AgmoaamoubA
0
SENATE
?
From
SENATE COMMITTEE
ON UNDERGRADUATE
STUDIES
Subject ?
COURSE REVIEW - G.S. 100-3
302-3
Date
JULY 26. 1974
MOTION: ?
"That Senate approve, as set forth in S.74-94,
that the following courses each be offered
once more and that each be reviewed again
before further offering:
G.S. 100-3 - Modern Art and Its Mainsprings -
The 18th Century
G.S. 200-3
.
- Modern Art and Its Mainsprings -
The 19th Century
G.S. 302-3 - The .1 Ching."
.
.
At its meeting of 25th June, the Senate Committee on Undergraduate
Studies discussed the attached course proposal for - GS 100-3 - Modern Art and
Its Mainsprings - The 18th Century; GS. 200-3 - Modern Art and Its Mainsprings -
The 19th Century; GS. 302-3 - The I thing.
It should be noted that these courses are brought before Senate
for a second time in compliance with the Senate rule that General Studies
courses of this type be offered once only and then resubmitted to the Senate
Ccm'nittee on Undergraduate Studies and to Senate before further offerings.
Following its reconsideration of these courses, SCUS recamnds that they be
offered once more and reviewed again before further offering.
I. Mugridge
att.
I
SiMON FRASER UNIVERSITY
?
SCOS 74'24..
MEMORANDUM
.
To ?
Dr. Ian Mugridge,... chairman.,................................
Send
te
?
on ... .Un. .g duat ....
Subject.
Course.RvieW..-
...General
Studies..
From
Dr. R.C. Brown, Dean, Faculty.
of
Interdisciplinary Studies.......
Date...
20th
.
Jun
.
,. .1974.................................
Please find attached course review materials for:
G.S. 100-3
?
Modern Art and Its Mainsprings - The
18th Century
G.S. 200-3
?
Modern Art and Its Mainsprings - The
19th Century
G. S. 302-3
?
The I Ching
These materials are presented in compliance with the Senate regulation that
is they must be reviewed prior to further offering.
c
RCB/et
?
Robert C. Brown
Enclosures
0
G.S. 100-3 Modern Art and Its Mainsprings - The 18th Century
and
G.S. 200-3 Modern Art and Its Mainsprings - The 19th Century
OBackground
These courses were first offered during the 1972-73 academic year by Senate under the
condition that they would be reviewed by Senate prior to further offerings. This con-
straint was imposed upon these and other courses in the Fine Arts because there was
some concern about the way that they might influence the eventual development of the
proposed degree programs in the area. The courses were reviewed by Senate in June,
1973 (S.73-80) and were reapproved under the same constraints. While considerable
discussion has occurred and is occurring, a detailed proposal for a program(s) in
the Fine and Performing Arts has not yet been completed.
Proposal
That G.S. 100-3 and G.S. 200-3 be approved for offering during the 1974-75 academic
year. G.S. 100-3 will be offered during the 1975-1 semester and G.S. 200-3 will be
offered in 1975-2.
Comments
G.S. 100-3 was offered during the 1972-3 semester with 107 students attending. A
report on the course was prepared and submitted to Senate as part of S.73-80
(attached). The course was offered again in 1974-1 with 67 students attending.
A report similar to the one prepared for S.73-80 is omitted here because the
.
position has been advertised and a new instructor will be employed to teach the
course. However, the general syllabus is attached.
G.S. 200-3 was first offered during the 1973-1 semester with 94 students attending.
Like 100-3, a report on the course was submitted to Senate in June 1973. It was
reoffered in 1973-3 with 60 students attending.
There is an obvious decline in the number of students attending these courses but
this should not be attributed to a decline in the quality of instruction. The
courses were offered during the evening and it was necessary to restrict enrolments.
U
DIVISION OE GENERAL STUDIES
Al
?
V
NEW COURSE PROPOSAL
1.
CALENDAR
(pJI,.f
Ii'F0R11A1I0N
progranj
kc?rse Number: 100
?
Title:M0fl1 Art and Its
Mainsprings - The Eighteent
Sub-title or
Description: ?
Century
Introduction to the History of Modern Western Painting
Credit Hours: 3
?
Vector Description: (2-1-0
Pre-Requisite(s):
No pre-requisites
2.
ENROLUENT AND SCHEDULING
Estimated Enrolment: 250
Semester
Offered (e.g. yearly, every Spring, twice yearly, Fall and
Spring):
Yearly
When will course
first
be
offered? Fall 1972
3.
JUSTIFICAfION
A.
17hat is
the
detailed description
of the course including
differentiation
from lower level courses, from similar courses
in
the same department, and from courses in other departments
in the
University?
This course may be described as a traditional art history course of an
introductory nature. It attempts to do two things: develop an awareness of
the methods of art history, and develop such visual skills as are used by
art historians. There are presently no similar courses offered in the
university. ?
-
?
-
B.
What is the range of topics that may be dealt with in the course?
The topics will be the work of the following 18th century artists:
G. B. Tiepolo, Ptétro Longhi, Canaletto, Francesco Guardi, Francesco
Piranesi, Watteau, Boucher, Fragonard, Magnasco, Mengs, Greuze,
Chardin, Hogarth, Reynolds, Gainsborough, Rowlandson, Benjamin West,
Copley, Peale, Gilbert Stuart, Sully, Romney, Raeburn, Lawrence, Etty.
Stubbs, Wilson, Cozens, Constable, Fuseli, Blake, Goya, Gercault, David
2.
C.
How does
this course fit the goals of the program?
This is a traditional course in art history and is being offered as an
program.
elective in response to student demand. It is not part of a
degree
D.
How does this course affect degree requirements?
No effect
E.
What are the calendar changes necessary to reflect the addition
of this course?
New course,
addition.
F.
What course, if any, is being dropped from the calendar if
. ?
this course is approved?
None
C. What
is the nature of student demand for this course?
Petitions circulated by students indicates their broad interest
in Fine Arts. This course would be a partial fulfillment of that demand.
H. Other reasons for introducing the course.
3.
4. BUDGETARY AND SPACE FACTORS
A.
Which faculty will be available to teach this course?
B.
What are the special space and/or equipment requirements
for this course?
Lecture Theatre equiped with slide projector and screen
C.
Any other budgetary implications of mounting this course:
Addition of a' one-half faculty position to present university commitments.
Approval:
Dean of Division:
Senate:
Ms
_2
ILI
00*ML
The course is designed to iritrodC( the story o modern Western
painting. The objectiv
e
is to develop in the students an aWarefle of the
various different methods of art history, and to train them in such i1ls
as are used by art historians. The course begins with the discuSSioll of t
h
e
(1594-1665) and
work of Peter Paul RubenS (1577_1640) and Nicolas
PousSifl
the effects of their work on Eighteenth Century painting. It ends with the
discussion of the work of Jacques-
LOS
David (1748-1825) and Francisco
Goya (1746l8Z8), placing them firmly in the Eighteenth Century. Parti-
cular attention will be paid to the concefl of the artists discussed with
questions of what is "natural", or "true to nature'
t
, and what is "reasonable"
or cognitive.
CouS
DcscriPi9
by Lecture
. iz September
?
Rubens and Poussin, as the 18th Century
saw
the-"-
TiepolO and Some Other Italian and French Painters
2.
19 September
in Italy: Band its in a Landscape; the grappling with
reality and illusion; imaginatio
n
and the work of
painting frescoe
s
.
3.
26 September
?
The Centres of Eighteenth Century Paii.tiflg: Venice,
• Paris and London. Collectors and dealers of art.
Topographical painters: Canaletto, Guardi. and
Piranest.
4.
3 October
Watteau: the art of manners and of Psychological
• ?
relations.
?
. i October
?
The sensuous trio: Boucher, FragOflard and Greuze.
The moral backlash: Dider0t' criticism.
6.
17 October
?
Hogarth and Rowlandson. CaricatUrists and
moralizers. The business of engraving.
7.
24 October ?
Test.
Artist
s
in England and the founding
8.
31 October
?
of the Royal
Academy: Kneller, I-lighm0re Thornhill,
, Jerva
.
Goupy, Roubiliac, Hoare, Zoffafli, RcynOldS and
others.
9.
7 November
?
portrait painting in France: RigaUd, Quentin
de la Tour, PerrOnfleaui and Mine Le Brun.
10.
14 November
?
Chardin and Stubbs: still life and animal painting.
The American history of journalistic painters:
11.
21 November
Benjamin West, Copley, and others in London.
The perfect political artist: Goya or David.
12.
28 November
Jacques_L0US David's relations to the French
Revolution.
13
?
4Decerflbcr
?
Francisco Goya'S preoccupation with reason and
feeling. ?
... 2
page e.
VW
The structure of the course was quite satisfactory. Students
o
f lectures
U
to the very last, and
-
I1L
showed
i-i1
extra
and
---
were in goo
?
"
ordinary interest in, and an adequate grasp of, the course
?
'
the aims of the course.
The
?
test, byway of slide projections,
e ncouraged students
to study individually the pictures discussed in the course, in
different
order to
sorts
describe and discuss them and thus to exercise in various
of verbalizing about the visual material
?
e test should he moved to the
latter part of the course for greater effectiveness.
4
jibiiograpy
Course
?
The course texts were chosen to represent various
approache
s
to the area of study:
different
1.
j. S.
?
Held
odological
and Donald Posner,
?
1972.
2.
Michael Levey, Roc
?
to RevolutiOn, 1966.
3.
Claire Gay, iighteeflth CenturY Pains, 1966.
4.
John Canaday, The Live
S
of the Paintr
?
(Volume Two), 1969.
5.
Francis X. 3. Coleman, The Aesthetic Thout qL
Ch
Enlightrflenti 1971.
6.
Lorenz Eitner (ed.), NeoclaSSCjs and Romanticism,
Sources and
Documents, 1970.
CornrnCflt
s
(1) is a "monster" of the sort "introductory text". it attempts
to sum up the Baroque and Rococo periods in 450 pp.;
it
?
almost
ide a study in depth. The
every
reproductions
aspect
of pictures
of the
in the
periods;
book, however,
but
are
does
quite
not
good
prov
in quality
and cover the most
i
mportant ones fairly well. (2) is an argumentative,
well-written volume; its level of sophistication requires several readings
and a careful assessment before the book is appreciated, but students'
(4) represents
final
reaction to the book was very enthusiaStic. (3) did not arrive.
the biographical method of art history. (S) a phiiosOriCal approach of the
"analytic school". (4) and (5) were used by very few students. .
(6) represents
a sociological method.
of the course, I wish to specify only one
In the second offering
text:
Michael Levcy'S Rococo to Revolution,
-
Praeger 1966.
A list of supplementary reading (or "suggested reading") would include the
texts listed above, and the following additional books: (the asterisk indicates
those volumes which I would wish the University Book Store to purchase in
quantities of 20:
... 3
-- ?
.......................
page 3
(A) Exhibition Catalogues:
1. European Masters of the Eighteenth Century, Royal Academy,
London, 1954-5.
Z. The Ae of Rococo, Merrick, 1958.
3.
The Romantic Movement:, The Tate Gallery, London, 1959.
4.
Goya and
di,
Times, Royal Academy, London, 1963-4.
5.
France in the Eighteenth Centuy. Royal Academy, London, 19&'3.
(B) General:
*1. F.
Fosca, The Eighteenth Century: Watteau to Tiepolo,
Geneva 1952.
2.
F.D. Klingender, Art and Industrial Revolution, London 1947.
3.
M. Levey, P.intingj Eighteenth Century Venice, London,
1959.
4.
J. Thuillier and A. Chatelet, French Painting from LeNain to
Fragonard, Geneva 1964.
*5. E.K. Waterhouse, Painting in Britain, 1530-1790, HarmondswOrth
1953.
(C) Monographs:
1.
Helene
Adhmar, Watteau, Paris, 1950 (in French)
2.
F.
Antal, Hogarth and His Place inEuiopean Art, London 1962.
3.
A.
de
Beruete Y. Moret, Goya as Port:rait Painter, London 1922.
4.
D. L. Dawd, Pageant-Master of the Rcublic:
?
Jacques-Louis
David and the French Revolution,
?
Lincoi,
Nebraska, ?
1948.
5.
K.
Garas, Franz Anton Maulbertsch, Budapest 1960 (in German)
6.
K.
Honour, Neo-Classicism, HarmondswOrth,
?
1968.
7. J.
I.opez-Ray, Goya
1
s Caprichos, vols.
?
1-2, ?
Princeton 1953.
8.
A.
Morassi, G.B. Tiepolo,
?
London, ?
1955-62.
9.
R.
Rosenblum, Transformations in Late Eighteenth Century
Art,
Princeton,
1967.
10.
A.
0
1
du Gue Trapier, Goya and His Sitters. New York,
?
1964.
11.
G.
Wildenstein, ?
Chardin,
?
Paris 1933 (in French).
12.
G.
Wildenstein, The Paintings of Fragonar4
?
London 1960.
... 4
DIVISION OF GENERAL STUDIES
NEW COURSE PROPOSAL
1. CALENDAR fl!FORNATION
.,. ,c..p.
f-me &4jer4ftg
—
krE
?
200
Program. ?
Course Number:
Modern Art and Its
Title:
Mainsprings - the Nineteent
Century
Sub-title or Description:
Introduction to the History of Modern Western Painting
Credit Hours:
?
3
Vector
Description: ?
(z..l-O
Pre-Requisite(s): No pre-requisites
2.
ENROLNT AND SCHEDULING
Estimated Enrolment:
?
250
Semester Offered (e.g. yearly, every
Spring, twice yearly, Fall and
Spring):
Yearly
When will
course
first be
offered?
Spring 1973
3.
JUSTIFICAfION
A.
Vlhat is the detailed description of the course including
differentiation from lower level courses, from similar courses
in
the same department, and from courses in other departments
in
the University?
This
course
may be described as a traditional art history course of an
introductory nature. It attempts to do two things: develop an awareness of
the methods of art history, and develop such visual skills as are used by
art historians. There are presently no similar courses offered in the
university.
B.
What is the range of topics that may be dealt with in the course?
The topics will be the work of the following 19th Century artists:
Delacroix, Ingres, Daurnier, Courbet, Rousseau, Dupre. Daubigny, Millet,
Corot, Manet Monet, Pi.ssaro, Degas, Rodin, Renoir, Toulouse-Lautrec,
Washington Allston, Thomas Cole, Homer, Thomas Eakins, Turner,
Bingham, Rossetti, William Morris, Hunt, Millais, Ruskin, Seurat.
Maillol, Van Gogh, Cezanne.
rj'. I "1
2.
v ?
C. How does this course fit the goals of the program?
This is a traditional course in art history and is being offered as an
elective
program.
in response to student demand. It is not part of a
degree
D.
How does this course affect degree requirements?
No effect.
E.
What are the calendar changes necessary to reflect the addition
of this course?
New course, addition.
F.
What
this course
course,
is approved?
if any, is being
dropped
from the calendar if
None.
C.
What is the nature of student demand for this course?
Petitions circulated by students indicates their broad interest in
Fine Arts. This course would be a partial fulfillment of that demand.
H. Other reasons
for introducing the course.
qo
3.
4. BUDGETARY AND SPACE FACTORS
A.
Which faculty will be available to teach this course?
B.
What are the special space and/or equipment requirements
for this course?
Lecture Theatre equiped with slide projector and screen.
C.
Any other budgetary implications of mounting this course:
Addition of a one-half faculty position to present university commitments.
Approval:
Dean of Division:
?
.
?
.
Senate:
?
-•
C.S.
ZOO
Moderfl
?
Its Main s2rings-Ninetenth Century
This introductory course in the history of western European
painting covers the main
art
movements and school,s of painting from
the 178'0
s
to the 1920's. The course begins with the work of Francisco
Goy..(i7468) arid Jacques-Louis David (1748-1825), and ends with
tbé,,ork'Of the School of Paris. Emphasis is placed on the various the-
retical Assumptions underlying art movements of the XIXth' Century,. and on
origins
of
these assumptions in the XViiIth Centur
y
. The course is
designed to develop an awareness of the various different methods of art
'•'. hisy, and of such skills as are used by art historians.
• ?
5,.
?
5',
'.7
'Course
descri
p
tion by lectures.
Goya as portraitist, physiognoinist, and humanist.
Politics and painting: Jacques-Louis David and the
French Revolution.
JeanAuguste-DornifliqUe Ingres: linearism, medievalism,,
and neoclassicism. The Nazarenes, the Lyonnais, the
Pre-Raphaelites: the search for a religious expression.
Art Nouveau or Jugendstil.
Eugene Delacroix, his painting and his Journal. The
painters mentioned in the Journal. Delacroix's colour
theory.
Turner and 'Ruskin; Constable and Leslie. Painting
literature, and art criticism.
Naturalism, as the Barbizon painters saw it.
Naturalism, as Courbet and other "realists" saw it.
Naturalism, as Edouarcl Manet, Daumier, and
?
S
Degas saw it.
? .
?
S
Divisionism and Impressionism: Seurat, Claude Monet,
Renoir, James McNeill Whistler, and Mary Cassatt.
Test.
?
.
Past-impressionists and Symbolists and the Nabis:
Vincent Van Gogh, Pissaro, Emile Bernard, Gaugin,
Bonnard, Vuillard, and others.
Gustave Moreau and the Fauves-Vlaminck, Derain
Matisse, and Rouault.
?
S
?
S
Czanne and Zola; Braque, Picasso, Gertrude Stein,
and Cubism.
January 8
II ?
January 15
Ill
?
January 22
IV ?
January 29
l.a
V
?
February 5
VI ?
February 12
VII ?
February 19
VIII ?
February 26
IX ?
March 5
X
?
March 12
XI ?
March 19
XII ?
March 26
XIII ?
April 5
... 2
page (-
eSCrLPt10nnd lecture plan will remtn c
same should the
offered
again.
tr
r
Curse Texts.
There was only one course text, George H.
HamiltOfl1S
19th and 20th
oes
ted Additional Texts.
Marcel Br
i
on, ?
th ?
aritc_D1_,
1966.
John Canaday, Lives of the Artists, (volume three) 1972.
Alan Gowan,
?
1966.
(:orrlrn ent
HamiltO&S
ad 20tCet1
?
was a poor choice.
?
I chose
to be too
G.T-I.
it at the last moment, after some, better
text
course
for a
texts;
study
proved
of
the
kind which I
have
expensive.outlined
?
Unless
should
some
appears
new
I
course
will adopt as course text next time Alan
1760-1960.
Ati ?
A History of Painters and Painting,
be
R
estles
s
suggested:
Cowan's
^
the following reading li st will
in addition to
the course text,
bitionCata10E!
1.
Royal Academy,
Smith
London,
College
1963.
?
Museum
of Art, 1961.
2.
Piranesi, NorthaiTlPton, Mass.,
1819-1877, Boston:
?
Museum of Fine Arts, 1960.
3.
Gustave Courbet,
Philadelphia Museum of Art, 1966.
4.
5.
Manet,
e1aCr0j,
?
Toronto Art Gallery.
• ?
6.
M,, ernoria
l
de I'ExPositian_E_Uacsl^^^^
en 1963,
Paris (in Frerch).
Kunsthafle, 1968.
7.
eD4E2!' Bremen,
dc ?
MinfleaP0
?
Institute of Arts, 196Z.
8.
iaTh2_
Rodoiphe Bresdin, New York,
9.
O1ilon1d0n,
Gustave Moreau,
Art, ?
1962.
Museum of Modefl
?
bo ?
rough, Royal Scottish Academy,
1960.
10.
Solomon R. Guggenh
ei
m Museum,
11.
Gustavl
12.
1965.
Painter
?
of The Brck,
London, The Tate GallerY, 1964.
Mu ?
des Arts Decoratifs, 1956.
13.
FernandL..L
?
1881-1955, Paris,
?
.1
ofchibiti0fl"
?
Vol. VII)
?
Arts Council
14.
(hlcatalogues ?
1.
of Great Britain,
?
1956.
Museum of Art, 1960.,
15.
Paths of Ab
?
t Art ?
Cleveland
S ?
•
?
•
Surrealism, New York, Museum of Modern Art, 1968.
16.
General:
1.
F. Novotny,
1780_1880
("Pelican History of Art
s
'), 1960.
2.
W. Fried]aefldel, David to DelacrOix,
tr. R. Goldwater, Cam-
bridge, HarvardU., 1952.
3.
H. Honour,
?
_ça c12L HarmOfldsworth, 1968.
Brotberboo
d
. of
German Painters,
4.
oxford, 1964.
?
ew York, 1960.
5.
M. Brion, Rom!CA, N
6.
K. Clark, The Gothic Revival, An
London, 1948.
7.
R. Ironide, PreRapate Painters,
•
8. R.L. Herbert, Barbizol
?
ted, Boston, Museum of Fine
Arts, 1962.
9.
C. Chass, Th
?
bis and Their Period,
London: Lund
e
Flurnphries, 1969.
10.
R. L. Herbert, Neo-I
?
omsm ?
, New
York, 1968.
Ii. J. Rewald, 1mpreSO
?
New York, 1959-
12.
J. Rewald, Past Impressiomsrhhi New York,
jts A
1962.
Generatio
n
in Re
13.
B.S. Myers, The German
ExprS:
New York, 1957.
?
ud
14.
j.L:ymariei Fauvis
Skira, 1959.
?
Cubism and Twentieth
?
New York, 1961.
15.
R. Rosenblum,
16.
C. Greenberg, Art and Culture, Critica
?
as, Boston:
Beacon Press, 1961.
17.
E.p.Richa son, The Way of Western Art, 1771-1914, Cambridge,
Mass.,
1939.
MonograPS
1. E. du Gue Trapir, GoyaafldJ
t
Letters New York, 1964-
Z
.
Jos'e
Lopez-ReY,
GoyL5
Ca
ph
?
2 vols., Princeto
n
, 1953.
3.
D. L. Dowd, Pageant'
?
the Rep
u
bl
i c:,
FnCY21 1948.
4.
R. Huyghc,
?
1oiX tr.
J. Griffin, New York, 1963.
5.
G. Reynolds, Consta1e,, The Natural Painte
r
)
New York, 1965.
6.
J.
Rothenstein and M. Bretti.n, Tur, New York, 1964.
7.
G. Bazin, Corot, Paris, 1951-
8.
J. Rewald, Camille Pissaro, New York, 1963.
9.
W. C. Seitz, Claude Monet, New York, 1960.
London, 1966.
10.
D. Sutton, James McNei.l1.Wht
• :4
:H ?
- ?
-- -
0. Benesch, ?
tr.
3
Spencer
Londo
n
, 1960.
2. R. Go1dwat
?
Paul Gau in New yrk,
1957.
and t
hu
Scienc
e
c
. W.I.
Homer,
?
M.I.T.,
1964.
14. P. Huisman and .G. Dortu, Lautrec b Lautred, tr. c. Bellow,
New york, 1964.
is.
M.
Shapiro,
?
New york, 1950.
16.
P. Courthion, Georges Rouault, New York, 1962,
?
1959.
17.
W. Haftmann, Emil Walde, tr. N. Guterman, New York,
18.
3. Russell, The World f Matisse 1869-1954'
The Works
New
of
York,
the Paint
1968.
er
rosc
19.
H.
1,4. Wingler,
?
lzburg
o. M. Shapiro (ed.),
?
3rd ed., New York, 19
65
.
i. A-14. Barr, Jr., PicaSso
Years
Fifty
ife and
of His Art , New York, 1946.
21. New
?
?
tr. N. Guterman,
?
New York,
23. M. S Uph0r,
?
?
1956. ?
and Test.
•
Two essay
g5j
gnme fl
tS were set: one, a discussion paper on a top
which was
selected
?
the student and the instructor
?
d in aeetiflg between
This paper was
semester
handed
?
of the
The
was due on the last day of lectures, and was to deal with
one
ded in midway
?
e of the move
n XlXth C. painting. The student was
?
to establish a link
ed
beeen
to it.
the earmarks of an art movement d the art his toriC methods appli
?
The test
was a
ilvisual" test, in which slides were shown for
?
fltjfjtt0fl
of painter, school, title of paintiflg and for description of the painting in
terms of its reference, its expressiveness, and its pictorial properties.
c_.
It is impossible to judg
?
other
e the success or failure of the final essay assg
ment.
The first paper was to guide the student to material compatible
with his other academic
P
ursu its
. Art history overlaps with manY
fields;
or, to put it differently: no other field invites s to roam so widely
for a work of art cannot tell its
o
wn story unaided; it yields up its es5age
only to persistent inquiry that draws upon all the resources of cultUr
onomics.
history, from religio
n
to ec
•
?
There were basically two sorts of reaction by the st
?
heir
udents to the "visual"
•
test.
The major
?
of students thought that the test aided them in t
study. But
a few of them-expressed their displeasure at having to "waste
their time".
•
?
..:
o
G.S.302-3 The I Ching
Background
The I Ching was approved for an initial offering by Senate in July, 1973
(S.73-92).. The course was offered druing the 1974-1 semester.
We initially intended to limit enrolment in the course to 25 students
(seminar format), but demand was very heavy and we eventually admitted 10
others for a total enrolment of 35.
Student evaluations (samples attached) were asked for at the end of the
semester. The results indicate that the course was highly successful and
that the instructor functioned very well in the classroom.
Recommendation
That G.S. 302-3 be approved for offering during the 1974-75 academic year.
..
:7:
(,.
FACULTY OF INTERDISCIPLINARY STUDIES
NEW COURSE PROPOSAL
1.
CALENDAR INFORMATION
-
?
Program
?
Course Number: 302
?
Title: The I Ching
Sub-title or Description:
A book of wisdom, philosophy and oracle, which serves as a vehicle for
understanding patterns of change that govern life and which has acted
as a guide for leaders and scholars throughout history.
Credit Hours: 3
?
Vector Description: 3-0-0
Prerequisite(s): Completion of at least 60 semester hours of credit.
2.
ENROLMENT AND SCHEDULING
Estimated Enrolment: 25/semester
Semester Offered (e.g. yearly, every Spring, twice yearly, Fall and Spring):
Yearly
When will course first be offered?
Spring 74-1
3. JUSTIFICATION
A.
What is the detailed description of the course including differentiation
from lower level courses, from similar courses in the same department,
and from courses in other departments in the University?
The I Cling, an interdisciplinary introduction to Oriental philosophy and.
psychotherapy, reflects both the major Chinese schools of learning, Taoism
and Confucianism, and throws light on the working Of the unconscious and
the inner self.
B.
What is the range of topics that may be dealt with in the course?
Topics ranging from a comparison of the concept of Tao and that of the
Christian 'logos' and Platonjs tRealityl to a discussion on the two primary
forces in the universe, namely, the Yin and Yang principles, to the strata
and attributes of the sixty-four hexagrams andto C.G. Jung's views on The
I Ching in the light of psychoanalysis which will be tackled in the course.
rç4
A.
- ....._
_. ?
.
.. ?
L.....i
i......................-
'
?
2.
C.
How does this course fit the goals of the program?
The course is a general elective. It is not intended as part of an existing
or proposed program.
D.
How does this course affect degree requirements?
It will provide 3 hours of general elective crdit toward a student's degree
requirements.
E.
What are the calendar changes necessary to reflect the addition of this
course?
The course will be added to the "General Studies" courses listed in the
calendar.
F.
What course, if any, is being dropped from the calendar if this course
is approved?
None.
• ?
G. What is the nature of student
It is open to any student of the
However, preference goes to thos
psychology or with keen interest
offerings indicate that at least
demand for this course?
university with upper levels standing.
with a major or minor in philosophy or
in Oriental studies. Past non-credit
25-30 students will enroll.
H. Other reasons for introducing the course.
Courses of similar nature are offered at almost every major university in
North America such as Harvard, Yale, University of Washington, U.C. Berkeley,
Toronto and so on and so forth. It isdesigned to give students an introduc-
tion to Chinese philosophy and the classic 'I Ching.'
S
3.
4. BUDGETARY AND SPACE FACTORS
A. Which
faculty will
be available to teach this
course?
Mr. Titus Yu will be hired on a stipend basis. He is currently completing
a Ph. D. in Chinese
Studies at
the University of Wash ington.
B.
What are the special
apace
and/or equipment requirements
for this course?
None..
C.
Any other budgetary implications of mounting
this course:
The stipend arrangements for Mr. Yu.
Approval:
Dean of Division:
Senate:
k.. ?
..............1...........-. ... ?
. ...................
'.aUUcC. .3YL.LAbtJs
CHING
Titus YU
The course is
scheduled to meet
3 hours/week, and aims at a
g eneral
ftit't, ?
J1
C
the ?
Chtn or the
Book of Chang
?
ana11-embracing oriental classic, which ins-
?
pired the discovery
of the Theory of
Reflection Asytmietry by two young scientists
to for which were
awarded the 1957 Nobel
Prize in Physics. Knowledge of Chinese
?
is not required. This course, open to all students, will be conducted in English.
LeCturefl)jscussjon
• ?
Week
1:
The notion of Tao with specific reference to that
of the Logos in the New Testament of the Christian
Bible and that of Reality in Plato's Republic
Week
2:
The Concept of Change with comments by C.G.Jing
Week
3:
The Yin and
Yang principles
Week
4:
The trigrams
Week
5':
The strata of the
?
1 Ching:
•
a. the protasis and apodsjs of the ta hsiang chuan,
the great images
•
Week
6:
c.
be
?
hsu
tuan
kua,
chuan,sequence ?
the decision
of the hexagrams
d. hsi tzu chuan, great treatise on the appended judgments
We(k
:
Mid-term
e.
?
tsa kua,
m
iscellaneous notes
on
the hexagrams
We'lc
Week
H.
9:
The
meanings,
?
lines and positions of the hexagrams
?
¶
two representative hexagrams:
Week
10:
a. Hexagram Chien
be Hexagram Kun
Week
ii:
a
C
orresponding dualism:
Week
12
a. Hexagram Chi Chi
We.k
13:
be Hexagram Wei Chi
presentation of an over-all pattern, and review
FINAL EXAMINATION
REQu1kFl
?
IJ1Jh.1,
Pi-hard,
tr. The ?
Ching.
Princ
eton,N.J., Princeton
Universj
?
Press, 1971.
RFCo p
u
?
TE:'
'
Lau, ').C.,
rr. Tat,
'r
Ching Baltimore, MD., Penguin.
Needham,
Plato, Rub,
Jose.p
N.Y.',
?
nt
i°nce
tlodern
'
rs
ItyPress,
and
Lib.,
Civ
ilization
1962.
N.9., or
in
any
China,
edition
Vol.2, N.Y., Cambridge
Feng, Yu-hn,
A
l!ni'.rcity
flr
.i
?
,ry
ofChinese
Press,
1952.
Ph1Losop
?
Princeton
N.J.,
Princeton?
.Semestct.
There will
?
:tIne.r.phed handouts available for students throughout the
?
FS OF
CXAI)T:';;
a. attenrtnc,s
be home ac'1r'. "': reading
r'
assignment before each session
and two short
C,
Mid-tern ' .-'na un
d. Final
F.x.1n,
In.
j
r i, ?
•'
?
-
S
.
submitted by John D. Allen
73200-2720
June 17th, 1974
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