ARTH 336/436. Arts of the Landscape & the Garden in China & Japan. Spring 2022.
Professor Lara Blanchard
tel: x3893
Art & Architecture Department, 208 Houghton House

Class meetings: TuTh 11:50am–1:20pm, in person (112 Houghton House) and occasionally via Zoom (see Canvas for link)

Office hours: Mondays 10:30am–12:00 noon, Tuesdays 1:30–3:00pm, or by appointment, in person (208 Houghton House) or via Zoom (see Canvas for link)

 

Course description:
In China and Japan, the natural landscape becomes a primary theme of artistic expression, as revealed in two-dimensional works of art and architectural sites. This course will examine East Asian traditions of landscape painting, pictorial representations of gardens, and the historic gardens of Suzhou, Beijing, and Kyoto, from the premodern era through the present. We will explore how these diverse representations of landscape play upon the dichotomy between nature and artifice and consider their social, political, and religious implications. Students will read landscape and garden texts in translation, as well as selections from the secondary literature dealing with these themes. The course is cross-listed with Architectural Studies, Asian Studies, and Environmental Studies. It addresses two of the aspirational goals of the curriculum: a critical understanding of social inequalities (partially) and a critical understanding of cultural difference (substantially).

 

Learning objectives:
One objective is for students to gain practical skills useful in any study of art history, including an understanding of how meaning can be encoded in visual media and improved proficiency in writing, research, and oral presentation. More conceptual learning objectives include understanding how works of art and architecture operate as historical artifacts that reveal current ideas on politics, religion, philosophy, and society, as well as understanding how they reflect trends in the broader culture.

 

Books:

Barnet, Sylvan, ed. A Short Guide to Writing about Art. 11th ed. Upper Saddle River, N.J.: Pearson, 2015. ISBN: 9780205886999 (RECOMMENDED for students new to art history).

Takei, Jirō, and Marc P. Keane. Sakuteiki: Visions of the Japanese Garden, A Modern Translation of Japan’s Gardening Classic.Boston, Rutland, Vt. and Tokyo: Tuttle Publishing, 2001. ISBN: 9780804839686; e-book 9781462900121 (REQUIRED).

Young, David, and Michiko Young. The Art of the Japanese Garden: History/ Culture/ Design.Tokyo, Rutland, Vt., and Singapore: Tuttle Publishing, 2019. ISBN: 9784805314975 (REQUIRED).

 

Certain supplementary materials will be available via Canvas:

  • Supplementary readings will be posted in the folder Files | Readings.
  • Image sheets and other daily handouts will be posted in the folders Files | Handouts (parts 1 and 2).
  • PowerPoint files will be posted in the folders Files | Image presentations (parts 1 and 2).
  • Assignments will be posted in the folder Files | Assignments.
  • Discussion questions that count toward participation will be posted on the Discussion Board.

 

Supplementary readings (available in the Library):

Akiyama Terukazu. “The Door Paintings in the Phoenix Hall of the Byodoin as Yamatoe.” Artibus Asiae 53, no. 1/2 (1993): 144–67.

Bedingfield, Katherine. “Wang Shi Yuan: A Study of Space in a Chinese Garden.” The Journal of Architecture 2 (1997): 11–41.

Brinker, Helmut, and Hiroshi Kanazawa. ZEN Masters of Meditation in Images and Writings. Translated by Andreas Leisinger. Zürich: Artibus Asiae, 1996. (excerpt)

Brock, Karen L. “Yamatoe” and “Karae.” In Karen L. Brock et al., “Japan: Painting before the 14th Century,” Grove Art Online (2003), 15–31, https://www-oxfordartonline-com.ezproxy.hws.edu/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-90000369677?rskey=jDraAK.

Bush, Susan. “Tsung Ping’s Essay on Painting Landscape and the ‘Landscape Buddhism’ of Mount Lu.” In Theories of the Arts in China, edited by Susan Bush and Christian Murck, 132–64. Princeton: Princeton University Press, 1983.

Bush, Susan, and Hsio-yen Shih, comp. and ed. “The Landscape Texts,” chapter 4 of Early Chinese Texts on Painting, 141–90. Cambridge, Mass.: Harvard-Yenching Institute, Harvard University Press, 1985.

Cahill, James C. Three Alternative Histories of Chinese Painting. Lawrence, Kans.: Spencer Museum of Art, University of Kansas, 1988. (excerpts)

Clunas, Craig. Fruitful Sites: Garden Culture in Ming Dynasty China. Durham, N.C.: Duke University Press, 1996. (excerpt)

Fujioka, Michio. Kyoto Country Retreats: The Shugakuin and Katsura Palaces. Translated by Bruce A. Coats. Tokyo: Kodansha, 1983. (excerpt)

Hargett, James M. “Huizong’s Magic Marchmount: The Genyue Pleasure Park of Kaifeng.” Monumenta Serica 38 (1988–89): 1–48.

Keene, Donald. Yoshimasa and the Silver Pavilion: The Creation of the Soul of Japan. New York: Columbia University Press, 2003. (excerpt)

Keswick, Maggie. The Chinese Garden: History, Art and Architecture. 3rd ed. Cambridge, Mass.: Harvard University Press, 2003. (excerpts)

Ledderose, Lothar. “The Earthly Paradise: Religious Elements in Chinese Landscape Art.” In Theories of the Arts in China, edited by Susan Bush and Christian Murck, 165–83. Princeton: Princeton University Press, 1983.

Lin, Shuen-fu. “A Good Place Need Not Be a Nowhere: The Garden and Utopian Thought in the Six Dynasties.” In Chinese Aesthetics: The Ordering of Literature, the Arts, and the Universe in the Six Dynasties, edited by Zong-qi Cai. Honolulu: University of Hawai‘i Press, 2004.

Liu, Lihong. “Path, Place, and Pace in Mid-Ming Suzhou Landscape Painting.” RES: Anthropology and Aesthetics no. 67/68 (2016/2017): 207–24.

Millard, Charles W. “The Gardens of Kyoto in Summer.” The Hudson Review 38, no. 2 (Summer 1985): 182–92.

Parker, Joseph D. “Attaining Landscapes in the Mind: Nature Poetry and Painting in Gozan Zen.” Monumenta Nipponica 52, no. 2 (Summer 1997): 235–57.

Takeuchi, Melinda. “Making Mountains: Mini-Fujis, Edo Popular Religion and Hiroshige’s One Hundred Famous Views of Edo.” Impressions: The Journal of the Ukiyo-e Society of America, no. 24 (2002): 25–47.

Treib, Marc. “Reduction, Elaboration and Yugen: The Garden of Saiho-ji." Journal of Garden History 9, no. 2 (April–June 1989): 95–101.

Vinograd, Richard. “Origins and Presences: Notes on the Psychology and Sociality of Shitao’s Dreams.” Ars Orientalis 25 (1995): 61–72.

Yonezawa, Yoshiho, and Chu Yoshizawa. “Japanese Nanga Masters.” Chapter 2 of Japanese Painting in the Literati Style, 41–75. Translated by Betty Iverson Monroe. New York and Tokyo: Weatherhill/Heibonsha, 1974.

Zoen. “Illustrations for Designing Mountain, Water, and Hillside Field Landscapes.” Translated by David A. Slawson. In Secret Teachings in the Art of Japanese Gardens: Design Principles, Aesthetic Values, 142–80. Tokyo and New York: Kodansha International, 1987.

 

Weekly schedule (please note: schedule may be subject to minor changes):

Jan. 25 (Tu).  Overview of course.

Jan. 27 (Th).  Metaphorical meanings of natural landscape elements in China.

  • Maggie Keswick, The Chinese Garden: History, Art and Architecture, 3rd ed. (Cambridge, Mass.: Harvard University Press, 2003), 169–207.

Feb.1 (Tu).  Themes and functions of Chinese landscape paintings.

  • James C. Cahill, “Meanings and Functions in Chinese Landscape Painting” and “Afterword: The Functions of Early Landscape Painting,” in Three Alternative Histories of Chinese Painting (Lawrence, Kans.: Spencer Museum of Art, University of Kansas, 1988), 37–69.

Feb. 3 (T).  Early religious interpretations of Chinese landscape.

  • Susan Bush, “Tsung Ping’s Essay on Painting Landscape and the ‘Landscape Buddhism’ of Mount Lu,” in Theories of the Arts in China, ed. Susan Bush and Christian Murck (Princeton: Princeton University Press, 1983), 132–64.
  • Lothar Ledderose, “The Earthly Paradise: Religious Elements in Chinese Landscape Art,” in Bush and Murck, Theories of the Arts in China, 165–83.

Feb. 8 (Tu).  Design, function, and philosophy in the early Chinese garden.

  • Shuen-fu Lin, “A Good Place Need Not Be a Nowhere: The Garden and Utopian Thought in the Six Dynasties,” in Chinese Aesthetics: The Ordering of Literature, the Arts, and the Universe in the Six Dynasties, ed. Zong-qi Cai (Honolulu: University of Hawai‘i Press, 2004), 123–66.

Feb. 10 (Th).  Chinese landscape painting in the Five Dynasties and Song periods.

  • Susan Bush and Hsio-yen Shih, comp. and ed., “The Landscape Texts,” chapter 4 of Early Chinese Texts on Painting (Cambridge, Mass.: Harvard-Yenching Institute, Harvard University Press, 1985), 141–90.

Feb. 15 (Tu).  How to research landscapes and gardens; how to give an effective art historical presentation.

Feb. 17 (Th).  CLASS CANCELLED/GROUP WORK DAY. Work on your group projects!

Feb. 22 (Tu).  GROUP PRESENTATIONS: reconstructing an imperial park of China’s Northern Song dynasty.

  • James M. Hargett, “Huizong’s Magic Marchmount: The Genyue Pleasure Park of Kaifeng,” Monumenta Serica 38 (1988–89): 1–48.

Feb. 24 (Th).  Kara-e and yamato-e: defining terms in Japanese painting.

Mar. 1 (Tu).  Japanese garden design and the layout of the Byodoin.

  • Young and Young, The Art of the Japanese Garden, 8–47, 74–77, 82–85.
  • RESEARCH PAPER PROPOSAL due.

Mar. 3 (Th).  GROUP WORK DAY.

Mar. 8 (Tu).  Zen Buddhist landscape paintings and meditation in Japan’s Muromachi period.

  • Joseph D. Parker, “Attaining Landscapes in the Mind: Nature Poetry and Painting in Gozan Zen,” Monumenta Nipponica 52, no. 2 (Summer 1997): 235–57. (JSTOR)

Mar. 10 (Th).  GROUP PRESENTATIONS: Sakuteiki v. Zoen.

  • Takei and Keane, Sakuteiki, 1–8, 153–204.
  • Zoen, “Illustrations for Designing Mountain, Water, and Hillside Field Landscapes,” trans. David A. Slawson, in Secret Teachings in the Art of Japanese Gardens: Design Principles, Aesthetic Values (Tokyo and New York: Kodansha International, 1987), 142–80.

Mar. 15 (Tu).  The gardens at Saihoji.

  • Young and Young, The Art of the Japanese Garden, 88–91.
  • Marc Treib, "Reduction, Elaboration and Yugen: The Garden of Saiho-ji," Journal of Garden History 9, no. 2 (April–June 1989): 95–101.

Mar. 17 (Th).  Zen Buddhist gardens in Japan’s Muromachi period: Ryoanji and the Daisenin of Daitokuji.

  • Young and Young, The Art of the Japanese Garden, 104–11.
  • Helmut Brinker and Hiroshi Kanazawa, ZEN Masters of Meditation in Images and Writings, trans. Andreas Leisinger (Zürich: Artibus Asiae, 1996), 75–80. (JSTOR)
  • RESEARCH WORKSHEETS due.

(Mar. 19–27, Spring Break)

Mar. 29 (Tu).  Stroll gardens in Japan’s Muromachi period: Kinkakuji and Ginkakuji.

  • Young and Young, The Art of the Japanese Garden, 96–103.
  • Charles W. Millard, “The Gardens of Kyoto in Summer,” The Hudson Review 38, no. 2 (Summer 1985): 182–92. (JSTOR)
  • Donald Keene, Yoshimasa and the Silver Pavilion: The Creation of the Soul of Japan (New York: Columbia University Press, 2003), 125–37.

Mar. 31 (Th).  The Wangshiyuan and Zhuozhengyuan gardens in Suzhou.

  • Katherine Bedingfield, “Wang Shi Yuan: A Study of Space in a Chinese Garden,” The Journal of Architecture 2 (1997): 11–41.
  • Craig Clunas, Fruitful Sites: Garden Culture in Ming Dynasty China (Durham, N.C.: Duke University Press, 1996), 22–59.

Apr. 5 (Tu).  Paths and places in Suzhou landscape painting of the mid-Ming dynasty.

  • Lihong Liu, “Path, Place, and Pace in Mid-Ming Suzhou Landscape Painting,” RES: Anthropology and Aesthetics no. 67/68 (2016/2017): 207–24.

Apr. 7 (Th).  Landscapes and dreams in Qing dynasty paintings.

  • Richard Vinograd, “Origins and Presences: Notes on the Psychology and Sociality of Shitao’s Dreams,” Ars Orientalis 25 (1995): 61–72.

Apr. 12 (Tu).  Writing workshop.

  • ANNOTATED BIBLIOGRAPHY due.

Apr. 14 (Th).  Qing imperial gardens in Beijing.

  • Keswick, The Chinese Garden, 57–83.

Apr. 19 (Tu).  Katsura Imperial Villa in Kyoto.

  • Young and Young, The Art of the Japanese Garden, 130–33.
  • Michio Fujioka, Kyoto Country Retreats: The Shugakuin and Katsura Palaces, trans. Bruce A. Coats (Tokyo: Kodansha, 1983), 33–48.

Apr. 21 (Th).  The Nanga movement of landscape painters in Edo-period Japan.

  • Yoshiho Yonezawa and Chu Yoshizawa, “Japanese Nanga Masters,” chapter 2 of Japanese Painting in the Literati Style, trans. Betty Iverson Monroe (New York and Tokyo: Weatherhill/Heibonsha, 1974), 41–75.
  • RESEARCH PAPER DRAFT due.

Apr. 26 (Tu).  Topographical elements in Edo-period woodblock prints.

  • Melinda Takeuchi, “Making Mountains: Mini-Fujis, Edo Popular Religion and Hiroshige’s One Hundred Famous Views of Edo,” Impressions: The Journal of the Ukiyo-e Society of America, no. 24 (2002): 25–47.

Apr. 28 (Th).  RESEARCH PRESENTATIONS.

May 3 (Tu).  RESEARCH PRESENTATIONS.

May 5 (Th).  RESEARCH PRESENTATIONS and conclusions.

(May 7–9, Reading Days)

May 11 (W).   RESEARCH PAPERS due, 10:00pm.

 

 

Course requirements:

  1. Class participation (30%). This constitutes responding to questions on the Canvas discussion board and (potentially) annotations and/or short writing assignments. I grade participation periodically, as follows: A (95) for thoughtful commentary that is analytical in nature or synthesizes material from readings and/or other classes; B (85) for answering a prompt briefly; C (75) for a response that suggests some misunderstandings; D (65) for a disruptive or disrespectful response; zero (0) for lack of participation.

  2. Group presentations (30%). There are two of these scheduled. More details to follow.

  3. Research project (40%). This project includes a substantial research paper on a landscape or garden topic in East Asian art, as well as an oral presentation of your research. More details to follow.

 

Communications:
I am happy to meet with you outside of class at a mutually convenient time, in person or via Zoom (see Office hours above). The best way to reach me to set up an appointment is by e-mail, but please note that I might not check my e-mail before 9:00am or after 4:30pm. If I need to contact students, I generally will do so via HWS e-mail and through Announcements on Canvas (see Websites below). You should develop the habit of checking both on a regular basis (I recommend doing so daily).

 

Attendance policy:
I expect you to attend class regularly; attending and engaging in class time with me and your peers is important for your learning. If, however, you need to miss a class (for reasons including celebration of your religion, athletic participation, field trips for a different class, or illness), I expect you to notify me as soon as possible. I am willing to offer class via Zoom for students unable to attend in person, but I need advance notice in order to do that (see Canvas for link).

In the event that you find yourself experiencing symptoms of illness, I request that you do the following:

  • Stay home! This is best way to prevent spreading COVID-19 as supported by scientific evidence.
  • Follow any guidance you may receive from the COVID-19 Daily Symptom Tracker.
  • I expect that you will contact me to discuss missed coursework. In the case that you are not able to make up missed coursework by the end of the semester, we will need to consider options that may include a medical withdrawal or incomplete for the semester, which will be done in consultation with your class Dean.

In addition, those of us meeting in person all share responsibility for the health and safety of all in the classroom environment. Until further notice, all students, visitors, faculty and staff (regardless of vaccination status) must be masked when indoors during class times, teaching fellow hours, and when present in any building on the Arts Campus (Houghton House, the Davis & Solarium Galleries, Goldstein Family Carriage House, and the Katherine D. Elliott Studio Arts Center). Masks are freely available in all buildings on the Arts Campus and at Campus Safety and must be worn properly, fully covering the wearer’s mouth and nose. Please ask a member of the Art & Architecture Department faculty or staff for assistance if needed. Anyone who refuses to comply with this policy will be asked to leave the premises. We thank you for your commitment to the maintenance of a healthy work and learning environment during this time.

Be assured that I will do what I can to work with students to facilitate their successful completion of the course. I encourage you to contact me if you have questions or concerns.

 

Format for written work:
Please follow these guidelines for all written assignments.

  1. Type all work in a 12-point font.
  2. Double-space.
  3. Leave one-inch margins on all sides.
  4. Number your pages.
  5. Put your name and the date on the first page.
  6. Check that your spelling, grammar, and punctuation are correct—these are crucial to effective communication of your ideas. Your grade will drop if you have excessive errors.
  7. If you cite another source, you must use a.) parenthetical references or footnotes, and
    b.) a list of works cited, as explained in The Chicago Manual of Style (http://www.chicagomanualofstyle.org/tools_citationguide.html), the documentation style typically used by art historians. (See A note about cheating and plagiarism below.)
  8. Include pictures (with captions) of works of art that you discuss.

You can submit written work via Canvas. Please upload a Microsoft Word document (.doc, .docx) or a Portable Document Format file (.pdf): these are the only formats that Canvas will accept. PLEASE NOTE: I do not accept papers via e-mail.

 

A note about cheating and plagiarism:
I will not tolerate any form of academic dishonesty. It destroys the trust that I have in you to do your best, it is unfair to the other students, and obviously you will not learn anything if you resort to cheating. If I find that you have cheated or plagiarized on a test or on a written assignment, you will receive a zero for the assignment and I will contact the Deans and/or the Committee on Standards about your case. If a case goes to the Committee on Standards, I follow the Committee's recommendation; if it also finds evidence of cheating or plagiarism, the recommendation is usually failure of the course at a minimum.

In accordance with the Colleges’ Academic Policies (http://www.hws.edu/catalogue/policies.aspx) and the Handbook of Community Standards (http://www.hws.edu/studentlife/pdf/community_standards.pdf), pp. 11, 27–29, I define cheating as giving or receiving assistance on any assignment for this course, including all papers and tests, except as directly authorized by me. The Colleges define plagiarism as “the presentation or reproduction of ideas, words, or statements of another person as one’s own, without due acknowledgment.” In application, this means that in any written assignment, you need to cite your sources. When quoting directly from a text—say, five words or more in succession—you need to put those words in quotation marks and include a parenthetical reference or footnote citing the source. When rewriting a passage from a text in your own words, or including information from a text in your paper, you don’t need the quotation marks but you do still need the parenthetical reference or footnote. In addition, all sources that you cite need to be included in a list of works cited at the end of the assignment. If you don’t understand exactly what constitutes plagiarism, or how to use parenthetical references or footnotes, please ask me. I would prefer to explain what it is and how to avoid it before it happens rather than after.

 

Grading:
Group presentations and research project assignments receive numerical grades. Class participation assignments will receive an A (95), B (85), C (75), D (65), or zero (0). If you are unsatisfied with a grade, please prepare a written statement explaining what grade you think you should have received and why, and submit it to me along with the assignment for review.

I mark down three points for each calendar day that an assignment is late. If you think you will need an extension, you should talk to me as early as possible.

My grading scale is as follows:

 

 

A+  97–100

A  93–97

A-  90–93

 

 

B+  87–90

B  83–87

B-  80–83

 

 

C+  77–80

C  73–77

C-  70–73

 

 

D+  67–70

D  63–67

D-  60–63

 

 

 

F  0–60

 

 

The Center for Teaching and Learning (CTL):
At Hobart and William Smith Colleges, we encourage you to learn collaboratively and to seek the resources that will enable you to succeed. The Center for Teaching and Learning (CTL) is one of those resources: CTL programs and staff help you engage with your learning, accomplish the tasks before you, enhance your thinking and skills, and empower you to do your best. Resources at CTL are many: Teaching Fellows provide content support in sixteen departments, Study Mentors help you manage your time and responsibilities, Writing Fellows help you think well on paper, and professional staff help you assess academic needs.

I encourage you to explore these and other CTL resources designed to encourage your very best work. You can talk with me about these resources, visit the CTL office on the 2nd floor of the library to discuss options with the staff, or visit the CTL website at http://www.hws.edu/academics/ctl/index.aspx.

The CTL resource that will be most essential in enhancing learning in this course is the Writing Fellows program. Writing Fellows help students develop their writing by providing feedback on essay drafts, offering strategies for the writing process, and enhancing students’ understanding of what good college writing means. In this class, Writing Fellow assistance with our research project will be extremely helpful to you, and I suggest that you make an appointment via StudyHub on the CTL website by Tuesday, Apr. 12 to begin work on the research paper draft.

 

Disability accommodations:
If you are a student with a disability for which you may need accommodations and are new to our office, you should self-identify for services by scheduling a Welcome meeting with Disability Services at the Center for Teaching and Learning (the link to do so is on the top right of the webpage http://www.hws.edu/academics/ctl/disability_services.aspx). Disability-related accommodations and services will be provided when the registration and documentation process is complete. The guidelines for documenting disabilities can be found at the website.

Returning students may request their accommodation letter by e-mailing the request to ctl@hws.edu or by using the link at the top right of the webpage to schedule a meeting (should you feel one is necessary).

Please direct questions about this process or Disability Services at HWS to ctl@hws.edu or x3351. Jamie Slusser, Disability Services Administrator and Accommodation Specialist, and Christen Davis, Associate Director of CTL for Disability Services, are the main contact staff for Disability Services.

 

Websites:
There are two websites for this course: one at my homepage, http://people.hws.edu/blanchard/ARTH3436/; and one at Canvas, https://canvas.hws.edu/. This syllabus, paper assignments, and links to online resources for Asian art can be found at both. The Canvas site also has a course calendar, daily handouts, discussions, and an online gradebook; I plan to post PowerPoint presentations there as well.

To use Canvas, log in with your campus username and password. Once you have logged in, you should see, at the left of the screen, a link for Courses you are enrolled in, as well as links for your Account, Dashboard, Calendar, Inbox, Commons, and Help.

It is essential for you to get in the habit of logging into Canvas regularly, as one way I will communicate with the class is via Canvas announcements, and I will post assignments and other course materials there. If you click on the Account link and then on Settings, you can set up Canvas to notify your e-mail or your cell phone about recent activity. I strongly recommend that you set Canvas to send you notifications of announcements ASAP.

For further assistance with Canvas, click on the Help link at the bottom left, and then on “Canvas Resources for Students.” You should look for the Canvas Student Guide (https://community.canvaslms.com/t5/Student-Guide/tkb-p/student) or—for visually oriented people—the Video Guide (https://community.canvaslms.com/t5/Video-Guide/tkb-p/videos). Alternatively, contact the Help Desk of Instructional Technology through the Client Portal (https://hws.teamdynamix.com/TDClient/1889/Portal/Home/), at x4357, or at helpdesk@hws.edu.

 

Technology policy:
Some learning materials will be provided via online platforms such as Canvas (regularly) and Zoom (infrequently). Because of this, your access to a strong internet connection regularly is imperative to your success. I understand that we do not all have access to the same set of resources when not on campus. If this requirement sets up a currently unattainable goal for you, please contact me, your Dean, or the Office of Academic and Faculty Affairs for additional assistance.

Because this class may occasionally use Zoom, please be sure you have Zoom installed on your computer, tablet, or smartphone. Zoom classes may not be recorded or distributed by anyone other than me, the instructor. Below are tips for participating in a Zoom session:

  • join the meeting early and test speaker, microphone, and camera settings;
  • keep speakers away from microphones to avoid feedback;
  • mute your microphones upon entry to the meeting; and
  • do not join a meeting from multiple devices.

I encourage you to bring a laptop or tablet with you to class as it may be useful to you in note-taking, but please remember: using personal electronic devices in the classroom can also be a distraction for you and for other students. Therefore,

  • please silence notifications on all devices so that your work is not interrupted;
  • please be respectful and do not use your devices for non-class related tasks, such as e-mail; and
  • please minimize device use during whole-class, in-person discussions.

Please let me know if there are reasons you cannot follow the above guidelines.

 

Intellectual property statement:
My course materials, including this syllabus, lectures, presentations, and similar materials, are protected by copyright. I am the exclusive owner of copyright for those materials that I create. I encourage you to take notes and make copies of course materials for your own educational use. You may not, however, reproduce or distribute notes or course materials publicly without my express written consent, nor may you knowingly allow others to do so. This includes providing materials to commercial course material suppliers such as CourseHero, Chegg, and other similar services. Students who publicly distribute or display copies or modified copies of an instructor’s course materials, or help others to do so, may be in violation of Hobart and William Smith Colleges’ policies on intellectual responsibility, found in the Handbook of Community Standards, p. 10.

 

©2022 Lara C. W. Blanchard. All rights reserved.