
Is there a “magic number” of hours required to achieve extraordinary success in music or sports or computer science? Do elite colleges (and elite college students) focus too much on narrow, materialistic notions of success? Can students of all ages truly succeed in lecture-based learning, or is such learning actually “oppressive”? These are some of the questions we’ll be confronting in this section of FWIS 100. We’ll explore the notion of success from a variety of angles, scrutinizing and responding to arguments from writers in a number of genres, from popular nonfiction and fiction to philosophy and scholarly research. In the process, students will interrogate their own notions of success, and, more importantly, hone and develop the fundamental skills of successful academic readers, writers, speakers, and critical thinkers.
Global English: Diversity, Demand, and Dominance
FWIS 100, Vasudha Bharadwaj, TR 9:25 – 10:40, TR 10:50 – 12:05, TR 1:00 – 2:15
English is the most widely spoken language in the world, and twice as many people use it as a second language as there are native speakers. It has been called a “world language,” a “global language,” and an “international language” and its widespread use is the result of a varied set of historical circumstances. Why is English used so extensively? What are the different forms of English? How does the use of English in a non-native setting affect how other languages are perceived? How do non-native / bilingual speakers of the language negotiate between multiple cultural and linguistic histories and traditions? In this course, students will discuss these questions as we examine the political and economic forces behind the spread of English. We will also discuss the meaning and implications of the “standardization” of English, and how it affects one’s perceptions of “non-standard” or localized forms of the language. Students will learn to consider how sociocultural, political, and economic factors have historically influenced decisions about education and language use. In doing so, we will collectively practice different forms of academic communication, including writing, discussion, and presentations, and students will hone skills fundamental to their success as critical thinkers, readers, and writers.
Prosperity Prophets, Televangelists and Faith Healers: Religion in America
FWIS 100, Nathanael Homewood, TR 2:30 – 3:45
Prosperity prophets, faith healers and televangelists all occupy an outsized space in the American imagination. Their smiling faces – or in some cases, crying faces – are etched into the American political and religious landscape and are loved and reviled, derided and defended in equal parts. This course will explore a compelling cast of such characters – characters who faked their own abduction, who used violence to heal, who demanded private jets and who ended up in prison. And yet, each and every figure had an extensive following and garnered much respect. But the point of the course is far more than learning a few facts about some fascinating, if not controversial, characters. The overarching goal of the course is to extract how these figures influenced, shaped, and projected the image of religion in America. To accomplish this, we will examine a variety of sources: films, documentaries, autobiographies, and academic sources in which American revival preachers are the central figures. As we explore these ideas, we will learn to evaluate academic arguments, construct our own arguments based in textual evidence, and strengthen our writing and editing. In doing so, we will hopefully come to understand more about religion in America – and maybe even about ourselves.
Building Dread: The Idea of Place in Gothic Horror
FWIS 100, John Ellis-Etchison, TR 4:00 – 5:15
Gothic horror uses architecture to build and convey dread, uncertainty, and even terror. What is it about beautiful, but dilapidated old buildings that lends them to the genre? How is it that these structures become so intimately linked to the people who live in them — not only their original occupants, but also later ones — through the kinds of trauma they share either metaphorically or literally? Gothic horror is intimately entangled with the ideas of both family and home, and when something disturbs or disrupts these idealized constructions, bad things can happen. That is, much of gothic horror revolves around the desecration or destruction of families and family lines, and mirrors this in the physical structures the families inhabit. Over the course of the semester, we will look at an array of texts (novels, short stories, films, and articles) so as to better understand the relationship between horror and place. We will also use our engagement with these texts to practice our skills as critical readers and to develop the ways we think, talk, and write about what we read.