Action taken by the Senate Committee on Undergraduate Studies
at its meeting of May 18th, 1976 gives rise to the following motion:
MOTION: ?
That Senate approve and recommend approval to the Board
of Governors FPA.114-6 The Arts in Context: The Modernist Era
and FPA.250-3 Dramatic Interpretation I.
NOTE
The Committee was informed that these two courses
•
?
to be offered in the Fall semester represent the next phase of
curriculum development within the framework recently approved
by Senate. A faculty appointment has recently been made in
the field of dramatic arts and the individual involved will teach
FPA.250-3 in the Fall semester should it be approved. SCUS has,
therefore, waived the time-lag requirement in order to permit the
offering of FPA.114 and FPA.250 in the Fall semester of this
year.
The Committee was assured that the University Library
has been extremely helpful and that holdings will be at least
minimally adequate for the offering of these courses.
ii
Daniel R. Birch
ams
att.
P-A
SiMON FRASER UNIVERSITY
SWE
1-3,
MEMORANDUM
Mr. H.M. Evans, RgStraJ,.., &
?
.......
.
From J. W
nkai, Chairman
secretary of theSenatecomm
.
................Faculty .£ Interdisciplinary Studies
on Undergraduate Studies
?
Undergraduate Curriculum Committee
Subject...
New ..urse Proposals............. ... .........
?
.....
.
Date....
...................
.......
May
....
......1976
FPA. 114-6, FPA. 250-3
Please place the attached courses on the agenda for
the next meeting of the Senate Committee on Undergraduate Studies, provisionally,
barring any overlap querries from other faculties.
James
J.
Weinkam
Chairman
Attachments.
JW/jk
0
SiMON FRASER UNIVERSITY
MEMORANDUM
Mr. H.M. Evans, Registrar
Secretary of the Senate iruittee
on
Undergraduate Studies
Subject....
New Ccur.seProPPSal
?
..
FPA 114-6
From.........
Blanchet,
?
ç
?
ryofthe
Faculty of Interdisciplinary Studies
Undergraduate Curriculum Committee.
Date ....... .... ... .........
?
Y.
7
'...
1976
The Arts in Context: The Modernist Era
I.S.C. 76-6
The Faculty of Interdisciplinary Studies Undergraduate
Curriculum Committee has reviewed and approved the attached new course
proposal, and I am forwarding it to you for inclusion on the agenda of the
Senate Committee
on
Undergraduate Studies.
Attachment.
.
40
i.5.C.
76-i
p
AfF COMMITTEE ON UNDERG1ADUATE STUDIES
EW COURSE PROPOSAL FORM
Department:Centre_for the Arts
1.
Abbreviation
Calendar
Code: FPA.
?
Course
Information
Number: 114
?
Credit Hours:
_
6 ?
Vector:°
Title of Course: The Arts In Context: The Modernist Era
Calendar Description of Course:
A selective study of European painting, sculpture, architecture, music, dance,
film and theatre in the context of the late nineteenth century and the first half
of the twentieth. Tutorials will focus on a single art form and may involve
practical explorations in that form in relation to the styles of the period.
NaLure
Lecture/Tutorial
of Course.
Prerequisites (or special instructions):
At least 15 semester hours credit
What course (courses), if any, is being dropped from the cal2ndar if this cour
approved:
None
2.
Scheduling
How frequently will the course be offered? At least once every two years
Semester in which the course will first be offered? 1976-3
Which of your present faculty would be available to make the proposed offering
possible?
3.
Objective
s
of the Course
See attached statement
4.
BudgetarY and Space Requirements (for information only)
What additional resources will be required in the following areas:
Faculty 1 faculty position (now authorized) for this and other Fine Arts coucseS
Staff
?
None
Library Additional Fine Arts allocation already reauested.
Audio Visual $2,000.00 during first offering (already budgeted
Space
?
None
Equipment None
• ______
Date:->
_,- ._---
DepartTflt±tt Chairman
De ail
n
?
I_
Chairman,
scs
73-34b:
(When completing tIiii form, for insiructioflS see Memorandum SCUS
ou Line).
FPA 114 - COURSE OBJECTIVES
This course is the second "context" course to be introduced in
conjunction with the developing arts program. Like its immediate
predecessor, G.S. 110 - The Arts in Context: The Renaissance, it
is intended primarily to provide an introduction of several arts and
their interrelationships to students who wish to undertake a concentration
in any
art form. In addition, it should be of interest to students in
any discipline who wish to acquire some grounding in the arts.
A single individual will take overall responsibility for the lectures,
but we do not expect that individual to be o
iti
nIcaxnpetent: there will
be numerous guest lectures from specialists on and off campus in areas
outside the expertise of the-main instructor. The course does not claim
to cover all the arts of the period in a survey fashion: it should be
at once broad and focussed, exploring Instances that do most to reveal the
essential qualities of arts in the period and their interrelationships.
Because of the nature of the course it should be re-thought each time it
is offered, reflecting the interests of the main instructor and reaching
out from those central concerns. Attached is an outline of the course as
we anticipate it will be taught in the Fall of 1976.
Evan Alderson
Director, Fine and Performing Arts
Attachment
3 May 76
.
0 ?
THE ARTS IN CONTEXT: THE MODERNIST ERA
The aim of this course of study is to answer historically the question,
What is Modernism in the arts? Is there a modernist tradition? Upon what
attitudes is it based? What is its structure, philosophically, politically,
stylistically-speaking? The course outlined below is structured around
painting (and to a lesser extent, sculpture) - i.e., the Visual Arts - and
examines the other major art forms primarily in relationship to them. This
is advantageous for two reasons. First, painting and sculpture lend them-
selves most easily to treatment in an audio-visual lecture format in which
the work itself can be convincingly reproduced by means of slides. Secondly,
it is in the consideration of the still image, the image of pictorial art,
that the relationships between sensation and conception, the immediate sensuous
reaction to a work of art and the intellectual, linguistic, analytical context
which breeds and accepts (or rejects) it, can be brought out in the most con--
centrated, yet leisurely, manner. In such lectures, a text can be placed in
direct relationship to an image which retains as much of its original effect
as is possible under the circumstances; it is in this act of speaking -
historically, theoretically - in the presence of a work of art, that an
authentic knowledge can be created, maintained, and intensified. References
to literature, music and the theatre will be constant throughout the lectures.
The sections provided for specific discussion of these arts will be able to
consolidate and put into an overall order references from the continuing dis-
cussion.
Tutorials for the course will study a single art form in greater detail than
can be achieved in the lectures alone. Tutorials may involve practical
exploration in an art form as a means of understanding modernist styles.
Evaluation of student performance in the course will be based on an assessment
of the students' knowledge and understanding of arts in the modernist period.
0
LECTURE SUBJECT OUTLINE
I.
COURBET AND THE REALISM OF THE 1850's
Modernism begins with the frontal Aasault on the Grand Tradition
of European art launched by Courbet in the context of the Revolutions
of 1848.
The Academy and Official Art. Courbet's Painting. HonoreThaumier.
Lithography, Photography and Painting: The Utilit
y
of the Work of Art.
The Modern Tradition in Art Criticism: Stendhal, Baudelaire, the
Realist Critics and Aestheticians. "The Painter of Modern Life".
II.
MANET AND THE NATURALISM OF THE 1860ts
Manet's art manipulates traditional imagery and the history of art
itself to create a new kind of meaning in the visual arts.
Paris, Capital of the Nineteenth Century: The City as Subject, Metaphor
and Method. The Destruction of Genres of Painting and a New Definition
of "L'Art Philosophique". From Realism to Naturalism: Zola, the Goncourt,
Literar y
Naturalism.
III.
THE POSITION OF POETRY I
Romantic and post-Romantic poetry and criticism, in France, England,
Germany.
France: Lamartine, Hugo, Vigny, Gautier, Baudelaire, Verlaine.
IV.
IMPRESSIONISM
The Impressionist painters - particularly Claude Monet - establish a
painting which reinvents the relationship between sensations and ideas,
thereby bringing to a close the Grand Tradition which stemmed from the
Renaissance.
-3-
S
The structure of Monet's work. Renoir. The Impressionist Group
and Independent Exhibitions. The City, The Paris Commune, and the
Conception of Nature in Painting. New Writers on Impressionism:
Stephane Mallarme, Jules Laforgue.
V.
IMPRESSIONISM AND THE PROBLEM OF STRUCTURE: DEGAS, CEZANNE, SEURAT
These painters objected to limitations within Impressionism in the
name of intellectual values identified with the Grand Tradition. Their
work reaffirms, but at the same time, redefines these values in new
terms.
VI.
NATURALISM AND THE NOVEL: FROM THE RED AND THE BLACK TO AGAINST NATURE
The work of art as reproduction of Reality. The social position of the
writer and the value of the act of writing. The repudiation of "Nature"
5 ?
as a problem of method. French and English novels.
VII.
THE EMERGENCE OF SYMBOLISM
An anti-Impressionist, anti-'Materialist' counter-tradition which has
been present in European art as a whole since its modern formulation in
18th Century "sentiment" and mysticism, comes to the surface of cultural
life around 1885. This line of development, often condemned and dismissed
as "decadent", escapist and "hermetic", plays a critical role in the
molding of 20th century art and ideas about its position vis-a-vis its
audience and society as a whole, as well as an image (or self-image) of
the artist.
Impressionist "Renegades" and the Inner World of "Primitive" Art: Gauguin
and Van Gogh. Gustave Moreau: M
y
thology and Psychoanalysis. Other Second
Empire Precursors: Hugo, Grandville. Symbolist Painters: The Nabis,
Redon. J-Iuysmans as Art Critic. Ruskin as Art Critic: English Pre-
Raphaelites, Aesthetes and Utilitarians. Nature and Decor: Art Nouveau.
-4-
S
VIII.
THE POSITION OF POETRY II
French Symbolist Poetry. Lautre
'
aumont, Rimbaud, Villiers de L'Isle-Adam,
Lafor
g
ue, Mallarrn. The Aesthetics of Kant, Schopenhauer, Hegel and their
impact on French Art. Later Symbolist developments: Raymond Roussel,
Alfred Jarry. Symbolism and the Emergence of a Revolutionary Theory of
Language. Symbolism and the Artist as Hornine Revolt.
IX.
THE EMERGENCE OF GERMAN PAINTING AND SCULPTURE 1865-1910
Modern art in Germany develops more slowly and sporadically than in France
or England. Nevertheless, great social and intellectual forces accumulate,
making possible a new and extremist type of art at the turn of the century.
German Aesthetics and German Art. The German Realists and Painters of
Ideas: Liebi, Menzel and Feuerbach. The Mystical Tradition and Modern
5 ?
Symbolism. Jugenstil. The Expressionists of 1905: Kandinsky and The
Blue Rider group, Kirchner and Die Br cke group. Graphic Art: Word and
Image.
X.
THE ORIGINS OF MATISSE AND PICASSO 1895-1905
These two
painters
bring together aspects of all the conflicting currents
of the previous two decades and establish the basis for the great new styles
of the early 20th century.
The Rediscovery of Czanne. Primitive Art and Abstraction: A New Painting
of Ideas. Symbolism: Colour as a Basis of Meaning. Matisse and "Luxe,
Calme and Volupte". Fauvism.
XI.
CUBISM
This new painting, beginning around 1907 in the work of Picasso and Braque,
elaborates yet again a more critical, and crisis-ridden, concept of Nature
and of the act of art-making.
-5-
Methods of Cubist Painting: the Work of Picasso and Braque 1907-1913.
Picture, Collage and Construction. Juan Gris, Fernand Leger. Gleizes
and Metzinger, the Cubist Academy. Apollinaire as Art Critic. The
Cubist Poets.
XII.
THE ORIGINS OF MARCEL DUCHAP
Deeply attached to the Symbolists' attitudes to Nature and language,
Duchamp is the first artist to put the very notion of the "work of art"
in general into question.
Sources of Duchamp's work to 1913. Duchamp's criti
q
ue of Cubism. The
Mystique of the Machine. The Readymade and the Concept of Anti-Art, or
Non-Art.
XIII.
EUROPEAN MUSIC: WAGNER TO SATIE
A brief discussion of the elaboration of new musical structures and their
status as "Modernist" art.
Mahler, Schoenberg, Webern, Stravinsky, Antheir, Satie.
XIV.
EUROPEAN THEATRE: FROM MALLARME' S IGITUR AND ROUSSEL' S IMPRESSIONS
D'AFRIQUE TO ARTATJD'S THEATRE OF CRUELTY
Jarry: Ubu Roi, Expressionist Theatre in Germany. Craig, Appia, The
Young Brecht.
XV.
AN ACCOUNT OF THE YEAR 1913
By 1913 all the major characteristics of a new artistic world and a new
type of artist had emerged. One lecture, consisting of a travelogue,
illustrated with documentary slides, through the European modern art scene
in this crucial year.
0
-6-
.
XVI.
WORLD WAR I AND DADA
Dada renewed the political problems of the modern artist, and reflected
the fact that they had reached a revolutionary level unmatched since 3.848.
Anti-Expressionism in Germany. The Art Scene from Salon to Cabaret. Art
as a Public Gesture of Revolt and Refusal, and the Artist as Revolutionary
and Faker. Dada in Zurich, Berlin, Cologne, and Munich 1913-1916. Dada
in Paris 1916-1919. Dada in New York 1915-1918. Dada and Literature.
XVII.
THE EMERGENCE OF RUSSIAN AND ITALIAN MODERNISM: FUTURISM
Russian art develops in the overheated atmosphere of the Revolution, in
which the problem of the Machine is re-interpreted and brought together
with the image of the artist in revolt against bourgeois society.
10 ?
Russian Painting from Cubism to Abstract Art: Kasimir Malevich. The
Machine Age of Art: The Bauhaus in Germany and Russian Constructivism:
Gabo, Pevsxner. "Productivism", Factory and Laborator
y
Art: Tatlin,
Rodchenko, Lissitzky. Art as Spectacle and Education: the Construct:Lvist
Theatre: Meyerhold, Eisenstein.
In Italy, the idea of an art based on modern life emerges convulsively
with the Apotheosis of the Machine.
The Machine and the War Machine. Marinetti: 'Liberated Words'. The
Futurist Painters and Sculptors. The Mystery and Mechanics of Motion.
XVIII.
CINEMA
Even more intensively than still photography, the presence of motion
pictures transforms the conditions of production of all the arts, as well
as their relationship to their audience.
Film as the Inheritor of 19th Century Naturalism. Film within the Modernist
Tradition. Dioramas and Documents. Melies, Lumiere. Griffith, Eisenstein.
-7-
XIX.
FROM DADA TO SURREALISM 1919-1923
Out of the destruction of the authority of previous cultural values in
the convulsion of the 1914-1918 period, there emerged the basis of a
new artistic tradition. Andre Breton recognized that this new tradition
implied a new moralit
y
for the artist. Surrealism was his attempt to
create an institution and a way of life based upon a revolutionary concept
of art. The Surrealist Manifesto, 1923. Nadja (1926) and the collapse
of the Naturalist novel.
XX.
THE REPRESENTATIONAL TRADITION IN SCULPTURE: RODIN TO BRANCUSI
Including: Degas' bronzes, Bourdelle, Maillol. Expressionist sculpture,
the Cubist construction, the sculpture of Matisse.
XXI.
ABSTRACT ART 1910-1925
The great break in the status and meaning of the visual image.
Frank Kupka, Paul Klee, Kandinsky, and the Bauhaus, Malevich, Piet
Mondrian: works 1890-1925. Duchamp 1915-1923. Matisse and Picasso
1913-1925.
.
R. Blaser; J. Wall
is
.
BIBLIOGRAPHY
Readings will be assigned from the following works, among others:-
John Rewa].d,
?
Impressionism
John Rewald,
?
Post-Impressionism
Phillippe Jullien,
?
Dreamers of Decadence
Bernard S. M
y
ers, ?
German Expressionism
John Golding,
?
Cubism
. ? Robert Lebel,
?
Marcel Duchamp
Robert Motherwell,
?
Dada Painters and Poets
Camilla Gra
y
,
?
The Great Experiment: Russian Art 1863-1922
Marcel Jean,
?
HIstoryof Surrealist Painting
Maurice Nadeau,
?
The History of Surrealism
Hans Jaffe,
?
•De Stijl
Charles Chisholm,
?
French Symbolist Poetry
Anna Balakian,
?
The Literary Origins of Surrealism
Marcel Raymond, ?
From BéaUdëlaire to Surrealism
0
SiMON FRASER UNIVERSITY
?
MEMORANDUM
0 ?
Mr. H.M. Evans,.. Registrar .&
?
.
From.. ..J.
Blanchet, Secretary ... of
-
the
?
.
secretary ... Qf
?
itCe ?
Faculty of
.•
Interdisci
p linar
y
. udies
on
Undergraduate Studies
?
Undergraduate Curriculum Committee
Subject ....
New Co.urse. Proposal
..................
....
.....
?
.....
.
Date ...... ?
... .. .....
......May...7,.....1976 ...................................................
FPA 250-3
?
-
Dramatic Interpretation I
I.S.C. 76-7 (revised)
The Faculty of Interdisciplinary Studies Undergraduate
Curriculum Committee has reviewed and approved the attached new course
proposal, and I am forwarding it to you for inclusion on the agenda of the
Senate Committee on Undergraduate Studies.
.--Tz
?
,.
?
,,.
?
\
Attachment.
.
0
:Ii---('---
Department Chairman
Dean
Chairman, scu:;
.
5. Approval
Date: ?
6 Ma
y 76
S
.
/.S.C.
7-7
SENATE C01MLTTEE ON UNDERGRADUATE STUDIES
COURSE PROPOSAL FORM
1.
Calendar Information
?
Deoartment: Centre for the Arts
Abbreviation Code: FP.
?
Course Number:250 ?
Credit Hours:3
?
Vector:o-O-g
Title of Course: Dramatic Interpretation I
Calendar Description of Course:
This course is designed to give students an understanding and concern for the
actor's role in the art of theatre. Exercises in voice production, movement
and improvisation are accompanied by
an introduction to scene analysis and
presentation.
Nature of Course Laboratory
Prerequisites (or special
instructions):
Prereciuisite ?
G.S. 140
or enuivalent and permission of the Department. This is a limited entry course.
Written permission of the Department is required in advance of registration.
(See attached rationale.)
That course (courses), if any, is being dropped from the calendar if this cour
approved: ?
None
2.
Schedulin
g
Row frequently will the course be offered?
?
Once per year
Semester in which the course will first be offered? 1976-3
Which of your present faculty would be available to make the proposed offering
possible? ?
New faculty member alread
y
recommended for appointment.
3.
Objectives of the Course
This course is intended as the first of two at the second year level which
will together provide intensive foundation work for theatre students, with
emphasis on the actor's art in relation to the total art of theatre. See
attached course outline.
4.
Budgetary and Space Requirements (for information only)
What additional resources will be required in the following areas:
Faculty ?
Authorized new appointment
Staff
Library
• Audio Visual
Space
Equipment
None
None
None
None at this time
None
SICS 73-34b: (When completing this form, for instructions see Memorandum
SCUS 3-
ED
?
RATIONALE FOR PREREQUISITES
Many theatre departments require an audition for entry into their
programs. We have rejected that alternative, preferring to permit free
entry into the Basics of Theatre course and to accommodate as many
students there as we can. This enables a number of students to gain
some familiarity with theatre practices and gives them a full term to
discover where their aptitudes lie. We assume that many students would
not choose to continue to the relative intensit
y
of the second level
course, even though they had performed satisfactorily in the first course.
But we cannot assume that the normal registration processes will enable
those most suited to continue to gain a place in the second course. In
order to have a program that inamntains reasonable standards, that operates
reasonably efficiently and does not create false expectations among
students, we simply must insure that those with some aptitude are permitted
is
to continue.
We do not see sheer acting talent, narrowly gauged, as the sole criterion
for admission to the course. Some ability to profit from intensive work
in acting, as assessed over the term of the first course or by other means
would be requisite, but also the range of interests in theatre, the dedica-
tion with which previous work has been accomplished, the potential contri-
butions to the theatre minor in areas other than acting would be very important
factors in a balanced judgment as to admission to the second level course. It
should be made very clear that we are not contemplating the kind of radical
selectivity that would be necessary if our purpose was to produce professional
actors; what we propose is in the interests of a small, relatively high
quality minor through which students can achieve a good grounding in theatre
as part of a broader education.
In addition to the proposed calendar entry, we will try to guide student
eectatIons as fully and as fairly as possible In the program description
40
we will be preparing for the next calendar. Discussion with Harry Evans
indicates that it is possible to establish relativel
y
simple administrative
procedures that will accomplish the restrictions on entry set down in the
calendar description. Detailed information on how to register for the course
will be posted in a timely fashion in the Department.
.
.
?
COURSE OUTLINE - FPA. 250 DRAMATIC INTERPRETATION I
This course is designed to give students an understanding and concern
for the actor's role in the art of theatre. Although the technical aspects
of an actor's training, namely voice and movement, are introduced, the
thrust of the course is towards sffimersion in the artistic concerns of the
actor. Spolin style improvisation both non-verbal and verbal as well as
Laban techniques and basic method approaches are used to help the actor
in his work. The course expands to include an approach to scene breakdown
and culminates in the presentation of scene work.
Course size is limited to 20.
Structure:
?
studio work and discussion.
Evaluation: will be based on the achieved level of both skills and
40 ?
understanding.
Week 1
Process of selective exploration. Introduction of Laban movement tech-
nique. Basic vocal procedure work, work on "trust" principles, Viola Spolin.
Week 2
Laban sessions 1 and 2.
Basic vocal work continued.
First "private moment" work using James Joyce's The Dead as the source
material.
Continuation of work on "trust" exercises.
Week 3
Leban sessions 3 and 4.
• ?
Continuation of basic vocal work.
Second private moment work done in non-verbal improvisation.
S
FPA. 250 Dramatic Interpretation I (Cont'd)
Week 4
Laban session 5.
Continue basic vocal work.
Notion of listening for the stage done in non-verbal improvisation.
Introduction of the concept of memory recall using Stanislavski's text
The Actor Prepares
Week 5
Laban session 6.
Continue basic vocal work.
Memory recall used for verbalized private moment using 100 Years of
Solitude
5 ?
Introduction of concept of acting through your acting partner.
Week 6
First scene brought into class, performed, critiqued, re-directed.
This scene is from modern drama and is of the students' choice.
Week 7
Scenes seen again to re-evaluate progress.
Introduction of the function and functioning of a director by working
through the scenes in class.
Week 8
Begin 'endeavour' work.
Introduction of the role of conflict in drama as explored in improvisational
work.
. ?
Laban session 7.
Readings: Hamlet and Fergusson's essay orHxfllet inTheIdêaofaTheatre
FPA. 250
?
Dramatic InterpretatiOn I
?
(Cont'd)
Week 9
Examination of how to approach "endeavour" play; elaboration of improvisation
on the "endeavour" principle.
Week 10
Play analysis using Chekhov's The Three Sisters
Retracing the steps we have followed to see how they apply to the text at
hand.
Week 11
Continuation of Week 10.
Week 12
Final scenes presented (from Michael
Willard t
s
The Moon Children).
Critiqued, broken down, rethought and sent away to be re-done.
Week 13
Scenes from Week 12 re-done and brought together.
Analysis of work that has transpired.
.
.
0
-4-
,FPA.250 Dramatic Interpretation I
?
(Cont'd)
.
Required Reading:
Frances Fergusson
Konstantiri Stanislavski
Michael Chekhov
Shakespeare
Anton Chekhov
David Weller
James Joyce
Gabriel Garcia Marquez
The Idea of a Thatre
Published: Princeton, N.J.
Princeton University Press, 1949
Princeton Paperbacks, 1968
An Actor Prepares translated by Elizabeth
Reynolds Hapgood
Published: New York, Harts Books, 1969
To the Actor on the Technique of Act
ing
Published: Harper, New York, 1953
• Hamlet
The Three Sisters
• The Moon Children (Originally titled Cancer)
Published: New York, Dela Courte Press, 1971
The Dead
Published: New York, Avon Books, 1971
Suggested Reading:
Peter Brook
?
The Empty Space
Published: New York, Atheneum, 1968
Jerzy Grotowski
?
Towards a Poor Theatre
Published: New York, Simon & Shuster, 1965
S
.David Rotenherg
SiMON FRASER UNIVERSITY
MEMORANDUM
To ................ Mr..
H.
?
Ey.ns
.......................................................................
From
.............
Sheila...Robe.rts......Sacr.etary..
..........
Secretary
...........
S.CUS..................................................................Faculty....of....Art.s....C.u.r.r.icu1um........
Committee
Subject .......
Overlap ?
.F.ine...Ar... ... .Courses
..................
?
.ate...Ma.y....10., ....1.9.7.6
......................................................................
The Faculty of Arts Curriculum Committee at their meeting May 6,
1976, discussed FPA 114-6 and FPA 250-3 and agreed that there was
no significant overlap between these courses and courses offered
in the Faculty of Arts. Committee Members from History, English
and Modern Languages gave assurances that these courses would
be supplemental to
)
not overlapping with
)
courses taught in their
department.
.
C
