FSEM 108. From Comix to Graphix: The Art of Story. Fall 2024.
Professor Lara Blanchard
tel: x3893
Art & Architecture Department, 208 Houghton House

First-Year Mentor: Chloe Odell

Writing Colleague: Isabel Parker

Class meetings:  TuTh  8:40–10:10am, Houghton House 212

Office hours: Mondays 1:30–3:00pm, Thursdays 10:15–11:45am, or by appointment, in person (Houghton House 208) or via Zoom (see Canvas for link)

 

Course description:
Are comics and graphic novels literature, art, both, or neither? What does Wonder Woman have to do with political history? Why render the Holocaust in a comic format? This course considers formats and themes of comics and graphic narratives, a thriving hybrid form, created by artists from various global cultures. The course is designed (and sometimes collaboratively taught) by a literature professor and an art historian and uses methods of literary and visual analysis to gain a deeper understanding of graphic storytellings. Students will read a range of works in these media, as well as theory, method, and criticism in the field. Students will produce critical analyses and, potentially, creative projects, both individually and in collaboration. This course helps students develop multiple skills of interpretation of narratives in a range of contexts.

Learning objectives:
As with any First Year Seminar, this course is an introduction to interdisciplinary inquiry and a skill-development course in reading across the disciplines, written and oral communication, college-level research, and critical thinking. Because your FSEM professor is your academic adviser until you declare a major, some class time will also be spent mentoring and guiding you through “College 101” information about elements of a successful academic experience at HWS.

  1. Students will develop an understanding of how the authors or makers of comics and graphic narratives (and, by extension, literature and art) reflect on social, historical, and political issues in global cultural contexts, including North America, Europe, and Asia.
  2. Students will develop and exercise critical thinking skills in literary analysis (especially methods of telling a textual narrative, including voice, characterization, plot, and theme) and visual analysis (especially visual methods of conveying ideas, including point of view and artistic strategies for rendering time), based on close readings of comics and graphic narratives.
  3. Students will improve their ability to read and analyze primary sources—in this case, hybrid texts (with literary and graphic elements)—and secondary literature (academic scholarship on comics and graphic narratives as well as critical reviews).
  4. Students will strengthen their academic communication skills, both oral (participation in class discussion and group collaborations) and written (producing analytical papers and research projects).
  5. Students will practice using academic sources for humanities research available through the HWS Library.
  6. Students will show improvement in following “best practices” for accurately summarizing, synthesizing, and citing sources using MLA or Chicago-style citation.

 

Books (all required; available from the HWS College Store or the Library):

Bechdel, Alison. Fun Home: A Family Tragicomic. Boston and New York: Mariner Books, 2006.
ISBN 9780618871711

Chute, Hillary. Why Comics? From Underground to Everywhere. New York: HarperCollins, 2017.
ISBN 9780062957788

Coates, Ta-Nehisi, and Brian Stelfreeze. Black Panther: A Nation Under Our Feet, Book One. New York: Marvel, 2016.
ISBN 9781302900533

Lewis, John, Andrew Aydin, and Nate Powell. March: Book One. Marietta, Ga.: Top Shelf Productions, 2013.
ISBN 9781603093002 [note: we will read vol. I only]

McCloud, Scott. Understanding Comics: The Invisible Art. New York: William Morrow, 1993.
ISBN 9780060976255

O’Malley, Bryan Lee. Scott Pilgrim vs. the World. Portland, Ore.: Oni Press, 2005.
ISBN 9781932664126 [note: we will read vol. 2 only]

Satrapi, Marjane. Persepolis: The Story of a Childhood. New York: Pantheon, 2000.
ISBN 9780375714573 [note: we will read vol. I only]

Spiegelman, Art. The Complete Maus: A Survivor’s Tale. New York: Pantheon, 1996.
ISBN 9780679406419

 

Certain supplementary materials will be available via Canvas:

  • Supplementary readings will be linked from the syllabus and posted in the folder Files | Readings; some are also in books available on reserve in the Library.
  • PowerPoint files will be posted in the folder Files | Image presentations.
  • Handouts will be posted in the folder Files | Handouts.
  • Assignments will be posted in the folder Files | Assignments.
  • Discussion questions will be posted on the Discussion Board.

 

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

Aug. 21 (W), 2:30–4:00pm. Overview of the course.

  • HOMEWORK: study this syllabus and do the assigned reading for Aug. 23 (listed under that date).
  • COLLEGE 101: how to read a syllabus.

Aug. 21 (W), 7:30–9:00pm: Meet your First-Year Mentor, Chloe Odell: "What to expect from Week 1.""

Aug. 22 (Th), 1:30–3:00pm: Drop-in office hours with Professor Blanchard.

Aug. 23 (F). Structure and form in comics.

  • READ: Scott McCloud, Understanding Comics: The Invisible Art (New York: William Morrow, 1993), 2–59; selections from Bill Watterson, The Calvin and Hobbes Tenth Anniversary Book (Kansas City, Mo.: Andrews McNeel Publishing, 1995), 6–9, 14–16, 75, 162, 168.

Aug 27 (Tu). Time in comics.

  • READ: McCloud, Understanding Comics, 60–117.
  • COLLEGE 101: using Canvas; planning out the whole semester (Chloe Odell).

Aug 29 (Th). On adaptation.

  • READ: Frank Erik Pointner and Sandra Eva Boschenhoff, “Classics Emulated: Comic Adaptations of Literary Texts,” in “The Graphic Novel,” special issue, CEA Critic 72, no. 3 (Spring–Summer 2010): 86–106.
  • COLLEGE 101: basic advising and schedules; end of drop/add period.
  • Adaptation project handed out.

Sept. 3 (Tu). Narrative and emotion in comics.

Sept. 5 (Th). Comics and art / comics as art.

Sept. 10 (Tu). History of comics / comics and history.

  • READ: Jill Lepore, The Secret History of Wonder Woman (New York: Vintage Books, 2015), xi–xiv, 3–23, and (in a separate file) color supplement; Hillary Chute, Why Comics? From Underground to Everywhere (New York: HarperCollins, 2017), 1–32.
  • COLLEGE 101: time management; how to break down an assignment (Chloe Odell).

Sept. 12 (Th). Adaptation workshop.

  • READ: start Ta-Nehisi Coates and Brian Stelfreeze, Black Panther: A Nation Under Our Feet, Book One (New York: Marvel, 2016).

Sept. 17 (Tu). Comic books and superheroes.

  • READ: finish Coates and Stelfreeze, Black Panther; Chute, Why Comics? 69–102.
  • COLLEGE 101: resources on campus; how to e-mail your professor and how to manage your e-mail (Chloe Odell).
  • DUE: Adaptation project storyboards, at the start of class.

Sept. 19 (Th). Comics as literature.

  • READ: Hillary Chute, “Comics as Literature? Reading Graphic Narrative,” PMLA 123, no. 2 (Mar. 2008): 452–65.

Sept. 24 (Tu). Finding and using sources; responsible research; college writing.

Sept. 26 (Th). Maus: medium and message.

  • READ: Art Spiegelman, The Complete Maus: A Survivor’s Tale (New York: Pantheon, 1996), 5–71 (or Maus, Vol. I, Chapters 1–3); Chute, Why Comics? 33–68.

Oct. 1 (Tu). Maus: text and image.

  • READ: Spiegelman, The Complete Maus, 73–197 (or Maus, Vol. I, Chapters 4–6; Maus, Vol. II, Chapter 1).
  • COLLEGE 101: effective study strategies: preparing for tests (Chloe Odell).

Oct. 3 (Th). Maus and history.

Oct. 8 (Tu). March, race, and visual representation.

Oct. 10 (Th). March and activism.

(Oct. 12–15, Fall Recess.)

Oct. 17 (Th). Scott Pilgrim: form and style.

Oct. 22 (Tu). Bryan Lee O’Malley, Lynda Barry, and cultural difference in comics.

  • READ: Lynda Barry, “Head Lice and My Worst Boyfriend,” in One! Hundred! Demons! (Montréal: Drawn & Quarterly, 2017), 14–24; Mark Berninger, “‘Scott Pilgrim Gets It Together’: The Cultural Crossovers of Bryan Lee O’Malley,” in Transnational Perspectives on Graphic Narratives, ed. Shane Denson, Christina Meyer, and Daniel Stein (New York: Bloomsbury Publishing, 2013), 243–56.
  • COLLEGE 101: check-in: what's working? How to ask for help (Chloe Odell).

Oct. 24 (Th). All about the HWS curriculum.

Oct. 29 (Tu). Comics, journalism, and politics.

  • READ: selections from Berkeley Breathed, Bloom County: The Complete Library, Volume One: 1980–82 (San Diego: IDW Publishing, 2009), 124–26, 172–73, 204, 234, 243–44, 262, 275; Larry Bush, “More than Words: Rhetorical Constructs in American Political Cartoons,” Studies in American Humor n.s. 3, no. 27 (2013): 63–91; Joe Sacco, excerpt from “The Bucket,” in Palestine (Seattle: Fantagraphics, 2001), 59–62.
  • COLLEGE 101: how to stay healthy and manage stress; how to get involved on campus (Chloe Odell).

Oct. 31 (Th). Persepolis and memoir.

Nov. 5 (Tu). Persepolis and war.

  • READ Satrapi, Persepolis, 72–153; Chute, Why Comics? 309–47.
  • COLLEGE 101: TBD (Chloe Odell).

Nov. 7 (Th). Persepolis and feminism.

Nov. 12 (Tu). Outline workshop.

Nov. 14 (Th). Fun Home and literature.

  • READ: Bechdel, Fun Home, 87–150.
  • COLLEGE 101: registration (Chloe Odell).

Nov. 19 (Tu). Fun Home and queerness.

Nov. 21 (Th). Fun Home and the archive; Bechdel and narrative.

  • READ: Ann Cvetkovich, “Drawing the Archive in Alison Bechdel’s Fun Home,” Women’s Studies Quarterly 36, nos. 1–2 (Spring/Summer 2008): 111–28; Robyn Warhol, “The Space Between: A Narrative Approach to Alison Bechdel’s Fun Home,” College Literature 38, no. 3 (Summer 2011): 1–20.

Nov. 26 (Tu). Autobiography and illness in Hyperbole and a Half.

(Nov. 27–Dec. 1, November Recess.)

Dec. 3 (Tu). Writing workshop.

  • DUE: Microwriting: work-in-progress report.

Dec. 4 (W), 7:00pm. FSEM Symposium.

Dec. 5 (Th). Conclusions.

 

Colleagues:
Outside-of-class meetings are an essential part of this course. Writing Colleague meetings are an invaluable part of the writing process. Writing Colleagues are peer mentors who facilitate and support all aspects of the critical thinking and writing process, from brainstorming to drafting to revision. They act to guide, encourage, and strengthen students’ own ideas by primarily focusing on the larger goals of our assignments, such as organization, analysis, purpose, audience, and development of ideas. After addressing such concerns, Writing Colleagues may also assist students in identifying patterns in grammar and mechanics, but this is not their primary objective; in other words, they do not act as proofreaders.

Meetings with our Writing Colleague, Isabel Parker, are considered an extension of your work for this course and will be required for several assignments throughout the semester. Students should schedule and attend these meetings with the same level of preparation and professionalism as they would meetings with the professor. Therefore, Writing Colleague meetings may not be skipped or rescheduled and are a required element of several assignments.

Writing Colleagues do not grade essays or any other assignments, nor do Writing Colleague meetings take the place of receiving verbal and written feedback from the professor throughout the semester. However, Writing Colleagues do have similar goals for student writing as those of the professor. As with meetings with the professor, Writing Colleague meetings should be approached with courtesy and a sincere commitment to the work of writing. Students, Writing Colleagues, and the professor will work as a team to facilitate learning.

First-Year Mentor meetings are also a key part of your learning and acclimating to college academics and campus life. Our First-Year Mentor, Chloe Odell, will guide you and help you learn about things like time management and study skills while helping you to navigate your new life on campus. Meetings with our First-Year Mentor will take place both in and out of class and will be a significant aspect of your FSEM experience.

 

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).

 

Guidelines for academic success:
In this course, you are expected to attend three hours of lectures weekly and complete eight hours of homework weekly—reading, writing, and looking—in preparation for those lectures. (This adds up to 45 hours of faculty-led instructional time and 120 hours of homework over the course of the semester.) Attending class regularly and engaging in discussions 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. Attendance counts toward your grade as follows: everyone is allowed two missed classes with no penalty. After that, for each class missed, your final grade will drop by half a letter grade (five points). You can make up for an absence, though, by writing a 300– to 600–word discussion of the assigned reading for the missed day.

In addition to the above, you are required to attend five hours of equivalent academic activities outside of class over the course of the semester, which count toward your participation grade. For this class, these activities include the following:

  1. Group meeting with your First-Year Mentor, Wednesday, Aug. 21;
  2. Two mandatory one-on-one meetings with your First-Year Mentor;
  3. Three mandatory meetings to discuss group projects and paper drafts with your Writing Colleague;
  4. Participating in the FSEM Symposium on Wednesday, Dec. 4.

Those of us meeting in person all share responsibility for the health and safety of all in the classroom environment. 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.
  • 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.

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.

 

Course requirements:

1.         Class participation (20%). This includes participating in discussions in class meetings, responding to questions on the Canvas discussion board, completing short in-class writings, and attendance at equivalent academic activities, including meetings with your First-Year Mentor and Writing Colleague. I grade participation per assignment 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.         Adaptation project (35%), storyboard due Tuesday, Sept. 17; project and metanarrative draft due Tuesday, Sept. 24; metanarrative revisions due Tuesday, Oct. 8. Combining your creative and critical energies, you will work with a team to “adapt” content from a different genre into a graphic/comic format. The creative team will consist of writers, artists, designers/editors, and the final project can be either a large-format poster or a booklet/zine. Adaptation assignments will help students consider the relationship between form and content, and apply what they have learned about graphic forms. All projects will be presented at the mandatory FSEM Symposium. More details to follow.

3.         Deconstruction + research project, parts 1–2 (10%), proposal due Thursday, Oct. 3; text + image deconstruction draft due Thursday, Oct. 17. This project begins with a “close reading” assignment that focuses on a single page of a graphic narrative (or a small sequence of related panels) that you select from a provided list. The writing that you do will allow you to practice analysis or close reading of the visual and textual elements of a graphic narrative, as well as the space between. More details to follow.

4.         Deconstruction + research project, parts 3–4 (20%): annotated bibliography due Thursday, Oct. 31; sentence outline due Tuesday, Nov. 12. Building on the work you did in parts 1–2, these assignments will help you as you work on the research phase of this project and allow you to practice academic planning, library research, and organizational skills. Together these assignments will also help you prepare a stronger final essay. More details to follow.

5.         Deconstruction + research project, parts 5–6 (15%): final essay draft due Tuesday, Nov. 19; final essay revision due Thursday, Dec. 5. This major final project is your independent analysis of the graphic narrative that you have focused on in parts 1–4. You will produce a thesis-driven essay that combines contextualizing research and close reading skills; it should incorporate some of the theory and vocabulary of comics that we have studied during the course. More details to follow.

 

Format for written work:
Please follow these guidelines on 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 on every page, and the due date on the first page.
6. Please 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.) either parenthetical references or footnotes as well as
b.) a list of works cited, according to either MLA Style (https://owl.purdue.edu/owl/research_and_citation/mla_style/mla_style_introduction.html) or Chicago Style (https://owl.purdue.edu/owl/research_and_citation/chicago_manual_17th_edition/chicago_style_introduction.html, https://www.chicagomanualofstyle.org/tools_citationguide.html), depending on your preference. (See A note about cheating and plagiarism below.)
8. Include pictures with captions of examples of visual culture that you discuss.

For written work that can be submitted via Canvas, please upload a Microsoft Word document (.doc, .docx) or a Portable Document Format file (.pdf). Alternatively, you can turn in a stapled hard copy during the class period. PLEASE NOTE: some draft assignments are due to our Writing Colleague via e-mail, with a copy to me.

 

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 an 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 (https://www.hws.edu/offices/campus-life/pdf/community_standards.pdf) and the Handbook of Community Standards (https://www.hws.edu/offices/campus-life/pdf/community_standards.pdf), pp. 9–10, 11, 42–43, I define cheating as giving or receiving assistance on any assignment for this course, 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:
Most assignments will receive numerical grades. Participation assignments will receive letter grades, as described under Course requirements above, 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

 

Final grades are subject to reduction for lack of attendance in class as explained in the section on Guidelines for Academic Success above.

 

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 help you succeed. The Center for Teaching and Learning (CTL) is one: 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 15 departments, Study Mentors help you juggle your responsibilities, Writing Fellows help you think well on paper, and professional staff help assess academic needs.

I encourage you to explore these and other resources that encourage your very best work. To learn more, talk with me, visit the CTL office on the 2nd floor of the library, or visit the CTL website: Center for Teaching and Learning | Hobart and William Smith (hws.edu).

The CTL resource especially valuable to students either a.) just starting college OR b.) adjusting to the demands of their major is the Study Mentor (SMs) program. SMs engage directly with you as you adjust to new academic demands: they help you find the time for both academic and co-curricular activities, expand strategies to accomplish the tasks in front of you, and enhance reading and study time. If you have many activities, work on or off campus, are studying for Teacher Certification or graduate school exams, or have several unusually demanding courses, SMs can help! To meet with a Study Mentor, make an appointment via StudyHub on the CTL website: Log in Appointments (hws.edu). You can also contact Ingrid Keenan, x3832, or drop in at the CTL office on the 2nd floor of the library.

 

Office of Disability Services:
f you are a student with a disability for which you may need accommodations and are new to our office, you should self-identify by logging into the Accommodate Portal, Initial Accommodation Request Form (symplicity.com), and completing the Accommodation Request Form. Disability-related accommodations and services will be provided when the registration and documentation process is complete..

Returning students may request accommodations by logging into the Accommodate Portal and submitting a Semester Request. Should you need to meet to add or discuss accommodations, please schedule an appointment with the Associate Director of CTL for Disability Services.

Please direct questions about this process or Disability Services at HWS to ctl@hws.edu or x3351. Shanelle France, Associate Director of CTL for Disability Services and Thom Mascia, Disability Services Accommodations Manager, are the main contact staff for Disability Services.

 

Websites:
There are two websites for this course: one at my homepage, https://people.hws.edu/blanchard/FSEM108/; and one at Canvas, https://canvas.hws.edu/. This syllabus, major assignments, and links to online resources for comics and graphic narratives 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.

Group work in the classroom is designed for the use of electronic devices to support your learning. I encourage you to bring your laptops, tablets, or smartphones with you to class as they may be useful to you in your navigation of group work in this space, 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.

Electronic video and/or audio recording is not permitted during class unless you obtain permission from me. If permission is granted, any distribution of the recording is prohibited.

Please let me know if there are reasons why 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 (https://www.hws.edu/offices/campus-life/pdf/community_standards.pdf), pp. 9–10.

 

©2024 Lara C. W. Blanchard. All rights reserved.