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UCL - INSTITUTE OF ARCHAEOLOGY
MA IN COMPARATIVE ART AND
ARCHAEOLOGY
Degree Programme Handbook 2015-16
Co-ordinator: Professor Jeremy Tanner
j.tanner@ucl.ac.uk
Room 105. Telephone: 0207 7679 1525
Office Hours Tuesday 11-12 and Wednesday 11-12 or by
appointment
Please see the last page of this document for important information about
submission and marking procedures, or links to the relevant webpages.
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INTRODUCTION
This is the Handbook for the MA degree programme in Comparative Art and Archaeology . It outlines
the aims and objectives, structure and content of the degree, and includes outlines of the core course
and of the most relevant options available this year. It is also available on the Institute web-site.
This Handbook should be used alongside the MA/MSc Handbook, which contains information about all
MA and MSc degrees, and options within them, being taught this year. Students should consult that
Handbook if they need information about an option outside those normally offered within the present
programme. The MA/MSc Handbook gives essential information on a range of topics, from enrolment
to guidance on the dissertation, so students should ensure that they read it carefully. Distributed
along with the MA/MSc Handbook are maps of the College precinct and surrounding area of London,
the complete MA/MSc teaching timetable and the list of Personal Tutors to MA and MSc students.
Students should consult this list to find out who is to be their Personal Tutor for the year, and students
should make contact with them soon after their arrival to arrange a meeting.
If students have queries about the organisation, objectives, structure, content or assessment of the
degree, they should consult the Degree Co-ordinator.
AIMS, OBJECTIVES AND OUTCOMES OF THE DEGREE
The MA in Comparative Art and Archaeology aims:
1. To provide a wide-ranging and challenging introduction to theoretical issues involved in
the comparative analysis of art as material culture, from art-historical, archaeological,
sociological, and anthropological perspectives.
2. To encourage critically aware perspectives on archaeological and art-historical practice
and research processes.
3. To provide an in-depth understanding of approaches to the analysis and interpretation of
art as a specific form of material culture.
4. To provide detailed study at the forefront of knowledge in several focused areas within
the history/anthropology of art and archaeology.
5. To provide a sufficiently detailed understanding of art-historical and archaeological data
to serve as a basis for independent research.
6. To foster the ability to develop original research questions and to explore them
effectively through research.
7. To provide training relevant to a professional career in archaeology and art history.
8. To provide a strong background for continuing on to a research degree in archaeology
and art-history.
These objectives are pursued through a core course designed to give students a solid
understanding of the major theoretical issues and analytic methodologies in the study of art
as a form of a material culture, from a number of relevant disciplinary perspectives (art
history, archaeology, anthropology and sociology of art). In addition students take optional
courses focusing on the analysis of specific regions, periods or categories of art, and may in
addition take regional archaeological options to complement such courses. This permits
students to develop an individual pathway through the programme, tailored to their specific
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interests and personal objectives. All students undertake a supervised research project
leading to a 15,000 word dissertation, which enables them to develop specific practical,
analytical and interpretive skills as well as broader research skills.
Upon successful completion of the MA in Comparative Art and Archaeology, students will,
among other things, have:
1. Gained a detailed understanding of recent theoretical perspectives in the critical and
comparative analysis of art as a form of material culture.
2. Developed their critical faculties in discussion, debate, and evaluation of alternative
interpretations and perspectives on the artistic traditions of past societies.
3. Acquired a range of subject-specific skills, relevant to their further development as
practising analysts of art, whether within the history, anthropology or archaeology of art.
4. Developed a range of research-oriented skills.
5. Carried through a substantial programme of independent research embodied in a
dissertation on an archaeological or art-historical topic that demonstrates theoretical
understanding and practical competence in archaeological and art-historical analysis and
interpretation.
PROGRAMME STRUCTURE
The programme of study for this degree is intended to help students meet the objectives
outlined above, and also to provide an opportunity for them to achieve any additional personal
objectives. It comprises a compulsory core course, two elements of options (i.e. two full elements'
worth = 60 credits) of full (30 credits) or half (15 credit) element options which are chosen from a
range of options, and a dissertation on a research topic related to the field of the degree. Each course
addresses a specific subject and has its own Co-ordinator.
The Core Course: G67 Art Interpretation and Explanation
The core course is designed to introduce students to a range of theoretical approaches to art,
conceived as a behavioral, social and cultural phenomenon. Particular attention will be paid to
questions of conceptualization, theoretical logic and the methodologies of art interpretation, within a
broadly comparative framework.
Options
Students must take two elements (60 credits) of optional courses (made up of full or half element
courses). Students are normally required to take at least one element of art options from amongst the
art options offered by the IoA. There second optional element may be either another art option, from
the UCL offerings or from any approved University of London MA art options unit of options, or an
appropriate option from the IoA archaeology programmes. The choice of options should be discussed
and degreed with the Degree Co-ordinator during the first week of term (, week ‘0’, i.e. the week
before teaching begins).
Outlines of the options available this year as part of this degree will be found at the end of this
Handbook. The art options available this year for this degree programme are:
G201:
G202:
G203:
G226:
G277:
G278:
G313:
Aztec Archaeology: Codices and Ethnohistory (0.5 element = 15 credits; term I)
Mediterranean World in the Iron Age (0.5 elements = 15 credits; term II)
Ancient Italy in the Mediterranean (0.5 elements = 15 credits; term II)
Society and Culture in Ancient Egypt (0.5 element = 15 credits; term II)
Archaeology of Buddhism (0.5 element; term II)
Social Complexity in Early China, from Neolithic to Early Empire (0.5 element, term II)
Archaeology of Egypt and the Near East: a Comparative Approach (0.5 element, term I)
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G340: Making and Meaning in Ancient Greek Art (0.5 element, term I)
G341: Making and Meaning in Ancient Roman Art (0.5 element, term II)
Students may also take options in art and archaeology from the SOAS MA programme in Art
and Archaeology, subject to agreement of their suitability with the course coordinator, and the
agreement of College (which will need to know why the element in question is central to the students
programme of MA studies), and of course the relevant teacher at SOAS. Please discuss with JJT if
you wish to take a SOAS course..
Other options which can be taken (bearing in mind potential timetable clashes), after
discussion and approval from the Degree Co-ordinator, are listed in the MA/MSc Handbook.
Subject to space and the agreement of the Course Co-ordinators involved, students are welcome to sit
in on courses in addition to those for which they are formally registered.
Dissertation
The dissertation of up to 15,000 words is a report on research, the topic chosen being approved as
being relevant within the general area covered by this degree. Soon after arrival, students should
discuss their area of research interest with their Degree Co-ordinator, who will help them to focus their
ideas for their dissertation, or refer them to another member of staff who will be able to provide more
specific advice, and will probably be appointed to be the student's Dissertation Supervisor. They will
help the student define their dissertation topic, and provide guidance through the main stages of the
work. The dissertation provides a further opportunity to define and achieve the student's own
particular objectives. It might be used to apply newly learned approaches to an archaeological
problem that has long been of interest, or to gain greater experience with particular methods of data
analysis. If a student is studying part-time while working in the field, they might choose to analyse a
data set derived from their own work, or to assess the potential of particular theoretical or
methodological approaches for their work. They can treat the dissertation as a one-off research
project, as a pilot study for a Ph.D. project, or use it to showcase their skills to potential employers.
The dissertation should be submitted by 15th September 2016. Guidelines for researching, writing
and producing the dissertation are included in the MA/MSc Handbook.
Advice on the preparation of the dissertation will be provided at sessions at regular intervals through
st
the year, starting at the second Induction Day on Thursday 1 October..
TEACHING SCHEDULE
Taught courses are normally timetabled in the first two terms, though assessed work may be
scheduled for submission in the third term, depending on which options have been selected. Full
details of the timetable for each course are included in the course handout. Students are expected to
use the remaining months to complete their placement and to work on their dissertation.
If they are pursuing the degree on a part-time basis, students will normally be expected to take two full
elements (60 credits), which will normally include the core course, in the first year and the remaining
element in the second. They must agree their choice of courses with the Degree Co-ordinator. They
may start work on the dissertation at the same time as full-time students, or they may wish to start
later; either way they should consult the Degree Co-ordinator, and their Dissertation Supervisor, once
the latter has been appointed.
TEACHING METHODS
Courses on Masters' programmes are usually taught through seminars, though depending on the
course, lecturing may also be involved. Some courses will also have associated practicals, laboratory
sessions, or field trips.
Seminars are run differently by different Course Co-ordinators, but all have weekly recommended
readings, which students will be expected to have done, to be able fully to follow and actively to
contribute to discussion. Some courses may require the student to make a seminar presentation; if
so, this will be indicated in the course handout.
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PREREQUISITES.
Courses for Masters programmes do not have prerequisites; students will have been accepted to the
programme on the understanding that they already have sufficient background in art
history/archaeology or a relevant field, either through their previous degree, or through relevant
experience, to be able to follow the programme and courses for which they have been accepted. If,
however, students wish to change their programme, or the courses in which they indicated an interest
in enrolling in, in their application, they should discuss this with the relevant Degree and Course Coordinators.
For some courses, depending on the student's previous background, it may be recommended that
they also attend (but will not be assessed for) a parallel undergraduate lecture course, to ensure that
they have the background to get the most out of the Masters level seminars.
AWARD OF DEGREES
The Board of Examiners normally meets in November. At that time students who have completed all
elements may be recommended for the award of a degree.
Degree results will be graded as a Distinction, Merit, Pass or Fail.
The requirements for each grade are as follows:
Distinction: An award of a degree with Distinction will be made where:
(a) the weighted arithmetic mean of the marks for all elements (the taught
elements and the dissertation) is 70% or greater, and
(b) the mark for the dissertation is 70% or greater, and
(c) the mark for at least one whole (30 credit) taught element or two taught half (15 credit) elements is
70% or greater, and
(d) there are no marks below 50%, and
(e) all marks are based on first attempts and there are no re-sits.
Merit: An award of a degree with Merit will be made where:
(a) the weighted arithmetic mean of the marks for all elements is 60% or
greater, and
(b) the mark for the dissertation is 65% or greater, and
(c) there are no marks below 50%, and
(d) all marks are based on first attempts and there are no re-sits.
Pass: An award of Pass degree will be made where:
(a) the weighted arithmetic mean of at least 75% the marks for taught elements is 50% or
greater and the marks for the remaining taught elements is 40% or greater, and
(b) the mark for the dissertation is 50% or greater.
(In other words, fail marks in the range 40-49% in up to 25% of the taught elements are condoned.)
Fail: A candidate will be considered to have failed the degree if the dissertation mark is less than 50%
or the mark for any element is less than 40%.
If a candidate fails to pass in one or more elements (course or dissertation), they may reenter for the
failed elements the following year. Only one re-entry per element is permitted.
Weighting: each half element (15 credit) course contributes 1/12 of the overall mark, while the
dissertation contributes 6/12.
COURSEWORK
Method of Assessment. This varies from course to course, but is always set out in the relevant course
handout. Each half element (=15 credit) course is normally assessed by means of a total of 4000
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words of coursework (or its equivalent in other forms of assessment). The nature and deadlines of
individual assessments are defined in the handouts of the individual courses, available from the
relevant Course Co-ordinator. If students are unclear about the nature of an assignment, they should
contact the Course Co-ordinator. The Course Co-ordinator will be willing to discuss an outline of their
approach to the assessment, provided this is planned suitably in advance of the submission date.
Originality. All work submitted as part of the requirements for any examination (which includes all
assessed work) of the University of London must be expressed in the student's own words and
incorporate their own ideas and judgements. Plagiarism is defined as the presentation of another
person's thoughts or words as though they are one's own. Plagiarism constitutes an examination
offence under the University Regulations and students found to have committed plagiarism may be
excluded from all further examinations of the University and/or College. ANY QUOTATION FROM
THE PUBLISHED OR UNPUBLISHED WORKS OF OTHER PERSONS MUST BE IDENTIFIED AS
SUCH BY PLACING THE QUOTE IN QUOTATION MARKS, AND THE SOURCE OF THE
QUOTATION MUST BE REFERENCED APPROPRIATELY. The concept of plagiarism also includes
self-plagiarism, which is the extensive use of the same sources and materials in more than one piece
of assessed coursework, submitted for the same or for other courses taken as part of the degree. To
avoid charges of plagiarism or collusion, students must always ensure that their submitted work is
their own. They should not lend essays or essay drafts to other students because they might be
penalised if the other student copies the work and submits it as their own. If students are unclear
about the definition of plagiarism, they should review the notes on plagiarism and examples of good
and bad practice with respect to sources, included in the MA/MSc Handbook and consult their Degree
Co-ordinator or Personal Tutor.
Although each course is assessed independently of other courses, students should take care to
ensure that the same or very similar work is not submitted for assessment more than once during their
study for this degree. Failure to do so could result in a reduction of their overall mark. If students are
in any doubt, they should seek advice from the Degree Co-ordinator, or the relevant Course Coordinator.
It is important that students reference their sources of information as accurately and as fully as
possible. If a student summarises another person's ideas or judgements, or reproduces their figures
or diagrams, a reference must be made in the text (using the Harvard convention) and all works
referred to must be documented in full in a bibliography. Referencing styles are outlined in the
MA/MSc Handbook.
The Institute will be publishing a new policy with regard to penalties for plagiarism at the start of the
session. This will be circulated separately.
Presentation. Essays and other assessed work must be word-processed (unless otherwise specified)
and may be printed on one or both sides of the paper, using 1.5-line spacing. Adequate margins
should be left for written comments by the examiner. Students are encouraged to use diagrams
and/or tables where appropriate. These should be clearly referred to at the appropriate point in the
text, and if derived from another source, this must be clearly acknowledged. Students should adhere
to word limits on essays; they are intended to help ensure equality of workloads between courses as
well as to encourage the useful transferable skills of clearly structured argumentation and succinct
writing. Course Co-ordinators may apply penalties for overlength work; please see the individual
course handbooks for details of this.
UCL has published guidelines on the use of non-discriminatory language which apply to students as
well as staff (www.ucl.ac.uk/hr/policy_docs/non_discrim_language.htm). You are reminded, in
particular, to avoid the use of gender-biased terms in your written work.
Submission
Students are required to submit hard copy of all coursework to the course co-ordinator’s pigeon hole
via the Red Essay Box at Reception by the appropriate deadline. The coursework must be stapled to
a completed blue coversheet (available from the web, from outside Room 411A or from the IoA
library)
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Please note that stringent penalties for late submission have been introduced UCL wide. Late
submission will be penalized in accordance with these regulations unless permission has been
granted and an Extension Request Form (ERF) completed. See Appendix A for details and
procedures – end of document.
Date-stamping will be via ‘Turnitin’ (see below), so in addition to submitting hard copy, students must
also submit their work to Turnitin by midnight on the day of the deadline for each piece of work.
It is essential that students upload all parts of their coursework to Turnitin (i.e. including the
bibliography and images). This ensures that a complete electronic copy of the work is available in
case any essay goes astray. Please be assured that markers will not include these additional
elements when checking word counts.
Students who encounter technical problems submitting their work to Turnitin should email the nature
of the problem to ioa-turnitin@ucl.ac.uk in advance of the deadline in order that the Turnitin Advisers
can notify the Course Co-ordinator that it may be appropriate to waive the late submission penalty.
If there is any other unexpected crisis on the submission day, students should telephone or
(preferably) e-mail the Course Co-ordinator, and follow this up with a completed ERF
Turnitin
In addition to providing date-stamping, Turnitin’s primary function is to scan work for evidence of
plagiarism. This system gives access to billions of sources worldwide, including websites and
journals, as well as work previously submitted to the Department, UCL and other universities.
In common with most other UCL Departments, the Institute now uses this system for all assessed
coursework for taught courses. Students submit hard copy of coursework in the normal way, but are
also required to submit each piece electronically to Turnitin, which should be done before submission
of the copy to be marked. The declaration that students sign on coursework coversheets includes a
statement confirming that the work has been submitted to Turnitin.
Unless instructed otherwise, all work must be submitted to Turnitin. Work which is not submitted to
Turnitin will be subject to late submission penalties except in cases where the Turnitin Advisers have
been notified of a technical problem.
A training session will take place in the first week of term, at which the procedures will be explained to
new students, and you will be provided with the Turnitin code and password for submitting coursework
for each course. The full content of the training sessions is given on the Institute Intranet
Turnitin can be used to help you improve you work and avoid inadvertent plagiarism. In advance of
submitting your coursework for marking you may, if you wish, run your work through the system in
order to obtain a report on the originality of the wording and then make any necessary adjustments
prior to final submission. Turnitin advisors will be available to help you via email:
ioa-turnitin@ucl.ac.uk if you need help generating or interpreting the reports.
It is important to recognise that the final decision about whether work contains plagiarism rests with
academic staff. Consequently, the presence or absence of matches in a Turnitin report does not, by
itself, provide a guarantee that the work in question either contains or is free from plagiarism.
Grading. The grading system for coursework is set out in the MA/MSc Handbook. Allowing for
vacations, every effort will be made to return assessed work within two/three weeks of the submission
date. The mark given by the initial examiner (prior to return) is a provisional assessment for the
student's guidance, and may be modified after assessment by the second internal examiner or by the
Visiting Examiner.
Timescale for return of marked coursework to students.
You can expect to receive your marked work within four calendar weeks of the official submission
deadline. If you do not receive your work within this period, or a written explanation from the marker,
you should notify the IoA’s Academic Administrator, Judy Medrington.
Word-length
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If your work is found to be longer than the official limit you mark will be reduced by 10%, subject to a
minimum mark of a minimum pass, assuming that the work merited a pass. If your work is more than
10% over-length, a mark of zero will be recorded.
The following should not be included in the word-count: bibliography, appendices, and tables, graphs
and illustrations and their captions.
Re-submission of Coursework. Students are not permitted to re-write and re-submit coursework in
order to try to improve their mark. However, in exceptional circumstances and with the approval of
their degee coordinator, they may, if they wish, submit an additional piece of coursework (on a new
topic) to substitute for the first piece of written coursework submitted for their degree.
Return of Coursework. All marked coursework must be returned to the Course Co-ordinator within two
weeks of its return to students, so that it can be second-marked, and is available to the Board of
Examiners. Because assessed work forms part of the student's permanent academic record, it needs
to be retained until well after the completion of the degree. If work is not returned to the Course Coordinator, the student will be deemed not to have completed the course. Students are strongly
advised always to keep a copy of all work, and to make a copy for retention of all work after it has
been assessed and commented upon by the first examiner, if they wish to make future reference to
the comments on the work.
ORAL EXAMINATION
All Master's students are required to attend an oral examination, normally as part of their Disssertation
assessment. This will normally be held in late May or early June. Students will be required to submit
a 4-5 page dissertation proposal (details to be circulated) to the programme coordinator and fellow
students on the MA Comparative Art. They will also make an oral presentation (10-15 minutes) on the
basis of the proposal, for questioning and discussion by the other Comparative Art students. In the
event of a problem being identified by the examiners of the Dissertation, students may be invited to
attend a formal viva voce examination with the External Examiner for the degree also in attendance.
Part-time students and students on two-year MA programmes will normally be required to give a
Dissertation presentation (viva) in the year in which they are examined in the Dissertation.
COMMUNICATION
The primary channel of communication within the Institute of Archaeology is e-mail. If you wish to be
contacted on your personal or work e-mail address, please arrange for e-mail sent to your UCL
address to be forwarded to your other address, since staff and other students will expect to be able to
reach you through your College e-mail - which they can find on the UCL web-site. Students must
consult their e-mail regularly, as well as the student pigeon-holes in the Basement Common Room for
written communications. Please also ensure that you keep your contact details (esp. your telephone
number) up top date on portico, in case you need to be contacted.
ATTENDANCE.
Registers will be taken at all classes, and Departments are required to report the attendance of each
student to UCL Registry at frequent intervals throughout each term. If you are unable to attend a
class, please email the course co-ordinator to explain, in order to ensure that there is a record of the
reasons for your absence.
It is a College regulation that attendance at lectures, seminars and practicals be monitored, and a
register will be taken. A 70% minimum attendance at all scheduled sessions is required (excluding
absences due to illness or other adverse circumstances, provided that these are supported by medical
certificates or other documentation, as appropriate). Attendance is reported to College, becomes part
of the student's academic record, and will be reported to their funding agency if this information is
requested. Students should also be aware that potential employers seeking references often ask
about attendance and other indications of reliability.
LIBRARIES
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In addition to the Library of the Institute of Archaeology, other libraries in UCL with holdings of
particular relevance to this degree are: the DMS Watson (Science) Library (Anthropology,
Psychology), the Main Library (History of Art, Philosophy)
Although all the required books and articles for your courses will be readily available in the
UCL library system, you will find that you need to make use of some of the other libraries in London to
explore topics more deeply, and in particular in preparation of your dissertation.
For art historians the following are particularly useful (all of them parts of University of London,
so you should be able to have access to them, and probably borrowing rights if need be with a letter
from your course coordinator).
Courtauld Institute, Somerset House, the Strand, London
Institute of Classical Studies, Senate House, Mallet Street.
Senate House Library, University of London, Mallet Street
School of Oriental and African Studies (SOAS)
Warburg Institute, Gordon Square (Opposite end of the square to the Institute of Archaeology)
MUSEUMS AND COLLECTIONS
Perhaps the greatest advantage in studying in London is the unrivalled range of art collections
and museums.
You should familiarize yourself with the collections in the British Museum and the Victoria and
Albert museum, relevant to your special areas of interest, and try to browse more widely. Keep
abreast of all the special exhibitions. Most of the major museums have late night opening once a
week, normally till 9.00. Make a point of setting aside some time every week for museum visiting –
otherwise you can easily find you have been here a year, and are about to leave without having seen
anything. Looking at objects is just as important as reading.
Some other less familiar museums which have ethnographic and archaeological collections pertinent
to the materials and issues you will be looking at in your courses, are:
Museum of London
Horniman Museum
Petrie Museum
Sir John Soane’s Museum
SOME USEFUL WEB ADRESSES:
British Museum: http://www.britishmuseum.ac.uk
Brunei Gallery: http://www.soas.ac.uk/gallery
National Gallery: http://www..nationalgallery.org.uk
Sir John Soane’s Museum: http://www.soane.org
Victoria and Albert Museum: http://www.vam.ac.uk
HEALTH AND SAFETY
The Institute has a Health and Safety policy and code of practice which provides guidance on
laboratory work, etc. This is revised annually and the new edition will be issued in due course. All
work undertaken in the Institute is governed by these guidelines and students have a duty to be aware
of them and to adhere to them at all times. This is particularly important in the context of any field or
laboratory work which may be undertaken as part of this degree.
FEEDBACK
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In trying to make this degree as effective as possible, we welcome feedback during the course of the
year. Students will be asked to fill-in Progress Forms at the end of each term, which the Degree Coordinator will discuss with them, which include space for comment on each of their courses.
At the end of each course all students are asked to give their views on the course in an anonymous
questionnaire, which will be circulated at one of the last sessions of the course. These questionnaires
are taken seriously and help the Course Co-ordinator to develop the course. The summarised
responses are considered by the Degree Co-ordinator, the Institute's Staff-Student Consultative
Committee, Teaching Committee, and by the Faculty Teaching Committee.
If students are concerned about any aspect of a specific course, we hope they will feel able to talk to
the relevant Course Co-ordinator, but if they feel this is not appropriate or have more general
concerns, they should consult their Degree Co-ordinator, Personal Tutor, or the Graduate Tutors
(Professor Andrew Bevan and Dr. Ulrike Sommer). They may also consult the Academic
Administrator (Judy Medrington), the Chair of Teaching Committee (Karen Wright), or the Director
(Stephen Shennan).
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COURSES AVAILABLE 2015/16
G67 ART: INTERPRETATION AND EXPLANATION
COURSE CO-ORDINATOR: Professor Jeremy Tanner
Room 105; Ext: 21525; e-mail address: j.tanner@ucl.ac.uk
Course takes place Wednesday 9-11, Room 209
COURSE AIMS
This course aims to introduce students to a range of theoretical approaches to art,
conceived as a behavioral, social and cultural phenomenon. Particular attention will be paid to
questions of conceptualization, theoretical logic and to the methodologies of art
interpretation within a broadly comparative framework.
TEACHING STRUCTURE
The course is taught over the first two terms, through weekly two-hour seminars.
TOPICS COVERED
Understanding and explaining art; iconography and iconology; style and society; structuralism;
semiotics and art history; art and ethology; art and visual perception; naturalism, schematism and
representation; decorative art; viewing, spectatorship and visuality; patronage systems and the social
production of art; artists, agency and creativity; art and technology; art and human evolution; primitive
art and simple societies; art and power; time, change and periodisation; art and socio-cultural
evolution.
ASSESSMENT
The Course is assessed entirely by coursework, consisting of 2 essays each of ca 4000
words. Essay topics and submission deadlines are given in the full course handout.
BASIC TEXTS AND RESOURCES
The following introductory texts and background reading are relevant to this course:
Woolf, J. 1981. The Social Production of Art.
Layton, R. 1991. The Anthropology of Art.
Schneider-Adams, L. 1996. The Methodologies of Art.
Preziosi, D. 1989. Rethinking Art History: Meditations on a Coy Science.
Hodder, I. 1986. Reading the Past.
Tanner
Summers
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G201: Aztec Archaeology: Codices and Ethnohistory
0.5 element = 15 credits; term I, Mondays 9-11.
Course coordinator: Dr. Elizabeth Baquedano
This course examines the critical boundaries between the historical records, the painted books
(codices) and the material culture of archaeology. It focuses on the Spanish Chroniclers of
Sixteenth Century Mexico who saw and recorded the dazzling brilliance of Aztec life and
culture. The evidence from these two distinctive literary sources will be set against the insight
gained by archaeological investigations over the last thirty years – in particular the
excavations of the Great Temple of the Aztecs that has done so much to revolutionize our
knowledge of that civilization. Moving back and forth between the indigenous painted books
and the chronicles of Sixteenth century Mexico and archaeology, the student will be able to
synthesize the information in order to understand Aztec culture, where religion, politics and
economic concerns overlap in complex ways. The course begins with an overview of the Aztecs from their humble beginnings to Empire
builders looking at the Aztec Annals and the archaeological evidence. We then turn to the
Spanish Conquest examining the documentary evidence especially the writings of the
Conquistadors Hernán Cortés and Bernal Díaz del Castillo as well as the writings of the
Catholic friars Bernardino de Sahagún and Diego Durán.
Preliminary reading:
Baquedano, E.. (2011). Concepts of Death and the Afterlife in Central Mexico. In: James. L.
Fitzsimmons and Izumi Shimada Living with the Dead: Mortuary Ritual in
Mesoamerica. Tucson: The University of Arizona Press. 252.
Brotherston, G (2005). Feather Crown: The Eighteen Feasts of the Mexica Year. London: the
Trustees of the British Museum. 106.
Diaz del Castillo, B. (1996). The Discovery and Conquest of Mexico, translated by A.P.
Maudslay. New York: Da Capo Press.
López Luján, L. translated by Bernard Ortiz de Montellano and Thelma Ortiz de Montellano
(2005). The Offerings of the Templo Mayor of Tenochtitlan. Albuquerque: University
of New Mexico Press. 421.
Maffie, J. (2014). Aztec Philosophy, understanding a world in motion. Boulder: University
Press of Colorado. 592.
Mundi, BE 2015 The Death of Aztec Tenochtitlan,the Life of Mexico City. University of Texas
Press, Austin.
Smith, ME (2012). The Aztecs. 3rd ed. Oxford: Wiley and Blackwell. 396.
Assessment:
2 essays each of 2000 words.
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ARCLG202: The Mediterranean world in the Iron Age (0.5 element – term 2) Course Coordinator: Dr. Corinna Riva Thursdays 2-4, Term II – Room 209 The course is intended to offer students a detailed knowledge of the Iron Age in the Mediterranean
region. It is meant to complement the two other MA options on Comparative Themes in the
Mediterranean and The Prehistory of the Mediterranean World respectively, but it can also stand on its
own to provide advanced training on the archaeology of Iron Age Mediterranean. The study region
encompasses all areas facing the Mediterranean basin although particular attention will be devoted to
those areas that are closest to the Coordinator’s research areas, particularly the Central
Mediterranean and the Greek world. The structure of the course will be regionally-based but will also
revolve around key topics that are characteristics of the study region. The course will begin with an introduction to the study region and previous and current approaches to
understand the Iron Age Mediterranean. Other key topics will be: The Bronze Age/Iron Age transition; the east Mediterranean and the Levant; culture contact, the
Phoenicians, and Orientalising; literacy; the archaeology of cult; the West Mediterranean and the
Iberian Peninsula; the Central Mediterranean and the Tyrrhenian Sea Region; the Greek world
enlarged; from cities to empires. Students will be able to explore these large themes through a range
of different forms of material culture, so this course should be of interest to students in the
Comparative Art MA as well as MA Archaeology, MA Archaeology of the Eastern Mediterranean. The course will consist of ten 2-hour sessions, each sessions consisting of a lecture and seminar.
Seminars will be discussion-based. Course aims: •
to provide an advanced knowledge in the archaeology of the Mediterranean region in the
Iron Age •
to instruct students in critical analysis of current research on the study region (problems,
method and theory, quality of data) •
to engage students with the material and resources related to the study region •
to stimulate original research on related topics By the end of the course students will: •
Be familiar with the broad range of material culture of the Iron Age Mediterranean •
Be familiar with the range of approaches and methods to support research in the subject area •
Be familiar with current scholarship and theories to understand the archaeology of the
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G203: ANCIENT ITALY IN THE MEDITERRANEAN
Credits: 15
Co-ordinator: Dr. C. Riva
Pre-requisite: none, but a familiarity with the archaeology of the Mediterranean will
be helpful.
Teaching: Term II - Mondays 2-4 (Room 410)
This course is intended to offer a detailed knowledge of the archaeology of the Italic
peninsula and its islands from the early Iron Age (c. 1000 BC) to circa the 2nd century
BC, and of the different approaches to the subject area from funerary archaeology,
to settlement and landscape archaeology, art history and cultural history.
The sessions are organized through a selection of relevant themes (e.g. death, social
and economic landscapes, trade, urbanism, religion and ritual), but are also
chronologically progressive: this design is to allow students to examine such themes
diachronically and have, at the same time, a sense of the sequence of
chronological phases. Most importantly, the course strongly encourages students to
examine Italy within its own broader Mediterranean context and to break the
boundaries between Italic indigenous, Phoenician/Punic and Greek archaeology.
This course is therefore intended as an option for the Mediterranean Archaeology
MA, but should also be of interests to students in the Archaeology MA programme or
any other programme with an interest in the archaeology of the peninsula.
TEACHING METHODS:
The course is taught through a combination of introductions to single topics by the
lecturer and seminars: the introductions will provide the necessary background to
guide students to the themes of the seminar topic. Seminars are discussion-based
sessions that are chaired by the lecturer but are run by students who are therefore
responsible for the success of the seminar: in order for this to happen, it is absolutely
essential that everyone will have done the essential reading that has been assigned
for each session and fully participate in the discussion. If the running of seminars in
this way proves ineffective, students, in turn, will be asked to make a brief
presentation on a particular reading/theme of their choice in order to stimulate
discussion.
ASSESSMENT:
This course is assessed by means two essays, one of 1,425-1,575 words (contributing
33% to the overall mark), and the other of 2,375-2,625 (contributing to 67% to the
overall mark).
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G226SOCIETY AND CULTURE IN ANCIENT EGYPT (0.5 element, 15 credits course) Teacher: Dr. Richard Bussmann Term 2, Monday 2-4, Room 412 Description The course develops anthropological and historical perspectives on ancient Egypt from later prehistory
to the Late Antique (ca. 4000 BC to 500 AD). Themes covered in class include early urbanism in
Northeastern Africa, great and little traditions in complex societies, representation of society, agency
and social structure, practices of appropriation, and analogies in archaeology. The discussions are
structured around questions of cultural diversity beyond elite culture, local contexts of society and the
interplay of text, art and archaeology. . Aims The course crosses agendas from within Egyptology, archaeology, history and anthropology. It
establishes a theoretically informed framework for the interpretation of written, visual, and material
culture of ancient Egypt in a diachronic perspective, complementing degrees within the Institute of
Archaeology and other departments within and outside UCL. Course Structure The course is taught through a series of 20 hours of lectures and discussion based seminars. Detailed
reading lists and data for discussion of case studies will be provided. Assessment The course is assessed by means of an essay of 2500 words (60%) and a book review of 1500 words
(40%). General Reading Assmann, Jan 2002. The mind of Egypt: History and meaning in the time of the Pharaohs. New York:
Metropolitan Books. *Baines, John 2007. Visual and Written Culture in Ancient Egypt. Oxford: Oxford University Press. Blackman, Winifred 1927. The fellahin of Upper Egypt: their religious, social and industrial life to-day
with special reference of survivals from ancient times. London: G. G. Harrap. Burke, Peter 2008. What is Cultural History (What is History?), 2nd ed. New York: Polity Press. Chartier, Roger 1988. Cultural History: Between Practices and Representation. Cornell: Cornell
University Press. Dijkstra, Jitse H. F. 2008. Philae and the end of ancient Egyptian religion: a regional study of religious
transformation (298-642 CE), OLA 173. Leuven: Peeters. Geertz, Clifford 1993. Local knowledge: further essays in interpretative anthropology. London:
Fontana Press. *Kemp, Barry J. 2006. Ancient Egypt. Anatomy of a Civilization, 2nd ed. London: Routledge. Marriott, McKim 1955. Village India. Studies in the Little Community, The American Anthropological
Association 57.3, Part 2, Memoir 83. Chicago: The Chicago University Press. Seidlmayer, Stephan J. 2007. The People at Beni Hassan: Contributions to a Model of Ancient
Egyptian Rural Society, in: Hawass, Zahi & Janet Richards (eds.), The Archaeology and Art of
Ancient Egypt, Essays in Honor of David B. O’Connor, CASAE 36.2, 351-368. Cairo: Supreme
Council of Antiquities. Stevens, Anna 2006. Private Religion at Amarna: The Material Evidence, BAR International Series
1587. Oxford: Archaeopress. *Trigger, Bruce G. 2003. Understanding early civilizations: a comparative study. Cambridge:
Cambridge University Press.
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G277 Archaeology of Buddhism / Course coordinator: Dr. Julia Shaw / Term 2, Fridays 12-2, room
412; 0.5 element/15 credits
This course examines the sources (archaeological, textual, art-historical, epigraphical) for studying the history
and development of Buddhism, and the problems and tensions between text and material based frameworks of
analysis. It tracks the early origins of Buddhism in the Gangetic valley of India during the mid first millennium
BC, and its spread to other parts of South Asia and subsequently to East, Central and Southeast Asia. It will
introduce students to the main architectural and sculptural manifestations of the tradition, discussing key themes
such as the history and chronology of monasteries and monasticism, the stupa and relic cult, the various schools
of Buddhism, and the development of patronage networks. In addition to thematic and region-by-region
lectures, there will be three seminars aimed at discussion of issues that are relevant for the Buddhist world at
large (models of religious change and interaction, decline and transformation, and Buddhist economics).
Chronologically the main focus is the period between the mid first millennium BC and mid first millennium AD,
although the later history of Buddhism (up to 12th century AD in India) is also discussed.
Class topics include:
•
Development of early Indian Buddhism and its spread within South Asia
•
Identifying different schools of Buddhism
•
Buddhism, urbanisation and the state
•
Buddhist art and architecture
•
Monasteries, monasticism and the ‘domestication’ of Buddhism
•
The stupa and relic cult and approaches to death
•
Origin of the Buddha image and ‘local’ deities
•
Buddhist landscapes and multi-religious landscapes
•
Patronage, and Buddhist economics
•
Buddhism and the Environment (and environmental ethics)
•
Buddhism and healing traditions
•
Models of religious change and interaction
•
Buddhism in China, Central Asia, and Tibet
•
The archaeology of Buddhist pilgrimage
•
Decline and transformation of Buddhism
The course consists of 10 x two-hour sessions. The course is taught by a mixture of lectures and seminar-style
discussion. The course is assessed through one short essay and one long essay.
Preliminary Reading:
Allchin, F.R. and G. Erdosy (eds.), The Archaeology of Early Historic South Asia : the emergence of cities and
states. Cambridge: Cambridge University Press.
Barnes, G. 1995. ‘An introduction to Buddhist archaeology’, World Archaeology 27: 165-182.
Chakrabarti, D.K. 1995. ‘Buddhist Sites across South Asia as Influenced by Political and Economic Forces’, World
Archaeology 27: 185-202.
Coningham, R. 2001. ‘The Archaeology of Buddhism’, in T. Insoll (ed.), Archaeology and World Religion. London:
Routledge, 60-95.
Fogelin, L, 2006. Archaeology of Early Buddhism. New York: Altamira Press.
Kieschnick, J. 2003. The Impact of Buddhism on Chinese Material Culture. Princeton University Press.
Marylin Martin, R. 1999 / 2002. Early Buddhist Art of China and Central Asia, vols. 1 & 2. Leiden: Brill
Mitra, D. 1971. Buddhist Monuments. Delhi: Munshiram Manoharlal.
Neelis, J. 2011. Early Buddhist Transmission and Trade Networks: mobility and exchange within and beyond the
Northwestern borderlands of South Asia. Leiden: Brill
Sharf, R. 2002. Coming to Terms with Chinese Buddhism. Honolulu: University of Hawai’i Press.
Schopen, G. 1997. Bones, Stones, and Buddhist Monks: Collected Papers on the Archaeology, Epigraphy, and
Texts of Monastic Buddhism in India. Honolulu: University of Hawaii Press
Shimada, A., and J. Hawkes, eds. 2009. Buddhist Stupas in South Asia: Recent Archaeological, Art-Historical, and
Historical Perspectives. New Delhi: Oxford University Press.
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G278: SOCIAL COMPLEXITY IN EARLY CHINA, FROM NEOLITHIC TO EARLY
EMPIRE
0.5 element, term II, Thursday 9-11, Room 209.
Course coordinator: Yijie Zhuang
Assessment: Powerpoint presentation and text 35%; Essay: 3000 words 65%.
This course will explore key issues in the archaeology of later Prehistoric and Early
Historic China, with a particular focus on the understanding of changing patterns of social complexity
as revealed through archaeological evidence from excavations and objects. The period covered will
range from the early agricultural societies of the Neolithic to the unification of China in the Qin
Empire (3rd c. BC). Major themes will include the emergence of social complexity, craft production,
and trade. The course will include an overview of the major categories of material culture, including
ceramics, jades and bronzes in terms of their production, stylistics and exchange. Students will explore
recent debates concerning how such artefacts are related to the creation of Chinese hierarchical
societies and settlement patterns as revealed through archaeology. Sessions will combine lecture and
seminar discussion. Students will also contribute by preparing shorter presentations for a student-led
discussion.
Teaching Methods
10 x 2 hours seminars, including a combination of lecture and open discussion, with one session
dedicated to student power point presentations.
This course will explore key issues in the archaeology of later Prehistoric and Early Historic China,
with a particular focus on the understanding of changing patterns of social complexity as
revealed through archaeological evidence from excavations and objects. The period covered will range
from the early agricultural societies of the Neolithic to the unification of China in the Qin Empire (3rd
c. BC). Major themes will include the emergence of social complexity, craft production, and trade.
The course will include an overview of the major categories of material culture, including ceramics,
jades and bronzes in terms of their production, stylistics and exchange. Students will explore recent
debates concerning how such artefacts are related to the creation of Chinese hierarchical societies and
settlement patterns as revealed through archaeology. Sessions will combine lecture and seminar
discussion. Students will also contribute by preparing shorter presentations for a student-led
discussion.
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G313: ARCHAEOLOGY OF EGYPT AND THE NEAR EAST: A COMPARATIVE
APPROACH
0.5 element, term I; Thursdays 2-4, Room 209
Course coordinator: Professor David Wengrow
Our attachment to Egypt and the ancient Near East as the 'birthplace of civilization', where the
foundations of modern societies were laid, remains as strong today as it has ever been. Yet our current
picture of how prehistoric and ancient societies actually developed in those regions could not possibly
have been predicted by earlier generations of scholars.
Processes leading to the origins of farming, cities, states, literacy, and empires – all of which
developed first in these regions – are currently being rethought in the light of new archaeological data.
And our understanding of early relationships between the societies of Middle East, North East Africa,
South and Central Asia, and the Mediterranean are being transformed by new evidence for patterns of
cultural interaction that cut across traditional frontiers of research. The emerging synthesis constitutes
a radical challenge to conventional theories of social and cultural evolution, which this course sets out
to explore.
The emphasis will be on comparative study of archaeological, written, environmental, and art
historical sources from Egypt, the Near East, and neighbouring regions. Students enrolling for this
course, whether as a core or option, will develop advanced perspectives on current debates in the
archaeology of these areas. They will encounter evidence from across a large part of Western Asia and
North East Africa, spanning Egypt, Sudan, Mesopotamia, Iran, Anatolia, Arabia & the Gulf, and the
Eastern Mediterranean seaboard, as well as parts of Central and South Asia.
Each taught session uses applied case studies to address general issues of archaeological
interpretation, with an emphasis on 1) new theoretical perspectives, 2) the understanding of long-term
social change through comparative study of neighbouring civilisations, 3) the interpretation of
interregional processes operating at a large scale. Case studies will range chronologically from the end
of the last Ice Age (c. 10,000 BC) through the Neolithic and Bronze Ages to the Iron Age (c. 500 BC).
Topics to be covered include:
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
Egypt and the ancient Near East in world history
Holocene environments, climate change, and human impact
Neolithic transformations: worlds of the earliest farmers
Global villages: the later prehistory of Egypt and the Middle East
Origins of cities and states: a comparative perspective
Emergence, functions, and development of writing systems
Commerce, cosmology, and sacrifice: the movement of goods
Ancient empires and imperialism: current themes and perspectives
Between archaeology and art history: the transmission of images
Body, gender, and power: changing constructs in Egypt and the ancient Near East
Assessment: 2 essays of 2000 words,
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G346: MAKING AND MEANING IN ANCIENT GREEK ART
Credits: 15 credits
Co-ordinator: Jeremy Tanner
Pre-requisite: Students should normally have some background in classical art history
and/or archaeology
Teaching: Term I, Tuesdays 2-4 British Museum
This course is designed to develop in students the skills of careful looking, and
detailed visual analysis, grounded in a strong awareness of the major theoretical issues, which
are central to research in the history of Greek art. It will take the form of a series of seminars
addressing key themes in the history and historiography of Greek art through detailed
consideration of specific works of art in the British Museum and other London museums,
where most classes will be held. Alongside traditional concerns with issues of style and
iconography, a particular emphasis will be laid on questions of ‘facture’, ‘materiality’ and
‘agency’ which have been at the centre of recent discussions in archaeology, the anthropology
of art and art history. Particular themes and classes may vary from year to year to reflect
students own research interests, new publications and special exhibitions.
Provisional list of topics: 1. Geometric Greek art: problems of beginnings; 2. Early
Greek art in a Mediterranean world: the orientalising phenomenon; 3. An archaic aesthetic? 4.
The problem of ‘the artist’ in sculpture and vase-painting. 5. Period styles in fifth century art.
6. Death and commemoration: social and regional variations in fourth century funerary art. 7.
Art, the body and ‘naturalism’. 8. Portraiture and identity in late classical and Hellenistic art.
9. Materialism, luxury and consumption in Hellenistic art,
Teaching Methods
Weekly two-hour seminars, comprising discussion based on prepared readings, and involving
student presentations. All classes will be taught in the galleries of the British Museum in
order to promote detailed engagement with primary material, and make best use of the unique
resources afforded by London.
Assessment: The Course will be assessed by one 4000 word essay.
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G347: MAKING AND MEANING IN ANCIENT ROMAN ART
Credits: 15 credits
Co-ordinator: Jeremy Tanner
Pre-requisite: Students should normally have some background in classical art history and/or
archaeology
Classes: Term II, Tuesday 2-4. British Museum
This course is designed to develop in students the skills of careful looking, and
detailed visual analysis, grounded in a strong awareness of the major theoretical issues, which
are central to research in the history of Roman art. It will take the form of a series of seminars
addressing key themes in the history and historiography of Roman art through detailed
consideration of specific works of art in the British Museum and other London museums,
where most classes will be held. Alongside traditional concerns with issues of style and
iconography, a particular emphasis will be laid on questions of ‘facture’, ‘materiality’ and
‘agency’ which have been at the centre of recent discussions in archaeology, the anthropology
of art and art history. Particular themes and classes may vary from year to year to reflect
students own research interests, new publications and special exhibitions.
Provisional list of topics: 1. The question of Roman art: Roman art and Roman
identities; 2: Class and culture: patrician and plebeian art. 3. Roman Glass: technology and
cultural form. 4. Luxury art and commodity culture: silver ware and ceramics at the dinner
table. 5. Portraiture and the making of identities in the high empire. 6. The problem of
propaganda: looking at Trajan’s Column (V&A). 7. Death and commemoration: the social
lives of sarcophagi. 8. Provincial arts: looking East and West. 9. Late antique transformations.
Teaching Methods
Weekly two-hour seminars, comprising discussion based on prepared readings, and involving
student presentations. As many classes as possible will be taught primarily in the galleries of
London Museums (British Museum, Victoria and Albert Museum etc.), in order to promote
detailed engagement with primary material, and make best use of the unique resources
afforded by London.
Assessment: One 4000 words essay.
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APPENDIX A: POLICIES AND PROCEDURES 2015-16 (PLEASE READ
CAREFULLY)
This appendix provides a short précis of policies and procedures relating to courses. It is not a
substitute for the full documentation, with which all students should become familiar. For full
information on Institute policies and procedures, see the following website:
http://wiki.ucl.ac.uk/display/archadmin
For UCL policies and procedures, see the Academic Regulations and the UCL Academic
Manual:
http://www.ucl.ac.uk/srs/academic-regulations ; http://www.ucl.ac.uk/academic-manual/
GENERAL MATTERS
ATTENDANCE: A minimum attendance of 70% is required. A register will be taken at each
class. If you are unable to attend a class, please notify the lecturer by email.
DYSLEXIA: If you have dyslexia or any other disability, please discuss with your lecturers
whether there is any way in which they can help you. Students with dyslexia should indicate it
on each coursework cover sheet.
COURSEWORK
SUBMISSION PROCEDURES: You must submit a hardcopy of coursework to the Coordinator's pigeon-hole via the Red Essay Box at Reception (or, in the case of first year
undergraduate work, to room 411a) by stated deadlines. Coursework must be stapled to a
completed coversheet (available from IoA website; the rack outside Room 411A; or the
Library). You should put your Candidate Number (a 5 digit alphanumeric code, found on
Portico. Please note that this number changes each year) and Course Code on all coursework.
It is also essential that you put your Candidate Number at the start of the title line on
Turnitin, followed by the short title of the coursework (example: YBPR6 Funerary
practices).
LATE SUBMISSION: Late submission is penalized in accordance with UCL regulations,
unless permission for late submission has been granted. The penalties are as follows: i) A
penalty of 5 percentage marks should be applied to coursework submitted the calendar day
after the deadline (calendar day 1); ii) A penalty of 15 percentage marks should be applied to
coursework submitted on calendar day 2 after the deadline through to calendar day 7; iii) A
mark of zero should be recorded for coursework submitted on calendar day 8 after the
deadline through to the end of the second week of third term. Nevertheless, the assessment
will be considered to be complete provided the coursework contains material than can be
assessed; iv) Coursework submitted after the end of the second week of third term will not be
marked and the assessment will be incomplete.
GRANTING OF EXTENSIONS: New UCL-wide regulations with regard to the granting of
extensions for coursework have been introduced with effect from the 2015-16 session. Full
details will be circulated to all students and will be made available on the IoA intranet. Note
that Course Coordinators are no longer permitted to grant extensions. All requests for
extensions must be submitted on a new UCL form, together with supporting documentation,
via Judy Medrington’s office and will then be referred on for consideration. Please be aware
that the grounds that are now acceptable are limited. Those with long-term difficulties
should contact UCL Student Disability Services to make special arrangements.
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TURNITIN: Date-stamping is via Turnitin, so in addition to submitting hard copy, you must
also submit your work to Turnitin by midnight on the deadline day. If you have questions
or problems with Turnitin, contact ioa-turnitin@ucl.ac.uk.
RETURN OF COURSEWORK AND RESUBMISSION: You should receive your marked
coursework within four calendar weeks of the submission deadline. If you do not receive your
work within this period, or a written explanation, notify the Academic Administrator. When
your marked essay is returned to you, return it to the Course Co-ordinator within two weeks.
You must retain a copy of all coursework submitted.
WORD LENGTH: Essay word-lengths are normally expressed in terms of a recommended
range. Not included in the word count are the bibliography, appendices, tables, graphs,
captions to figures, tables, graphs. You must indicate word length (minus exclusions) on the
cover sheet. Exceeding the maximum word-length expressed for the essay will be penalized in
accordance with UCL penalties for over-length work.
CITING OF SOURCES and AVOIDING PLAGIARISM: Coursework must be expressed
in your own words, citing the exact source (author, date and page number; website address
if applicable) of any ideas, information, diagrams, etc., that are taken from the work of others.
This applies to all media (books, articles, websites, images, figures, etc.). Any direct
quotations from the work of others must be indicated as such by being placed between
quotation marks. Plagiarism is a very serious irregularity, which can carry heavy penalties.
It is your responsibility to abide by requirements for presentation, referencing and avoidance
of plagiarism. Make sure you understand definitions of plagiarism and the procedures and
penalties as detailed in UCL regulations: http://www.ucl.ac.uk/currentstudents/guidelines/plagiarism
RESOURCES
MOODLE: Please ensure you are signed up to the course on Moodle. For help with Moodle,
please contact Nicola Cockerton, Room 411a (nicola.cockerton@ucl.ac.uk).
END OF DOCUMENT