-
S
73_Ia
SiMON FRASER UNIVERSITY
?
MEMORANDUM
From
SENATE COMMITTEE
ON
UNDERGRADUATE
STUDIES
0
SENATE
To—
FACULTY OF INTERDISCIPLINARY STUDIES
Subct ?
OF CS 075-2 ?
J
Date JUNE 28, 1973
MOTION 1:
?
"That Senate approve, as set forth in S.73-80,
that General Studies 075-2 - Issues and Answers
- be approved for further offering from time to
time at the discretion of the Faculty of Inter-
disciplinary Studies."
MOTION
2:
. ?
"That Senate approve, as set forth in S.73-80,
that General Studies 100-3 - Modern Art and Its
• ?
Mainsprings: Eighteenth Century, and General
Studies 200-3 - Modern Art and Its Mainsprings:
Nineteenth Century - each be approved for offering
once again with further review to be undertaken."
MOTION 3: ?
"That Senate approve, as set forth in S.73-80,
that General Studies 101-3 - Formal Development
of the Symphony - be approved for offering once
again with further review to be undertaken."
SENATE
1MON FRASER UNIVERSITY
?
5
73i)
MEMORANDUM
I. MUGRIDGE, CHAIRNAN
From
.........................................................................
SENATE COMMITTEE ON UNDERGRADUATE
STUDIES
Date.... JUNE 28, 1973
Sub j
ect.. FACULTY OF INTERDISCIPLINARY STUDIES..
- FURTHER OFFERING OP CS 075-2,
05 100-3, 00 101 3, -00 200 3
The most recently called meeting of the Senate Committee
on Undergraduate Studies was non-quorate because of the absence of
sufficient
voting
members. Those in attendance agreed to consider and
to have transmitted to Senate the recommendations of the Faculty of
Interdisciplinary Studies on a number of General Studies courses earlier
approved by Senate for one-time offerings and now reviewed for consi-
deration
for
further of fering
The
members in attendance recommend approval as follows:
That General Studies 075-2 - Issues and Answers - be
approved for further offering
from
time to time at the discretion of the
Faculty of Interdiscipliiiary StUd±es
That General Studies 100-3 * Modern Art and Its Mainsprings
Eighteenth Century, and General Studies 200-3 - Modern Art and Its Main-
sprlikgs: Nineteenth Century each be approved
for
offering once again with
further review to be undertakeno
That General Studies 101-3 - Formal Development of the
Symphony be approved for offering once again with further review to be
undertaken.
It was the opinion of those in attendance that the non-quorate
nature of the meeting should not prevent the request of the Faculty of Inter-
disciplinary Studies for authorization of further offerings from being trans-
mitted
to
Senates
IM:jb
SiMON FRASER UNIVERSITY
MEMORANDUM
To ?
Ian Mugridge ?
..From ... ..R. C. Brown, Dean
Asst., Academic Vice President
?
Faculty of Interdisciplinary Studies
Sub j
ect. ?
Course RevLe
•
w
.
G
.
ene
. ral$tudies .Date....
.June ?
21, ?
1973.............................................................
Courses
Please find attached the course review material for:
General Studies 075-2
General Studies 100-3
General Studies 101-3
General Studies 200-3
-,
p
• I Q on 06 "
6
r"%
General Studies 075-2
General Studies
075-2,
Issues and Answers, was offerred by
Dr. K. Burstein during the 1972-3 semester.
Statistical Data
?
initial ?
final
enrolment
?
26 ?
23
Student Evaluation
?
p ?
G
Students were asked to provide an "open-ended" evaluation of
the course. Sixteen responded, the general interpretation was that the
course was well prepared
and
provocative. It was felt that it would only
work with small groups of students; and that, because of the subjective
nature of the content, it would be more appropriate as a pass-fail venture.
(Comments attached.)
Faculty Evaluation
Professor Burstein considered the course to be successful and
has expressed a desire to offer it again in the Summer of 1974.
Evaluation of the Undergraduate Studies Committee, Faculty of Interdisciplinary
Studies
The Undergraduate Studies Committee noted the
report of Prof.
Burstein and the student evaluations for the course. It is our belief that the
course was an initial success from both the faculty and student point of view,
and
we recommend that it be offered again.
^. 0
GENERAL STUDIES 075
"ISSUES" AND $ANSWERS"
DR. K. BURSTEIN
WHILE THE TRANSMISSIO
N
OF INFORMATION IS ESSENTIAL TO THE PURPOSE
OF A UNIVERSITY, THAT PURPOSE IS FULFILLEDNLY WHEN STUDENTS AND
FAC1JLTYTAKE THIS INFORMATION, EXAMINE IT, QUESTION IT, REINTERPRET
IT, REFORMULATE IT, ELABORATE UPON IT
AND --
H
opEFULLY--ULTIMATEL
Y
AND--HOPEFULLY--ULTIMATELY ADD
TO IT.
Kl
TO BE SUCCESSfJL, THIS PROCESS REQUIRES THE KIND OF OBJECTIVITY OR
EMPIRICISM ASSOCIATED TYPICALLY WITH THE SCIENCES. UNFORTUNATELY,
HOWEVER, WHILE WE CAN FAIRLY QUICKLY AND EASILY PICK OUT SOME FLAW
IN AN EXPERIMENT OR SCIENTIFIC ARGUMENT WHICH DOES NOT VITALLY AFFECT
OUR PERSONAL LIVES, WE DO NOT ALWAYS PERCEIVE VIRTUALLY IDENTICAL FLAWS
IN "ISSUES" AND "ANSWERS" PRESENTED TO US IN THE MAIL
S
ON THE MALL AND
VIA THE NEWS MEDIA, THOUGH THEY SOMETIMES HAVE A TREMENDOUS EFFECT ON
OUR LIVES AND THOSE AROUND US, E.G., NACARTHYISM.
THIS COURSE IS AN EXPERIMENTAL ATTEMPT TO MAKE THE HALLMARK OF A UNIVERSITY
STUDENT THE FACT THAT HE DOES NOT ACCEPT UNCRITICALLY "ISSUES" AND "ANSWERS"
THAT HE HAS NOT CAREFULLY AND THOUGHTFULLY EXAMINED.
S
THE COURSE WILL DEAL WITH A VIRTUALLY UNLIMITED RANGE OF TOPICS, NEVER ATTEMPT
INC TO PROVIDE ACTUAL SPECIFIC ANSWERS FOR SPECIFIC QUESTIONS, BUT ALWAYS FOCUS-
SING ON THE NEED FOR UNDERSTANDING AN "ISSUE" OR "ANSWER" BEFORE BEING IN
-
FLUENCED BY IT. TOPICS WHICH COULD BE INCLUDED RANGE FROM"FOREIGN TROOP
DEPLOYMENT IN VIET NAN"TO'PEOPL
E
WHO DO NOT LOOK YOU IN THE EYE ARE LIARS."
:
The primary function of a University is not, as is sometimes implied, the
tran&mfSSiO
n
of information from teacher to student. Rather it is, in a sense, 'to
w,orcp3rc cch student to become his own theorist. To make his own judgm2nta, rather
an to accept, uncritically, those of others.' Thus, while the transmission of in-
ormatiOfl is essential to the purpose of a University, its primary goal is fulfilled
only when students take this information, question it, elaborate upon it, reformulate
it, reinterpret it, and, ultimately, add to it. Or, in a word, the principle function
of
a University is to make people think.
•
?
?
Of the greatest importance in this fundamental task of a University is the ability
to weigh information objectively. To this end, we offer various courses under various
names which deal with methods currently employed for the objective assessment and
evaluation of information and data. For example, to name some, we have courses in
History, Psychology, Biological Sciences, Physics, BSF, PSA in the application of
"the scientific method" to the specific subject màtter of these disciplines.
Unfortunately, it is not always seen that these sametechniqueS for protecting
ourselves against biased, preconceived and/or emotional conclusions within a specific
academic discipline can also be employed to examine the many "facts" and "explanations"
we encounter in everyday life. While a student in a particular discipline may see
immediately that a certain conclusion is not recessarily valid
because of an identifiable
uncontrolled
factor, the same person oft times accepts uncritically conclusions presented
on the mall, in the wail and via the various "news media" despite the fact that, sub-
jected to the same sort of scrutiny, it, too, is not necessarily true.
There are countless examples of actions taken, not only in the university, but
throughout the world, which would have been revealed to be unnecessary if someone
ad taken the time to check the "facts" presented to justify these actions.
4
?
For whatever reasons, the evidence seems to be overwhelming that there is little
transfer, in terms of application, of the research attitude taught in specific disciplines
to problems and positions in everyday life. It is therefore proposed that the University
offer a course specifically designed to demonstrate the apphcabilitY of these techniques
to common everyday problems.
By doing so, several goals may be achieved. First, we would take a giant step
toward making it explicit that our purpose is not simply the transmission of information,
but is the development of thoughtful educated future citizens.
Secondly, over the course of years, we would produce a population of graduates,
the majority of whom would be immune to being stampeded by emotional ill-considered
arguments lacking empirical support. A good many of the problems and crises in this
world--not to mention the violence--stems from the acceptance of unexamined slogans,
cliches and shibboleths. If just a small percentage of University students can he
made to look at all issues critically and thoughtfully, the University would perform
a tremendous service to both its students and to future generations. Indeed, if other
Universities followed suit, we would eventually virtually eliminate people who
righteously respond to propaganda, rumors and misinformation.
Although there are, at present, no courses required of all students, it is hoped
that Senate would consider this course as a requirement for all SFU degrees.
K]
1.:::
• ?
...,,
2.
.
.
.
this course fit the goals of
the department?
C.
How does
Not applicable
?
.
. ?
.•
D.
How does this course affect degree requirements?
it is
proposed that the course ba acceptable toward
all
University degrees.
?
While no course is presently re-
quired of
all
students, Senate might wish to consider
.
this possibility for this course,
- ?
Otherwise, there is no effect upon
degree
requirements.
E.
What are
the
calendar changes necessary to
reflect
the
addition of
?
this course? ? .
Addition of course
number and description.
?
.
F.
What
course, if any,
?
is being dropped from the calendar if
.
this course
?
is ?
approved?
?
..
S
none
S
?
.
C.
What is the
nature of student demand for this course?
It is
anticipated that student demand
will be
substantial.
'I
H.
Other reasons
?
for introducing the course.
There would seem to be a tremendous
need for a course of this type
•
in
that, both in the Univcrity and in the community, there
is
little
evidence that this type of guidance is being
provided elsewhere.
?
In
addition, if it
is possible to instill a research attitude in students,
this approach would hopefully be transferod to the children of these
•
students
when they become parents.
?
Also, some of these students
Will
become teachers and
thus have the
opportunity of
instilling a research
'
approach in tomorrows citizens
via the
schools. ?
. ?
.
• ?
d
• ?
••
3.
4.
?
BUDGETARY AND SPACE FACTORS
.
?
A. ?
Which faculty will be available to teach
this course?
Several faculty have expressed willingness to teach such a course
if
Departmental release is possible.
B. ?
What are the special space and/or equipment
requirements
• ?
for
?
this course?
None
C ?
Any other budgetary implications of mounting
this course:
No ?
-
?
S
It would be possible to have "labs" during whic specific problems,
sele
ct ed
perhaps by students on an individual basis, were subjected
to
examination, but there does not
seem
to
be,
at the present time,
any provision for funding TA's in
General
Studies.
O
Approval:
?
S
?
S ?
S
?
S
• ?
Curriculum
Committee:
?
• ?
S
Dean of Faculty:
Senate: ?
•
?
• ?
:
C
•1
Genera' Studies 07
?
Issues and Answers
Professor: K. Burstein
Student Comments
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4
S
General Studies 100-3
Modern Art and Its Mainsprings: Eighteenth Century - offered by
A. Grants during the 1972-3 semester.
Statistical Data
initial
final
enrolment - day
? 78
83
- evening ?
29
24
- total ?
107
107
Student Evaluation
Student responses to questionnaires handed out to them to evaluate
the course varied. Almost all of the respondents considered the course to
be of high value
to
them, but there was a mixed reaction concerning the quality
of the instruction. For detailed comments,
see
the attached samples of the
questionnaires.
Faculty Evaluation
Professor Grai ts considered the course to be highly successful and
proposes to offer it again if it is re-approved by Senate. (See attached report.)
Evaluation of the Undergraduate Studies Committee, Faculty of Interdisciplinary
Studies
The Undergraduate Studies Committee considered the report of
Prof. Grants, and the student evaluations. We recognized the mixed reactions
of the students to the course, but noted that this is a new course developed by
Dr. Grants, in a new teaching area. Thus we decided to compare the results
of student questionnaires in G.S. 100 with those for G.S. 200. We noted that
in this comparison between the two courses, that there was a noted improve-
ment in the student evaluation of G. S. 200. We felt, therefore, that the general
trend of the teaching performance of Prf. Grants in these courses was toward
improvement. We also noted that students were
.1%
critical of the content of the
course and of the course's purpose.
It is our recommendation that the course be offered again.
S
Faculty of Interdisciplinary Studies, Simon Fraser University, May 30. 1973.
According to University regulations, it is necessary to evaluate
each new course after its initial presentation. This is done to determine
whether or not the course should becOme a permanent part of the Univer-
sity curriculum. With this in
-
mind we are requesting you to forward your
opinion of General Studie
,
s 100 - Modern Art and Its Mainsprings: 18th Century.
A prompt reply vould be greatly appreciated.
Did you consider this course to be:. superior
average
inferior
Any comments you might care to make regarding this course would be
helpful in making the assessment. .
?
.
S
1 ? .'
•
?
.. ?
.
?
.r ?
.. ?
s,'.. ?
..
?
.
?
.
.1 ? •-.
?
s ?
S
Faculty of Interdisciplinary Studies, Simon Fraser University, May 30, 1973.
According to University regulations, it is necessary to evaluate
each new course after its initial presentation. This is done to determine
whether or not the course should become a permanent part of the Univer-
sity curriculum. With thisIlLrnind we are requesting you to forward your
opinion of General Stu'dies 100 ',Modern Art and Its Mainsprings: 18th Century.
A prompt reply would be greatly appreciated.
Did you consider this course to be: superior
average ?
-
inferior
Any comments you might care to make regarding this course would be
helpful in making the assessment.
r'7
L'
• ?
•: ?
••
Faculty of Interdisciplinary Studies, Simon Fraser University, May 30, 1973.
a
According to University regulations, it is necessary to evaluate
each new course after its initial presentation. This is done to determine
whether or not the course should beccmë a permanent part of the Uni-er-
sity curriculum. With
thijp_rnd
we are requesting you to forward your
opinion of General Studi
es
100
7
"Modern Art and Its Mainsprings: 18th Century.
A prompt repiyLetie greatly appreciated.
Did you consider this course to be: superior
average
inferior
Any comments you might care to make regarding this course would be
helpful in making the assessment.
FEWIM
72
/
S
Y9ij
'I
• • ?
,S ? S• ?
•• ?
•• .• ?
• ?
• ?
•
SIMON FRA;LH UNIVE USITY, I3URNAI3Y 2, ftC CANADA
FACUL1 V OF INTERDISCIPLINARY STUDIES: 291-4152
April 10th, 1973.
Dr. R.C. Brown
Dean
Faculty of Interdisciplinary Studies
Simon Fraser University
Burnaby 2, B.C.
Dear Dean Brown:
I am pleased to submit an analysis of the series of courses titled
"Modern Art and
its
.
Mains prings", consisting of
G.S. 100 - Modern Art and Its Mainsprings - Eighteenth Century
offered Fall Semester 1972, and
G. S. 200 - Modern Art
and
Its Mainsprings - Nineteenth Century
offered Spring Semester 1973.
This analysis is not meant to be a post-mortem of the courses: I
have intended it to show that the series was quite successful in achieving
its objectives; that there is a considerable growing interest in the
two
courses among students and also among some faculty of other departments;
and
that some ways of improving the courses, without altering their nature,
suggest themselves by the analysis.
I would like to put forward the following proposals:
(i)
that G.S. ZOO - Modern Art and Its Mainsprings - Nineteenth
Century (2:1:0) be offered again in Fall Semester 1973 (concurrently with
G. S. 300 - Didactic Art of the Eighteenth Century Revolutions, which was
approved by the Senate for Fall Semester 1973), and
(ii)
that G.S. 100 - Modern Art and Its Mainsprings - Eighteenth
Century (2:1:0) be offered again, in Spring Semester 1974.
Yours sincerely,
47^;
46VTh
Arvid Grants
AG jc
4
Analysis of G.S. 100 - Modern Art and Its Mainsprings_
-
Eighteenth Century
The course is designed to introduce the history of modern Western
painting. The objective is to develop in the students an awareness of the
various different methods of art history, and to train them in such skills
as are used by art historians. The course begins with the discussion of the
work of Peter Paul Rubens (1577-1640) and Nicolas Poussin(1594-1665) and
the effects of their work on Eighteenth Century painting. It ends with the
discussion of the work of Jacques-Louis David (1748-1825) and Francisco
Goya (1746-1828), placing them firmly in the Eighteenth Century. Parti-
cular attention will be paid to the concern of the artists discussed with
questions of what is "natural", or "true to nature", and what is "reasonable"
or cognitive.
Course Description by Lecture
1.
12 September
2.
19 September
3.
26 September
4.
4December
Rubens and Poussin, as the 18th Century saw them.
Tiepolo and Some Other Italian and French Painters
in Italy: Bandits in a Landscape; the grappling with
reality and illusion; imagination and the work of
painting frescoes.
The Centres of Eighteenth Century Paiiting: Venice,
Paris and London. Collectors and dealers of art.
Topographical painters: Canaletto, Guardi, and
P i r ane
Si.
Watteau: the art of manners and of psychological
relations.
The sensuous trio: Boucher, Fragonard and Greuze.
The moral backlash: Diderot's criticism.
1-iogarth and Rowlandson. Caricaturists and
moralizers. The business of engraving.
Test.
Artists in England and the founding of the Royal
Academy: Kneller, Highmore, Thornhill, Jervas,
Goupy, Roubiliac, Hoare, Zoffani, Reynolds, and
others.
Portrait painting in France: Rigaud, Quentin
de la Tour, Perronneau, and Mme Le Brun.
Chardin and Stubbs: still life and animal painting.
The American history of journalistic painters:
Benjamin West, Copley, and others in London.
The perfect political artist: Goya or David.
Jacques-Louis David's relations to the French
Revolution.
Francisco Goya's preoccupation with reason and
feeling.
5.
3 October
6.
10 October
7.
17 October
8.
24 October
9.
31 October
10.
7 November
11.
14 November
12.
21 November
13.
28 November
page 2
Comments: The structure of the course was quite satisfactory. Students
were in good attendance of lectures up to the very last, and showed extra-
ordinary interest in, and an adequate grasp of, the course material and
the aims of the course.
The "visual" test, by way of slide projections, encouraged students
to study individually the pictures discussed in the course, in order to
describe and discuss them and thus to exercise in various different sorts
of verbalizing about the visual materialr The test should be moved to the
latter part of the course for greater effectiveness.
Bibliograp
Course Texts. The course texts were chosen to represent various
different methodological approaches to the area of study:
1.
3.5.
Held and Donald Posner, 17th and 18th Century Art, 1972.
2.
Michael Levey Rococo to Revolution, 1966.
3.
Claire Gay, Eighteenth Century Painting, 1966.
4.
john Canaday, The Lives of the Painters, (Volume Two), 1969.
5.
Francis X. J. Coleman, The Aesthetic Thought of the French
, ?
Enlightrnent, 1971.
6.
Lorenz Eitner (ed.), Neoclassicism and Romanticism, Sources and
Documents, 1970.
Comments: (1) is a "monster" of the sort "introductory text". It attempts
to sum up the Baroque and Rococo periods in 450 pp.; it mentions almost
every aspect of the periods, but does not provide a study in depth. The
reproductions of pictures in the book, however, are quite good in quality
and cover the most important 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' final
reaction to the book was very enthusiastic. (3) did not arrive. (4) represents
the biographical method of art history. (5) a philosophical approach of the
"analytic school". (4) and (5) were used by very few students. (6) represents
a sociological method.
In the second offering of the course, I wish to specify only one course
text:
Michael Levey'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) EhibitiOfl CatalOgUe.
1.
EurggeanM
ers
f the EigeefltCentury Royal AcademY,
London, 1954-5.
2.
The Age of Rococo
1
Merrick, 1958.
3.
The Romantic Movemen
t
, The Tate Gallery, London, 1959.
4.
Goya and His Times, Royal Academy, London, 1963-4.
5.
France in the Eighteenth Century, Royal Academy, London, 1963.
(B) General:
*1. F. Fosca, The Eighteenth Centur
y
- Watteau to Tiepolo,
Geneva 1952.
2. F. D. Klingenderi Art and Industrial Revolution, London 1947.
3.
Lvi.
?
ngifl Eighteenth Century Ven, London, 1959.
4.
J. Levey,
and A. Chatelet, French Painting
Geneva 1964.
*5
?
?
. E.K. Waterhouse,
Painting
fl
Britain, 1530_1790, Harmofldsworth
(C) Monogrhs:
i. Helene Adhmar, WatteaU, Paris, 1950 (in French)
2.
F. Antal,
o
gar
t
hadS Place in Europ
?
ti London 1962.
3.
A. de Beruete Y. Moret, Goya as
?
London 1922.
4.
D. L. Dawd, Pagent_Maste1 of the Republic: Jacques-Louis
David and the French Revolution, Lincoln, Nebraska) 1948.
tSch
5.
K. Garas, Fran Anton Maulber
?
Budapest 1960 (in German)
6.
K. Honour, INeo-Classicism, Harmond5W0
th , 1968.
7.
J.
Lopez-Ray, Goya'S CaprichO, vols. 1-2, Princeton 1953.
8.
A. Morassi, G.B. TiepolO, London, 1955-62.
i
In
Late Ei
g
hteenth Century-:L-
rtl
9.
Princeton, 1967.
10.
A. du Gu Trapier, Goya and His Sitters, New York, 1964.
ll. G. Wildenstein, Chardin, Paris 1933 (in French).
12. G. WildenStein, The Paintings of Fragoflarj London 1960.
...4
page 4
Essay Assignments_
Two essay assignments were set for the course: one, a book report
on an introductory but controversial text on XVUlth Century painting; two, a
research paper on the main topics of the course. The former was due early
in the course; the latter, on the last day of lectures.
Comments
Some students complained about the amount of work involved: they
felt that they could earn more easy credit6 in a large number of courses.
However, the number of drop-outs was very small. Moreover, the quality
of the work done was very high, generally. One explanation for the relatively
high quality of work is that there was a large per centage of upper-level
students (5th semester and up) in the course.
Course enrolment
107 students completed the course. Of these, 85 were enrolled in the
A ?
eneral Studies, and one
Faculty of Arts,
?
17 in the Faculty ox rauct.wII,
in the Faculty of Science.
of study:
English
SO
Student enrolment by areas
• ?
n44)
Modern Languages
7
6
History
Geography
S
Psychology
5
Philosophy
1
•
Archaeology
1
Sociology
1
Commerce
1
6
Undisclosed
Total
f
0
4)%t ?
Student enrolment by year of admission
to the University:
27
Upper Level
?
1965. ?
2
Lower Level
?
1971
1972
31
1966
?
8
sub total
58
1967
?
5
1968
?
10
1969 ?
11
1970 ?
13
• ?
total ?
• 107
sub total
?
49
dylkla
Commeflt!
The fact that a very large per cent of students came from upper
levels, that a very high number of students were doing an Arts degree,
and that most of them were from the Department of English can be explained.
S
page 5
it had jist happfld that the Department of English was presenting at the
same time a Fourth Year course in XVllIth Century literature, offered by
Dr. Anne Messenger, arid Dr. Messenger was interested enough to find out
about
?
to enrol in it while she herself
bout my course, had advised her stud
audited it.
it seems to me that coordinated planning of course offering between
departments and faculties would be of special interest to the Faculty of
Interdisciplinary Studies. There could be a special committee set up whose
task
in Philosophy,
would be to
one
study
of the
developing
presently
intereStS
developing
?
in
interests
arious areas.
is in
v
the
For
taxonomy
example,
of pictorial symbols, which should be of interest also in Communication
Studies, in psychology, in History of Art, and to various degrees in almost
any branch of Science and Arts disciplines. If the Committee of the sort I
suggest would send out invitations to the faculties and departments of this
University to contribute courses in classificatio
n
of pictures at a certain
oncerted effort which would be of a
time,
considerable
studies, the
there
various disciplines
would
interest
(English,
then
nd faculty
to
Art,
come
the
Maths,
alike.
students
about
History)
Again, in
are
a
historical
presently
c
a
investigating the Eighteenth Century perhaps more than any other slice of
' ?
space-time. Here thcre is an area of concerted effort for an
?
semester
?
of course offerings in a very near future.
Slide and Picture Collections, and
In the course of the lectures, approximately 600 slides were used.
Some 500 of them were new acquisitions, and only a hundred slides were
used from existing collection
s
at SFU. The new slides have to be classified
and arranged in files. There are no slide housing cabinets to store the slides.
There should also be an appointment of a special clerk whose task would be to
issue slides and place them back into the collection after the lectures. This
is a time consuming work.
N either the AV slide collection in the Library, nor the Art Gallery
Mo
Collection is arranged to assist the lecturer
?
these collections?
are
open for general borrowing, and as a result, the lecturer is very often
unable to recall the slides which he wants to use in time for the lectures.
Hence, these collections are useless to him.
A better projecting equipment must be acquired: there are no 6 x 6 cm
and the large 9000+ lecture theatres have no dimming arrange
mentS.
slide projectors
El
L4Ap
Revision of the Evaluation of General Studies 101-3
General Studies
101-3,
Formal Development of the Symphony,
' was offered during the
1973-1
semester by Professor Babcock.
Statistical Data
initial
?
final
enrolment ?
45
?
65
Student Evaluation
(see
attached)
Faculty Evaluation
(see attached)
Evaluation of the Undergraduate Studies Committee, Faculty of Interdisciplinary
Studies
The Committee, after having reviewed the reports made available
by Professor Babcock and by students who were enrolled in General Studies
101-3,
propose the following course of action.
That G.S.
101-3
be offered in the Fall Semester
1973.
uflLe: ?
It is apparent from
1ie
response of studenis
euroiled
in the first offering of G.S.
101-3
that the course was highly successful from
their point of view. Without exception students responding to our questionnaire
indicated that this was one of the more valuable courses which they had been
exposed to in their university experience. If there was any criticism of the course,
It was that the professor attempted to cover too much material in too short a time.
Some recommended that the course should be divided into a two semester sequence,
to allow time for more background material to be developed prior to actual expo-
sure to music. In response to these criticisms, the instructor has recommended
in his report that the course be divided in future into a two semester sequence
in the general history of music. Howevei, the Committee feels that the course
should be offered in its original form at least once more prior to any consideration
of dividing the course over a two semester period.
0
S
H0
2
Li
Faculty of interdisciplinary Studies, Simon Fraser University, May 30th, 1973
^-.P
According to University regulations, it is necessary to evaluate
each new course after its initial presentation. This is done to determine
whether or not the course should become a permanent part of the University
curriculum. With tbi in mind we are requesting you to forward your opinion
of General Studie1i711- Formal Develo
p
ment of the Symphony
Did you consider this course to be: superior
average•
inferior
?
-
Any comments you might care to make regarding this course would be
helpful in making the assessment.
-
?
2_
cti4
Jr?L. ?
r
A ?
(I
41973 ).
L1
Faculty of Interdisciplinary Studies, Simon Fraser Univértty May 30
According
According to University regulations, it is necessary to evaluate
each new course alter its initial presentation. This is done to determine
whether or not the course should become a permanent part of the University
curriculum. With this in mind we are requesting you to forward your opinion
of General Studies 101 Formal Development of the Symphony.
S
Did you consider this course to be: superior
average
inferior
VO
WJ
Any comments you miglit care to make regarding this
I)
course woul'be -.
?
helpful in making the assessment.
?
-
-
?
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—03-56'-,3
S
Faculty of Interdisciplinary Studies, Simon Fraser University, May 30th, 1973
According to University regulations, it is necessary to evaluate
each new course alter its initial presentation. This is done to determine
whether or not the course should become a permanent part of the University
curriculum.
With thi
-
c,
in mind we are requesting you to forward your opinion
of General Studies 101 -Formal1Devel9prent of the Symphony.
Did you consider this course to be: superior
average
inferior
Any comments you might care to make regarding this course would be
^4.0
?
helpful in making the assessment.
I
.4160
,
rflfl\
!1
p
GENERAL STUDIES 101
OBJECTIVES: To familiarize students with the formal concepts of symphony and to
provide them with as many examples as possible in tracing the
development of symphony from its beginnings to the present. To expose
the uninitiated to symphonic music and to give them and students with
some musical background an idea of what they are listening to.
CLASS:
?
initial
enrollment:
45;
final enrollment:
65.
STUDENT EVALUATION: Students were asked to give their own evaluation of the course,
not a response to a questionnaire; a questionnaire can be
too easily biased by 4t8 author.
1.
The course was very informative and delightfully enjoyable.
2.
The instructor was very knowledgb1e, interesting, organized, lectured
well, chose good examples. He was approachable for questions concerning
any aspect of music-both in the lectures and in hhs office.
3.
He did a commendable job in giving the course.
4.
There was a unanimous and strong recommendation that the course
be offered again.
5.
Almost every criticism indicated the need for more music courses
atSFU.
•. This course should he
?
dividcd L-
.
2-sc str ?
uenc t allow
time for more background material and more listening.
7.
General
opinion was that the playback equipment was inadequate
in quality.
INSTRUCTOJS EVALUATION:
I was
indeed suprised and most pleased that this pilot course proved to
be so interesting and valuable to the general student population.
This
reception points up the need for more music courses, general and
specific, at this university. The primary goals I had set for the
course were obtained.
The
course was a welcomed change from the usual
offerings. A whole new area of interest in the Arts has been started
by G.S. 101.
RECOMMENDATIONS:
1.
That the material in History of the Symphony be spread over 2 semesters.
2.
A
2-semester course in a general history of music be made available
to students at SFU.
' ?
3.
That
better sound equipment be made
available.
4. That funds continue to be.made available for the acquisition of
of records/tapes to make more representative the library holdings
of concert music.
W R Babcock
'quus.A' ?
•%*6
6
11J
General Studies 200-3
Modern Art and Its Mainsprings: Nineteenth Century - offered by
A. Grants during the 1973-1 semester.
Statistical Data
enrolment - day
- evening
- total
initial
final
76
68
32
26
108
94
Student Evaluation
The student evaluations for G. S. 200-3 indicated a general satisfaction
with the content and instruction for the course. More specifically, the students
were highly enthusiastic about a course in the History of Art, but felt that the
instruction in the course was only of about average quality.
Faculty Evaluation
Professor Grants considered the course to be highly successful and
proposes to offer it again if it is re-approved by Senate (see attached report).
Ø ?
Evaluation of the Undergraduate Studies Committee, Faculty of Interdisciplinary
?
Studies
The Undergraduate Studies Committee reviewed the Professor's
evaluation and the student evaluations for the course, and we recommend
that the course be offered again.
The Committee noted a marked improvement in the student evaluation
of the
instruction
in the course with that which had been in G. S. 100-3. Thus
we feel that the Professor was becoming more comfortable with the new material
he was offering in the course and that he was adjusting to the new teaching milieu.
Faculty of Interdisciplinary Studies, Simon Fraser University,
May 30, 1973.
*
According to University regulations, it is necessary to evaluate
each new course after its initial presentation. This is done to determine
whether or not the course should become a permanent part of the University
curriculum.
mind we are requesting you to forward your opinion
of General
?
Mainsprings - 19th Century.
Did you consider this course to be: superior
average
inferior
Any comments you might care to make regarding this course would be
helpful in making the assessment.
Faculty of Interdisciplinary Studies,
S ?
S
According to University regulations, it is necessary to evaluate
each new course alter its initial presentation. This is done to determine
whether or not the course should become a permanent part of the University
curriculum. With this in mind we are requesting you to forward your opinion
of General Studi
?
)ModernArtM1dts Mains prings - 19th Century.
Did you consider this course to be: superior
?
X
-
?
average
inferior
Any comments you might care to make regarding this course would be
helpful in making the assessment.
There are really two points to consider in cosnenti-ng on this
is the
coursel First, there is the course itself; and then, there
__
manner in which it
was
tau
g
ht. I think that simoly the fact that
it coreerned art -- in a urt.versitV that is sadly bereft of any
Fine Arts courses --
Madwoo
gave it a great deal of appeal.
I found the course
?
highly interesting in comparison to many
of the other courses offered at Simon Fraser. I also believe the
way Mr. Grants -• ?
chose to present the course was extremely
comirt
e at
e
his ças c)parly gnd cpncise
.
)y to lecture-size
__.
audience and this caused a sreat deal of dissatisfaction :
for myself and others. I enjoyed the course, but the lectures
(and many tutorials) were abominable -- and this was not due to
the inherent technical limitations of the lecture hall.
It was. all very sad to wait such long tedious hours M for
such brief moments of beauty, 1I do hope this 4 not taken as a slur
against Mr. Grants -- I find him a
very fascinating
man $i
.
on an individ'
ual basis.
Faculty of Irterdisciplinary Studies, Simon Fraser University, May 30
)
1973.
According to University regulations, it is necessary to evaluate
each new course after its initia'. presentation. This is done to determine
whether or not the' course should become a permanent part of the University
curriculum. With thi'Th mind we are requesting you to forward your opinion
of ?
Art aMrtsMainspriflgS -
Century.
19
Did you consider this course to be: superior
average
inferior
iy comments you might care to make regarding this course would be
hepfui in making the assessment.
0
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G.S. 200 - Modern Art and Its Mainsprings - Nineteenth Centur
This introductory course in the history of western European
painting covers the main art movements and schools of painting from
the 1780's to the 1920's. The course begins with the work of Francisco
Goya (1746-1828) and Jacques-Louis David (1748-1825), and ends
with
the work of the School of Paris. Emphasis is placed on the various the-
oretical assumptions underlying art movements of the XIXth Century, and on
the
origins of these assumptions in the XVlIlth Century. The course is
designed to develop an awareness of the various different methods of art
history, and of such skills as are used by art historians.
Course description by lectures.
I ?
January 8
II ?
January 15
III ?
January 22
Goya as portraitist, physiognomist, and humanist.
Politics and painting: Jacques-Louis David and the
French Revolution.
Jean-Auguste -Dominique 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 Edouard Manet, Daumier,
and
Degas saw it.
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.
Cezanne and Zola; Braque, Picasso, Gertrude Stein,
and Cubism.
IV ?
January 29
1^0 ?
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 2
10
—
?
Comments
The course description and lecture plan will remain the same should the
course be offered again.
Course
There was only one course text, George H. Hamilton's
?
and 20th
Century Art.
SuggeSe Additional Text.
Marcel Brion, Art of the Romanti
c
Era, 1966.
John Canaday, Lives of the Artists, (volume three) 1972.
Alan Gowan, The Restless Art, 1966.
Comments
G.1-l. Hamilton's 19th and 20th Centu Art, was a poor choice. I chose
have
expensive.
it at the
outlined
last moment,
should
Unless
appear,
after some
some
I will
better
adopt
new
course
as course
course
texts
study
text
proved
of
next
text
the kind
to
time
for
be
which
Alan
too
a
I
Gowan'S
Th
ResteSArt A History of Painters and Painting, 176o-1960.
In addition to the course text, the following reading list will be suggested:
Exhibition Catalogues:
1. Goya and His Times, Royal Academy, London, 1963.
Z. Piranesi, Northampton, Mass., Smith College Museum of Art, 1961.
3.
Gustave Courbet, 1819-1877, Boston: Museum of Fine Arts, 1960.
4.
Manet, Philadelphia Museum of Art, 1966.
5.
DelacrOix, Toronto Art Galler
6.Me1 jal
sition Euiiene Delacroi
x
au Musee du Louvre
7.
Eug ?
Delacri Bremen, KunsthaUe, 1968.
8.
The Nabis and Their Circle, Minneapolis Institute of Arts, 1962.
9.
Odilon Redon, Gustave Moreau,Rodolphe Bresdin, New York,
Museum of Modern Art, 1962.
10.
The Blue Rider group, dinborOUgh, Royal Scottish Academy, 1960.
Gustav Klimnt and Egon Schule Solomon R. Guggenheim Museum,
11.
1965.
12.
Painters of the Brcke, London, The Tate Gallery, 1964.
13.
Fernand Leger, 1881-1955, Paris, Musee des Arts Decoratifs, 1956.
14.
CatalOgUes of Exhibitions," Vol. Vii) Arts Council
of Great Britain, 1956.
is. Paths of Abstract Art, Cleveland Museum of Art, 1960.
4. ?
page 3
14
F I
16. Surrealism, New York, Museum of Modern Art, 1968.
General:
1.
F. Novotny, Painting and Scjpture in Europe, 1780-1880
("Pelican History of Art"), 1960.
2.
W. Friedlaeflder, David to Delacroix, tr. R. Goldwater, Cam-
bridge, Harvard U.P., 1952.
3.
H. Honour, Neo-Classicism, HarmondSworth, 1968.
4.
K. Andrews, The Nazarenes: A Brotherhood of German Painters,
Oxford, 1964.
S. M. Brion, Romantic Art
, New York, 1960.
6. K. Clark, The Gothic Revival, An Essay in the History of Taste
New York, (1929), 1960.
7.P.. Ironside, Pre-Raphael
ite
Paint, London, 1948.
8.
R. L. Herbert, Barbizon Revisited, Boston, Museum of Fine
Arts, 1962.
9.
C. Chass, The Nabis and Their Period, London: Lund
Humphries, 1969.
10.
R. L. Herbert, Neo_ pressiomsm New York, 1968.
Ii. J. Rewald, 1
M2E
esSiOfliS3Y, New York, 1959.
12.
J. Rewald, Past impressionism, New York, 1962.
13.
B.S. Myers, The German Expressionist
s
: A Generation in Revolt,
New York, 1957.
14.
J.
Leymarie, Fauvism: Biographical and Critical Stuy,
Skira, 1959.
15.
R. Rosenblum, Cubism and Twentieth Century Art, New York, 1961.
16.
C. Greenberg, Art and Culture; Critical Essa
y
s, Boston:
Beacon Pr1ess, 1961.
17.
E.P. Richardson, The Way of Western Art, 1771-191, Cambridge,
Mass., 1939.
Monographs:
1.
E. du Gue Trapier, Goya and His Letters, New York, 1964.
2.
Jos'e Lopez-Rey, Goya'S Caprichos, 2 vols., Princeton, 1953.
3.
D. L. Dowd, Pageant Master of the Republic:
3.
-L. D_n_he
French RevolutiO
?
1948.
4.
R. Huyghe, Delacroiç tr. J. Griffin, New York, 1963.
S. G. Reynolds, Constable, The Natural Painter, New York, 1965.
6.
J. RothenStein and M. Brettin, Turner, 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.
10.
D. Sutton, James McNeill Whistler, London 1966.
L U-
page 4
11.
0. BenesCh, Edvard Munch, tr. J. Spencer London, 1960.
12.
R. Goldwater, Paul Gaugin, New York, 1957.
13.
W.I. Homer, Seurat and the Science of Painting,
autrec,
M.I.T.,
tr. C. Bellow,
1964.
14.
P. Huisman and M.G. Dortu, Lautrec by L
New York, 1964.
15.
M. Shapiro, Vincent vanG2gh, New York, 1950.
16.
P. Courthiofl, Georges Rouault, New York, 1962.
17.
W. Haftrnaflfl, Emil Walde, tr. N. Guterman, New York, 1959.
18.
J. Russell, The World of Matisse 1869-19, New York, 1968.
19.
H.M. Wingler, Oskar Koroschka The Works of the Painter, Salzburg,
1958.
20.
M. Shapiro (ed.), Paul
Cezanne,
3rd ed., New York, 1965.
21.
A.H. Barr, Jr., Picasso: Fifty Years of His Art, New York, 1946.
22.
W. Grahmanfl, Was sily KandinSky Life and Work, tr. N. Guterman,
New York, 1958.
23.
M. Seuphor, Piet Mondrian: Life and Work, New York, 1956.
Essay Assignments and Test.
Two essay assignments were set: one, a discussion paper on a topic
which was selected in a meeting between the student and the instructor.
This paper was handed in midway of the semester. The second papç
was due on the last day of lectures, and was to deal with one of the movements
in XIXth C. painting. The student was encouraged to establish a link between
the earmarks of an art movement and the art historical methods applied to it.
The test
was a
"visual" test, in which slides were shown for identification
of painter, school, title of painting, and for description of the painting in
terms of its reference, its expressiveness, and its pictorial properties.
Corn ents:
cess or failure of the final essay assign-
It is impossible to judge the suc
ment. The first paper was to guide the student to material compatible
with his other academic pursuits. Art history overlaps with many other
fields; or, to put it differently: no other field invites us to roam so widely
for a work of art
cannot
tell its own story unaided; it yields up its message
only to persistent inquiry that draws upon all the resources of cultural
history, from religion to economics.
There were basically two sorts of reaction by the students to the "visual"
test. The majority of students thought that the test aided them in their
study. But a few of them expressed their displeasure at having to "waste
their time".
page 5
U
Course Enrolment
Total course enrolment was 94
course enrolment by faculties:
Arts ?
79
Education
?
12
G.S. ?
2
Science
?
j__.
94
Course enrolment by disciplines in the Faculty of Arts:
Geography
1
1
Commerce
Archaeology
2
Modern Languages
2
Philosophy
2
Psychology
4
8
History
EnglishUndisclosed
44
79
15
Enrolment figures by year
of admission to the University:
1973
?
- ?
12
1970 ?
-
?
6
?
1967 ?
- ?
4
-
1972 ?
- ?
35
1969 ?
- ?
9 ?
1966
?
-
?
3
1971 ?
- ?
15
1968
?
-
?
7 ?
1965 ?
- ?
3
Total ?
94
Comments
I am puzzled by the large enrolment of students majoring in English.
It may be a carry-over from the last semester. Or it may indicate that
the real interest of those from the Department of English is in Art History.
There is again a heavy enrolment of "upper level-" students, but not quite as
out of the balance with the enrolment of students of the level- at which the
course is directed.
Slide and Picture Collections.
Approximately 100 new slides were made for this course. There was
a real need for more slides to illustrate specific points. Impossibility of
dimming of lights in the lecture theatre (9201 AQ) presented a problem during
tests. This fault of the large lecture theatres can be corrected with very
little expenditure.
There is also need for slide housing cabinets, and for better projecting
equipment.
IV
,- ?
-