This syllabus may appear intimidating. That is not its intent. Think of it as a sort of "manual" or guide for this course. It contains some basic information about the course as well as information of general use that can help you in other classes. You are responsible for reading it! You should consider it an essential part of your notes for this class and keep it with them.

Stewardship : We are stewards, not plunderers, of the legacies of ancient people.

• Diverse Pasts : We should not only think of "the Past," but recognize that there are many; that they reflect a varied cultural constituency.
• Social Relevance : There are legitimate lessons to be learned through archaeological work; that various peoples¼ cultural identities are intimately related to what these endeavors have to tell us.
• Ethics and Values : As stewards and interpreters of ancient peoples¼ legacies, fundamental ethics and values must be understood and implemented through practice.
• Written and Oral Communication Skills : Archaeologists, as stewards, interpreters, and often creators of histories of ancient peoples, must develop communication skills:written and oral:for a variety of constituencies ranging from the general public to the professional community of scholars.
• Basic Archaeological Skills : Students of archaeology must also understand the epistemological ramifications of the discipline:how they come to know what they know about ancient peoples¼ life ways:ranging from understanding the basic skills archaeologists employ in the field to varied ways they understand and interpret what they encounter under the ground.

This course will document the cultural trajectories of North American Indian cultures emphasizing times prior to European colonization. We will examine the 20,000 year-plus archaeological record for evidence of the original migrations to the New World. Subsequent change, development and diversity of cultural adaptations will be discussed as indicated by the archaeological record. The course will be organized around the culture areas of North America (e.g., the Arctic, Subarctic, Northwest, Midwest and Great Plains, Northeast, Southeast, Southwest, Great Basin, and California). Within each culture area we will trace the cultural developments that characterized them. While the paramount concern of this class will be to document prehistoric culture dynamics north of Mexico, we will spend some time discussing ancient Mesoamerica — both as an area with its own distinctive characteristics as well as one that may have in part influenced cultural developments to the north.

Throughout this course we will be noting the use of the techniques employed by archaeologists — both laboratory analysis and subsequent interpretation — to explain, rather than merely describe, the dynamics of life during ancient times in North America.

The first review/test will be on Wednesday, February 27. The second test review will be on Monday, April 15. The third test (Final, but not comprehensive) will review on the last class day, Friday, May 10, and will be due on Wednesday, May 15 (due due no later than 5:30). Each of the three tests will be worth 100 points and will constitute 20% of your final grade (60%).

There will be a number of assignments that you will have to do to prepare your paper. You might be fortunate to already have developed such habits (at least mentally). If so, you can content yourself with the additional points you will be getting for writing them and handing them in (instead of merely "circular filing" them). These can be viewed as involving the writing of the following procedural steps (e.g., committing to a written form):

Procedural Steps Leading to a Finished Paper:

(1) Prewriting: something you do anyway. This involves preparatory reading, discussing, listening, in essence, information exposure and absorption. This is where you begin to familiarize yourself with what is "out there."

(2) Freewriting: "brainstorming," something else you probably do (often just a few days or hours before a paper is to be submitted? In essence this involves writing down whatever comes to mind.

(3) Focused Freewriting: a more focused brainstorming where you write down whatever comes to mind on the subject being explored.

(4) Rough Draft: You make selections from your above brain stormed ideas, i.e., you organize your information, get your ideas down in sentence and paragraph form. For many students, this stage is often where they end. Rough drafts are often slightly polished (white-out, etc.) and submitted as final papers. Why? "I had so many other papers to write and final exams to study for, I just didn't have time. (an example of a statement seldom related directly to the class instructor).

(5) Revision: If you really care about your writing, you will add this step. This is where you take your rough draft and reorganize it for logical development and emphasis. This is where you concern yourself with appropriate word choices you made; how you developed your sentences; how you developed and structured your paragraphs; etc. Note! Revision is not to be felt as punishment. It is a polishing process and something you should get used to doing to the point that it becomes natural to you and doesn't require outside intervention. Revision and the next step allow you to refine your writing product to the point that it excels. Then you can expect your appropriate reward (e.g., grades [for students], praise [authors], money! [maybe not here, but sometime]).

(6) Editing: This is where you really get down to the nitty gritty. In some ways it is a continuation of the revision stage. Beginning with the larger units of paragraph structure, you polish and fine tune your writing to deal with sentence structure, spelling, word choice, grammar, and usage.

As with most creative processes, they are usually not linear, but may be recursive. It is quite possible that a final paper might have progressed from stage 1 to 4 where, for a variety of reasons (e.g., a shift in priorities, the discovery of some really interesting aspect of your research that makes you want to shift direction and focus, maybe your instructor doesn't like what you're doing), you find yourself returning back to stage 2 or 3. You may find in your revision (stage 5) that there is a body of information you really should include. This may subtly change your paper's direction and emphasis and require a new rough draft. Whatever the reasoning, you should expect to have to re-enter the cycle again before you hand in your final copy.

Writing is done to satisfy a variety of needs. How you are able to write has a lot to do with the way you respond to essay test questions, both the way you answer questions and the way you interpret what is being asked of you. An exemplary paper responds to the following concerns:

Hierarchy of Concerns Reflected in Quality Writing:

(1) Content: This involves the body of facts, theories, "evidence," etc. that is incorporated in a paper.

(2) Focus: Is the paper concentrating on a manageable thesis, or is it better characterized as showing a "shotgun" approach? Does the author (student) try to bite off more than s/he can chew?

(3) Organization: Does the paper or essay exhibit orderly organization appropriate to the stated aims of the paper? How are ideas organized or clustered in paragraphs? Is there orderly logical succession?

(4) Style: This has a lot to do with what the writer views as his or her audience. If you look at an article written for a popular magazine such as Reader's Digest and find an article on a similar topic in a scientific journal, the style will vary considerably. If you wrote a letter to your parents about your trip to New Guinea and tried to submit it as an article in American Anthropologist, they wouldn't take the time to laugh. Style has a lot to do with producing a form that is viewed as appropriate for a particular audience's expectations (examples of "audience" being: yourself, an English instructor, an anthropology instructor, a professional journal editor, etc.).

(5) Mechanics: This involves the concerns dealt with in the editing stage. How you tailor your paper to a particular audience will also be dealt with here. What punctuation conventions are appropriate? How do they footnote in the discipline you're writing your paper for? It also deals with the "nuts and bolts" concerns of spelling, punctuation, grammar, etc.

These concerns are organized hierarchically—in this class I will be looking first at content, then focus, etc. They are things you should be aware of in your writing. I will be aware of them when I read what you will be writing for me.

It seems fitting that this name/title would have such an appropriate and meaningful fit also as a part of the acronym for the student writing projects you are about to embark upon! Through their writing, students uphold and uplift the essential humanity often lost in archaeological empirical data—data that often takes the form of statistics, various forms of graphical representations; something that is often jargonistically communicated in—what I have in recent years come to call—"graduatestudentese" (sometimes also referred to as "scientese"); a style and format that seems to fundamentally eliminate the human person and our need to vicariously experience, as emically as possible, the worlds of antiquity!

This is the lofty mandate for your writing projects in this class.

Here are the guidelines for those of you who wish to develop your creative-writing skills and still meet the requirements of this course. As indicated, this kind of assignment is something that I have used in the past and it has been quite successful! The book, People of the River should give you some sense of what can be done with historical—in this case archaeological—fiction.

This assignment will be worth 40% of your total class points. The grade will be based upon your completing and handing in a series of approximately weekly assignments (see CREATIVE-WRITING RESEARCH PAPER: DEVELOPMENTAL ASSIGNMENTS below). These too are designed to "walk you through" your paper's developmental stages or steps.

Your final product will be a relatively short fictional account (i.e. probably being at least 10 typed pages and not expected to exceed 20 pages). It must deal with an archaeological (i.e. ancient) time period. This means that your paper should represent an ancient culture prior to any contact with European culture (i.e. Precolumbian).

It must take place somewhere in North America. This means somewhere within what now is comprised by the national territory of either Canada/Alaska, the United States (i.e. the "Southern 48"), and possibly in northern Mexico. This class will not be about the cultures of Mesoamerica (i.e. most of Mexico and any of the countries to its south).

When I was a student I found that there is often an inherent conflict between true creativity and the grading process. Frankly, one main reason I have not used this kind of assignment is precisely because of its grading difficulty.

Most of all, I want you to be creative! I cannot grade your creativity, but I will carefully consider the archaeological logic of your creativity. You will be developing some kind of plot line, characters, and a story, but it must make some sense and be based upon the accumulated archaeological knowledge we have of a particular region and culture or cultures that lived there. A story that is cluttered up with lots of in-text referencing suffers artistically; it ends up looking more like a formal report. At the same time, what you write should have some informational accountability.

To establish and maintain an uncluttered flow and still account for the accuracy of your fictional scenario, it appears the best thing to do will be to have an appendix to your paper with annotated endnotes.

For example, let's say your story takes place during Pueblo III times in the old Four Corners area of the American Southwest. Your protagonist is an Anasazi jeweler who lived in one of the communities in Chaco Canyon. Somewhere you will want to "paint" word pictures of what the architecture, food, weather, clothing, religion, ethnic makeup, etc. was like. Your description of where the jeweler lived within, say, Pueblo Bonito will require your reading archaeological sources that give you that information. Maybe you have a scene where the artist wakes up in the morning chill after a long night in a crowded, smoke-filled kiva. He stands up stiffly and walks through a series of doors out into the cool, bright sunshine to get some breakfast of chew bread. At the end of each literary reference to a particular aspect—room layout at Pueblo Bonito, what the doorways were like, what goes on in kivas, what chew bread is like—you will insert an endnote number. Your endnote following room layout will indicate the reference you used and any additional remarks about that reference that informed you in your scenario creation. The same kind of end noting referencing process will follow each specific thing you refer to in your text (including something totally "off the wall"—something you clearly are making up or using creative license for). This does not mean that you should expect to have endnote numbers all through your story, but that you do account for information when it is new to you. Basically, what this is doing is establishing the credibility of your literary accounting—the believability of your scenarios.

Often, people writing historical novels seem to be "market-driven." Therefore they will develop plots and character types that are sometimes almost super-human. I suggest you resist this temptation and try to focus on stories about common and believable people. I think great writers have the ability to take the common and find in it the sublime. Earnest Hemingway was able to do this with an old Cuban fisherman (The Old Man and the Sea). I'm not expecting any Hemingway's in this class (who knows?).

Investigate the archaeological culture of your choice to the extent that you can daydream about what it might have been like then. Keep notes on what you learn about your fascinating culture (including what would go in your final bibliography). You may not actually use all your notes, but when you get some kind of critical mass of information, then you can begin to entertain writing a fictional account about them and their time. When you begin to write your story you might find it useful to think yourself into the account—perhaps as if you were keeping some kind of daily diary or journal about your life back then—use the "first person". Think about daily rounds and common human experience—jokes, dirty laundry, stubbed toes, obnoxious dogs who bark late into the night, absolutely gorgeous captivating sunsets and late night skies, conversations late into the night, memorable meals, etc. Ancient folks had similar experiences, but these occurred in their universes.

To get you going on the right mind set, prior to actually beginning your library research, you should read the following section: BACAB CAAS : Student Ethnoarchaeological Self-Perspective

Here¼s one way to begin to approach this topic by focusing first on yourself and a day in your life. To do this, keep a small notebook, tape recorder, or some kind of convenient comfortable recording media on or next to yourself for a 24-hour period.

Begin with your first waking moments and observe and record all of the following. That means each box should be checked after you write down that observation in the spaces provided in the six-page BACAB CAAS: Student Ethnoarchaeological Self-Perspective Questionnaire that you received along with this syllabus:

1. When you first open your eyes, what do you see within about 6 inches of your face?
2. What are you covered with?
3. Do you feel comfortable in your covers?
4. Did you wear special clothes when you went to bed, or are you wearing what you will have on when you get out of bed?
5. What are you sleeping on (i.e. a raised bed? Something low and on the floor? Etc?)
6. Are you in a room? And, if so, what is it like?
7. Are there lots of things in the room? Briefly list what they are.
8. What does it feel like when you get out from your covers? (Warm? Cold? What?)
9. What do you do after you get up? Is there anything that might be called a normal "morning ritual" for you?
10. Do you eat shortly after you get up?
11. If so, what do you eat?
12. What is the temperature of what you eat (i.e. warm, cold, what?)?
13. Do you eat with other people? If so, with whom (i.e. what relationship do they have with you?)?
14. What is the building like where you live (i.e. your residence, home, whatever)?
15. Who else lives in the building with you?
16. Are there animals that live in the building with you (such as pets) and, if so, what are they and how many are there?
17. What is it like when you leave your residence?
18. Does a normal day involve your going far from your residence?
19. Where do you go during the day?
20. What kinds of things do you do during the day that you have to (i.e. "work" plus other tasks that you have to do in a normal day)?
21. What kinds of objects (i.e. artifacts) would characteristically reflect the kinds of tasks you engage in in a normal day?
22. Are these things that would remain you a separate work place, or would they accompany you back to your residence?
23. Does doing the kinds of tasks you do in a normal day make you accomplished? satisfied? tired? exhausted? In other words, roughly evaluate what you do as part of your "quality of life."
24. How many times do you eat during the day? Roughly when?
25. What kinds of meals do you eat? Are there different types of meals you eat and what distinguishes one type from another?
26. When you eat, are there certain people you usually eat with? If so, why?
27. What makes up the bulk of the volume of what you eat (i.e. grains, pasta, meat, what?)?
28. Is your day broken up in any logical way? If so, what are the divisions of the day and how are they reckoned (i.e. how do you reckon time during the day:clocks, position of the sun, relative brightness, etc.)?
29. When you are away from your residence do you generally feel secure?
30. If you don¼t feel secure, what kinds of things would make you feel that way?
31. If you feel secure, what kinds of things would make you feel that way?
32. Considering your own "effective landscape" (the places you inhabit during a normal day), where do you feel the most secure? most insecure?
33. Who are those to whom you defer? Who are those who defer to what you say?
34. What are the kinds of things you tend to do as a member of a group?
35. What kinds of things do you tend to do individually?
36. How does your spirituality relate to how you view your day-to-day world?
37. What is your normal end-of-the-day experience like?
38. Do you stay up after the sun goes down? If so, what do you normally do during that time and before you get ready for sleep?
39. When do you get ready for sleep? What determines when you "go to bed?"
40. What is the temperature like when you get ready for sleep?
41. Is sleep something you look forward to? Or, is it something that you do out of necessity?
42. Do you feel secure when you go to sleep?
43. When you are ready for sleep, is it dark? Are there any sources of light that you see? If so, what are they?
44. Are other people nearby when you go to sleep? Who are they (i.e. their relationships to you)?
45. Would the answers to these questions be different for different times of the year? If so, why? and how?

This may sound like a lot of very individual detail! It is, but answering these questions would convey a great deal of what your life was like. Notice that some of the questions can be answered by referencing tangible "things": objects that you physically use and interact with (artifacts and features:perhaps covered by the concept of "standard of living"), while other questions have less tangible references (things that come under the heading of "quality of life").

Because you are a living human being, you are able to answer all of these questions, but how, as an archaeologist, would you approach answering them for a culture separated from you by time, space, and tradition? If we can ask such questions of ourselves, then we should be willing to ask it of those long gone. I believe that attempting to do as much of this as possible is a noble goal for us as archaeologists!

You will be completing and handing in a series of approximately weekly assignments designed to "walk you through" the following developmental steps due on the designated days.

• Assignment 1 (20 pts. ):

Due on: February 1 (Friday)

BACAB CAAS: Student Ethnoarchaeological Self-Perspective Questionnaire (Discussed above)

Also : BEGIN NOW (e.g., on Day 1!):

Starting on the first day, you should begin reading and starting to "brainstorm" or "fish" for a region, culture, and time period you could get interested in. Think about what you put down for your first-day questionnaire about what you would like to research in this class. Your readings may have some ideas in store and most of them will have bibliographies that you can consult. You might also want to consult the CLICNet for titles related to North American archaeology. Do not read for total retention, rather to get a general feeling for what types of information is available. This is analogous to the prewriting stage.

You will want to begin "collecting" articles and/or books that will relate to your proposed interests.

• Assignment 2 (5 pts.):

Due on: February 15 (Friday):

You should have more or less skimmed some readings and hopefully you will have found some books and/or articles related to the ancient culture that interests you.

Write a one-page brainstorming freewriting essay that grapples with some (or one) of the cultures, theories, or whatever that you find potentially fascinating about ancient North America. Do not worry about mechanics (spelling, sentence structure, etc.) at this time. Hand this assignment in by the end of class (5 pts). Then, begin reading other pertinent sections of your text, look at the index, bibliography, etc., and try to get more of a feel of possible directions you might want to eventually take with your fictional account.

Note : for Assignments 3 through 5 you should attempt to focus on specific topics relevant to rounding out your fictional account. In other words, one should try to look at the natural environmental surroundings of the culture you are interested, another on the material culture they possessed (artifacts, dwellings, subsistence, etc.), another on what can be gleaned about possible social structure, etc. Since your story should not be about someone experiencing sensory deprivation, you will have to be sensitive to the kinds of settings whatever plot you have occur in.

• Assignment 3 (5 pts.):

Due on: February 22 (Friday):

Write a one-page freewriting essay on the content of a book or article you felt was pertinent to your ancient culture. Specify which of the specific topics this reference addresses. Hand this assignment in at the end of class (5 pts).

• Assignment 4 (5 pts.):

Due on: March 8 (Friday):

Write a one-page freewriting essay on the content of a third book or article you felt was pertinent to your ancient culture. This assignment is virtually the same as the last assignment. Specify which of the specific topics this reference addresses. Hand this assignment in at the end of class (5 pts).

• Assignment 5 (5 pts.):

Due on: March 15 (Friday):

Write a one-page freewriting essay on the content of a fourth book or article you felt was pertinent to your ancient culture. This assignment is virtually the same as the last assignment. Specify which of the specific topics this reference addresses. Hand this assignment in at the end of class (5 pts).

• Assignment 6 (15 pts.):

Due on: April 3 (Wednesday):

You now should have amassed a considerable body of material about the time period, ancient culture, environment, etc. you will write about. You are now ready to commit to print your first draft (to be handed in for this assignment)! Note, my example above—the Anasazi jeweler from Chaco Canyon—as an example, but you will have your own story line occurring perhaps in ancient Cahokia, a Hopewell community in ancient Ohio, or perhaps in the shadow of a cedar plank great house on Vancouver Island in British Columbia.

Use the following headings or guidelines to organize this draft (and your final paper!):

Remember that still at this stage your primary concern is with content, but you are beginning to be concerned with some more editorial and mechanical concerns. Don't take an excessive amount of time to do this. You should be able to knock this together in about one week (given you've completed all of the previous assignments fully and on time). Hand your first draft in by the end of this class day! (15 pts).

• Assignment 7 (Optional, but take advantage of this if you are behind or having other problems!):

Due on: April 12 (Friday):

You should schedule time during this week for a conference where we can discuss your first draft. During this week you will receive feedback in the form of suggestions for improvements of your rough first draft. Additional feedback may come from your peers. When you get your draft back, begin the revision process to prepare your second draft for the next assignment.

• Assignment 8 (10 pts.):

Due on: April 22 (Monday):

By this time you should have made the suggested second draft. Hand them back under the label Second Draft. This is also a time when you might want to make revisions of your own design. Either hand in a copy of your second draft for me to look at, or arrange a conference with me to discuss your direction and progress (either worth 10 pts.)

• Assignment 9: (The Finished Product! 35 pts.)

Due on: May 1 (Wednesday):

This is the absolute final due date for your finished final story! If you have been following the assignment schedule above, you should have no problem with this due date. Be sure to use the outline given in Assignment 6 (above). Your final paper (i.e. what amounts to at least your third draft) will be given a maximum of 35 pts. Note! there will be 5 discretionary points for neatness and general appearance!

If you have read the above and there still are any questions you might have on this come and see me as soon as possible. Your final evaluation of your paper will be accomplished by my going over the form presented below.

As indicated elsewhere, this form should basically be a fait accompli (hopefully, my French hasn't suffered too much during these years!). In other words, by the time I'm writing up my final evaluation of your "novelette prehistorique," the various editorial stages should have weeded out all problems so that you are virtually guaranteed full points! Keeping up with the sequence of assignments on time will really help to ensure this!

First, as you begin your literature search, you should begin reciting a mantra that goes like this,

The message? : You should not assume that everything you need to find for your research in this class can be found on the World Wide Web! As a matter of fact, you should use the World Wide Web only as your reference of last resort (unless, I have one to recommend, but usually those are based on some kind of peer-review process anyway). For this class you should assume that you will be looking at BOOKS and/or ARTICLES. Having said that, I will be returning to the topic of access to great materials via the "net" later.

Here at Hamline students should look first to the resources of the Bush Library. This involves their book and journal holdings. Being a member of a consortium of other colleges and universities (ACTC) has advantages for student research and this is most evident in the form of CLICNet:is the computerized on-line library catalog of ACTC schools (Augsburg, Bethel, Concordia, Hamline, Hamline Law, Hill Reference, Macalester, St. Catherine, and St. Thomas). Notice that this includes some schools that are not formally part of ACTC.

As you begin your research (for this paper, as well as for this or any other class you might be in), it would be wise for you to begin making card files. Every time you read a book, an article in a book (e.g., an anthology or edited volume), journal, or magazine, you should take a small 3 x 5" note card and make a bibliographic entry. Use the same format you would use for the American Anthropologist bibliographic format (see Referencing and Bibliography in this syllabus). Once you have your cards produced, you can begin to set up a computer database (we'll be talking about this more later). Use a different size (e.g., 5 x 8" cards) for recording specific areas of information. It is better to over-produce both types of cards. Don't expect to use all of them when you write up your final paper. When the time comes you will have a better idea of specifically what information is pertinent for your paper. Your draft writeup(s) of your paper should involve basically laying our your cards to write your text and similarly sorting your computerized "cards" alphabetically to produce your bibliography (You should be able to put your notes into a computerized database for later sorting as well!). I have found that such types of information (on cards—paper and especially computerized!) are more easily cross-referenced for other writing assignments that might come up in other classes..

You are strongly encouraged to make use of the journal articles available on-line at the Bush Library website—especially those in JSTOR. We will be meeting part of one day in the Bush Library computer lab where we will be given a workshop on using JSTOR as well as some other on-line journal sources. There will be additional handouts at that time profiling "how-to" as well as what references are most applicable to this particular class. For the moment, see XVI: JOURNALS THAT CARRY ARCHAEOLOGY ARTICLES ON NORTH AMERICA for a sampling of what is available. Specific relevant articles there are marked with JSTOR, InfoTrac, and IDEALibrary in parentheses following the bibliographic entries.

We will set aside a class session early on to go to the Bush Library for a session on JSTOR, etc. with one of the staff librarians.

You will be expected to become familiar with and use the referencing and bibliographic format adopted by the American Anthropologist. In reality it is one of the simplest formats and one you should become acquainted with (especially if you plan to continue in anthropology!). Instead of inserting superscripted numbers for footnotes, as well as op. cit. and ibid., when you use an idea or information originally produced by another person (e.g., a quote or a paraphrased idea) you follow such information with a parentheses, the author's last name (space) the year of publication (colon) and then the page number(s). A typical reference for one crediting one of Kent Flannery's ideas that appeared in one of his 1974 articles between pages 236 and 239 would look like this:

That's all there is to it! No mess, no fuss.

Bibliographic format is essentially like that provided in the list of texts and references provided in this syllabus. Note that on the first line you find the author's last name, first name. Line two is indented (3 spaces) then the year of publication (followed by 3 more spaces and flush indented) then the title (followed by a period) place of publication (followed by a colon) and then the publisher (ended by a final period).

	Kehoe, Alice B.
		1981	North American Indians: A Comprehensive Account. Englewood Cliffs, NJ: Prentice-Hall.

If you are referencing an article in a journal or magazine: your author line is the same; line two is the same through the title; following the title is the name of the journal or magazine (space) volume (no space) number (enclosed parentheses in parentheses—often journals are published quarterly and will be listed as numbers 1, 2, etc.) (followed by a colon) page number(s) (ends with a period).

A typical journal article entry would look like this:

It is a bit more complicated with dealing with referencing part of a collection of different writings (e.g., an anthology). As indicated above, your author line (indicating who wrote the individual paper or chapter you are dealing with) is the same; line two is also the same through the article title. This is followed by the underline word In (space) the name(s) of the editor(s) of the collection (ed. or eds. depending upon whether singular or plural) (comma) the pages the article takes up in the book (small case p. or pp. for more than one) the place of publication (colon) the publisher (all ended with a period). Note, this changes somewhat with the added capacities to do italics as provided by word processors

The following provides an example:

Notice that the only time you are underlining anything is for the word In.

In your text of your paper you should remember to italicize foreign words or phrases as well as any points you especially want to emphasize (e.g. the Mayordomia system, gumsa/gumlao, etc.—a word like taboo, even though derived from the Polynesian languages is now part of standard English and thus need not be underlined).

One word about quotations in your papers—you should not get too carried away quoting. Excessive quotation makes the reader think that you are unable to digest and interpret information yourself. Use quotes only when you feel strongly that you could not condense or paraphrase borrowed information adequately. If you are perhaps providing specific anthropological informant's responses, then quoting is appropriate. If a passage is especially important for particular wording, historical value, or even literary or poetic excellence, then quoting there might also be appropriate. Sadly, most of what I have read in anthropological ethnography does not warrant such literary esteem. Don't be afraid to use other's information, but show your own confidence and paraphrase—not forgetting to reference what you have not thought up yourself first!

Notice that in the Calvin site, the magazine where the article was published appears followed by the month of publication.

In the Institute for Agriculture and Trade Policy web site there is a "13(1):17." This refers to "Volume 13, Number 1, page 17" of the publication (electronic here, but possibly also in hard copy elsewhere).

Focusing:

1. Be sure you understand the question. Look specifically at the verb used (e.g., see below). You will have sufficient opportunity to get clarification before you begin your test.

1. Explain = spell out your reasons, causes, connections.
2. Analyze = break up into small parts, phrases, clauses (very much like you did in grade school when you diagramed sentences).
3. Compare = point out significant similarities and differences.
4. Summarize/Describe = reduce to major features.
5. Evaluate = judge, take a position on merits, consequences.
6. Define = provide a definition for a term and demonstrate how it is used by giving an example. How does this term relate to other terms and to the larger context of the course?
7. Discuss = Beware of this term. It usually means show what you know or have thought about a subject, but it might also mean one of the above.

2. Plan your answer. It is sometimes helpful (to you and to me) to make a brief outline in the margins of your paper hitting the main points you intend to write about.

Writing:

1. Be selective of examples. Pick the most pointed ones and describe them sufficiently.
2. State how your example fits the terms of the question. Why did you use it?
3. Don't drift away from the topic. Stop and start again. A vague answer is not suffieicnt.
4. Proofread what you have written. Is your response compelling to the instructor? Does it clearly indicate your understanding of the subject matter implied in the question?

Organization:

1. Begin your essay stating the main ideas you intend to develop in your essay (your thesis statement).
2. Use one idea per paragraph. State the ideas you support it with evidence or examples.
3. The sequence of paragraphs should reflect a logical development or progression of ideas.
4. Conclude your essay with a summarizing paragraph or sentence.

General Considerations:

1. Draw examples and evidence from class, films, your text, and case studies. State your source(s) for information (see Referencing and Bibliography below).
2. Comparisons with our own culture are encouraged.
3. Develop your own ideas, connections. I can assure you that those who express their own opinions or understandings—even if they conflict with mine—generally tend to perform better in these classes.
4. Be comprehensive. Have you covered a wide range of relevant material?
5. Try to avoid ethnocentric statements.
6. Humor is welcome!

Avoid!:

1. Repetition
2. Oversimplification
3. Disorganization
4. Inaccurate statements
5. Listing characteristics or events without making connections

Following you will find a general idea of some of the kinds of journals available. Note that some of them are labeled according to their availability as Bush Library on-nine resources in JSTOR, Infotrac, and/or IDEALibrary. Keep in mind that this only scratches the surface.

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American Anthropologist (primarily cultural anthropology, occasionally with archaeological articles—an excellent source for reviews of archaeological films and books) (Infotrac)

American Antiquity (the journal of the Society for American Archaeology—contains articles on archaeology of North America and the entire Western Hemisphere) (Infotrac) (Future JSTOR)

American Scientist (while not primarily an archaeological publication, there often are found articles of interest to archaeologists)

Annals of the Association of American Geographers (while most articles in this journal are devoted to issues devoted to geography, there can be found a number of articles dealing with archaeological concerns and some theoretical approaches of interest to anthropologists) (Infotrac) (Future JSTOR)

Annual Review of Anthropology (provides "state of the art" articles on all branches of anthropology—including concerns for North American archaeologists) (Infotrac) (JSTOR)

Antiquity (British journal—contains articles dealing with archaeology from all corners of the globe—occasionally about North America, but seldom) (Infotrac)

Current Anthropology (primarily cultural anthropology with some articles dealing with archaeological reporting and interpretive synthesis) (Infotrac) (JSTOR)

Early Man (a popular journal, but nonetheless one that warrants looking at for its primarily North American archaeological articles)

Journal of Anthropological Archaeology (primarily concerned with interpretive approach and theory) (IDEALibrary) (Infotrac)

Journal of Anthropological Research (formerly, Southwestern Journal of Anthropology still has many articles pertinent to the archaeology of North America—especially the Desert Southwest) (Infotrac)

Journal of Field Archaeology (deals with the entire world and has information on new techniques) (Infotrac)

Kiva (archaeology of the American Southwest)

Mid-Continent Journal of Archaeology (primarily archaeology of the American Midwest) (Infotrac)

Nature (British publication similar to Science—occasionally contains articles related to prehistory of various parts of the world) (Infotrac)

North American Archaeologist (an excellent journal—as the title implies, specifically oriented toward the archaeology of North America)

Science (while not primarily concerned with archaeology, this prestigious international journal [published by the American Association for the Advancement of Science] does occasional contain a ground-breaking article on some aspect of archaeology somewhere in the world) (Infotrac)

Scientific American (while not primarily an archaeological publication, this journal often does contain at least one article devoted to archaeology somewhere in the world.) (Infotrac)

World Archaeology (each issue is topical, e.g., one issue on nautical archaeology, another on coins, another on climatic issues relevant to archaeology, etc.) (Infotrac) (JSTOR)

Incompletes are strongly discouraged! Note that I will be going on sabbatical for the entire rest of the year. I may, or may not, be an entire hemisphere away in Thailand for a long time! Most likely, any incompletes that occur will have to be arranged so that another faculty person in this department will end up giving you your final grade.

The above emphasizes the importance of keeping good notes. Note! Is a good idea ta keep a record of everything you read and hear in this class. After you finish reading a chapter or an article, seeing a film or slides (or even something you might read, hear about, or perhaps see on PBS), or hearing a lecture, write a brief summation of what you feel you have seen, heard, or read. If you come across terms or concepts you do not understand, or you might disagree with, then by all means, write them down and ask about them in class. Your asking questions in class will help you as well as those around you (who might be more timid about asking questions, but who could nonetheless profit from the answers). This does not mean that I do not also encourage you to take full advantage of my office hours. Please feel free to come by to chat!

Remember, I will have only two ways of finding out what kinds of things are giving you problems—through your asking me for explanations, or through your answers to your test questions. I would rather find out before your test.

Past experience indicates that the goals indicated in the syllabus schedule may not always correlate with how fast the class in fact progresses. As stated initially in this syllabus, this syllabus is more of a guide. Class interest and enthusiasm for a portion of the subject matter may make us take more time on one topic than was originally expected and we can expect to sometimes get behind where we should be. This is healthy and, if need be, the syllabus can be then adjusted accordingly.

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April 5, 2002: Friday

Mississippian/Late Prehistoric Southeastern Cultural Developments (Module 13C and Overview)

Slides: Mississippian sites and artifacts

April 8, 2002: Monday

Cahokia—Late Prehistoric Metropolis on the Mississippi (Module 13D and Overview)

Read: Fagan (2000:450-468 [if you haven't already read it]).

Read: Fowler (1974, Cahokia: Ancient Capital of the Midwest)

! OPTIONAL: Assignment 7: Meeting conference on your paper progress

Have read: People of the River (hopefully to have some discussion on a novel about this part of the prehistoric southeast)

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April 10, 2002: Wednesday

Prehistoric Peoples of the Great Basin (Module 14 and Overview)

Read: Fagan (2000:251-278)

May 1, 2002: Wednesday

What The History Books Forgot to Tell Us (Module 17 and Overview)

Read: Fagan (2000:489-518)

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