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ARH2051IntroductiontoPrinciplesandHistoryofArt2RenaissancetothePresent
Fall2016
ProfessorNikaElder GraduateAssistants: MauraGleeson ClemensOttenhausen [email protected] [email protected] [email protected] OfficeHours: Officehours: Th,11:30am-12:30pm F,9:30am-10:30amWeds.,4-6pm FAC118(“TheSalon”) FAC118(“TheSalon”) FAC121 Lectures: DiscussionSections: Th,Periods7&8 F,Periods2&4T/Th,Period6 LIT101
Giotto,“Lamentation,”ArenaChapel, JacobLawrence,“DuringtheWorldWartherewasagreatc.1303-1306 migrationNorthbySouthernNegroes,”TheMigrationSeries,
1941
CourseDescriptionandGoalsOnFebruary15,2015,thewebsiteBuzzfeedpostedaquiztitled,“Howwelldoyouknowart?”Itaskedsuchquestionsas:“TrueorFalse:VanGoghwasanImpressionistpainter?”And,“WhopaintedtheLastSupper?”AquickGooglesearchwillrevealtheanswerstothesequestionsandmanyotherfactsaboutvisualart,suchastheyearacertainpaintingwasmade,thepersonwhocommissionedagivenbuilding,orwhetheraprintisanetchingoranengraving.Butarthistoryisaboutmorethannamesanddates;itisawayoflookingatimagesandobjectsofallkinds,decipheringwhattheysayabouttheirgivensubjects,andunderstandingwhytheysaythosethings—whatpersonal,political,religious,orculturaldemandstheimagesorobjectsmet.ThiscoursewillintroduceyoutothemeaningandsignificanceofmajorworksofWesternartfromtheRenaissancetothepresentandempoweryouwiththeskillstodevelopsuchinterpretationsyourself.Ultimately,youwillbeabletoaceaBuzzfeedquiz,butalso(andmuchmoreimportantly)walkthehallsofanymuseumoropenanymagazineornewspaperandbegintodecipherthemessagesandvaluesthattheimagesyouseetherecommunicate.
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CourseRequirements:Thecoursehasthreerequirements:engagement,writingassignments,andexams.
1.ENGAGEMENT
Theengagementgradehasthreecomponents:1)AttendanceAttendanceisrequiredateverylectureanddiscussionsection.Studentsareexpectedtoarriveontime.YouarepermittedTWOunexcusedabsencesinlectureandNOunexcusedabsencesinsection.Anyadditionalabsencesand/orcontinuedlatenessineitheraspectofthecoursewilladverselyaffectyourengagementgrade.2)ParticipationGreat,you’reinclass—nowwhat?
1.Takeextensivenotesonlecture.Lecturesgowellbeyondthetextbookandwillbethebasisofallexams,soitistoyourbenefittobeasthoroughinyournote-takingaspossible.SeeAppendixAforsomehelpfulnote-takingtips.Lecturewillpresumefamiliaritywithinformation,names,anddatescoveredinthetextbook.Readingsfromthetextbookshouldbecompletedinadvanceofthedatesforwhichtheyareassigned.
Thecoursetextbookis:MarilynStokstad,ArtHistoryvolume2,5thedition(2015)
ItisrequiredandcanbepurchasedattheUFbookstoreoronline(justbesuretobuythecorrectedition—paperbackisfine).
2.PostresponsestothediscussionquestionsonCanvas.Thesequestionswillhelpyoudigestthereadingsforsectionand,assuch,prepareyoufordiscussion.Responsestodiscussionquestionsaredueby11:59pmthenightbeforeyoursectionmeets;so,ifyoursectionmeetsonThursdaysat1:55pm,yourresponseshavetobeinby11:59pmonWednesdayinordertocount.Thereisnopartialcredit—theresponseeitherhasbeenofferedandpostedby11:59pm,orithasnot.Readingsforsectionareavailableinthe“CourseReserves”sectiononCanvas.Ifyourprintingbudgetpermits,Istronglyencourageyoutoprintthetextspriortoreadingthemsoyoucanunderline,highlight,andjotdownnotes,thoughts,andquestionswithabandonaswellasbringthereadingstoclassforyourreference.
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3.Participateindiscussionsinsection.Engagingindiscussioncantakemanyforms:respondingtoquestionsaboutthereadings,totheimagesonthescreen,tothecommentsmadebyyourclassmates,oraskingquestionsofyourown.Feelfreetodrawconnectionstocontemporaryeventsandissues,personalexperience,otherclasses,andmaterialcoveredatanypointinthesemester.Offeringopinionsthatdifferfromthosepresentedbyclassmatesisencouraged.Posequestionsonthelectures,statementsmadebyotherstudents,etc.Thesecontributionswillenrichtheclassroomexperienceforallinvolved.
3)PoliciesPleaseadheretoallcoursepolicies.ElectronicsPolicyCellphonesshouldbeplacedonsilentand,alongwithotherelectronicdevices,includinglaptops,putawayforthedurationoflectureandsection.Notescanandshouldbetakenwithpen/pencilonpaperratherthanbylaptop.Researchhasproventhattakingnotesbyhandbenefitscomprehension,retention,andtheoverallclassroomexperience.See,forexample,thefollowingarticlefromTheChronicleofHigherEducationhttp://chronicle.com/blogs/wiredcampus/taking-notes-by-hand-benefits-recall-researchers-find/51411andthejournalarticleonwhichthatpiecewasbasedhttp://www.academia.edu/6273095/The_Pen_Is_Mightier_Than_The_Keyboard_Advantages_of_Longhand_Over_Laptop_Note_TakingWithdocumentationfromtheDeanofStudentsOffice,awaiverwillbemadetothelaptoppolicy.EmailPolicyPleasecheckyourUFemailandCanvasregularly.Importantinformationaboutassignments,meetinglocations,etc.willbedisseminatedviasectionlist-servs.Youareautomaticallysubscribedtothelist-servwithyourUFemail.Inmostcases,Irespondtoemailswithin24-48hours.ConductPolicyAsamatterofcourse,studentsareexpectedtoabidebytheUniversity’spoliciesregardingacademichonesty,thehonorcode,andstudentconductrelatedtothehonorcode.Fullinformationregardingthesepoliciesisavailableatthefollowingsites:AcademicHonesty:http://www.registrar.ufl.edu/catalog/policies/students.html#honestyHonorCode:http://www.dso.ufl.edu/sccr/honorcodes/honorcode.phpStudentConduct:http://www.dso.ufl.edu/sccr/honorcodes/conductcode.php
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2.WRITINGASSIGNMENTSTherearethreewritingassignmentsforthiscourse,eachapproximately3-5pagesinlength.AllassignmentsarevisualanalysesofaworkofartondisplayattheHarnMuseumofArt.ThefirstassignmentisdueinsectionduringWeek5;therevisionofthefirstassignmentisdueonCanvasonThursday,September29thatnoon.ThesecondassignmentisdueonCanvasonTuesday,November22atnoon.
3.ExamsTherewillbeamidtermexamandafinalexamforthiscourse.Bothwillconsistofidentifications,comparisons,andshortanswerquestions.Theywilldrawuponthematerialcoveredincourselectures,discussionsections,andreadings.ThemidtermwillbeinclassonTuesday,October11.AmidtermreviewwilltakeplaceinclassonThursday,September29.ThefinalwillbeinclassonTuesday,December6andwillbeprecededbyafinalreviewinclassonTuesday,November22.AccommodationsEveryeffortwillbemadetoaccommodatestudentswithdisabilities.Studentsinneedofdisabilityaccommodationsshouldscheduleanappointmentwithmeassoonaspossible.AllaccommodationsrequestsmustbeaccompaniedbynecessarydocumentationfromtheDeanofStudentsOffice.CourseResources1)Canvas–slidelistsandanyotherdocumentsdistributedinclasswillbepostedonthecoursepage.2)OFFICEHOURS:I’mhappytomeetwithyouduringmyofficehoursWednesdays,4pm-6pminmyoffice,FAC121,todiscussanyquestionspertainingtothecoursecontent,readingassignments,writingassignments,orexams.Officehoursdon’trequireanappointment;feelfreetojustdropby.Ifyou’reunavailableatthattime,justaskoremailme,andwecanarrangeanothertimetomeet.Additionally,thecourseTA’sarehappytomeetwithyouduringtheirofficehoursinFAC118(Salon):MauraGleeson Th,11:30am-12:30pm ClemensOttenhausen F,9:30am-10:30am 3)ACADEMICSUPPORTUFTeachingCenterhttps://teachingcenter.ufl.edu/UFWritingStudiohttp://writing.ufl.edu/writing-studio/UniversityCounseling&WellnessCenterhttp://www.counseling.ufl.edu/cwc/
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GradingThefinalcoursegradeiscalculatedasfollows:20%Engagement20%MidtermExam10%VisualAnalysisI10%Revision20%VisualAnalysisII20%FinalExamAllexamsandassignmentswillbeassignedlettergrades.Belowpleasefindachartthatoutlinesthenumericequivalentsusedtocalculatethefinalgrade,andthespaneachencompasses.
Grades A A- B+ B B- C+ C C- D+ D D- E WF I NG S-
U
Grade Points 4.0 3.67 3.33 3.0 2.67 2.33 2.0 1.67 1.33 1.0 .67 0 0 0 0 0
Score
(95-Point Scale) Letter Grade Score
(4.0 Scale) Letter Grade
92.51 – 95.00
A
3.86-4.0
A
89.01 - 92.50 A- 3.51-3.85 A- 86.51 – 89.00 B+ 3.16-3.50 B+ 82.51 - 86.50 B 2.86-3.15 B 79.01 - 82.50 B- 2.51-2.85 B- 76.51 – 79.00 C+ 2.16-2.5 C+ 72.51 - 76.50 C 1.86-2.15 C 69.01 - 72.50 C- 1.51-1.85 C- 64.51 – 69.00 D .86-1.50 D
0 - 64.50 F 0-.85 F Gradingrubricsforeachcomponentofthecoursecanbefoundintheappendicestothissyllabus.Inordertopassthiscourse,allassignmentsmustbecompleted.Noexceptions.Toreceivefullcredit,assignmentsmustbeturnedinontime.Extensionswillonlybegrantedunderspecialorextremecircumstanceswithvaliddocumentationand,unlessimpossible,mustbearrangedinadvance.Withoutanapprovedextension,lateassignmentswillbemarkeddown1/3ofagradeperday.Nomake-upexamswillbegivenwithoutdocumentationdemonstratingthatthescheduledexamdateisimpossible.ImportantDatesataGlanceThurs.,Sept.24 VisualAnalysisIdueatnoonThurs.,Oct.11 Midterm(inclass)Thurs.,Oct.20 RevisionofVisualAnalysisIdueatnoonThurs.,Nov.22 VisualAnalysisIIdueatnoon
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Thurs.,Dec.6 FinalExam(inclass)ProjectedCourseSchedule
13THAND14THCENTURIES:THEPROTO-RENAISSANCEWeek1: The“Beginning”August23 IntroductionAugust25 ChristianIdeals Reading: ArtHistory,pgs.532-533,536-547 (Cimabue,Giotto,Duccio)Section: HowtoReadImages
Reading:JenniferRoberts,“ThePowerofPatience,”HarvardMagazine(Nov.-Dec.2013),40-43SylvanBarnet,AShortGuidetoWritingaboutArt,pgs.113-116,47-76
THE15THCENTURY:THERENAISSANCEWeek2: HumanPerspectivesAug.30 TheNetherlands
Reading:ArtHistory,pgs.563-564,573-576,578-579(RobertCampin,JanVanEyck)
Sept.1 Italy
Reading:ArtHistory,pgs.595-599,603,606,609-611,626-628(Brunelleschi,Ghiberti,Donatello,Masaccio,Botticelli)
Section: HowtoReadObjects
CLASSMEETSOUTSIDEAT“TheFrenchFries”Reading:SylvanBarnet,AShortGuidetoWritingaboutArt,pgs.76-96
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THE16THCENTURY:THERENAISSANCEWeek3: Italy:TheArtistasScholarSept.6 Part1:PhilosophyandHistory
Reading:ArtHistory,pgs.633-635,640-643,652-653(Raphael,St.Peter’s)
Sept.8 Part2:Anatomy
Reading:ArtHistory,pgs.643-647,636-640(Michelangelo,Leonardo)
Section: VisualAnalysisinPractice
SectionmeetsattheHarnMuseumofArt
RichardBrilliant,“TheAuthorityoftheLikeness,”inPortraiture(London:ReaktionBooks,1991),pgs.23-44
Week4 WorldlyMattersSept.13 Venice
Reading:ArtHistory,pgs.629-631,656-661,673-677(Bellini,Giorgione,Titian,Palladio)
Sept.15 TheNetherlands
Reading:ArtHistory,pgs.679-681,685-687,704-705,753-757(Dürer,PieterBruegeltheElder,Ruisdael,Claesz)
Section: HowtoWriteaboutArt
Reading:*JulesPrown,“MindinMatter:AnIntroductiontoMaterialCultureTheoryandMethod,”WinterthurPortfolio,Vol.17,No.1(Spring,1982),pp.7-10
*SamplePaper(s)
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THE17THCENTURY:THEBAROQUEWeek5: TheArtofSpectacle Sept.20 TheNetherlands
Reading:ArtHistory,pgs.736-741,746-751(Rubens,Rembrandt,andVermeer)
Sept.24 ItalyandSpain
Reading:ArtHistory,pgs.713-719,722-726,732-735(ElGreco,Bernini,Caravaggio,Velázquez)
**VisualAnalysisdue**uploadtocanvasbynoon
Section: HowtoRevise
Reading:
Bringahardcopyofyourvisualanalysistosection
THE18THCENTURY:Rococo/TheEnlightenmentWeek6: FantasytoPhilosophySept.27 France
Reading:ArtHistory,pgs.763-765,905-912,934-935(Poussin,Watteau,Fragonard,Chardin,Vigée-Lebrun)
Sept.29 MidtermReviewSection: How(Art)HistoryisMade
Reading:LindaNochlin,“WhyHaveThereBeenNoGreatWomenArtists?”(1971)inWomen,Art,andPowerandOtherEssays,pgs.147-158
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THE18THCENTURYWeek7: Art&PoliticsOct.4 HistoryPainting,TheAcademy
Reading: ArtHistory,pgs.926-929,936-938,946-947,952 (BenjaminWest,David)Oct.6 …andTheirAfterlives
Reading: ArtHistory,pgs.946-947,952 (Gros,Ingres)Section: BeforePhotoshop:Art,Truth,andFiction Readingforprecept:
JulianBarnes,“TheShipwreck,”HistoryoftheWorldin10½Chapters(1989)THE19THCENTURYWeek8: PoliticsUnfilteredOct.11 MidtermOct.13 RomanticismacrossEurope Reading: ArtHistory,pgs.940-943,947-951 (Goya,Géricault,Delacroix)Section: NoneWeek9: Art&IndustryOct.18 TheRiseofLandscapePainting Reading: ArtHistory,pgs.954-958 (Constable,Turner,Cole,Friedrich)
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Oct.20 TheArtandScienceofPhotography
Reading:ArtHistory,pgs.968-971***RevisionDue***uploadtoCanvasbynoon
Section: FromReadingImagestoArtHistory
Reading:MichaelBaxandall,“ThePeriodEye,”PaintingandExperienceinFifteenthCenturyItaly,pgs.29-36StephenJayGould,“Church,Humboldt,andDarwin:TheTensionandHarmonyofArtandScience,”FredericEdwinChurch(1989),pgs.94-107
Week10: Realism:TheEverydayEntersArtOct.25 France
Reading:ArtHistory,pgs.972-974,976-980(Courbet,Manet)
Oct.27 America
Reading:ArtHistory,pgs.980-984(Eakins,Tanner)
Section: ArtfromEveryAngle
Reading:GiorgioVasari,“Michelangelo,”LivesofthePainters,Sculptors,andArchitects(1550,1568),[excerpts]RolandBarthes,“TheDeathoftheAuthor,”Aspenno.5-6(1967),[6pgs.]
Week11: ModernityandItsDiscontentsNov.1 Impressionism
Reading:ArtHistory,pgs.987-994(Monet,Caillebotte,Pissarro,Degas,Cassatt,Morisot)
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Nov.3 SubjectiveStates
Reading:ArtHistory,pgs.994-999,1003,1012-1015(Seurat,VanGogh,Gauguin,Cézanne,Rodin)
Section: TheMuseumExperience CLASSMEETSATTHEHARN
Reading:CarolDuncan,“ArtMuseumsandtheRitualofCitizenship,”inExhibitingCultures:ThePoeticsandPoliticsofMuseumDisplay,pgs.88-103
THE20THCENTURYWeek12: MakingModernismNov.8 ModernArchitecture Reading:
ArtHistory,pgs.1009-1012,1044-1049,1057(skyscrapers,FrankLloydWright,LeCorbusier,TheInternationalStyle)
Nov.10 DeconstructingArt Reading:
ArtHistory,pgs.1017-1018,1021-1026,1037-1044(Cubism,Dada,StieglitzCircle)
Section: None–HappyHomecoming!Week13: NewPossibilitiesNov.15 EnvisioningUtopia
Reading:ArtHistory,pgs.1033-1035,1050-1054,1060-1061/1064-1065(Futurism,SuprematismandConstructivism,DeStijl,theHarlemRenaissance)
Nov.17 CATCH-UP Section: ArtistsonArt
Reading:ArtHistory,pgs.1019-1021,1029-1031HenriMatisse,“NotesofaPainter”inArtinTheory:1900-2000,pgs.69-75WasilyKandinsky,excerptsfromOntheSpiritualinArtinArtinTheory:1900-2000,pgs.82-89
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Week14: TakingStockNov.22 FinalReview
***VisualAnalysisIIdueonCanvasatnoon***
Nov.24 Holiday!Section: None-HappyThanksgiving!Week15: ThePsychologyofArtNov.29 RealismandSurrealism
Reading:ArtHistory,pgs.1057-1060,(Surrealism)
Dec.1 AbstractExpressionism Reading:
ArtHistory,pgs.1073-1081Section: DecipheringArtCriticism
ClementGreenberg,“ModernistPainting”(1960)HaroldRosenberg,“AmericanActionPainters”(1952)http://ubu.com/film/namuth_pollock.html
Week16: The“End”Dec.6 FinalExam
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AppendixA
Note-TakingStrategiesInlisteningtolectures,keeptrackoftwothings:1.thetrajectoryorarcofWesternarthistoryThecoursetracesanarrativeaboutthedevelopmentofWesternartfromthe15thcenturythroughthepresentasartistsrespondtotheworldaroundthemandtooneanother.Atthestartofeverylecture,Iwilloutlinethekeythemesandcontributionsoftheartist,movement,ortimeperiodunderdiscussionaswellashowtheyfitintothetrajectoryofWesternart.2.themeaningofindividualworksofartLectureswillofferhistoricallysituatedinterpretationsofindividualworksofart.Thatistosay,theywillexplainwhatagivenworkofartsaysaboutitssubjectandwhy.Thingstolistenforinclude:*thesubjectofaworkofart
*reasonswhyanartisttookupagivensubject*howtheartistdepictedthatsubject *whatdecisionsdidsheorhemake?*thepictorialorculturalcircumstancesthatinformedthosedecisions*finally,whatthosedecisionsmeanfortheworkofart:whattheworksaysaboutitssubjectandwhyYouwillalsobeaskedtoaddressthesetopics(oftenreferredtoinclassasthe“what,”“how,”and“why”)onthemidtermandfinalexam.Thediscussionandinterpretationofindividualworksofartinclasscanalsoserveasamodelforthevisualanalysispapers.Visualanalysisisthefirststepindevelopinganinterpretationofaworkofart.Ityieldsanhypothesisaboutwhataworkofartsaysaboutitssubject,whichisthentestedandtweakedthroughrecoursetocontextualinformation.Althoughlectureswilldrawoncontextualinformationandthevisualanalysispaperswillnot(theywillbebasedstrictlyontheworksofartthemselves),visualanalysisisakeycomponentoflecturesandwillprimestudentsforthewrittenassignments.
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AppendixB
Engagement:GradingRubricA:studenthasgoneaboveandbeyondinachievingthecoursegoals—hasreallytriedtolearnandunderstandthehistoryandprinciplesofWesternart.Thestudentreadandprocessedthereadings,waspreparedforlectureandsection,andtrulyadvancedconversationsinsectionbyposingprobingquestions,makingdeepinsightsintothereadings,offeringalternativeviewpoints,ornotingcomplicatingfactors.Thefirstpaperwasasfullydevelopedandpolishedasitcouldbe,notjustadraft.Itgoeswithoutsayingthatthisstudenthasattendedalllecturesandsections,alwaysarrivedontime,andadheredtoothercoursepolicies.A-:great,butfallsjustshortoftheabove.B+:averygoodeffort.Usuallydidandprocessedthereadings;regularlycontributedtoconversationsbyansweringquestions,butalsointroducingnewpoints,questions,etc.;submittedathought-provoking,butunpolishedpaper.B:agoodeffort.Studentdidthereading,regularlyansweredquestions,handedinasolidfirstpaper.Thisstudenthasattendedalmostalllecturesandsections,generallyarrivedontime,andadheredtoothercoursepolicies.B-:anokayeffort.Studentusuallydidthereading,answeredquestionsonoccasion,submittedadraft-likefirstpaper.C+:almostthere.Studentusuallyshowsupforclass,mostlyontime,buthasyettoreallymakeherorhispresenceknownbyparticipatingintheconversation;unclearwhetherornotthereadingshavebeendone.Thefirstpaperwastreatedasamessydraft.C:fallsshortoftheaboveinsomeway.C-:fallsshortofaC+inmorethanoneway.D:somethingthatmakesthegradenotanF.F:studentisdisengagedfromtheclass—doesnotattendlectureand/orsectionregularlyand,therefore,hasnotputherselforhimselfinapositiontofulfilltheengagementrequirement.
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AppendixC
Exams:GradingRubric
A=hasafirmgrasponthecoursecontent(meaning:whateachworkisabout,whatitmeans,anditssignificancewithinthehistoryofart)aswellassolidunderstandingofvisualanalysis,thegoalsofarthistory,andtheabilitytoapplytheseskillstoknownandunknownworksaswellasindividualpiecesandpairings.
A-=theexamfallsjustshortoftheabove.It’sgreat,butmissesacoupleofkeypointshereandthereoroffersalessthancompellingthesisforthecompareandcontrast.
B+=averygoodeffort,butmissesaseveralkeypointshereandthereorconsistentlyleavesoutanelementofeachquestion(the“how”orthe“why,”forexample)butdoeseverythingelseverywell.
B=asolideffort,butinconsistent—getssomequestions,butnotothers.Demonstratesaburgeoningunderstandingthatworksofarthavemeaningandarelationshiptobroadersocio-culturalconcerns,buthasnotyetinternalizedhowallthesethingsconnect.
B-=anokayeffort;thestudentiscertainlytrying(theID’sarethere,forexample)andthere’sattentiontomaterialdeliveredinlecture,butanswerstoquestionsarequitespotty,vague,orlackaclearpointorfocus.
C+=onthewaytogettingthere;ID’smightbespotty;it’snottotallyclearthatthestudenthasstudied,perhapssheorheremembersthingsfromlecture,but,atthesametimeasanswersmayseemtohavebeenpulledoutofnowhere,theydemonstratesomeawareness/understandingofvisualanalysisand/orhowarthistoryworks.
C=theexamfallsshortoftheabove.TheID’sareevenspottier,andtheanswersmorevague;keytermsarenotmentionedorused.
C-=theexamshowssomeeffort,butthestudentdoesn’tseemtounderstandarthistory,visualanalysis,etc.
D=somethingthatmakestheexamnotanF—someID’sareonpoint,oratleastacoupleofanswersaresemi-acceptable
F=acoupleofID’s,nocontentfromlectureorthetextbook,inabilitytoevenreadthepaintingsbysight
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AppendixD
Papers:GradingRubric
A=meetsandexceedsassignmentgoals.There’ssomethingaboutthepaperthat’strulyexcitingandfreshandrevelatory—itreallycapturesyourattention.Theargumentisinsightfulandwellsupportedbytheevidenceprovided(i.e.thestudent’sdescriptionsoftheworkofartandanalysesofthosedescriptions);thestructureservestheargument,andthepaperis,asawhole,convincingandapleasuretoread.
A-=thepaperfallsjustshortoftheabove.It’sgreat,butmissessomekeyaspectoftheimageoroffersaninsightfulthesis,butnotnecessarilyasurprisingorunexpectedone.
B+=averygoodeffort,buttheargumentcouldbebetterexecuted;someaspectsoftheimagemightgounaddressed,theanalysiscouldbedeeper,theinterpretation/thesiscouldbeclearer.
B=asolideffort.There’sasenseofathesis/interpretation,butit’sabitvagueorgeneral.Thestructurallogicbehindthesepaperstendstobeabitunclear.Thepapermayaddresssomekeyaspectsoftheimageandofferanalysesofsomedescriptions,butnotothers.
B-=meetsthebasiccriteriafortheassignmentinsomewayshapeorform.Itmovesbeyonddescription,butnotbyverymuch.
C+=onthewaytogettingthebasicsofvisualanalysis:lotsofdescription,butithasyettocohereintoapoint/thesis,thoughthereareglimmersofhopeandpromise.
C=alldescriptionallthetime
C-=thepaperputsforwardsomeeffort,butit’suncleartowhatend;thestudentdoesn’tseemtounderstandtheassignment,formalanalysis,etc.
D=somethingthatmakesthepapernotanF
F=thepaperlacksanawarenessoftheassignment,formalanalysis,etc.Thesepapersareoftensignificantlyshorterthanthestipulatedlength.
