WSU

TEACHING RESOURCE
CAPSTONE
C. Scott Winter, M. Ed.
Design & Performance Systems
College of Education, Wayne State University

April 2019

WSU Offsite Learning Guide

 INTRODUCTION
With increasing reliance on part-time and adjunct faculty, curriculum
development and syllabus planning often receive a finite amount of
attention. Priority is often given to online teaching technology, with
little regard given to improving direct instruction.

The broad scope of instructional options and opportunities for

traditional and blended classrooms is often overlooked.

This project represents a prototype planning aid to support

curriculum development for traditional and blended classrooms.

The concept is to include aids like this as part of the OTL (Office of
Teaching and Learning) online resources available to faculty, with an
emphasis on supporting new and part-time instructors.

This user guide is designed as a link to support Wayne State

University faculty and staff in the coordination and execution of
Offsite Learning Experiences.

WSU Offsite Learning Guide 2

 RECOMMENDATIONS
From this prototype, the following recommendations are
proposed:

• Incorporate curriculum development tools into an online faculty

resource on the OTL platform [see next slide].

• Create an online archive of “best practices” developed by faculty.

• Develop flexible training tools for sharing experience and

knowledge among faculty.

• Invite new faculty to participate in curriculum and syllabus

development activities.

WSU Offsite Learning Guide 3

Site Map.

Much is available regarding technology, diversity, and online resources. This menu could also include a link to
“curriculum development.”

This list of links could include specific curriculum resources for direct instruction, such as offsite learning aids,
gamification tools, and best practices in blended learning environments.
OFFSITE LEARNING
GUIDE
This user guide is designed to support Wayne State University
faculty and staff in the coordination and execution of offsite
learning experiences.
• Learning Outside the Classroom
• Experiential Learning
• Service Learning
• Place-based Learning
• Peripatetic Learning

WSU Offsite Learning Guide 5

About.
Introduction.
Much has been published on the value of learning from realistic experiences. In the 1930s, John Dewey
established a philosophy of education based on the value of learning from experience. In the 1960s, learning
theorist Edgar Dale placed field trips at the mid-point of his “Cone of Experience,” arguing that the retention
of learning comes from doing rather than observing. And in the 1970s, educational theorist David Kolb
formalized the relationship between learning by doing with his Experiential Learning Model (ELM):

Concrete
Experience
Active Reflective
Experimentation Observation
Abstract
Conceptualization

Despite the rather dusty origins of this concept, the evidence is clear: learning by doing is a fundamental
step toward strengthening cognition.

Today, much of the learning experience occurs on screens (of all sizes), but for learners, seeing the “big
picture” requires opening their eyes to the reality of the world.

This guide supports you in your efforts to incorporate offsite learning experiences in your curriculum.

Concepts to consider include:

• Learning Outside the Classroom (field trips)
• Experiential Learning
• Service Learning/Community Engagement
• Place-based Learning
• Peripatetic Learning

In addition, the Association of American Colleges and Universities offers an undergraduate assessment rubric
for measuring “integrative learning” (see appendix).

Purpose.
Planning offsite learning experiences, unsurprisingly, adds to the burden of instructional preparation, easily
consuming time allotted for lesson planning.

With little training available on incorporating offsite learning into curriculums, this guide provides important
considerations intended to ease the planning burden on organizers, while maintaining the instructional
support required by learners. It is intended for use by faculty, both fulltime and part-time, as well as
administrative and graduate student support staff.

Contents are organized to support both novice and experienced users.

• For new practitioners: this guide frames the value of incorporating offsite learning into a curriculum.
• For experienced practitioners: this guide serves as a resource for troubleshooting the planning process.

WSU Offsite Learning Guide 6

 The ultimate beneficiaries of reality-based learning are students who deepen their knowledge through
realistic instructional experiences, despite the diversity of their educational backgrounds and
histories.

Use.
This guide outlines key strategies for incorporating experiential learning into your syllabus, along with
important logistical considerations, and an appendix of forms and examples.

For organizational assistance and event evaluation, a Planning & Summary Report is included.

This report is designed to aid instructors in course preparation and the

tracking of:
• Contacts
• Logistics
• Learning Objectives

In addition, the report includes a simple post-event assessment, helpful

for future planning.

• Contact faculty peers for assistance with Planning & Summary

Report.

Planning & Summary Report

(See appendix for form)

Plan.
Consider.
Facing the challenge of planning an offsite learning experience can be daunting. The first step toward
organizing your thoughts and ambitions is to reflect on what an offsite learning experience could be. For this
reflection, recall your own field trip experience:

• First, from personal experience, recall a memorable field trip:

• What do you remember most about the experience?
• Was it a positive experience?
• What made it a positive or negative experience?
• What did you learn?

• Now, imagine an ideal field trip:

• What goes into the planning?
• How is it successful?
• What is special about the learning experience?

• Now, imagine a poorly executed field trip:

• What made it unsuccessful?
• How was it planned?
• How was it logistically?
WSU Offsite Learning Guide 7
 • How did it achieve its lesson plan?
• How did the participants respond?

With these reflections in mind, consider how you might successfully incorporate offsite learning experiences
into your curriculum.

Instruct.
Learning Through Doing
Constructivism (and social constructivism in particular), suggests that learning through participation and social
engagement helps learners develop and strengthen their skills at interpretation and meaning-making. Social
constructivists would argue that meaning is negotiated through collaboration.

Learning through shared experience, especially in a real-world setting, delivers on the constructivist model by
engaging in:
• Personal Participation
• Social Engagement
• Skill Development
• Interpretation
• Meaning-making

The keys to successful experiential learning are proper planning and connecting experiences to learning
objectives. The following list identifies five offsite learning events for your consideration.

Reality-based Offsite Learning Activities

• Learning Outside the Classroom (field trips)

Free from the familiar bonds of the classroom, field trips are inherently multi-disciplinary learning
experiences that enhance deep, active learning. Especially when learners arrive with a learning task tied
to the current unit or course theme.

• Experiential Learning
A learning concept linking discovery to activity performance and reflection, experiential learning
benefits from a “multiplier effect” of knowledge acquisition and processing. (See Kolb’s Experiential
Learning Model above.)

• Service Learning/Community Engagement

Providing greater exposure to critical thinking and problem-solving, service learning connects students
to community service projects that deepen their exposure to multiple perspectives and presents them
with the opportunity for negotiated meaning-making. Both learning experiences represent important
tenets of learning through social constructivism.

• Place-based Learning
Many “places,” both natural and cultural, have stories to tell. Borrowing a lesson from the sciences,
approaching an offsite learning experience as “field research” drives a variety of skills, including critical
and analytical thinking, active learning, and empirical research.

• Peripatetic Learning
Like a field trip on the move, the concept of “peripatetic learning” is derived from the definition of the
Greek word peripatetic, meaning “given to walking about.” From the ancient days of Aristotle, the
idea
WSU Offsite Learning Guide 8
 of learning while on the move has creative potential in today’s modern era. From walking tours and
scavenger hunts, to geo-locating and Pokémon Go.

• Instructional goals should remain a priority throughout the planning and execution of field trip
experiences. Contact the department chair for assistance with instructional strategy.

Follow.
WSU Policies
Wayne State University’s primary concern is the safety of its students, faculty, and staff. Little regulation has
been established regarding the engagement of students in offsite learning, although safety and common
sense are considered primary considerations.

For information pertaining to vehicle use, visit the online WSU Administrative Policies and Procedures
Manual.

• Contact faculty peers for assistance with WSU policies and procedures.

Logistics.
Successful offsite learning events depend on well-orchestrated logistics. From accommodating a group, to
easy physical access, to adequate technology, offsite learning requires careful (and time consuming!)
planning.

Preparation & Planning

Memorable instruction results from both positive and negative learning experiences. Preparation and
planning are often the key to success:
•Offsite learning activities should support a clear learning objective
•Students should be actively engaged in their offsite learning experience
•Learning activities should encourage students to reflect and synthesize their experience in relation to
learning objectives

Logistical considerations are critical to the effective and efficient execution of offsite learning experiences.
Uncertainty increases as learners face the unfamiliar. Clearly organized and articulated plans are key to a
learner’s unfettered participation in offsite learning activities. Be mindful of:
•Meeting locations and destination travel times
•Time requirements for learning activities
•Weather
•Transportation
•Safety
•Accessibility

Review the Planning & Summary Report early and use it as a job aid in planning and organizing offsite learning
events.

• Instructional goals should remain a priority throughout the planning and execution of field trip
experiences.

Confirm.
Successful offsite learning plans include the following logistical considerations:

WSU Offsite Learning Guide 9

Class Accommodation
• Can the destination accommodate the size of your class? Will all students be participating?
• Is there adequate meeting space for onsite learning activities?

Time Management
• How much time does the venue allot for your experience/visit?
• How much time will the experience take?
• How much learning activity/classroom time is available?
• How long is the travel time to and from the destination?

Weather Contingency
• What time of year will you be venturing out?
• What are potential adverse weather conditions?
• Do you have a weather threshold for cancelling the activity (temperature, severity)?
• What alternatives are available in case of weather disruptions?

Transportation
• How far will the group be traveling? (Did you “Google Map” it?)
• How long is travel predicted to take? (Did you “Google Map” it on foot and by car?)
• Is vehicle transportation required?
• Is parking available? Is there a fee?
• Will you be reserving vehicles? Is there a cost?
• Are drop-off and pick-up locations accessible?
• Is public transportation accessible? How will the fee be covered?
• Are shared mobility services an option?

Accessibility
• Is the entry point obvious?
• Is it a secure entrance? Is personal, student, or school-identification required?
• Are there additional instructions for accessible access?
• Will you be met at the destination? By who? Do you have their contact information?

Costs & Payment Processing

• Are fees involved in executing your offsite experience?
• How are fees assessed: group fee, per head, or donation/honorarium?
• What are the payment options?
• What payment and reimbursement procedures must be followed?

Technology Needs
• Is technology required for your learning experience?
• Is there accessible internet service?
• Do you require a white board & markers, accessible electrical power, or projection capability?

Hospitality
• Are beverages and/or snacks allowed?
• Are beverages and/or snacks available?
• Are restrooms available & accessible?

• Contact the department support staff for assistance with logistical concerns.

WSU Offsite Learning Guide 10

Evaluate.
The Planning and Summary Report (see appendix) provides an opportunity to collect information, as well as
reflect on the activities you’ve undertaken. As these reports accumulate, trends and issues will be easy to
identify for future course correction.

Keep completed Planning and Summary Reports with your curriculum files.

Alternatives.
When instructor-led, offsite learning is not an option, alternative, reality-based, learning experiences are
worth consideration.

Examples of alternative offsite learning include:

• Self-Guided Offsite Learning

When organized class outings are not an option (whether due to class size, available class time, or other
constraints), incorporate “self-guided” offsite learning experiences into the syllabus.
• Provide clear conditions and limited options for students to consider
• Clearly identify learning goals and outcomes
• Include a learning task directly related to the offsite learning options
• Pro Tip: Self-guided offsite learning events make great extra credit opportunities!

• Guest Speakers
Hearing stories and discovering the perspectives of persons engaged in real-world experiences is
another option for bringing reality-based experience into the classroom.
• Pro Tip: If well treated, guest speakers are likely to repeat their presentations each course offering!

• In-class/On-campus Demonstrations
Often, activities kept within the limits of campus are easier to accommodate. Experiencing facsimiles of
real-world activities, through demonstrations in class or on-campus, can enhance a learning experience.
• Pro Tip: Demonstrations from campus resources are a great way to expose students to other
university assets!

• Classroom Prototype of Experience

When real-world resources are unavailable, use classroom elements and student ingenuity to create a
prototype of learning event conditions or constraints. Requiring learners to “imagine” certain elements
or conditions engages higher-order thinking skills.
• Pro Tip: Prototyping is an ideal way to exercise skills in design thinking and rapid prototyping to
solve problems!

• Videos
With the popularity and availability of social media tools, considerable content of real-world experiences
exists with easy access and no cost. Mobile technology also makes it possible for video content to be
shared in class, in small groups, or as an individual assignment.
• Pro Tip: It is critical to identify and promote content that accurately supports the lesson objective!

• Case Studies
Using case studies to present real-world scenarios is another option for reality-based learning.
Incorporating lessons, at both individual and group levels, increases active learning.
• Pro Tip: Carefully crafted case studies increase learner empathy and cognitive engagement!
WSU Offsite Learning Guide 11
Credit.
Acknowledgements.
Web Resources
Yale University, Poorvu Center for Teaching Excellence
https://poorvucenter.yale.edu/Experiential-Learning-Field-Trips

Carnegie Mellon University, Eberly Center: Teaching Excellence & Educational Innovation
https://www.cmu.edu/teaching/designteach/

Michigan State University, Faculty Handbook

https://hr.msu.edu/policies-procedures/faculty-academic-staff/faculty-handbook/5Section-Instruction.html

Lawrence Technological University, Center for Teaching and Learning

https://www.ltu.edu/ctl/resources.asp

WSU Office of Teaching and Learning, Teaching at Wayne State University

http://otl.wayne.edu/teaching/index.php

WSU Office of Teaching and Learning, Student Centered Teaching

http://i.wayne.edu/otl/backward_course_design/student-centered_teaching_methods.pdf

WSU Office of Teaching and Learning, Designing Courses for Significant Learning
https://www.deefinkandassociates.com/GuidetoCourseDesignAug05.pdf

Vanderbilt University, Center for Teaching

https://cft.vanderbilt.edu/teaching-guides/principles-and-frameworks/

Vanderbilt University, Service Learning

https://cft.vanderbilt.edu/guides-sub-pages/teaching-through-community-engagement/

Vanderbilt University, Challenges & Opportunities for Service Learning

https://cft.vanderbilt.edu/guides-sub-pages/challenges-and-opportunities-of-community-engaged-teaching/

Vanderbilt University, Learning Outside the Classroom

https://cft.vanderbilt.edu/guides-sub-pages/teaching-outside-the-classroom/

Association of American Colleges and Universities, Integrative and Applied Learning Rubric
Association of American Colleges and Universities (AAC&U). (2009). Integrative and applied learning VALUE
rubric. Retrieved from https://www.aacu.org/value/rubrics/integrative-learning

Print Resources
Dick, Walter, Carey, Lou, Carey, James O., (2015). The systematic design of instruction. New York, New York:
Pearson

Rebar, Bryan M. (2012) Teachers’ sources of knowledge for field trip practices. Learning Environments
Research, 15(1), 81-102. doi:10.1007/s10984-012-9101

Reiser, Robert A., Dempsey, John V. (2018). Trends and issues in instructional design and technology. New York,
New York: Pearson

Richey, Rita C., Klein, James D., Tracey, Monica W. (2010). The instructional design knowledge base. Abingdon,
Oxon: Routledge
WSU Offsite Learning Guide 12
Appendix.
• Checklist for Planning
• To be developed: An example checklist of trip planning considerations

• Integrative Learning VALUE Rubric

Developed by the Association of American Colleges and Universities as a planning aid for “fostering student’s
abilities to integrate learning-across courses, over time, and between campus and community life.”

• Planning & Summary Report

Designed to assist with organizing field trip events, this report form includes space for a brief summary of your
experience for evaluation purposes. Collected reports will form an archive for future planning.

• Checklist of Instructional Considerations

• To be developed: An example checklist of instructional considerations

• Self-Guided Field Trip Activity Example

Developed for the inaugural LDT 1000 course, City of Design: Exploring Creativity in Detroit, this self-guided field
trip manual provides specific details on activities that qualify for course credit.

• Peripatetic Learning Activity Example

This journal article describes a “peripatetic learning” exercise for teaching gothic literature utilized by a professor
at Southwestern University in Kansas.

• Service Learning Experience Example

This rubric identifies the learning threshold of students participating in a service learning assignment, as part of a
WSU college preparation course.
• To be developed: An example of Service Learning expectations

WSU Offsite Learning Guide 13

INTEGRATIVE LEARNING VALUE RUBRIC
For more information, please contact value@aacu.org

The VALUE rubrics were developed by teams of faculty experts representing colleges and universities across the United States
through a process that examined many existing campus rubrics and related documents for each learning outcome and
incorporated additional feedback from faculty. The rubrics articulate fundamental criteria for each learning outcome, with
performance descriptors demonstrating progressively more sophisticated levels of attainment. The rubrics are intended for
institutional-level use in evaluating and discussing student learning, not for grading. The core expectations articulated in all 15
of the VALUE rubrics can and should be translated into the language of individual campuses, disciplines, and even courses.
The utility of the VALUE rubrics is to position learning at all undergraduate levels within a basic framework of expectations
such that evidence of learning can by shared nationally through a common dialog and understanding of student success.

Definition
Integrative learning is an understanding and a disposition that a student builds across the curriculum and co-curriculum, from
making simple connections among ideas and experiences to synthesizing and transferring learning to new, complex situations
within and beyond the campus.

Framing Language
Fostering students’ abilities to integrate learning—across courses, over time, and between campus and community life—is one
of the most important goals and challenges for higher education. Initially, students connect previous learning to new
classroom learning. Later, significant knowledge within individual disciplines serves as the foundation, but integrative learning
goes beyond academic boundaries. Indeed, integrative experiences often occur as learners address real-world problems,
unscripted and sufficiently broad, to require multiple areas of knowledge and multiple modes of inquiry, offering multiple
solutions and benefiting from multiple perspectives. Integrative learning also involves internal changes in the learner. These
internal changes, which indicate growth as a confident, lifelong learner, include the ability to adapt one's intellectual skills, to
contribute in a wide variety of situations, and to understand and develop individual purpose, values and ethics. Developing
students’ capacities for integrative learning is central to personal success, social responsibility, and civic engagement in today’s
global society. Students face a rapidly changing and increasingly connected world where integrative learning becomes not just
a benefit...but a necessity.

Because integrative learning is about making connections, this learning may not be as evident in traditional academic artifacts
such as research papers and academic projects unless the student, for example, is prompted to draw implications for practice.
These connections often surface, however, in reflective work, self assessment, or creative endeavors of all kinds. Integrative
assignments foster learning between courses or by connecting courses to experientially-based work. Work samples or
collections of work that include such artifacts give evidence of integrative learning. Faculty are encouraged to look for evidence
that the student connects the learning gained in classroom study to learning gained in real life situations that are related to
other learning experiences, extra-curricular activities, or work. Through integrative learning, students pull together their entire
experience inside and outside of the formal classroom; thus, artificial barriers between formal study and informal or tacit
learning become permeable. Integrative learning, whatever the context or source, builds upon connecting both theory and
practice toward a deepened understanding.

Assignments to foster such connections and understanding could include, for example, composition papers that focus on topics
from biology, economics, or history; mathematics assignments that apply mathematical tools to important issues and require
written analysis to explain the implications and limitations of the mathematical treatment, or art history presentations that
demonstrate aesthetic connections between selected paintings and novels. In this regard, some majors (e.g., interdisciplinary
majors or problem-based field studies) seem to inherently evoke characteristics of integrative learning and result in work
samples or collections of work that significantly demonstrate this outcome.

WSU Offsite Learning Guide 14

However, fields of study that require accumulation of extensive and high-consensus content knowledge (such as accounting,
engineering, or chemistry) also involve the kinds of complex and integrative constructions (e.g., ethical dilemmas and social
consciousness) that seem to be highlighted so extensively in self reflection in arts and humanities, but they may be embedded
in individual performances and less evident. The key in the development of such work samples or collections of work will be in
designing structures that include artifacts and reflective writing or feedback that support students' examination of their
learning and give evidence that, as graduates, they will extend their integrative abilities into the challenges of personal,
professional, and civic life.

Glossary
The definitions that follow were developed to clarify terms and concepts used in this rubric only.

• Academic knowledge: Disciplinary learning; learning from academic study, texts, etc.

• Content: The information conveyed in the work samples or collections of work.

• Contexts: Actual or simulated situations in which a student demonstrates learning outcomes. New and
challenging contexts encourage students to stretch beyond their current frames of reference.
• Co-curriculum: A parallel component of the academic curriculum that is in addition to formal
classroom (student government, community service, residence hall activities, student
organizations, etc.).
• Experience: Learning that takes place in a setting outside of the formal classroom, such as workplace,
service learning site, internship site or another.
• Form: The external frameworks in which information and evidence are presented, ranging from choices
for particular work sample or collection of works (such as a research paper, PowerPoint, video
recording, etc.) to choices in make-up of the eportfolio.
• Performance: A dynamic and sustained act that brings together knowing and doing (creating a painting,
solving an experimental design problem, developing a public relations strategy for a business, etc.);
performance makes learning observable.

• Reflection: A meta-cognitive act of examining a performance in order to explore its significance and
consequences.
• Self Assessment: Describing, interpreting, and judging a performance based on stated or implied
expectations followed by planning for further learning.

WSU Offsite Learning Guide 15

INTEGRATIVE LEARNING VALUE RUBRIC
For more information, please contact value@aacu.org
Definition: Integrative learning is an understanding and a disposition that a student builds across the curriculum and
cocurriculum, from making simple connections among ideas and experiences to synthesizing and transferring learning to new,
complex situations within and beyond the campus.
Evaluators are encouraged to assign a zero to any work sample or collection of work that does not meet benchmark (cell one)
level performance.
Capstone
4 3
Connections to Meaningfully synthesizes
Experience Connects connections among
relevant experience experiences outside of the
and academic formal classroom (including
knowledge life experiences and
academic experiences such
as internships and travel
abroad) to deepen
understanding of fields of
study and to broaden own
points of view.
Connections to Discipline Independently creates
Sees (makes) wholes out of multiple parts
connections across (synthesizes) or draws
disciplines, perspectives conclusions by combining
examples, facts, or theories
from more than one field of
study or perspective.
Transfer Adapts and applies,
Adapts and applies independently, skills,
skills, abilities, abilities, theories, or
theories, or methodologies gained in
methodologies one situation to new
gained in one situations to solve difficult
situation to new problems or explore
situations complex issues in original
ways.
Integrated Fulfills the assignment(s) by
Communication choosing a format, language,
or graph (or other visual
representation) in ways that
enhance meaning, making
clear the interdependence of
language and meaning,
thought, and expression.
Reflection and Self- Envisions a future self (and
Assessment possibly makes plans that
Demonstrates a build on past experiences
developing sense of self that have occurred across
as a learner, building on multiple and diverse
prior experiences to contexts).
respond to new and
challenging contexts
(may be evident in self-
assessment, reflective, or
creative work)
Milestones
Effectively selects and
develops examples of life
experiences, drawn from a
variety of contexts (e.g.,
family life, artistic
participation, civic
involvement, work
experience), to illuminate
concepts/theories/framewo
rks of fields of study.
Independently connects
examples, facts, or theories
from more than one field of
study or perspective.
Adapts and applies skills,
abilities, theories, or
methodologies gained in
one situation to new
situations to solve
problems or explore
issues.
Fulfills the assignment(s) by
choosing a format, language,
or graph (or other visual
representation) to explicitly
connect content and form,
demonstrating awareness of
purpose and audience.
Evaluates changes in own
learning over time,
recognizing complex
contextual factors (e.g.,
works with ambiguity and
risk, deals with frustration,
considers ethical
frameworks).
2 1
Compares life experiences
and academic knowledge to
infer differences, as well as
similarities, and acknowledge
perspectives other than own.
When prompted, connects
examples, facts, or theories
from more than one field of
study or perspective.
Uses skills, abilities, theories,
or methodologies gained in
one situation in a new
situation to contribute to
understanding of problems or
issues.
Fulfills the assignment(s) by
choosing a format, language, or
graph (or other visual
representation) that connects in
a basic way what is being
communicated (content) with
how it is said (form).
Articulates strengths and
challenges (within specific
performances or events) to
increase effectiveness in
different contexts (through
increased self- awareness).
WSU Offsite Learning Guide 16
Benchmark
Identifies connections
between life experiences
and those academic texts
and ideas perceived as
similar and related to own
interests.
When prompted, presents
examples, facts, or theories
from more than one field of
study or perspective.
Uses, in a basic way, skills,
abilities, theories, or
methodologies gained in
one situation in a new
situation.
Fulfills the assignment(s)
(i.e. to produce an essay, a
poster, a video, a
PowerPoint presentation,
etc.) in an appropriate
form.
Describes own
performances with
general descriptors of
success and failure.
 Reality-based Learning Experience
Planning & Summary Report
Logistical Notes
Travel; Weather; Technology; Accessibility
Class Date Unit # & Theme

Learning Objective(s)

Destination # Students # Attended

Address

Contact Name Date(s) of Contact

Contact Phone Contact Email

Notes on Destination Event Summary

Dates; Times; Capacity for class?; Location access point?; Classroom space?; Technology (internet, Time frame; Tour review; What worked well?;
white board, power, projection)?; Accessibility?; Food & Beverage?; Photography? What was challenging (logistics, time, space,
tech., weather, transportation)?; Do you
recommend revisiting?

Learning Activities Process Summary

What would you do differently?

Course Code Semester &Year Instructor

WSU Offsite Learning Guide 17

Self-
Guided Field
Trips
LDT 1000 City of Design:
Exploring Creativity in Detroit
WINTER 2019

ASSIGNMENT HANDBOOK
• You will complete TWO self-guided field trips as part of the requirements
for LDT 1000.

• One is due by Tues., March 19 and the other is due by Wed., April 24. Please
note, they are due by these dates; you are welcome to turn them in earlier.

THIS HANDBOOK WILL DESCRIBE THE REQUIREMENTS FOR COMPLETING BOTH SELF-GUIDED FIELD
TRIPS. A PDF VERSION IS LINKED ON THE CANVAS ASSIGNMENTPAGE.

WSU Offsite Learning Guide 18

LDT1000
SELF-GUIDED FIELDTRIPS
WHAT ARE THEY
Self-guided field trips are your chance to choose your own design adventures in
Detroit.

By this point in the course, we have spent time thinking about design, creativity,
problems, and uncertainty.We have poked around Detroit’s design history and
interacted with the city’s current design community.

Now it is your chance to explore aspects of design in the city that are most
interesting to you. And as you explore, I want you to think about what you are
experiencing and how it relates to what we have learned in class about design,
creativity, and Detroit.

KEY CONSTRAINTS:
• You must complete two different field trips (see prompts on subsequent
pages).
• One must be completed by Tues March 19.
• One must be completed by Wed April 24.
• Each field trip is worth 15 points.
• You may take the field trips in pairs or small groups but you must complete and
submit the assignment on your own. Your response must be your own original
thoughts, words, and photos.

WSU Offsite Learning Guide 19

LDT1000
SELF-GUIDED FIELDTRIPS
Pick from two of the prompts outlined in the following pages and plan ahead to complete
one trip by each due date (March 19 & April 24).

You must address the field trip prompt thoroughly in your response.

1: TRANSPORTATION
Experience transportation from the viewpoint of an end user and then reflect on that
experience as a designer might.

• You can choose from city buses, campus shuttles, the Qline, or the People Mover.
• Do a little research on the mode you choose before you go (i.e., who rides it, how
much does it cost, when does it run, what are the positives/negatives).
• Then take a ride! For the People Mover and campus shuttles, you must ride the entire
loop as they are not long. For the Qline and buses, ride from campus to downtown and
back.
• Document the entire experience including getting to your first stop, waiting, boarding,
finding a seat, looking out the window, keepingtrack of where you where on the route,
and exiting at your stop. If you took the Q-line or bus, document your ride back as well,
• Note your own experience and any patterns you observe in others.
• By document, I mean write down your thoughts and take photos as appropriate. For
example, take a photo through the window to document what riders see as they
travel.
• Synthesize your experiences by reflecting on them as a designer might: how did it feel to
have this experience? What aspects were challenging? What were enjoyable? What
problems did you notice? Did you notice any good solutions (i.e., things that made the
experience better?) What ideas do you have about how the problems you noted might be
solved? How did this experience change or enhance what you know about design and
creativity?

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LDT1000
SELF-GUIDED FIELDTRIPS

2: SUSTAINABILITY
Easy mode: Take a trip to Recycle Here and talk to their staff about the organization based on the
questions beloe.

Hard mode: contact a business or organization such as Detroit Dirt, the Greening of Detroit, or
Detroit Ento to see if you can interview someone from the organization about sustainable
design in Detroit.

Read the questions below before your visit or phone call. Listen, ask questions, observe, and
document what you learn about the following questions:
• How does their organization contribute to sustainable living in Detroit?
• What design problems have been important to their organization?
• What are the most urgent problems in the realm of sustainable design in Detroit?
• What are the biggest barriers? The biggest supports?
• Optional: How can someone get involved in this as a career?
If possible (for example, on a tour or site visit), take photos of what you see on site that is
interesting or representative of what you learned. Then synthesize your thoughts and document
what you learned in relation to the questions above. Once you’ve done that, describe what else
you are curious to know about sustainable design, either locally or in general.

3: INCLUSIVE DESIGN
Review Design Core Detroit’s roster of City of Design Partners (local organizations who have
agreed to support and advance inclusive design projects and practices). Find a few that sound
interesting and are easy for you to access. Contact one (or more, if necessary) and ask if there is
someone you can visit their site or office and interview them about inclusive design. Research the
organization, think about what we have learned about design, and come up with at least seven
questions to bring to the interview. Your questions should help you learn about the
organization and how design is important to them. Then document the experience and what
you learned about inclusive design, about the organization, and their role in the city’s design
ecosphere.

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LDT1000
SELF-GUIDED FIELDTRIPS
4: DETROIT-DRIVEN IDENTITY DESIGN
Third Man Records and Shinola are companies that closely connect their corporate identity to
their history and presence in Detroit. Research both companies, including their websites as well
as media stories about them. You will want to gain an understanding of how both brands are
connected to Detroit. Then go and visit their retail stores on Canfield just south of campus (they
are next to each other). Document and analyze the experience of being in each store. What does
is feel like to be in each store? How would you describe the retail experience? How is Detroit
represented? Who do you think the target audience is? What design problems and/or solutions
did you notice? How do they visually communicate their brand and/or its connection to Detroit?
What did you learn about identity design from this experience?

5: CREATIVE ORGANIZATIONS
• Grand Circus
• PonyRide (note: you MUST go on the March 13 tour only!!!)
• Incite-Focus
• Another makerspace, incubator, learning organization or co-working space of your
own choosing (you must contact them to make arrangements)
This field trip is interested in creative organizations including maker spaces, incubators, coworking
spaces, and learning organizations. They all have something in common: they are interested in
supporting entrepreneurs, designers, and/or other creative people or groups in Detroit through
cooperative spaces or support services. Either sign up for a public tour of one of these
organizations or contact them to see if you can set up a visit.

Research the organization, think about what we have learned about design, and come up with at
least seven questions to bring to the interview. Your questions should help you learn about the
organization and how design is important to them. Then document the experience and what you
learned about design, about the organization, and about their role in the city’s design ecosphere.

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LDT1000
SELF-GUIDED FIELDTRIPS
6: PAST INTO THEPRESENT
• Pure Detroit Guardian Building (free tours on the weekends)
• Detroit Experience Factory (look on their calendar for free walking tours of downtown)
Reflect back on our tour of the Fisher Building and on our visit to Design Core Detroit. Then embark
on either tour of another a historic gem (the Guardian Building) or a walking tour of downtown
that considers both past and present. Document and describe what you learned about design
from these experiences. What kinds of problems did designers from different eras face? How did
they solve them? What stakeholder groups were valued? What role do the building(s) and space(s)
that were designed long ago have in our design ecosystem and social lives today?

7: SELF-DESIGNED
I encourage you all to submit a proposal for a self-designed & self-guided field trip! Review the
other prompts here, then write a detailed prompt for a field trip idea of your own. Be sure you
are specific about where you will go, what you will do, what you will learn, and how you will
document what you have learned. Submit your proposed prompt to me and I will review for
approval. Pro tip: You can design a field trip that will be helpful for your final project.

Language you can use if you are introducing yourself to atour guide or onsitecontact:
I am a Wayne State student taking a class about design and creativity in Detroit called LDT1000 City of
Design. I’m here as part of an assignment to do a self-guided field trip to explore design in the city.
[then you might want to explain why you are taking the tour or what you are hoping to learn]

Language you can use if you are contacting someone for anin- person interview:
I am a Wayne State student taking a class about design and creativity in Detroit called
LDT1000 City of Design. I am currently working on an assignment to explore an aspect of design in
Detroit that I am interested in learning more about. I am curious about aspect of design and learned
about your organization from .In particular, I am interested
in learning more about (some aspects of their organization or work). I was wondering if it would be
possible for me to visit your (office/site) and talk to someone in your organization and learn more
about what you do? [then you might want to list some times when you are available and how to contact
you]

WSU Offsite Learning Guide 23

 THE NEA HIGHER EDUCATION JOURNAL 39

The Peripatetic
Approach to
Teaching the Gothic
By Sandy Feinstein

S
outhwestern College in rural
southern Kansas enrolls little
more than 600 full-time stu-
dents.
Not surprisingly, Medieval and
Early Modern literature, the fields I
teach, are not in great demand in
the pragmatic rural environment of
Kansas. If I want to teach a special-
ized course, I must find creative
ways to do it.
As both director of an honors
program and a professor of English, I
want to offer a greater variety of
English classes as well as develop
inter dis ciplin a r y h onors classes
that fulfilled the goals of the pro-
gram. A course on Gothic literature
serves two functions: It adds a
genre course to the English curricu-
lum and is also well suited for ful-
filling the goals I had defined for th
e H onor s pr ogra m: com m unit y
service, experiential learning, and
research.
By providing an “integrative” or
inter disciplinary approach, the
course also fulfills the expectations
of the core cu rriculum. Moreover,
the class was likely to draw student
in t er e s t : Got hic is “in ,” a fact I
exploited when I omitted the word
“lit er a tu re” from t he t it le in t he
course schedule.
The community service compo-
nen t of t he cla s s m a y als o h a ve
ind ulged the popular view of t he
Gothic: I suggested students consid-
er giving blood. Less ghoulish, but
equally scary for students, the
course paper was intended to devel-
op both writing and research skills so
integral to education in general and
English in particular.
The exp er ien tia l str uct ur e of
the course was modeled on science
laboratories or field courses, which m
ad e pos sible a noth er m ean s of
addressing scientific issues and
concerns in the texts. The structure
also provided an interdisciplinary
approach that included characteris-
tic methodologies of specific fields.
Gothic lit erature proved ideal for
fulfilling these goals and one more:
that Honors students engage in an

Sandy Feinstein is a Fulbright Scholar at the University of Aleppo, Syria for the 1998-99
academic year. She has published articles on teaching multicultural literature and teaching
Chaucer, as well as articles on collaborative pedagogy. She also has published scholarly articles
on Medieval and early modern literature in Exemplaria, Readerly/Writerly Texts, Studies in
English Literature, and the Chaucer Review, among others. She is an associate professor of
English at Southwestern College in Kansas.
WSU Offsite Learning Guide 24
40 THOUGHT & ACTION
To reinforce the importance of time and
place in the literature, the hour of class
meetings was flexible.
education of risk.
The Gothic course involved re-
enacting the literature’s setting as a
means of fulfilling the experien- tial
component of the Honors pro- gram.
To reinforce the importance of t im e
a nd pl a ce in t h e lit er a - ture—its
conventions and charac- t e r —a s w
e ll a s t o s u bv e r t t he notion of
what can constitute class space and t
ime, I left the hour of class meetings
flexible.
Sometimes we met at the “pub
lished” time of 7:00 p.m., with class
ru nn in g a s sch ed uled u n til 9:30.
larly significant hour in the litera
Often we met later, at leas t once
running until midnight, a particu-
-
ture. This flexibility was not mere - ly
a sym bolic gesture or a test of con ser
va tiv e a ssu m pt ion s a bout
education, but a practical necessity
since I had to adjust to the sched- ules
of those who would contribute their
time or space to the class. For
n ot only wa s t he h our subject to
change, so was the “classroom.”
The class gathered every week
at the originally assigned room in t h
e lib r a r y, b u t , on ce e ve r yon e
arrived, I would lead the group to
anot her location , one inten ded to
represent some aspect of a particu-
lar text’s landscape or some impor-
tant issue that the landscape fore-
ground ed. Since our d estina tions
were as much fictional constructions
as those of the texts, the journeys
from one landscape to another, one
lea r n in g sp a ce t o a n ot h e r, a lso
served to complement another con-
vention of the genre: the journey as a
process of discovery, as both physi-
cal act and psychological experience.
I n s hor t , ch an g in g t h e cl a s s
hour and locale drew attention to
key a sp ects of Got hic: su s pen se,
mystery , and terror as reflected in
setting, both time and place. These
ch an ges a lso d em on s t r a t ed h ow
authors adapt the landscape they
- know to the landscape they do not
J
know.
u s t a s m y s t u d en t s m a y be
familiar with the Kansas Flint
Hills and Ann Radcliffe with
the cliffs of Dover, neither she nor t h
ey e ver s t e pp e d foot in I t a ly,
where much of her novel, The Mys -
teries of Udolpho , is set. The appro -
priation of the local landscape for
t he purposes of enacting the text a
ct i v el y d em on s t r a t e d t h e r ol e la
n d s ca p e pla ys in t h e g en r e a s
sen sibilit y , meta ph or, id ea , even
character.
Since the class met only once a
week, I could not afford to “waste” a
day. On the first day, therefore, I
knew I would use the time both to
begin to define the genre and pro-
vide background for it. I asked the s t
u d e n t s t o d o a fi ve - m i n u t e “fr
eewr ite” list ing t heir a ssocia -
tions with the word Gothic.
T h e y r e a d t h e i r d e f i n i t i on s
aloud, and we put some key words
WSU Offsite Learning Guide 25
 THE NEA HIGHER EDUCATION JOURNAL
Asking the students to read Dante
aloud prompted any number of Bela
Lugosi imitations.
and images on the board. I supple m -
en t ed t h e s tu den ts’ k ey wor ds
with those used by John Ruskin to
define Gothic ar chitecture—“Sav-
ageness,” “Changefulness,” “Natu-
ralism,” “Grotesqueness,” “Rigidi- t
y,” “Redu n da n ce”—a n d s how ed
slide images of Gothic cathedrals.
Then I provided excerpts from
variou s precursors of th e Got hic:
Homer ’s figure of Discord, V irgil’s
figu re of F am e. 1 I as ked the s tu-
dents which of their definitions or
Ruskin’s could be associated with
the classical figures. The basic dis - a waren ess of Da nt e’s a rchi-
tillation was of a “scary” character
who creates chaos in an evocative
landscape.
From the very short passages of
Homer and Virgil, we looked at sec -
t ion s f r om D a n t e (t he m on st e r Ger
yon), Shak espeare (th e gh ost scen
es in H am let a nd M acbet h ), a n d
M ilt on (t h e s ce n e of S in , Death,
and Satan).
To p r e p a r e t h e s t u d e n t s for
their first on-site re-enactment of t h
e l i t e r a t u r e, I a s k e d t h e m t o
underline what they thought were
Gothic images or actions, then be
prepared to read a tercet or more of
Dante aloud in their best imitation
of a Gothic voice (prompt ing an y
number of Bela Lugosi imitations).
We i d e n t if ie d a n d di scu s s ed
Dante’s images, motifs, themes, and
word choice that could be associated
with our definitions of Gothic: the
jou r n e y t h r ou gh he ll it s el f, t h e
41
bizarre and monstrous inhabitants,
including the mad steersman Phle-
gyas, disembodied voices from dark-
ne s s, gh os t s. We a lso id en t ified
words that are literally translated s
uch as “d ark,” “evil,” “hell-dog,”
“slime,” “s hadow,” “cu rse,” “bla ck
word,” “pack,” “howling,” as well as
a nima l similes, for in st an ce, th e
s cor p i on ’s st in ger, God a nd t h e
absence of God.
S
lides of medieval Gothic archi -
t ect u r e r ei n f or ce d s t u d en t
t ect on ics a nd dem on st r a t ed t he
relationship of his poetic landscape to
the architecture of the period. As the
students had noted the Gothic
characteristics of the poetr y, they
also identified the key characteris - t
ics of t he a r ch it e ct u r e : poi n t y
spir es and dramatic arches, dark
stones, gargoyles and grotesques,
ston e-carved an imals an d lea ded
stained glass windows.
I tried to get them to make con-
nections between the visual and the
verbal, between Ruskin’s definition
and their own. By way of contrast, I
provided slides of 18th-Century art,
Fragonard and Boucher ’s whimsy,
as well as the artificially construct-
ed r om a n t ic l a n d sca p es s ee n i n
architecture books of the time and la
t er u sed by Tom Stop pard a s a
symbolic structure in Arcadia .2
Cla sses sch edu led t o la s t for
nea rly t h r ee hou r s ben efit fr om
WSU Offsite Learning Guide 26
42 THOUGHT & ACTION
The college administrator indulged my
first request: to let me hold class on the
roof of the building.
varying the activities and pedagog - ic
approaches. My intention was to build
on background and definition.
I wanted all the time available to b e
u se d for t h i s p u r p os e , e v e n
break time.
M
y la st in -cl a s s r e a d in g
assi gnmen ts for the first
d a y, fr om S h a k e sp e a r e ,
were to be presented through per-
for m a n ce. Gr ou p s w er e for m ed,
parts chosen. The break would be t h
e jou r n ey t o t h e p e r for m a n ce
space. We walked up the hill to the
administration building, proceeded
to the third floor, where we came to
a s i g n on t h e m e n ’s l a v a t or y :
Reserved for Gothic Class.
I had gotten all the necessary p
erm iss ions for m y va rious field
trips, and the college indulged my
first request: to let me hold class on
the roof of the building, the access
to which is through the men’s bath r -
oom . An e xt e n s ion la d de r h a d
been set up and a campus security
guar d s tood waiting at t he top of
the stairs to help students through
the small rectangular opening lead
ing to the roof.
O n t h e w a y t o t h e r oof-t op
stage, I pointed out another “stage”
outside that I had already prepared
with candles (not yet lit), in case a n
yon e exp r es sed a r ea l fea r of
heights. It was there I sent two stu
dents who, though they tried, did
not make it to the roof.
On the roof, with it s barbican cr
en el la t ion s, t h r ee gr ou ps per -
formed rampar t scenes from Act I of
Ham let , another performed the
banquet scene from Macbeth . The
discussion focused on the relation-
s h i p b e t we e n p e r for m a n ce a n d
text, site and text, and what it all
had to do with defining Gothic.
Th r ee s t u d e n t s d r op p e d t h e
c l a s s for va r i ou s r e a s on s : t h e d
e m a n d s of t h e r e a d i n g , t h e d em
a nd s of a n open -en ded cla ss
time, discomfort with an unconven -
tional class (though this last was
never actually admitted).
I nterest ingly enough, the two
students who did not climb the lad -
der to the roof were not among the
t h r ee w h o d r op p ed . D ur i ng t h e
cou rse of th e semest er, bot h st u-
dents faced other climbs and both s
u r m ou n t e d t h e s e ch a lle n ge s ,
which they described in their jour -
nals as one of their achievements,
as a personal way of understanding
the literat ur e. They realized that
by alternately indulging and over-
coming fear, they had reenacted the
- si t u a t i on fa ce d by a n u m be r of
Gothic heroines.
T h e r em a in i n g s t u d e n t s , 1 6
now, were excited about the peri-
pa tetic, experien tia l ap pr oa ch to
learning, and only one missed any
classes. The one who missed a class
- did so on the day she misca rried
(she was one of two nontraditional
students).
WSU Offsite Learning Guide 27
 THE NEA HIGHER EDUCATION JOURNAL 43

I learned how willing people are to

make a contribution, no matter how
eccentric might seem the request.

Not all the field trips required
students to climb or crawl. The sec -
ond trip, for example, provided the set
for The Castle of Otranto . We
walked to the most Gothic house of w
or s h ip in t own , a n E p is cop a l
church. The site seemed appropri-
ate to represent the distortions of
Catholic worship and ritual created
by the Anglican Horace Walpole.
why, people went out of their way to
help me give shape and form to
literary landscapes I had re-imag-
ined locally: from the college’s sup -
port when it agreed to allow class to
be held on the roof of the admin -
istration building to the Episcopal m
inister lea ving h is church open after
7:00 p.m., so I could use it at an
“appropriate time.”
I had no particular leverage. I was

O
n the way to the church, stu - not a member of his congrega - t ion ,
no r a m I e ve n C h r is t ia n , wh ich he
dents for med groups whose
members assumed the roles k new. Th is experien ce, however,
made me aware of anoth - er
of specific cha ra ct ers in ord er to
advantage of involving the com -
enact the action and interactions of
munity: The Gothic may have an
ch a r a ct e r s, i n clu d in g: t r yin g t o
- om in ous ring in r ura l, Ch ristia n
“escape” from one another, discern
communities, something too easily
in g possible h iding pla ces on t he
associated with Satan worship and
way to the church, and identifying
“r a dica l” t een s wea ri n g bla ck . I
lurking threats analogous to Gothic pr ovid ed on e cor r ect ive t o t hese
constructs within the text.
associations by identifying the spe -
These field trips and the many cific texts that would be read in a
that were to follow taught me an
particular place.
import ant p er sona l lesson : I n ot
At a not he r of t h ese e ven in g
only learned about what the com- m
field tr ips, we met at a local bed-
un it y h a s t o offer —it s n a t u ra l
and-breakfast where two of my col -
resources, its architecture, its his- t
leagues provided “entertainment,”
or y, wh ich t his tea ch er a nd h er
18th -Cent ur y music on recorders
students had vastly underestimat-
(t he B & B ser vin g a s t h e pu mp
ed—I learned about the people who
room of Northanger Abbey’s Bath).
live t here. I lear ned how willin g
Later that same night, we met at the
people are to make a contribution, n
old library in town, now a dance
o m a t t e r h ow e cce n t r i c m i g h t studio, that served us as an Eng- lish
seem the request.
ballr oom, where an other col- league
Everyone wanted to know what
provided the students with lessons in
I was doing, not out of suspicious-
18th-Century dances.
ness so much as curiosity. When I
T h e s e e n t e r t a in m e n t s , lik e
told th em w h at I was doin g a n d

WSU Offsite Learning Guide 28

44 THOUGHT & ACTION
Dressing-up made the students
conscious of how clothes inform
behavior and manners.
everything else, had more than one
purpose: contextualizing the genre,
d emon st r a t in g h ow cu lt u r e con -
tributes to informing behavior, and
providing a window into the fiction - Mansion in Oklahoma, which the
al universe and the daily life that J
ane Austen delights in satirically
contrasting.
Com puter techn ology enabled
me to make period invitations to
the ball, which were delivered by h
and . Th e invita tion s were mod-
eled on actual 18th-Century invita -
tions, t hough mine rem inded t he
recipients to “dress appropriately.”
T h e s t u d e n t s r e sp o n d e d in
kind. Four ladies had a page deliv - er
the RSVP, another hand wrote
his RSVP, and all came “dres sed” for
the occasion. Though I had not defined
“appropriate dress,” a num - ber of
students had contacted the theater
department, which obliged by
providing tails for the gentlemen and
white gowns and gloves for the ladies.
J ust as the formal invitations e
l i ci t e d f or m a l r e s p on s e s a n d
assumptions on what to wear, the fa
n cy cl ot h in g ch an g ed t h e s t u -
dents’ behavior as well, which the
students themselves remarked.
This awar enes s of h ow dres s-
ing-up affected their movem ent s,
conversation, and self-image made t
h e s t u d e n t s con sci o u s of how
clothes inform behavior and man-
ners, and demonstrated the impor
tance of clothing in the texts.
- to. He couldn’t keep from smiling at
Interestingly enough, it was not
only the students who got involved
with Austen’s novel by dressing up.
T h e p er s on n e l a t T h e M a r la n d
following week served as the abbey
it se lf, p r ep a r ed for m y cla ss by
reading N or t h a n ge r A bbey ,
researching 18th-Century clothing,
a n d t h en dres sin g “a ccor din gly”
(one woman made her dress for the
occasion!).
T
he most unlikely field trip of
all involved tunnels with pro -
fessional guides. The deputy
wa r den of t he st at e cor r ect ion a l
facility located in t own agreed t o
give the class a tour of the prison’ s
underground tunnels.
T h is w a s no ve n u e for J a n e
Austen’s Northanger Abbey but for
Bram Stoker ’s Dracula . This time,
for teacher and students alike, the
fear was real and palpable. After
w e w er e ch eck ed in by secu r it y,
t h r ee official s guid ed t h e gr oup
through two different secret under -
ground passageways.
Before getting started, however , t
h e wa r de n a s ke d t h e s t u d en t s
what Gothic was and what tunnels
had to do with t heir reading. The
students answered in a rush, iden -
tifying the tunnels in Dracula , but
also mentioning their p resence in
The Monk and The Castle of Otran -
t heir en t h u sia st ic expla n at ions,
WSU Offsite Learning Guide 29
 THE NEA HIGHER EDUCATION JOURNAL
I wanted scientists to contribute to
shaping students’ access to the
literature and its concerns.
t hou gh ev en t u a ll y he cu t t he m
short to begin the tour.
Wh en I bumped into him two
m on t h s la t e r i n a d r ug st or e , I
asked him if he remembered me.
He asked if I were kidding. Then he
added that he and the other war-
den who had accompanied us find
themselves describin g actions by t
he in m a t es or speci fic en vir on -
men ts at th e p rison a s “Got hic.”
T h e t r ic kle -d own of t h e c ou r s e
struck me time and again.
B e ca u s e I h a d m od e le d t h e s t
r u ct u r e of t h e c la s s, t o s om e
ext en t, on t ha t of a field biology
cla ss, I wan ted scientis ts to con-
tribute to shaping student access to
the literature and its concerns. To
reinforce the differences in method
ologies and authorial awareness of
how science and its methods have
his torica lly affected people’s per-
ce p t ion s a n d be h a vi or, I a s k e d
three of my colleagues in the sci- en
ces if th ey wou ld be willin g to
offer “labs” for two books, Franken -
stein and Dracula .
On e ch emis t creat ed a lab in
wh ich the s tudents exp erimented
with “chloral,” the formula of which
appears in Dracula . A biologist dis -
cu ss ed b a t s —he pr ovi ded m a ny
skins t o examine and then joined
u s for a n o n -ca m p u s b a t w a lk,
though not to the “bat cave,” where we
discu ssed Dracu la lat er th a t same
night. And a biochemist con - s t r uc t e
d a n e xp e r im e n t t h a t
45
engaged students in both biological
and ethical issues with a “life creat -
ing” DNA experiment.
S
h e also join ed us in a night
wa lk t o a nea r by cem e t er y
intended to recall the grave-
ya r d s c e n e s i n D r a cu l a a n d
Frankenstein . This walk was used
to extend the discussion of ethics to
a s s u m p t i on s a b ou t p r op r i e t y,
prompt ed by being at a cemetery
after hours, the discomfort of which
led,in turn,toexamining the
importance of transgression in the
construction of Gothic.
An optional anatomy lesson on
an actual corpse followed the walk
among the buried dead (for t hose
- who, like myself, did not welcome the
thought of dissecting a cadaver , I had
prepared a creative writing exercise.
I was stunned that only three
students demurred).
These experiments emphasized
the increasing role of science in the
lit er a tu r e, a r ole rep resent ed as
problematic “progress” in Goth ic,
as a threat both potential and actu -
al that must be exposed, addressed,
debated, and explored for good or ill.
By bringing the genre into the
community and as king people to
contribute to recreating scenes, the
Goth ic is demys tified. Town an d
gown unite for the purpose of edu -
cation. Both students and residents
benefit by learning about the place
WSU Offsite Learning Guide 30
46 THOUGHT & ACTION
they live and about one another, as
well as about an unfamiliar litera - ing the rise in the role of science a n
ture.
If, in a town of 10,000 founded in
late 19th-Cent ury Kansas, it is
possible to find “Gothic” locations, t
hen, I suspect, few places would
have difficulty doing the same.
The st uden ts’ ent husia sm for
b ei n g s u r p r i s e d—a s t h e G ot h ic
requires of its characters—affected
how they perceived and read the
text s. Moreover, this ent husias m
kept students invested in both the
literature and the course, making t h
em “a ct ive” r ea d er s. Th ey a r e
“afraid” not to read the books all
the way through and to miss class
because they think they really will
miss something. They enjoy trying
to figure out which landscapes from
the books will be recreated, for they
do not know in advance what local
site will serve as the fictional place.
Author's Note
I would like to thank the administra -
tors, faculty, staff, and students of South -
western College, as well as the community of
Winfield, Ka nsa s and the staff of the Mar
lan d Man sion in Ponca City, Okla-
h oma, for ma kin g th is cours e a nd th is
paper possible.
Endnotes
1 See, for example, Victor Sage, ed. T he
Gothick Nov el (London: Macmilla n,
1990), 24, who also refers to these and
other texts as “precursors.”
2 Se e, for exam ple, Hum p hr ey Rept on,
H a t c h l a n d s in S u r r e y. R ec e n t l y
exhibited in “To Observe and Imag-
ine: British Drawings and W atercol -
ors, 1600-1900” (New York: The Pier -
pont Morgan Lib rary, 1 998), which
contains watercolor illustrations that
are “fit te d with m ova ble flap s that
accommoda te before-and-after depic-
tion s of sites to be improved.” T om
With Gothic literature parallel -
d it s pe rcei ved s ign ifi ca nce—
specifically field biology and experi -
m e n t a l ch e m is t r y—offer in g t h e
Gothic as a “field” course does more
t ha n int egra te th e disciplines. It
enables students to experience the
disciplines actively while provoking
them to consider how both litera-
ture and science contribute to our
perception an d u nd ers t an din g of
the world.
Th is is on ly on e a ppr oa ch t o
how I h ave a da pt ed to wh at h as
been called a crisis in education, to s t
u d e n t s ’ d e cl i n in g in t e r e s t in lea
r ni ng a nd dim in ish in g sk ills
across the disciplines: There are as
many means of adaptation as there
are teachers willing to discover new
wa ys to offer wh a t t h ey kn ow is
well worth teaching.
Stoppard’s, Arcadia as staged in New
York and San Francisco (1995), used a
flip chart of before-and-after plans in the
style of Repton; these, however, were u
sed to r epresen t the tension between
two markedly different atti- tudes to
nature, architecture, gender , and love,
among other things.
Works Cited
Austen, J ane. Northanger Abbey . New
York: Harcourt Brace (1991): 297-
543.
Dante. T he Inferno, trans. J ohn Ciardi.
New York: New America n Library
(1958): viii, xvii.
Feinstein, Sandy, Amanda Folck, Car- man
Costello, and Jennifer Muret Bate, “At
Home with Multicultural- ism in
Kansas,” Sharing Pedagogies , ed. Ga il
Tayko a nd John Paul T as -
soni. Portsmouth: Boynton/Cook
(1997): 67-79.
Homer , Iliad , trans. Richard Lattimore.
Chicago: U of Chicago P, (1966):
iv.440-445.
WSU Offsite Learning Guide 31
 THE NEA HIGHER EDUCATION JOURNAL
Lewis, Matthew. The Monk. Oxford: Ox-
ford UP, 1995.
Milton, John. Paradise Lost , ed. Merritt
Y. Hughes. Indianapolis , Indiana:
Bobbs-Merrill (1975): II.6 29-736.
Radcliffe. Ann. The Mysteries of Udolpho .
New York: Harcourt Brace (1991): 119-
294.
Repton, Humphrey. Hatchlands in S ur - rey.
“To Observe and Imagine: British
Drawings and W atercolors, 1600-
1900.” Exhibition of the Pier- pont
Morgan Library, New Y ork, 1998.
Ruskin, John. The Nature of Gothic . Intro.
Lloyd J . Reynolds. Portland, Oregon:
Charles Lehman (1975): 4-5.
Sage, V ictor , ed. The Gothick N ovel . Lon-
don: Macmillan, 1990.
47
Sha kespea re, William. Ham let , ed. T uck -
er Brooke and J ack Randall Craw- ford.
New Ha ven: Ya le UP (1966):
I.i.1-1 75, I.iv.1-92, I.v .1-189.
–––. Macbeth, ed. Tucker Brooke and J ack
Randall Crawford. New Haven: Yale
UP (1966): III.iv.
Shelley, Ma ry. Frank enstein . New York:
Airmont, 1963.
Stoker , Bram. Dracula . New York:
Signet, 1992.
Stoppard, Tom. Arcadia . Boston: Faber and
Faber, 1993.
Virgil. The Aeneid, trans. W .F. J ackson
Knight. New York: Penguin (1958):
iv.175.
Walpole, Horace. Castle of Otranto . New
York: Harcourt Brace (1991): 1-1 16.
WSU Offsite Learning Guide 32
Service Learning Journal Rubric

DIMENSION OF QUALITY NOVICE(D) APPRENTICE (C) PROFICIENT (B) DISTINGUISHED (A)

[90Points] [104 Points] [118 points] [ 140 points]

AWARENESS OF THE Student demonstrates Student expresses Student expresses Student expresses and acts
limited awareness of awareness of the purpose empathy and/or awareness out personal role in service
PURPOSE OF SERVICE the purpose of service of service and a moderate of personal role in service and applies the experience
LEARNING learning. connection with the and applies it to a personal to developing connections
experience. connection with the with classmates and the
experience. community.

APPLYING THE EXPERIENCE Student does not apply Student expresses some Student develops a Student creates their own
the academic connection between the perspective built upon the academic perspective
TO THE ACADEMIC knowledge base and academic knowledge academic knowledge base infused with the knowledge
KNOWLEDGE BASE AND objectives of the course base and objectives of and objectives of the base and objectives of the
to the service the course and the course that is linked to the course and applies it to the
OBJECTIVES OF THE experience. service experience. service experience. service experience beyond
COURSE the curriculum.

RESPONSIBILITY TO Student demonstrates Student expresses insight
a limited awareness of into community issues
COMMUNITY personal responsibility pertinent to the service
to community. project and integrates a
personal sense of
responsibility to
participating in a solution
but does not apply that
knowledge.
Student acknowledges a
responsibility to community
regarding issues pertinent
to the service and
expresses a commitment to
working towards specific
solution(s).
Student acknowledges a
responsibility to community
regarding issues pertinent to
the service and expresses a
commitment to working
towards specific solutions. In
addition, student gets
others involved.

IMPACT ON STUDENT’S Student expresses Student expresses a Student expresses how Student expresses change(s)
very limited or no connection between they could change as a in self because of the
PERSONAL LIFE connection between service and self. result of the service. service.
service and self.

WSU Offsite Learning Guide 33