Welcome to the Faith of Our Fathers Orientation

1
Welcome to the Faith of Our Fathers Orientation

• Do you have all of your materials?
• 1. Handbook
• 2. Sample Presentation Outline
• 3. Class Materials
• 1. Reading Schedule 2. Brief Syllabus
• 3. Extended Syllabus 4. Student Score Sheet
• 5. Reading slip 6. Biola Library
  Application

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Faith of Our Fathers

• There and Back Again
• From Luke to Spenser

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Faith Tutors

• Mrs. Barber Temecula
• Mr. Buhler La Mirada, Yorba Linda
• Mr. Garten South Bay

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Faith Objectives
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TA Handbook pp 10-11

• Many of the specific objectives listed in the
  handbook are continuations of objectives of your
  previous Torrey Academy classes. However, there
  are a few objectives that are new. Please make
  sure you read this page carefully to understand
  the major goals of the Faith of Our Fathers
  class.

6
TA Handbook pp 10-11

• 1. Characterize the different genres of allegory,
  epic poem, essay, and homily.
• Faith reads allegory and epic poetry, which you
  have not been introduced to thus far in Torrey
  Academy. The poetic/literary books that we read
  are Consolation of Philosophy, Poem of the Cid,
  Song of Roland, The Canterbury Tales, Pearl, the
  poetry of Petrarch, The Divine Comedy, and The
  Faerie Queene.
• A good exercise to understand some of the unique
  aspects of this new kind of poetry is to make
  notes either mentally or on paper of the
  differences and similarities between the poetry
  in Faith and the poetry youve previously read in
  Foundations and Inklings.

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TA Handbook pp 10-11

• 2. Trace the literary development of early
  Medieval and Renaissance culture and identify key
  movements.
• After taking note of the differences and
  similarities in Faith poetry, tracing these
  differences/similarities chronologically, and
  after discussing the ideas related to these poems
  in class, you will start to see how and why these
  distinct kinds of poetry emerged in the West and
  how they relate to the Christian faith.

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TA Handbook pp 10-11

• 3. Understand the historical development of major
  doctrines of Christian theology.
• The English word Theology comes from the Greek
  theos, which means God, and logos, which in
  English etymology is most commonly translated as
  the study of. Theos Logos Theology
• As in all Torrey Academy classes, our goal in
  studying theology is not simply to acquire a
  certain amount of mental data of who thought what
  and when, although you will acquire this.
• Our goal in Faith is to explore, as far as our
  minds can reach, the Triune God and our
  relationship to Him as communicated to us through
  Scripture and creation.
• Logos can be translated many ways. A more direct
  translation might employ word, reason,
  account, law, or a number of other options,
  depending upon the context.

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TA Handbook pp 10-11

• 4. Apply a historical perspective to
  Christianity, Christian doctrine, and the
  contemporary church.
• From our intellectual adventures into the mind
  and heart of God and His Church we will hopefully
  view our churches, our reading of Scripture, and
  our daily living in light of His truth.

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Class Meetings
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TA Handbook p 22

• 1. Devotional
• Like all TA classes, Faith class meetings begin
  with a short devotional. However, Faith students
  have the option of leading their own devotionals
  when discussed in advance with their tutor.

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TA Handbook p 22

• 2. Discussion
• The TA Socratic style discussion is practiced in
  the Faith class as in all TA classes. After
  spending 1-2 years finding flaws, invalid
  arguments, etc. in their own thinking and in
  their fellow classmates thinking, Faith students
  are prompted to positively construct ideas and
  arguments without leaving the logical critical
  skills behind.

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TA Handbook p 22

• 3. Silent Summary
• Instead of requiring in-class notes, your tutor
  may require students to write a silent summary
  of the class discussion during the last 5-10
  minutes of class, or your tutor may require you
  to complete your silent summary on your own after
  class.
• Also, the tutor may ask one or more students to
  summarize the discussion aloud without the help
  of notes to further develop the students
  rhetorical and logical skills.

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Writing Assignments
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TA Handbook pp 26-27

• 1. Synopsis
• The synopsis takes the place of the précis in the
  second semester of Foundations and all year in
  Faith.
• Like the précis, the synopsis is due on the day
  of the first discussion of the text. For onsite
  students, you will turn in the synopsis to your
  tutor in class, and for online students, you will
  send the synopsis as an email attachment to your
  tutor.
• Only one synopsis is due for each text that we
  read. Make sure to consult your reading schedule
  as some readings only require you to synopsize
  certain sections of a text, or may include
  special instructions for synopsizing.

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TA Handbook pp 26-27

• Unlike the précis, which you compose as you read,
  the synopsis is composed after you complete the
  reading. To do this effectively, good marginal
  notes are important.
• There are two parts to the synopsis. First,
  there is the five-sentence summary. Unlike a
  précis that requires a summary of each chapter,
  the summary of the synopsis is brief (five
  sentences, no more and no fewer) and should
  encapsulate the main plot/point of the entire
  text.
• The second part of the synopsis is a theme
  explication expanded in two paragraphs. In this
  section, students should identify and explain one
  major theme of the text with an aim at
  understanding the text as a whole. The theme
  explication must be supported by citations and/or
  quotations.

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TA Handbook p 27

• 2. Reflection Essay
• The reflection essay for Faith is the same as the
  reflection essay for Inklings and Foundations.
• The reflection essay is usually due either in
  class or attached to an email (for online
  students only), on the day of the last discussion
  of a text.
• Please consult the Handbook for the specific
  requirements.

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TA Handbook p 26

• Critical Questions
• For the Dante and Petrarch readings, instead of
  writing a synopsis, each student will write
  critical questions about the poems, including a
  four-sentence paragraph explanation accompanying
  each question of the importance and significance
  of each question.

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TA Handbook pp 27-30

• 4. Term Papers
• Unlike the Inklings and Foundations classes,
  which require two term papers per semester, Faith
  only requires one term paper per semester.
• The Faith term papers have the same general
  requirements for thesis statements, drafts, and
  final drafts as the other TA classes.

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TA Handbook pp 27-30

• However, there are a few differences for Faith
  papers
• 1. Faith papers have a 2000-2500 word limit.
• 2. Faith papers require an annotated bibliography
  instead of a works cited.
• 3. Faith papers require the integration of at
  least two secondary sources.
• 4. Your Faith papers will be a revised and
  refined versions of the presentation that you
  will give each semester in class.

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FYI

• There are four basic types of theses you can
  write
• 1. Theological an argument about how the
  different Biblical principles fit together, the
  proper interpretation of specific biblical
  passages, and/or the proper application of
  specific passages.
• 2. Philosophical an argument about how we
  should understand the world in general and/or
  mankind.
• 3. Historical an argument about the
  significance of a historical event, person, or
  idea.
• 4. Literary an argument about the significance
  of characters, themes, literary devices, and/or
  imagery employed by an author.

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Presentations
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TA Handbook pp 23-24

• The presentation is a 15-20 minute explanation
  in front of your class of a formal outline that
  includes an argumentative thesis, at least three
  supporting arguments, and secondary research.

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TA Handbook pp 23-24

• After the explanation is finished, you will
  entertain questions from your tutor and fellow
  students regarding your subject.
• After answering questions, you will then ask your
  own questions, leading the class in at least a
  twenty-minute TA discussion of the text.

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TA Handbook pp 23-24

• Purpose
• The purpose of the presentations is to help
  students begin to develop their oratory and
  rhetorical skills.
• With the reading and argumentation in Inklings
  and Foundations as the groundwork, Faith students
  begin to build the skills of persuasive speaking.

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TA Handbook pp 23-24

• Requirements
• Thesis
• While the thrust of your argumentative thesis can
  be historical, literary, or theological, your
  thesis must primarily deal with one of Faiths
  texts.
• At the site orientation, you will sign up to do
  your presentation on one of the assigned
  first-semester readings, usually excluding the
  first and last readings.
• It is your responsibility to independently read
  your text, choose and research a related topic,
  and develop an argumentative thesis based on the
  chosen text.
• Your thesis and three supporting arguments must
  be turned in to your tutor two weeks prior to
  your presentation.

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TA Handbook pp 23-24

• Outline
• You will expound upon your thesis in a formal
  outline (see the Wadsworth Handbook 39-40, 155).
• This formal outline will give at least three
  major arguments in support of your thesis and/or
  in defense of your thesis from opponents.
• Your full outline must be turned in to your tutor
  for approval one week prior to your presentation.

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TA Handbook pp 23-24

• This formal outline will incorporate your reading
  of at least two scholarly secondary sources that
  discuss your topic.
• A primary source is a text that is considered
  expert or definitive and has endured as such
  through out history. All the texts we read in
  Faith are primary.
• A secondary source is a scholarly text commenting
  upon a primary text.
• At the site orientation your tutor will provide
  you with a list of secondary sources from which
  you must choose at least two sources for your
  presentation.
• Both your primary text and your secondary sources
  must be read by your two-week-prior thesis
  meeting. (Note DO NOT wait until the week prior
  to your first meeting to read all of your texts.)

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TA Handbook pp 23-24

• This is a primary source

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TA Handbook pp 23-24

• This is a secondary source

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TA Handbook pp 23-24

• When wondering whether a source counts as
  primary or secondary, ask yourself these
  questions
• Do we read it for Torrey Academy? If so, it is a
  primary source.
• What is the text about? If a source is written
  about another work, whether for the purpose of
  explicating the works content, arguing for an
  interpretation of it, or providing contextual
  information to deepen ones understanding of it,
  then the source is generally going to be a
  secondary in nature. If not, it is a primary
  source.
• Is it on the list of approved secondary sources?
• What does my tutor think?

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TA Handbook pp 23-24

• How does one locate secondary sources?
• The Biola Library is an excellent resource for
  secondary sources. All sources listed on the
  approved secondary sources list are available at
  the Biola Library, and a provisional membership
  is available to you as a Torrey Academy student.
• Google Books is an essential tool for locating
  sources electronically. Use Google books to
  search for books written about your primary text
  or author, to gain author information, and to
  read free books and articles written about your
  text and topic.
• Google Scholar operates similarly to Google Books
  to help you locate articles on your selected
  topic. It will link you to sites such as JSTOR
  and Wiley Online Library to help you locate
  articles written about your text and topic.
  (Note While some journal databases such as JSTOR
  require a subscription to utilize, operation of
  said databases is free at the Biola Library, and
  pdfs can be saved and sent via email to utilize
  from home.)

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TA Handbook pp 23-24

• Additional tips when gathering secondary sources
• Follow citation trails once youve found one
  good secondary source to locate other works
  written on the same topic.
• Remember to utilize both books and scholarly
  journals. Use every avenue available to find the
  best sources for your topic.
• Begin your research early (this means at the
  beginning of the semester) in order to narrow
  down your topic and find secondary sources that
  will be especially helpful for you.
• If you are having trouble, ask your tutor for
  help. (Just dont expect a lot of it if you are
  asking in the days just prior to your first
  meeting concerning your arguments)

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TA Handbook pp 23-24

• How to utilize secondary sources once you have
  found them.
• Once youve gathered the sources you need to
  research your desired topic and form a thesis,
  think of the secondary sources as a conversation
  between scholars about the primary text. The
  authors are carrying on a Torrey Academy style
  discussion, but they know a lot more about the
  text than your average Torrey Academy Student.
• Use your secondary sources to enhance your
  knowledge of your selected primary source and to
  form a thesis (whether theological,
  philosophical, historical, or literary) about it.
  
• Feel free to agree or to disagree with a
  secondary source. In either case, however,
  explain why. Secondary sources are there to help,
  not to be utilized in arguments from authority.

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TA Handbook pp 23-24

• Bibliography
• As a part of using secondary sources, you will
  write an Annotated Bibliography instead of a
  Works Cited page.
• A Works Cited page simply lists the texts that
  you cited in your paper.
• An Annotated Bibliography lists all the texts
  that you read, in whole or in part, for your
  paper/presentation regardless of whether or not
  you ended up citing them.
• An Annotated Bibliography also has a brief
  description of each source that includes
  information about the sources merit and
  pertinence.

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TA Handbook pp 23-24

• Meetings
• After signing up for your presentation text at
  site orientation, you will then schedule your
  presentation meeting with your tutor.
• All students must meet with their tutors two
  weeks prior to their presentations. For this
  meeting students must
• Have completely read their primary text.
• Have read at least two secondary sources chosen
  from a tutor-provided list.
• Bring a typed copy of your thesis and at least
  three supporting arguments to discuss with your
  tutor.

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TA Handbook pp 23-24

• Meetings
• All students must meet with their tutors one week
  prior to their presentations. For this meeting
  students must
• Bring a typed copy of your outline and annotated
  bibliography. This should not be thought of as a
  rough draft. You will discuss your argument with
  your tutor and he or she may suggest changes for
  you to consider. You may revise your outline as
  needed during the following week.

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TA Handbook pp 23-24

• Google Groups
• Two days prior to your scheduled presentation,
  you must compose and post a set of questions in
  your class group that you will use to lead
  discussion on the day of your presentation.
• Presentation Day
• On the day of your presentation, you must bring
  to class copies of your outline, including your
  annotated bibliography, for all of your
  classmates and your tutor.
• You will give your 15-20 minute presentation,
  receive questions and feedback, and lead
  discussion.
• All students must come prepared to discuss the
  presenters posted questions.

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Context Lectures
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TA Handbook p 31

• Faith students are required to listen to and
  summarize context lectures like the Inklings and
  Foundations students.

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TA Handbook p 31

• Faith students must listen to the four-part St.
  Augustine Hermeneutics Lecture series before the
  beginning of classes.
• Additionally, Faith students are required to
  listen to and summarize all three lectures of the
  three-part series on Christology and the Early
  Church Councils given by Dr. Fred Sanders of the
  Torrey Honors Institute, Biola University.
• Listening to and summarizing these three
  lectures will meet the first semester context
  lecture requirements.
• In the second semester, Faith students are free
  to choose any lectures from their class list in
  the toolbox.

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Extra Credit
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Hands Projects

• You may perform and/or create a piece of music,
  poetry, play, art, or manuscript that pertains to
  the Faith curriculum.
• Because of the amount of time and energy
  involved, Hands Projects can increase your
  semester grade by up to 5.
• All Hands Projects must be approved by your tutor
• Some examples
• Research and perform a Gregorian Chant
• Put on a Shakespeare play
• Research allegorical poetry and write your own
• Create an illuminated Psalter
• Any other creative and substantial project

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Extra Credit Reports

• (With tutor approval)
• The purpose of extra credit reports is to help
  the class gain a better knowledge of the
  historical events from roughly the
  intertestamental period to the middle ages, as
  well as to help students raise their grades.
• Each report is worth the same amount as a
  synopsis or reflection essay and will be graded
  along the same lines.
• Students may do one report per quarter.
• Students may sign up to do a report at any time
  during the quarter.

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Report Requirements

• It must be 500-550 words long.
• It must have a bibliography that includes at
  least two scholarly sources, one of which is a
  reputable encyclopedia, such as the Encyclopedia
  Britannica or the Catholic Encyclopedia. For
  other good academic sources, look at Oxford
  and/or Cambridge histories.
• The report must include a chronology of events,
  the major people involved, and why this subject
  is relevant to our study.
• You must read it aloud at the beginning of class
  on the day it is due, and entertain any questions
  that arise.
• You also must bring enough copies for the entire
  class and the tutor.

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And Now

• A Sample Presentation
• By Mrs. Barber

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Exit, Pursued by a Bear

• Bears as Cosmic Catalysts in the Writings of
  Charles Williams, C.S. Lewis, and William
  Shakespeare

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Exit, Pursued by a Bear

• The exit, pursued by a bear trope
• Is it a cheap trick?
• Where do we find this trope?
• Shakespeares The Winters Tale (originator)
• Disney
• Lewis That Hideous Strength
• Williams Descent into Hell

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Exit, Pursued by a Bear

• Thesis Although Mr. Bultitude, Peter Stanhopes
  Pastoral bear, and the Winters Tale bear seem to
  be cheap tropes employed by the authors solely to
  move the plot forward in their respective texts,
  these three characters are, in fact, key
  demonstrators of what Williams terms the
  doctrine of co-inherence, because, true to the
  tragicomic pastoral conventions to which all
  three texts subscribe, the bears are agents of
  change who accomplish divine purposes within the
  stories and whose actions allow for the final
  comedic marriages at the end of each tale.

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The Pastoral

• What is it?
• Pastoral involving a rural setting (shepherds,
  traditionally), which is often portrayed in an
  idealized or romanticized manner.
• Shared conventions
• Removal from home to rural setting shepherd or
  shepherdess leading an idealized or romantic
  life parted lovers who are reunited and married
  personified goodwill of nature, etc. (Alpers
  80-81).
• The coming together (con venio) of all of
  these elements and peoples to produce a vision of
  idyllic, simplified, socially-cohesive life
  (Alpers 82).
• Pastoral setting as a place of righting or
  conquering urban woes.

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The Tragicomic Pastoral

• Tragicomic contains elements of tragedy and
  comedy
• Pastoral elements
• Removal from home to rural location, shepherds,
  prince and princess meet and fall in love, urban
  troubles are overcome, marriage, and everyone is
  reunited and rejoices.
• Tragicomic elements
• Tragedy death, loss, separation, danger
• Comedy marriage, reunion, joy, victory

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The Tragicomic Pastoral

• Stanhopes play, A Pastoral There was the
  Grand Duke in it, who had a beautiful daughter,
  and this daughter either escaped from the palace
  or was abductedanyhow, she came into the power
  of a number of brigands and then there was a
  woodcutters son who frequently burned leaves,
  and he and the princess fell in love, and there
  were two farmers who were at odds, and the Grand
  Duke turned up in disguise, first in a village
  and then in the forest, through which also
  wandered an escaped bear, who spoke the most
  complex verse of all, excepting the Chorus
  (Williams 12).
• In the last act, everyone came in, on the most
  inadequate excuses, the Princess and her lover
  and the Grand Duke and the farmers and the
  banditti and the bear and through the woods went
  a high medley of wandering beauty and rejoicing
  love and courtly intelligence and rural laughter
  and bloody clamour and growling animalism, in
  mounting complexities of verse, and over all,
  gathering, opposing, tossing over it, the
  naughting cry of the all-surrounding and
  overarching trees (93).

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The Tragicomic Pastoral

• Tragicomic contains elements of tragedy and
  comedy
• Pastoral elements
• Removal from home to rural location, shepherds,
  prince and princess meet and fall in love, urban
  troubles are overcome, marriage, and everyone is
  reunited and rejoices.
• Tragicomic elements
• Tragedy death, loss, separation, danger
• Comedy marriage, reunion, joy, victory

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Tragicomic Pastoral Bears

• Bears in tragicomic pastoral literature are
  natural agents of change because they balance
  terrifying fierceness with potential comedic
  docility (Clubb 28).

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Tragicomic Pastoral Bears

• Function of bears in tragicomic pastorals
• Keep people moving (Williams Shakespeare)
• Push the action toward comedic resolution
• Sometimes even save the world (Lewis 348 376)

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Bears and Co-Inherence

• Bears help to make up the pattern of the glory
  in their stories, since, according to Williams,
  The glory of God is in facts (Williams, qtd. In
  Hefling 6).

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Bears and Co-Inherence

• What is co-inherence?
• The word is a kind of Williams trademark, and
  the idea animates nearly all that he wrote. He
  borrowed both the word and the idea from the
  theology of the Trinity, where co-inherence
  refers to the way each of the divine persons
  lives in and through the other two, inseparably
  one with them while remaining distinct. That is
  what it is to be a divine personto exist
  mutually, to have personal identity that consists
  entirely in being related to other personsand so
  it also defines what a human person is meant to
  be. Co-inherence, in other words, is the
  principle both of the incomprehensible mystery of
  the three personal Individualities who
  nevertheless exist as one God, and of the plain,
  if neglected, truth that human being is
  being-from and being-in other persons. In the
  Trinity, co-inherence is an eternal fact in
  humankind, a natural fact. When those two facts
  meet the result is a third, supernatural fact,
  the co-inherence of the kingdom, of Christendom,
  of the church.
• (Hefling 18)

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Bears and Co-Inherence

• Co-inherence extends beyond human relations into
  all creation by virtue of the Incarnation
  (Hefling 18).
• Co-inherence makes substitution and exchange
  possible (as in Christs own sacrifice as well as
  Stanhopes and Paulines respective exchanges in
  Descent into Hell).
• Such exchanges are, for Williams, a moral
  imperative.

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Bears and Co-Inherence

• The conclusion
• Bears in these stories act within the
  co-inherence of all created things in order to
  fulfill the Providential will of God.
• Bears act as catalysts, enabling others to
  fulfill their own roles in the cosmic dance.
• Paulines dress rehearsal vision

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Bears and Co-Inherence

• She was not aware, as the rehearsal proceeded,
  of any other sensation than delight. But so clear
  and simple was that delight, and so exquisitely
  shared by all the performers in their separate
  ways, that as between the acts they talked and
  laughed together, and every one in the field,
  with the exception of Lawrence Wentworth, joined
  in that universal joyso single and fundamental
  did it become that once, while again she waited,
  it seemed to her as if the words dress
  rehearsal took on another meaning. She saw the
  ceremonial dress of the actors, but it did not
  seem stranger to her than Mrs. Parrys frock or
  Stanhopes light suit. All things at all times
  and everywhere, rehearsed some great art was in
  practice and the only business anyone had was to
  see that his part was perfect. And this
  particular rehearsal mirrored the restonly that
  this was already perfected from within, and the
  other was not yet. The lumbering bear danced the
  Grand Duke uttered his gnomic wisdom the
  Princess and the Woodcutters Son entered into
  the lucid beauty of first love, and the bandits
  fell apart within.
• (Williams 147)

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Conclusion

• Exit, pursued by a bear not just a cheap plot
  device.
• These bears may seem like minor characters, but
  they too have their verses to speak and their
  lumbering dances to perform, and without them
  there could be no comedic resolution.

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Conclusion

• According to Williams, it seems that the whole
  world is a tragicomedy, and it is each persons
  duty, be he shepherd, duke, brigand, or bear, to
  seek the will of Providence, to take his place in
  the cosmic dance, and to delight in the closing
  of the play, the resolution of the divine comedy,
  wherein Christ and his Church come together in
  the eternal union of a most glorious marriage.

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Exit

• (hopefully not pursued by a bear)