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Cover Sheet: Request 11391
ARH 4453 Mid-Twentieth Century Art
InfoProcess Course|Modify|Ugrad/ProStatus PendingSubmitter Cabanas,Kaira k.cabanas@ufl.eduCreated 1/7/2017 4:10:24 PMUpdated 2/9/2017 9:57:47 AMDescriptionof request
Continuation of ARH 4452. Emphasis on international art from the 1940s through the1960s. (H)
This change in the catalogue shifts the course emphasis from American art tointernational art.
ActionsStep Status Group User Comment UpdatedDepartment Approved CFA - Art and
Art History011302000
Rogal, Maria Approved by faculty vote. 1/17/2017
Deleted ARH 4453 Mid 20 Century_modification.pdf 1/7/2017College Approved CFA - College
of Fine ArtsSchaefer,Edward E
1/20/2017
No document changesUniversityCurriculumCommittee
Comment PV - UniversityCurriculumCommittee(UCC)
Case, Brandon Added to the Februaryagenda.
1/23/2017
No document changesUniversityCurriculumCommittee
Pending PV - UniversityCurriculumCommittee(UCC)
1/23/2017
No document changesStatewideCourseNumberingSystemNo document changesOffice of theRegistrarNo document changesStudentAcademicSupportSystemNo document changesCatalogNo document changesCollegeNotifiedNo document changes
Course|Modify for request 11391
Info
Request: ARH 4453 Mid-Twentieth Century ArtDescription of request: Continuation of ARH 4452. Emphasis on international art fromthe 1940s through the 1960s. (H)
This change in the catalogue shifts the course emphasis from American art tointernational art.Submitter: Cabanas,Kaira k.cabanas@ufl.eduCreated: 2/9/2017 9:50:26 AMForm version: 5
ResponsesCurrent PrefixARHCourse Level4Number 453Lab Code NoneCourse Title Mid-Twentieth Century ArtEffective Term Earliest AvailableEffective Year Earliest AvailableRequested Action Other (selecting this option opens additional form fields below)Change Course Prefix?No
Change Course Level?No
Change Course Number?No
Change Lab Code?No
Change Course Title?No
Change Transcript Title?No
Change Credit Hours?No
Change Variable Credit?No
Change S/U Only?No
Change Contact Type?No
Change Rotating Topic Designation?No
Change Repeatable Credit?No
Change Course Description?YesCurrent Course DescriptionEmphasis on American art from the 1940s through the1960s. (H)Proposed Course Description (50 words max)Emphasis on international art from the1940s through the 1960s. (H)Change Prerequisites?No
Change Co-requisites?No
RationaleNewly introduced course content responds to recent trends in teaching modernart from an international and global perspective.
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ARH4453MID20thCENTURYARTProfessorKairaM.CabañasUniversityofFloridaCollegeofFineArtsSchoolofArtandArtHistoryOffice:FACRoom123Tel:352-273-3064Email:k.cabanas@ufl.eduOfficehours:Wednesday4:00-5:00pmImportantdatestoremember:September12:ObjectdescriptiondueinclassOctober17:Exam1/ExhibitionabstractandpreliminarybibliographydueinclassOctober22:AttendapanelattheHESCAHsymposium:Critical,Clinical,CuratorialOctober26:ResponsepaperonasymposiumlecturedueinclassDecember5:Exam2December12:GroupprojectdueCoursecataloguedescription:Emphasisoninternationalartfromthe1940sthroughthe1960s.Expandeddescription:Thiscourseemphasizesinternationalartfromthe1940sthroughthe1960s.Byintroducingstudentstothedevelopmentofmodernartinaninternationalcontext,thecourseencouragesreflectiononthematerialdifferencesinprocessesandproceduresandalsoonthesocialandhistoricalcontextofart’sproduction.Itthusprobeshowthesequestionsofmaterialsandhistoricalspecificitymightinflectawork’smeaningaswellascontemporaryunderstandingsofmodernisminaglobalcontext.Courserequirements:Exam1+Abstractandbibliography(25%)Responsepapertolecture(10%)Exam2(25%)GroupFinalProject(25%)IndividualObjectEssayaspartofGroupProject(10%)Attendanceandparticipation,questions(5%)
- Readingsmustbecompletedbeforelectures;thisisessentialtothecourse.- Awrittenquestionconcerningthereadingisrequiredeachweekon
Monday.Iwillcallonafewstudentstoposetheirquestionduringeachweek’sfirstsession.
- Mondaysessionwillincludetimeforquestionsandgroupdiscussion.
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Completionofallassignmentsandexamsisnecessarytopassthecourse.Readings:ReadingswillbeplacedonRESERVEorE-RESERVEbytheFineArtsLibrary.Studentsmaypurchasetextbooksattheirdiscretion.Theprimaryvolumesinclude:HalFosteretal.,eds.,ArtSince1900,vol.2,ThamesandHudson,2004/5;
or:2ndedition,2011.Volume2.C.HarrisonandP.Wood,eds.,ArtinTheory:1900-2000,Wiley,2002.WrittenAssignments:Withtheexceptionofthefinalgroupproject,allwrittenassignmentsmustbesubmittedintheformofhardcopiesonthedatetheyaredue.Alltextsshouldbedoublespaced,anduse12pointTimesNewRomanfontand1”margins.Yournameshouldappearonthefirstpage.A.ObjectdescriptionfromtheHarnMuseumVisittheHarnMuseumasanindividualorinagroup.Writea250-wordvisualdescriptionofoneofthetwoartobjectscurrentlyonviewatthemuseum.Donotmakeanyevaluationorjudgmentofthework(i.e.,it’sgoodorbad,Ilikeitordon’tlikeit).Takeyourtimelookingandwritedownwhatyousee.Youmightnotethematerials,medium(painting,photography,etc.),colors,composition,texture,dimensions,etc.Beasobjectiveaspossible.BringthedescriptiontoclassonMondaySeptember12.Writeononeofthefollowingobjects:TBAB.AbstractandpreliminarybibliographyWritea250-wordabstractaboutyourproposedexhibitionthemeandincludeapreliminarybibliographyof5publishedandprintedsourcesaswellas5worksofart.PleaseformatfootnotesandbibliographyaccordingtotheChicagoManualofStyle.
*ThisindividualassignmentispartofthetakehomesectionofExam1.Yourproposedtopicwillbeusedtowardformingyourresearchgroupforthefinalproject.
C.Symposium:Critical,ClinicalCuratorialThesymposium,“Critical,Clinical,andCuratorial,”invitesanin-depthexplorationofthevariouseducationalprogramsandexhibitionsthatmakeuptheintertwinedhistoriesofartandtherapy,modernartandself-taughtartists,artandmadness.AttendoneofthepanelsscheduledforSaturday,October22.Writea500-wordresponsetooneofthelectures(byW.J.T.Mitchell,LynneCooke,orSuzanne
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Hudson)andfocusonthefollowing:Howdidthelecturemodifyyourunderstandingofmodernand/orcontemporaryart?Didthespeakerraisequestionsabouttheinterrelatedhistoriesbetweenartandtherapyorartandmadness?Didtheyengagequestionsconcerningtheworks’sitesofproduction,distribution,andreception,andthewaysthesehistorieshaveintersectedinmeaningfulwaysforarenewedunderstandingofart?Howdidthislectureofferanewperspectiveforyouontherelationbetweenartandmadness,orartandtherapy,orthehistoryofself-taughtartinrelationtomodernart?D.GroupExhibitionProposal(Seealsoappendixformoredetails)1–Groupcomponent:ForthefinalprojectyouaretoimaginethatyouareaskedtocurateasmallshowatMoMAonaspecifictopicand/orartist(withabout15objects).Prepareanexhibitionproposal(500words)inwhichyouincludetheprojecttitleandexplaintherationalefortheexhibition—itsmainthemeand/orconcept.Youshouldframetheexhibitioninrelationtohowitengageswithunderstandingsandpracticesofmodernart.Consider,forexample,howyourexhibitionintervenesinaparticularunderstandingofmodernartandwhetheritdevelopsuponpreviousexhibitionsthatbroachsimilarissues.Pleaseprovideacompleteobjectchecklist.*Pleaseprovideabibliographyoftenprintedsources(booksandarticles)andincludeaminimumof3exhibitioncataloguesthatyouconsultedasagroupinpreparationfordevelopingyourfinalexhibitiontheme.2–Individualcomponent:Providea750-wordobjectdescription,asifitwereanextendedlabelinamuseumoranartist’sentryinacatalogue.Whyisthisobjectimportanttothegroupexhibition?Howdoesitrelatetotheoverallthemeoftheexhibition?Include3bibliographicsources(printedbooksand/orarticles)thatartviewerscouldturntoformoreinformationaboutthisartistandtheparticularworkinquestion. *Eachindividualinthegroupmustwriteonadifferentobject.
*Iencourageyoutoreadandexchangecommentsononeanother’sworkpriortosubmission.
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WeeklySchedule:Week1
August22:Enrollment,attendanceWatchthefilm:AlainResnais,NightandFog,1955,directedbyAlainResnais.ThefilmwasmadetenyearsaftertheliberationoftheNaziconcentrationcampsandfeaturesthegroundsofAuschwitzandMajdanek.ItdescribesthelivesoftheprisonersinthecampsandwasmadeincollaborationwithpoetJeanCayrol,acampsurvivor.August24:Introduction:Discussionoffilm/WhatisModernArt?SergeDaney,“TheTrackingShotinKapo,”in“InthePoemaboutLoveYouDon'tWritetheWordLove”,ed.TanyaLeighton.NewYork:SternbergPress,2006,pp.33–53.
Week2
August29:MourningandMemoryinGermanArtArtSince1900,pp.475-479;480-485;521-526;554-559;612-616.[ArtSince1900,2ndedition;pp.519-523;524-529;565-570;656-660.]GerhardRichter“InterviewwithBenjaminBuchloh”inArtinTheory,pp.1147–1157.BenjaminBuchloh,“Beuys:TheTwilightoftheIdol,PreliminaryNotesforaCritique,”inMappingtheLegacy,ed.GeneRay.NewYork:DistributedArtPublishers,2001.August31:AntoninArtaudandHisLegacyAntoninArtaud,TheSuicideProvokedbySociety.DenisHollier.“TheArtaudCase,PartII:TheCaseHistory,”inSpectersofArtaud,LanguageandtheArtsinthe1950s,ed.KairaM.Cabañas,exh.cat.Madrid:MuseoNacionalCentrodeArteReinaSofía,2012.BrandenW.Joseph,“ModernismWithoutOrgans,”inArtforum,vol.51,no.1(September2012).
Week3
September5:HOLIDAYSeptember7:VisittoHarnMuseum(*onyourownoringroups)
Week4
September12:ClementGreenbergandtheRiseofAbstractExpressionismArtSince1900,pp.355-359;439-444.
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[ArtSince1900,2ndedition;pp.399-403;483-488.]DUE:ObjectdescriptionSeptember14:PaintingintheWakeofAbstractExpressionismArtSince1900,pp.362-367;398-403;409-410.[ArtSince1900,2ndedition;pp.406-411;442-447;453-454.]CarlAndre,“PrefacetoStripePainting”inArtinTheory,p.820.FrankStella,“PrattInstituteLecture”inArtinTheory,pp.820–821.ClementGreenberg,“ModernistPainting,”inArtinTheory,pp.773–779.
Week5
September19:MárioPedrosaandtheRiseofConcreteArtinBrazil WaldemarCordeiro,“TherupturaManifesto”(1952),“TheObject(ProductiveArt)”(1956)inInvertedUtopias,pp.494–495.AnaMariaBelluzzo,“TherupturaGroupandConcreteArt,”inInvertedUtopias,pp.203–211.KairaM.Cabañas,“AStrategicUniversalist,”inMárioPedrosa,anAnthology:PrimaryDocuments.NewYork:TheMuseumofModernArt,expected2016.September21:JeanDubuffetandArtBrutinBrazilJeanDubuffet,“ArtBrutinPreferencetotheCulturalArts,”1949.JeanDubuffet,“AnticulturalPositions,”1951.JeanDubuffet,“InHonorofSavageValues,”1951.
Week6
September26:PierreRestanyandNouveauxRéalismeArtSince1900,pp.337-342;434-438;515-520.[ArtSince1900,2ndedition;pp.381-386;478-482;559-564.]PierreRestany,“TheNewRealists”inArtinTheory,pp.724–725.September28:CoBrA,ArtInformel,andtheDécollagistesArtSince1900,pp.391-397.[ArtSince1900,2ndedition;pp.435-441.]HannahFeldman,“OfthePublicBorn:RaymondHainsandLaFrancedéchirée,”October108(Spring2004),pp.73–96.
Week7 October3:AlejandroOtero,KineticArtandtheCityUniversityinCaracas
JesúsRafaelSoto,“Serialization”inReadingsinLatinAmericanModernArt(hereafterLAMA),pp.170.JesúsRafaelSoto,“Artist’sStatement”inReadingsinLAMA,pp.171.AlejandroOtero,“Artist’sStatement”inReadingsinLAMA,pp.168–169
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MeganSullivan,“AlejandroOtero’sPolychrome:ColorBetweenNatureandAbstraction,”October152(Spring2015),pp.60-81.
October5:JeanTinguely/DestructioninArt TBAWeek8
October10:KineticArtcontinued:JeanTinguelyandGRAV“GRAVManifesto:TransformingtheCurrentSituationinPlasticArt”inReadingsinLAMA,pp.161–163LilyWoodruff,“TheGroupedeRecherched’ArtVisuelagainsttheTechnocrats,”inArtJournal(Fall2014),pp.19-37.
October12:REVIEWWeek9
October17:EXAM+DUE:Abstractandpreliminarybibliography(countstowardexam)October19:YvesKleinandCinemaYvesKlein,“TheEvolutionofArtTowardstheImmaterial,”inArtinTheory,pp.818–820.
Saturday,October22HESCAHSYMPOSIUM:Critical,Clinical,Curatorial
ChandlerAuditorium,HarnMuseumSaturday,October2210:30a.m.–12:30p.m.“Method,Madness,Montage”byW.J.T.Mitchell,ProfessorofArtHistoryandEnglish,UniversityofChicago“CommonCreativities”byKairaM.Cabañas,AssociateProfessorofArtHistory,UniversityofFlorida[Breakforlunch]1:30p.m.–3:30p.m.
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“ParsingDifference”byLynneCooke,CuratorSpecialProjectsinModernArt,NationalGalleryofArt“ACosmos”bySuzanneHudson,AssociateProfessorofArtHistoryandFineArts,UniversityofSouthernCalifornia
Week10
October24and26:DiscussionCCCsymposium/NeoDadaArtSince1900,pp.343-347;368-72;404-409.[ArtSince1900,2ndedition;pp.387-391;412-416;448-453.]JohnCage,“OnRobertRauschenberg,Artist,andhisWork”inArtinTheory,pp.734–737.DUE:Responsepapertolecture
Week11
October31:HappeningsandEnvironmentsArtSince1900,pp.373-378;450-455.[ArtSince1900,2ndedition;pp.417-422;494-499.]AllanKaprow,fromAssemblages,Environments,andHappenings,inArtinTheory,pp.717–722.
November2:InclassgroupresearchWeek12
November7:AndyWarhol:TheCommodityFormArtSince1900,pp.486-491.[ArtSince1900,2ndedition;pp.530-535.]AndyWarhol,“InterviewwithGeneSwenson”inArtinTheory,pp.747–749.HalFoster,“DeathinAmerica,”October,Vol.75(Winter,1996),pp.36-59November9:MinimalismArtSince1900,pp.470-474;492-495.[ArtSince1900,2ndedition;pp.514-518;536-539.]DonaldJudd,“SpecificObjects”inArtinTheory,pp.824–828.MichaelFried,“ArtandObjecthood”inArtinTheory,pp.835–846.
Week13
November14:Minimalismcontinued/AnotherGeometry:Gego
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MónicaAmor,“AnotherGeometry:Gego’sReticulárea,1969-1977,”October113(Summer2005),pp.101–26.November16:FerreiraGullarandNeo-ConcreteArtinBrazilFerreiraGullar,“Neo-ConcreteManifesto”inReadingsinLAMA,pp.172–175.LygiaClark,“Beasts”(1960)inReadingsinLAMA,pp.176.
Week14
November21Neo-ConcreteArtcontinuedIreneV.Small,“PigmentPurandtheCorpodaCôr:Post-PainterlyPracticeandTransmodernity,”October152(Spring2015),pp.82-102.November23:HOLIDAY
Week15
November28:FluxusArtSince1900,pp.456-463.[ArtSince1900,2ndedition;pp.500-507.]GeorgeMaciunas,“Neo-DadainMusic,Theatre,Poetry,Art”inArtinTheory,pp.727–729.+InclassgroupresearchNovember30REVIEW
Week16
December5:EXAMDecember7:InclassgroupresearchDecember12:FINALPROJECTDUEby5pm;
EachgroupsubmitsonesinglePDF
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APPENDIX:FINALPROJECTGROUPEXHIBITIONPROPOSALExhibitionproposalsshouldincludethefollowing:A.Conceptualmotivationfororganizingtheexhibition,500words
- Explaintheconceptualframeworkordrivingideaoftheshow- Howdoestheexhibitioninterveneinaparticularunderstandingofmodern
art?- Whatpreviousexhibitionsdoesitdevelopupon(describe2or3)?- *Graduatestudents:750wordsforpartA
Thisisthemostimportantcomponentoftheexhibitionproposalassignment.Youneedtodevelopanargumentaboutwhytheexhibitionmattersandhowitoffersanewperspectiveontheartisticpracticesyouareconsidering.Tothisend,provideabibliographyoftenpublished/printedsources(booksandarticles)andincludeaminimumof3exhibitioncataloguesthatyouconsultedasagroupinpreparationfordevelopingyourfinalexhibitiontheme.B.Objectchecklist(includeapproximately15objects)
- Numberandtypeofobjects- Mechanicalorelectronicinteractiveelements- Audio-visualcomponents- Ifyouwanttobereallyprecise,youcouldalsolisttheinstitutionthatwould
loanthework
C.IndividualComponent–Objectdescription,750words.- Eachgroupmembermustchooseoneobjectfromthegroupexhibition
checklist.Writetheobjectdescriptionasifitwereanextendedlabelinamuseumoranartist’sentryinacatalogue.
- Whyisthisobjectimportant?Howdoesitrelatedtotheoverallthemeoftheexhibition?
- Include3bibliographicsources(booksandorarticles)thatartviewerscouldturntoformoreinformationaboutthisartistandtheparticularworkinquestion.
- *Graduatestudents:Write3objectdescriptions,500wordseachThispartoftheassignmentdemonstrateshowtheexhibition“idea”isinstantiatedinaestheticpractice.***ChooseonememberofthegrouptoconsolidateallofthevariouscomponentsintoasinglePDFandturninthatonedocumenttomeonbehalfofthegroupbytheduedateandtime.
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EXAMPLEEXHIBITIONCHECKLISTRobertRauschenbergandFranzKlein
RobertRauschenbergWhitePainting1951OiloncanvasFourpanels36x36in.each72x72in.overallCollectionoftheartist’sestate.
RobertRauschenbergUntitled(Self-Portrait–BlackMountain)Dateunknown(c.1950?)Photograph31/4in.x51/2in.8.26cmx13.97cmCollectionSFMOMA
RobertRauschenbergUntitled(AshevilleCitizen)c.1952Oilandnewspaperoncanvas6’2’’x28½’’(188x72.4cm)MuseumofModernArt,NewYork
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FranzKlinePainting1952oiloncanvas65x41¾inchesWadsworthAtheneumMuseumofArt,Hartford,Connecticut
FranzKlineUntitledIIc.1952Inkandoiloncut-and-pastedtelephonebookpagesonpaperonboard11x9"(28.1x23cm)TheMuseumofMondernArtNewYork
FranzKlinePaintingNo.71952Oiloncanvas571/2x813/4inchesSolomonR.GuggenheimMuseum
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COURSEPOLICIES:ClassAttendance.Attendancewillbetaken.Pleasetakealookatyourcalendaratthebeginningofthesemestertoseeifyouhaveanycommitments(forexample,religiousholidays,familyobligations,orextracurricularactivities)thatconflictwithlecturesandduedates.Ifyoudohaveaconflict,pleaseseeinstructorwellinadvancetoclearyourabsence,scheduleanextension,ordiscussthepossibilityofamake-upexam.
Requirementsforclassattendanceandmake-upexams,assignments,andotherworkinthiscourseareconsistentwithuniversitypoliciesthatcanbefoundintheonlinecatalogat:https://catalog.ufl.edu/ugrad/current/regulations/info/attendance.aspxLateAssignments.Lateassignmentswillbepenalized1/3ofalettergradeforeverytwenty-fourhoursafterthedeadline.MissedExams.Ifyoumissanexamwithoutavalidexcuse,youwillreceivea0forthatexam.Make-upexamswillbecoordinatedwiththeprofessor.Classroomdemeanor.NOSCREENS.Chooseawritingnotebookfortakingnotesduringclass.Nouseofcomputersorotherelectronicdevices.Thus:notalkingoncellphones,ringingorbeeping,texting,Facebooking,tweeting,oremailingduringclass.Nonoisyorsmellyeating.Studentsareexpectedtoassistinmaintainingaclassroomenvironmentthatisconducivetolearning.Inappropriatebehaviorshallresult,minimally,inarequesttoleaveclass.UseofElectronicDevices.Laptopsmaybeusedduringschedule“inclassgroupresearch”sessions.Theinstructorreservestherighttoaskthattheybeputawayiftheydisrupttheworktowardthefinalassignment.Cellphoneuseisnotpermitted,andphones’screensshouldnotbevisibleduringclasstime.RecordingClassroomSessions.Toensurethefreeandopendiscussionofideas,studentsmaynotrecordclassroomlectures,discussionand/oractivitieswithouttheadvancewrittenpermissionoftheinstructor,andanysuchrecordingproperlyapprovedinadvancecanbeusedsolelyforthestudent’sownprivateuse.Email.EachstudentisissuedaUniversitye-mailaddress(username@ufl.edu)uponadmittance.Thise-mailaddressmaybeusedbytheUniversityforofficialcommunicationwithstudents.Studentsareexpectedtoreade-mailsenttothisaccountonaregularbasis.FailuretoreadandreacttoUniversitycommunications
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inatimelymannerdoesnotabsolvethestudentfromknowingandcomplyingwiththecontentofthecommunications.Accommodation.StudentswithdisabilitiesrequestingaccommodationsshouldfirstregisterwiththeDisabilityResourceCenter(352-392-8565,www.dso.ufl.edu/drc/)byprovidingappropriatedocumentation.Onceregistered,studentswillreceiveanaccommodationletter,whichmustbepresentedtotheinstructorwhenrequestingaccommodation.Studentswithdisabilitiesshouldfollowthisprocedureasearlyaspossibleinthesemester.Courseevaluations.Studentsareexpectedtoprovidefeedbackonthequalityofinstructioninthiscoursebasedontencriteria.Theseevaluationsareconductedonlineathttps://evaluations.ufl.edu.Evaluationsaretypicallyopenduringthelasttwoorthreeweeksofthesemester,butstudentswillbegivenspecifictimeswhentheyareopen.Summaryresultsoftheseassessmentsareavailabletostudentsathttps://evaluations.ufl.edu/results.AcademicHonesty:UFstudentsareboundbyTheHonorPledge,whichstates,“We,themembersoftheUniversityofFloridacommunity,pledgetoholdourselvesandourpeerstothehigheststandardsofhonorandintegritybyabidingbytheHonorCode.OnallworksubmittedforcreditbystudentsattheUniversityofFlorida,thefollowingpledgeiseitherrequiredorimplied:‘Onmyhonor,Ihaveneithergivennorreceivedunauthorizedaidindoingthisassignment.’”TheHonorCode(http://www.dso.ufl.edu/sccr/process/student-conduct-honor-code/)specifiesanumberofbehaviorsthatareinviolationofthiscodeandthepossiblesanctions.Furthermore,youareobligatedtoreportanyconditionthatfacilitatesacademicmisconducttoappropriatepersonnel.Ifyouhaveanyquestionsorconcerns,pleaseaskme(theinstructor,Dr.Cabañas).UF’spoliciesregardingacademichonesty,thehonorcode,andstudentconductrelatedtothehonorcodewillbestrictlyenforced.Thismeansthatcheatingandplagiarismwillbepenalized,andareportwillbefiledwiththeStudentConductandConflictResolutionoffice.Duringexams,personalitemsmustbeclearedfromdesksandchairsandplacedinabagonthefloor,andphonesmustbeturnedoff.Forinformationonwhatconstitutesplagiarism,consulttheUFPlagiarismGuideathttp://web.uflib.ufl.edu/msl/07b/studentplagiarism.html.Ifyouhaveanyquestions,pleaseaskme.Anonlineplagiarismcheckerservicemaybeusedtoscreenpapers.
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GradingScale:
SeethefollowingwebpageforUFpoliciesforassigninggradepoints:https://catalog.ufl.edu/ugrad/current/regulations/info/grades.aspx.UMatter,WeCare:Ifyouorafriendisindistress,pleasecontactumatter@ufl.eduor(352)392-1575sothatateammembercanreachouttothestudent.CounselingandWellnessCenter:http://www.counseling.ufl.eduor(352)392-157UniversityPoliceDepartment:(352)392-1111or9-1-1foremergenciesSexualAssaultRecoveryServices(SARS),StudentHealthCareCenter,(352)392-1161.
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