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Fulbright-Ha)es Seminars Abroad Program, 1993.

Morocco and Tunisia. Final Projects.

America-Midea3t Educational and,Training Services,

Inc., Washington, DC.

Center for International Education (ED), Washington,

DC.

93

196p.; Last project may not reproduce clearly.

Guides Classroom Use - Teaching Guides (For

Teacher) (052)

Collected Works General (020)

EDRS PRICE DESCRIPTORS

IDENTIFIERS

MFOI/PC08 Plus Postage. Art; *Females; Feminism; Foreign Countries; Geographic Ccncepts; *Geography Instruction; Higher Education; *Islamic Culture; *Literature; *Social Studies Fulbright Hays Seminars Abroad Program; *Morocco; *Tunisia

ABSTRACT This collection of Fulbright seminar projects focuses

on Morocco,and Tunisia. The first Project (Ruth Brent) gives a descriptive analysis of images from the perspective of .an interior design educato. The second project (Eileen Burchell) explores the theme of contivaity and change as it is reflected in the contemporary French literature of the Maghreb. The third project (Vernon Egger) is a preliminary essay on general characteristics of several of the Islamic movements found in North Africa. The fourth project (Jeanne B. Howard) is a master slide inventory of architecture, archaeology, visual arts, music and dance performances, literature and calligraphy examples, geographical sites, and resource individuals interviewed. The fifth project (Mary Murray) is a paper on English translations of the Francophane literature of Morocco, Algeria, and Tunisia. The sixth project (Nathalie Oppendahl) is a list in French of about 800 slides. The seventh project (Marie Rasmussen) is a slide lecture showing the continuity and change of mosaic patterns, and production, installation, and conservation techniques. The eighth project (Maurie Sacks) and ninth project (Jean Owens Schaefer) are syllabi on the cultures and art of the middle east. The tenth (Stephen Sylvester) reports on two video projects. The eleventh (Milton Turner) lists slides on women in Morocco and Tunisia. The twelfth (Meredeth Turshen) is a journal reflecting on the trip. The thirteenth (Robert Weaver) is a syllabus on women and African literature. The fourteenth (Carol West) is a collection of statistics and materials to illustrate a series of lectures. The fifteenth project (Gilbert B. Workman) attempts to incorporate experiences and materials from the seminar into courses taught. (DK)

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Reproductions supplied by EDRS are the best that can be made

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"PERMISSION TO REPRODUCE THIS MA RIAL HAS BEEN GRANTED BY

TO THE EDUCATIONAL RESOURCES INFORMATION CENTER (ERIC)"

FINAL PROJECTS

1993 FULBRIGHT-HAYES SEMINARS ABROAD PROGRAM

MOROCCO AND TUNISIA c-st COPY AVAILABLE

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The following projects were submitted in compliance with the requirements of the 1992 Fulbright-

Hayes Seminars Abroad in Morocco and Tunisia. They were collected and compiled by

AMIDEAST, the administrating agency for this program. The projects are arranged in alpabeticai

order according to participants' last names. Listed below are the participants' names and

professional affiliations.

1). Dr. Ruth Brent, Professor and Chair, University of Missouri, Columbia, Missouri

2). Dr. Eileen Burchell, Associate Professor of French, Marymount College Tarrytown, Tarrytown, New York

3). Dr. Vernon Egger, Associate Professor of History, Georgia Southern University, Statesboro, Georgia

4). Ms. Jeanne Brubaker Howard, Humanities Instructor, West. Valley College, Saratoga, California

5). Mrs. Mary Murray, Assistant Professor of History, Heidelburg College, Tiffin, Ohio

6). Mrs. Nathalie Oppendahl, Assistant Professor, Carroll College, Helena, Montana

7). Mrs. Marie Rasmussen, Chair Fine and Performing Arts Department, Umpqua Community College, Roseburg, Oregon

8). Dr. Maurie Sacks, Associate Professor, Montclair State College, Upper Montclair, New Jersey

9). Dr. Jean Owens Schaefer, Associate Professor, University of Wyoming, Laramie, Wyoming

10). Dr. Stephen Sylvester, Professor of History and Chair, Northern Montana College, Havre, Montana

11). Mr. Milton Turner, French Teacher, Saint Ignatius High School, Cleveland, Ohio

12). Dr. Meredeth Turshen, Associate Professor, Rutgers University, New Brunswick, New Jersey

13). Dr. Robert Weaver, Professor of Business, Bethel College, St. Paul, Minneasota

14). Dr. Carol West, Associate Professor of English, Hendrix College, Conway, Arkansas

15). Mr. Gilbert Workman, Instructor, Canada Community College, Redwood City, California

Rtitl) BteA

The Meaning and Magic of Place in North Africa Based on a five-week Fuibright exploratory study program in Morocco and Tunisia. a descriptive analysis of images are given from the perspective of an interior design educator. This presentation examines ways in which the terms "cosmic," "classic," and "romantic" can be used to describe the meaning and magic of place.

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The Meaning and Magic of Place in North Africa

Cosmic, classic, and romantic are terms used by Christian Norberg-Schulz, in his book QtailaLOSALISIYlUiLLEZDQUICDSACIELCILISIthittIMIL to help describe meaning and spirit of place. When the essence and meaning of place is captured, we have captured the magic, spirit, or genius loci. Here one may feel a sense of belonging, of home, of meaningful inhabitation.

There is a rich embodiment of architectural parts or elements which contribute to one's relationship with place. These elements include statelymarble columns and arches; wide and highly decorative wood doors; and patterned light screens on windows that break harsh light into smaller facets. These columns, arches, doors, and windows are also archetypal symbols. They are visual cues giving orientation and identity which have meanings deeply embedded in our ethos, human nature, and our history. They give definition to how we as human beings relate to our built environment. They evoke emotions about fetqing welcomed, articulate historical and cultural rcy.3tedness, and convey nonverbal messages of comfort and security. Moreover, they help us to transcend beyond the mundane stone of a column and arch, beyond the wood of a door, and beyond the cut-out opening of a window in a solid wall.

The location for this study, the North African countries of Morocco and Tunisia known as the Maghreb, was selected primarily because of its contrast with common U.S. experiences and interior design textbook materials. Traditionally, our students begin their study of art and design with the pyramids and follow the evolution with the Greek and Roman Empires, through the Renaissance, and conclude with the present. The emphasis is on the Western. European, and Judeo - Christian heritage and little attention is given to Eastern cultures such as North Africa with Muslim ancestry. Going beyond this tradition, it is also important to illustrate art and design with greater cultural and religious diversity so students can examine similarities and differences in how people of

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