The Crowded Streets of Paris: Using RTTP in Less-Than-Ideal Situations

Bledsoe, Robert S.; Maynard, Lee Anna; Richardson, Deborah South

doi:10.1007/978-3-319-61747-3_3

Robert S. Bledsoe³,
Lee Anna Maynard³ &
Deborah South Richardson³

446 Accesses
1 Citations

Abstract

This chapter evaluates two models of Reacting to the Past (RTTP) implementation of the Modernism vs. Traditionalism: Art in Paris, 1888–89 game. The authors examined the impact of different configurations for employing the game in larger courses: the first configuration pairs students so that a single role is played by two students working together, while in the second configuration, students who did not receive a specific historical role in the game act as journalists and produce a bulletin that reports on game-day events. Although the authors’ primary interest was the effect of the different approaches to the game on measurable student learning, they considered students’ perceptions of the experience via their self-reported assessments of engagement and learning, looking for measureable differences between the engagement of the students who took more active roles in the game.

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Notes

1.
* identifies items related to course goals, while †identifies items related to unit or game goals.

References

Carnes, M. C. (2014). Minds on fire: How role-immersion games transform college. Cambridge, MA: Harvard University Press.
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McKay, G., Proctor, N. W., & Marlais, M. A. (2014). Modernism vs. traditionalism: Art in Paris, 1888–89. Player game manual version 6.0. New York: W.W. Norton and Company.
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Offutt, B. (2015). Instructor’s guide for “patriots, loyalists, and revolution in New York City, 1775–1776.” (2nd ed.). New York: W.W. Norton and Company.
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Author information

Authors and Affiliations

Augusta University, Augusta, GA, USA
Robert S. Bledsoe, Lee Anna Maynard & Deborah South Richardson

Authors

Robert S. Bledsoe
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Lee Anna Maynard
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Deborah South Richardson
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Editor information

Editors and Affiliations

Association of American Colleges and Universities, Washington, DC, USA
C. Edward Watson
University of Georgia, Athens, Georgia, USA
Thomas Chase Hagood

Appendices

Appendix A: Roles in Modernism Versus Traditionalism: Art in Paris, 1888–89

William Adolphe Bouguereau

Jean-Louis Ernest Meissonier

Pierre Auguste Renoir

Edgar Degas

Vincent Van Gogh

Puvis de Chavannes

Gustave Moreau

Paul Cézanne

G. -Albert Aurier

Joséphin Péladan

Georges Petit

Claude Monet

Jean-Léon Gérôme

Georges Seurat

Félix Fénéon

Paul Durand-Ruel

Joris–Karl Huysmans

André Michel

Paul Gauguin

Jules Adolphe Aimé Louis Breton

Mary Cassatt

John Singer Sargent

Paul Signac

Camille Pissarro

Berthe Morisot

Henri Toulouse-Lautrec

James McNeil Whistler

The roles are listed in the order of allocation. The game developers assume a minimum of 11 players (Bouguereau to Petit) Dealers are in bold. Critics are in italics. All other roles are artists.

Figures assigned to students playing journalists. This figures are given in order of allocation, although these only represent the authors’ own inclinations.

Historical figures assigned to journalists

Nadar (Gaspard-Félix Tournachon)

Emile Zola

Claude Debussy

Eric Satie

Stephane Mallarme

Arthur Rimbaud

Paul Verlaine

Gustav Eifel

Georges Melies

Gustave Caillebotte

Auguste Rodin

Charles-Camille Saint-Saëns

Edmond de Goncourt

Maurice Maeterlinck

Frédéric Auguste Bartholdi

Cesar Franck

Alphonse Daudet

Guy de Maupassant

Augustus Saint-Gaudens

Appendix B: Categories for RTTP Rubric Used to Assess Argumentative Essay

In order to assess depth of knowledge, we will focus on the following categories:

Does the paper offer fluid discussion of the assigned character?

Does the paper provide productive and purposeful comparisons of philosophies/schools, artists, and artworks?

Does the paper demonstrate relevant contextual knowledge of the period/historical moment?

Does the paper provide evidence of directed and specific visual analysis correctly and appropriately incorporating terminology found on pages 57–58 of the game manual?

Character Research and Synthesis

1 = Only cursory gestures toward the assigned character’s perspective
2= Some (but insufficient) indications of the character’s unique and individual point of view
3= Frequent inclusion of references to the character’s point of view; some of these may be misapplied or too rudimentary
4= Frequent inclusion of references to the character’s point of view with some gestures toward the elements of the character’s training or biography that would lead to this position
5= Fluid discussion from the perspective of the assigned character, correctly indicating the character’s preferences, training, and ideas

Artistic Movement Understanding

1= Only cursory (name-checking) gestures toward competing artistic ideas and movements
2= Some (but insufficient) indications of the writer’s awareness of basic components of competing artistic ideas and movements
3= Passable discussion of basic components of at least two relevant artistic movements/schools with some directly comparative analysis
4= Detailed discussion of components of at least two relevant artistic movements, with well-organized comparison and some specific examples
5= Thorough discussion of at least two relevant artistic movements, with well-chosen examples, offering analysis and synthesis to explain clearly how this situates the assigned character

Historical Moment Awareness

1= No historical information beyond the most basic (such as dates) is included
2= Very little historical information is included; some may be irrelevant or incorrect
3= Some historical information is included; more (or more relevant) is needed and/or there are errors in the writer’s understanding.
4= Historical information is included frequently; some choices might not be as effective
5= Relevant historical information is included in an effective and purposeful way, leaving no gaps in understanding for the reader

Evidence of Visual Analysis Facility

1= Little to no visual analysis offered; perhaps some broad generalization
2= Insufficient or incorrect visual analysis
3= Efforts made toward visual analysis; some vocabulary from game manual utilized; some errors in analysis and usage or too shallow an analysis
4= Detailed analysis of visual elements of artwork, using vocabulary from game manual in a generally appropriate way
5= Thorough analysis of composition, color, scale, and imagery using vocabulary/terminology from game manual effectively

Appendix C: Unit Quiz

Name ___________________

Role___________________________

(1)
The most prestigious artists during the time of the game were members of which organization?
1. A.
  Académie des Beaux-Arts (Academy of Fine Arts)
2. B.
  Société des Artistes Indépendants (Society of Independent Artists)
3. C.
  Salon des Refusés, (Salon of Rejects)
4. D.
  Jury des Salon des Artists Francais (Jury of the Salon of French Artists)
(2)
Which artist’s work best represents the art of Neo-Impressionism?
1. A.
  Cezanne
2. B.
  Moreau
3. C.
  Renoir
4. D.
  Seurat
5. E.
  Van Gogh
(3)
The work of the Avant-garde tends to exhibit which characteristics?
1. A.
  A disregard to natural color
2. B.
  Use of color to create an emotional impact
3. C.
  Fine line and shading
4. D.
  1 and 2
5. E.
  2 and 3
(4)
Which movement is marked by short, broken brushstrokes that barely convey forms, the use of pure unblended color, and an emphasis on the effects of light?
1. A.
  Impressionism
2. B.
  Post-Impressionism
3. C.
  Symbolism
4. D.
  Expressionism
5. E.
  None of the above
(5)
Which kind of painting did the Academics value the most because it required imagination, education, and technical proficiency?
1. A.
  Portraiture
2. B.
  Still lifes
3. C.
  Genre Scenes
4. D.
  History Paintings
5. E.
  Landscapes
(6)
The following group of artists were interested in capturing the momentary aspects of light shifts to capture scenes of modern life in urban and suburban settings:
1. A.
  Academic artists
2. B.
  Symbolists
3. C.
  Impressionists
4. D.
  Neo Impressionists
5. E.
  All of the above
(7)
The French Royal Academy of Painting and Sculpture was established by:
1. A.
  William-Adolphe Bouguereau in 1875
2. B.
  King Louis XIV in 1648
3. C.
  Jacques-Louis David in 1774
4. D.
  Theodore Gericault in 1618
5. E.
  Jean-Louis-Ernest Meissonier in 1776
(8)
The annual Salon was sponsored by:
1. A.
  The Academy
2. B.
  Society of Independent Artists
3. C.
  Salon of Rejects
4. D.
  Jury of the Salon of French Artists
(9)
The Medal of Honor winner at the 1888 salon was:
1. A.
  Georges Seurat
2. B.
  Claude Monet
3. C.
  Paul Cezanne
4. D.
  Mary Cassatt
5. E.
  Edouard Detaille
(10)
Which group of artists believed that art did not have to have a moral message, make the viewer live a better life, or educate the viewer about French history?
1. A.
  Neoclassicists
2. B.
  Classicists
3. C.
  Impressionists
4. D.
  The Academy
5. E.
  Divisionists
(11)
Which one of the individuals below was not a prominent art critic during the 1880s:
1. A.
  G-Albert Aurier
2. B.
  Léon Bonnat
3. C.
  Félix Fénéon
4. D.
  Joris –Karl Huysmans
5. E.
  Joséphin Péladan
(12)
The Avant-garde:
1. A.
  Embraced the Salon as necessary in the promotion of artists
2. B.
  Embraced the Academy as the authority on aesthetic value
3. C.
  1 &2
4. D.
  None of the above
(13)
Which group of artists had eight independent exhibitions between 1874–1886 and demonstrated that artists could sell work on their own:
1. A.
  Classicists
2. B.
  Impressionists
3. C.
  The Academy
4. D.
  Divisionists
5. E.
  None of the above
(14)
Which of the following is not a formal quality of a work of art?
1. A.
  Attitude
2. B.
  Line
3. C.
  Perspective
4. D.
  Style
5. E.
  Texture
(15)
The 1889 Salon was held in:
1. A.
  Versailles
2. B.
  Luxembourg
3. C.
  Marseille
4. D.
  Paris
5. E.
  Saint-Etienne

16–19 are to be answered using images projected on the board.

(16)
Who most likely painted this work?
1. A.
  Gerome
2. B.
  Puvis de Chavannes
3. C.
  Monet
4. D.
  Seurat
5. E.
  Van Gogh
(17)
Who most likely painted this work?
1. A.
  Bouguereau
2. B.
  Gérôme
3. C.
  Meissonier
4. D.
  Moreau
5. E.
  Whistler
(18)
Who most likely painted this work?
1. A.
  Cezanne
2. B.
  Gérôme
3. C.
  Moreau
4. D.
  Puvis de Chavannes
5. E.
  Renoir
(19)
Who most likely painted this work?
1. A.
  Cassatt
2. B.
  Gauguin
3. C.
  Moreau
4. D.
  Seurat
5. E.
  Van Gogh

Appendix D: Survey

Role (circle one): Artist Critic Dealer Journalist HUMN 2002 Section:

Please answer the following questions about your experience with the Art in Paris unit.

To what extent did the game help you be able to…	Not at all				Very much
1. Interpret a painting using formal analysis	1	2	3	4	5
2. Compare values or perspectives of two different artistic movements by analyzing representative works	1	2	3	4	5
3. Understand the emergence of the avant-garde	1	2	3	4	5
4. Recognize works of art as objects with both artistic and economic value	1	2	3	4	5
5. Communicate ideas effectively in writing	1	2	3	4	5
6. Communicate ideas orally	1	2	3	4	5
7. Work collaboratively with others	1	2	3	4	5
8. Weigh alternative points of view	1	2	3	4	5
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
To what extent are the following behaviors, thoughts, and feelings characteristic of you for this unit?	Almost never				Almost always
9. I enjoyed the unit.	1	2	3	4	5
10. I put forth effort for my role in this unit.	1	2	3	4	5
11. I completed relevant readings.	1	2	3	4	5
12. I listened carefully in class.	1	2	3	4	5
13. I came to class.	1	2	3	4	5
14. I thought about the unit between class meetings	1	2	3	4	5
15. I really wanted to learn the material.	1	2	3	4	5
16. I felt as if I understood expectations for the unit.	1	2	3	4	5
17. I helped other students with this unit.	1	2	3	4	5
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
	Not at all				Very much
18. How engaged were you in this unit?	1	2	3	4	5

PLEASE TURN PAGE OVER AND COMPLETE THE SURVEY.

This unit included several components. Please evaluate the components as to how much you enjoyed them and how much they helped you learn.

Components	Enjoyed experience					Learned
	not at all				Very much	not at all				Very much
Argumentative essay	1	2	3	4	5	1	2	3	4	5
Oral presentation	1	2	3	4	5	1	2	3	4	5
World exposition	1	2	3	4	5	1	2	3	4	5
Reflective essay	1	2	3	4	5	1	2	3	4	5
The unit as a whole	1	2	3	4	5	1	2	3	4	5

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Bledsoe, R.S., Maynard, L.A., Richardson, D.S. (2018). The Crowded Streets of Paris: Using RTTP in Less-Than-Ideal Situations. In: Watson, C., Hagood, T. (eds) Playing to Learn with Reacting to the Past. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-319-61747-3_3

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DOI: https://doi.org/10.1007/978-3-319-61747-3_3
Published: 04 October 2017
Publisher Name: Palgrave Macmillan, Cham
Print ISBN: 978-3-319-61746-6
Online ISBN: 978-3-319-61747-3
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