UCC/UGC/ECCC
Proposal for New Course
Please attach proposed Syllabus in approved university format.
1. Course subject and number: ARH 335
2. Units:
See upper and lower division undergraduate course definitions.
3. College:
Arts and Letters
4. Academic Unit:
3
Comparative Cultural
Studies
5. Student Learning Outcomes of the new course. (Resources & Examples for Developing Course Learning
Outcomes)
Students will have the ability to:
 Analyze and understand the basic concepts connected to a specific art historical/visual
culture theme or issue
 Examine and explain the cultural contexts associated with a specific art historical/visual
culture theme or issue
 Critically evaluate and communicate effectively in writing an understanding of a specific art
historical/visual culture theme or issue
 Communicate orally an understanding of a specific art historical/visual culture theme or
issue
6. Justification for new course, including how the course contributes to degree program outcomes,
or other university requirements / student learning outcomes. (Resources, Examples & Tools for Developing
Effective Program Student Learning Outcomes).
Establishing a designated 300-level topics course in Art History will bring the ARH curriculum
into alignment with other emphases in our department (Asian Studies, Humanities,
Comparative Study of Religions) that already have such courses. It will additionally avoid
proliferation of single theme/issue classes, which we may not be able to staff over a 5-year
curriculum plan. A 300-level ARH topics class will attract not only students in the ARH
emphasis and minor, but also a wide body of students in related disciplines (e.g. Studio Art,
Art Ed., Visual Communications) who have upper division ARH courses required for their
majors. We anticipate offering a variety of topics on visual culture through this course,
including Contemporary Feminist Art (see sample syllabus), Art and Trauma, Visualizing
Spectacle in Classical Antiquity, and The Politics of Illustration, Europe & the United States.
7. Effective BEGINNING of what term and year?
See effective dates calendar.
Fall 2015
8. Long course title: TOPICS IN VISUAL CULTURE
(max 100 characters including spaces)
9. Short course title: TOPICS IN VISUAL CULTURE
(max. 30 characters including spaces)
Effective Fall 2012
10. Catalog course description (max. 60 words, excluding requisites):
This course examines selected, interdisciplinary topics in historical and contemporary visual
culture.
11. Will this course be part of any plan (major, minor or certificate) or sub plan (emphasis)?
Yes
No
If yes, include the appropriate plan proposal.
Comparative Cultural Studies; B.A. (elective), Art History Minor (elective), Museum Studies
Minor (elective)
12. Does this course duplicate content of existing courses?
Yes
No
If yes, list the courses with duplicate material. If the duplication is greater than 20%, explain why
NAU should establish this course.
13. Will this course impact any other academic unit’s enrollment or plan(s)?
Yes
No
If yes, describe the impact. If applicable, include evidence of notification to and/or response from
each impacted academic unit
14. Grading option:
Letter grade
Pass/Fail
Both
15. Co-convened with:
14a. UGC approval date*:
(For example: ESE 450 and ESE 550) See co-convening policy.
*Must be approved by UGC before UCC submission, and both course syllabi must be presented.
16. Cross-listed with:
(For example: ES 450 and DIS 450) See cross listing policy.
Please submit a single cross-listed syllabus that will be used for all cross-listed courses.
17. May course be repeated for additional units?
Yes
No
17a. If yes, maximum units allowed?
6
17b. If yes, may course be repeated for additional units in the same term?
Yes
No
(ARH 141, ARH 142, ARH 143 or
18. Prerequisites:
ARH 145)
If prerequisites, include the rationale for the prerequisites.
In order for students to succeed in an upper division ARH topics course, it is important that
they already have exposure to the fundamentals of art history/visual culture.
19. Co requisites:
If co requisites, include the rationale for the co requisites.
20. Does this course include combined lecture and lab components?
Yes
If yes, include the units specific to each component in the course description above.
Effective Fall 2012
No
21. Names of the current faculty qualified to teach this course:
Alexandra Carpino, George
Speer, Alyce Jordan, Tara
Kohn, Jennifer McLerran, Tom
Patin, Zsuzsanna Gulacsi
22. Classes scheduled before the regular term begins and/or after the regular term ends may require
additional action. Review “see description” and “see impacts” for “Classes Starting/Ending
Outside Regular Term” under the heading “Forms”
http://nau.edu/Registrar/Faculty-Resources/Schedule-of-Classes-Maintenance/.
Do you anticipate this course will be scheduled outside the regular term?
Yes
No
23. Is this course being proposed for Liberal Studies designation?
If yes, include a Liberal Studies proposal and syllabus with this proposal.
Yes
No
24. Is this course being proposed for Diversity designation?
If yes, include a Diversity proposal and syllabus with this proposal.
Yes
No
Answer 22-23 for UCC/ECCC only:
FLAGSTAFF MOUNTAIN CAMPUS
Scott Galland
Reviewed by Curriculum Process Associate
2/3/2015
Date
Approvals:
Department Chair/Unit Head (if appropriate)
Date
Chair of college curriculum committee
Date
Dean of college
Date
For Committee use only:
UCC/UGC Approval
Approved as submitted:
Approved as modified:
EXTENDED CAMPUSES
Effective Fall 2012
Date
Yes
Yes
No
No
Reviewed by Curriculum Process Associate
Date
Approvals:
Academic Unit Head
Date
Division Curriculum Committee (Yuma, Yavapai, or Personalized Learning)
Date
Division Administrator in Extended Campuses (Yuma, Yavapai, or Personalized
Learning)
Date
Faculty Chair of Extended Campuses Curriculum Committee (Yuma, Yavapai, or
Personalized Learning)
Date
Chief Academic Officer; Extended Campuses (or Designee)
Date
Approved as submitted:
Approved as modified:
Effective Fall 2012
Yes
Yes
No
No
SAMPLE TOPIC SYLLABUS:
College of Arts and Letters
Department of Comparative Cultural Studies
ARH 335
Topics in Visual Culture: Contemporary Feminist Art
[3 credit hours]
Day/Time: TBA
Instructor:
Dr. Jennifer McLerran
Office Phone: 928-523-5623
E-mail: jen.mclerran@nau.edu
Building/Room:
Office:
Office Hours:
Riles, Rm. 113
Riles, Rm. 117
TuTh 3:45-4:45
Course Prerequisite: (ARH 141, ARH 142, ARH 143 or ARH 145)
Course Description and Objectives:
This iteration of ARH 335 explores contemporary art that deals with feminist subject matter. Artists,
artworks and art exhibitions will be viewed and analyzed within the context of feminist critical and
theoretical frameworks. We will explore how various forms of visual art contribute to our
understandings of sex- and gender-based identity and their intersections with race, class, ethnicity
and nationality.
Student Learning Expectations/Outcomes for this Course: In the process of participating in this
course, students will have an opportunity to develop and to demonstrate the following:





Understanding of basic concepts of major feminist and critical cultural theories.
Ability to apply these theories to varied forms of visual representation through critical analysis both
orally and in writing.
Ability to locate through critical analysis a visual text’s treatment of gender, sexuality, race, class,
ethnicity and nationality.
Ability to locate and examine the complex discursive webs embedded in visual cultural forms that
shape our individual identity, socio-cultural location and interpretive voice.
Membership and participation in a critical interpretive community informed by common
understandings of visual cultural and feminist discourse.
Course Structure/Approach: ARH 335 will be discussed-based, which requires students’ active
participation. The professor will provide students with questions that will guide their reading and serve
as the focus of class discussions. Students will be expected to complete all readings before the day
on which they are listed on the syllabus and come to class prepared to analyze them. Professorguided classroom discussions will be combined with student-led presentations to facilitate the
development of critical thinking skills.
Course Requirements:
Readings and class discussions: Reading assignments must be completed by the day listed on the
syllabus and students are expected to come to class prepared to discuss them. Attendance is
Effective Fall 2012
mandatory. Any more than 3 unexcused absences will result in a reduction in the student’s course
grade.
Reaction papers: One-page reaction papers (250-300 words, typed, double-spaced) on the readings
for ten of the fifteen weeks of the course are required. Guidelines for reaction papers will be handed
out and posted on the course Blackboard site.
Presentations: Each student will be required to participate in two group presentations and two
individual presentations:
two group presentations covering daily readings. Discussion questions provided by the professor will
aid the students in constructing their presentations and form the basis of classroom discussion.
Presentations must be approximately one hour in length and allow for ten to fifteen minutes of open
discussion at their conclusion.
one ten-minute individual presentation regarding preliminary research on their paper topic.
one ten-minute individual final research paper presentation.
Research Paper: Each student will be required to write a ten-page paper on an artist or art exhibition.
The topic will be chosen from a list provided by the professor.
Failure to complete all assignments will result in a failing grade for the course.
Required Texts:
Marita Sturken and Lisa Cartwright. Practices of Looking: An Introduction to Visual Culture, 2nd
edition. New York: Oxford University Press, 2009.
Readings on Blackboard, as noted on syllabus (BB).
Entries from Thomas Patin and Jennifer McLerran, Artwords: A Glossary of Contemporary Art
Theory, Greenwood Press, 1999, posted on Blackboard site.
Week 1
Course Outline
Images, Power, and Politics
Chapter 1, ” Images, Power, and Politics,” 9-48, in Marita Sturken and Lisa Cartwright. Practices of
Looking: An Introduction to Visual Culture. Oxford University Press, 2001.
Week 2
Viewers Make Meaning
Chapter 2, “Viewers Make Meaning,” 49-91, in Marita Sturken and Lisa Cartwright. Practices of
Looking: An Introduction to Visual Culture. Oxford University Press, 2001.
Week 3
Modernity: Spectatorship, Power, and Knowledge
Chapter 3, “Modernity: Spectatorship, Power, and Knowledge,” 93-139, in Marita Sturken and Lisa
Cartwright. Practices of Looking: An Introduction to Visual Culture. Oxford University Press, 2001.
Week 4
Consumer Culture and Desire
Chapter 7, “Advertising, Consumer Cultures and Desire,” 265-306, in Marita Sturken and Lisa
Cartwright. Practices of Looking: An Introduction to Visual Culture. Oxford University Press, 2001.
Effective Fall 2012
Week 5
Postmodernism
Chapter 8, “Postmodernism, Indie Media and Popular Culture,” 307-345, in Marita Sturken and Lisa
Cartwright. Practices of Looking: An Introduction to Visual Culture. Oxford University Press, 2001.
Week 6
The Feminist Critique of Art History: First and Second Generation Feminism
Gouma-Peterson, Thalia and Patricia Matthews, “The Feminist Critique of Art History,” Art Bulletin,
no. 69 (September 1987): 326-57.
Group presentation (2-3 students)
2 individual presentations on research topic
Gouma-Peterson, Thalia and Patricia Matthews, “The Feminist Critique of Art History,” Art Bulletin,
no. 69 (September 1987): 326-57, cont’d.
Broude, Norma and Mary Garrard, ‘Discussion: An Exchange on “The Feminist Critique of Art
History”,’ Art Bulletin 71 (March 1989): 124-26.
Group presentation (2-3 students)
2 individual presentations on research topic
Weeks 7-8
The Feminist Critique of Art History
Nochlin, Linda, “Why Have There Been No Great Women Artists?” in Linda Nochlin, Women, Art, and
Power and Other Essays (New York: Harper & Row, 1988), 145-178.
Nochlin, Linda, “Starting from Scratch: The Beginnings of Feminist Art History,” in Norma Broude and
Mary D. Garrard, eds., The Power of Feminist Art: The American Movement of the 1970s, History
and Impact (New York: Harry N. Abrams, 1994), 130-137.
Group presentation (2-3 students)
2 individual presentations on research topic
Parker, Rozsika and Griselda Parker, Old Mistresses: Women, Art and Ideology (New York Pantheon
Books, 1981), 58-81.
Group presentation (2-3 students)
2 individual presentations on research topic
Week 9
First Generation Feminist Art: Collaboration
Raven, Arlene, “Womanhouse,” in Norma Broude and Mary D. Garrard, The Power of Feminist Art:
The American Movement of the 1970s, History and Impact (New York: Harry N. Abrams, 1994), 4865.
Group presentation (3 students)
2 individual presentations on research topic
Stein, Judith, “Collaboration,” Norma Broude and Mary D. Garrard, The Power of Feminist Art: The
American Movement of the 1970s, History and Impact (New York: Harry N. Abrams, 1994), 226245.
Effective Fall 2012
Group presentation (3 students)
2 individual presentations on research topic
Week 10
First Generation Feminist Art: Performance Art and Goddess Art
Withers, Josephine, “Feminist Performance Art: Performing, Discovering, Transforming Ourselves,”
Norma Broude and Mary D. Garrard, The Power of Feminist Art: The American Movement of the
1970s, History and Impact (New York: Harry N. Abrams, 1994), 158-173.
Phelan, Peggy, “The Returns of Touch: Feminist Performances, 1960-1980,” in Butler, Cornelia, ed.,
WACK! Art and the Feminist Revolutions (Cambridge, Mass.: MIT Press and Los Angeles: The
Museum of Contemporary Art, 2007), 346-383.
Group presentation (2-3 students)
Kline, Jennie, “Goddess: Feminist Art and Spirituality in the 1970s,” Feminist Studies 35, no. 3 (Fall
2009), 575-602.
Orenstein, Gloria Feman, “Recovering Her Story: Feminist Artists Reclaim the Great Goddess,” The
Power of Feminist Art, ed. Norma Broude and Mary Garrard (New York: Harry N. Abrams, 1994),
174-89.
Group presentation (2-3 students)
Week 11
From First- to Second-Generation Feminist Art
Parker, Rozsika, The Subversive Stitch: Embroidery and the Making of the Feminine, 2nd edition
(London: L. B. Tauris, 2010), 1-16.
Jones, Amelia, “The ‘Sexual Politics’ of The Dinner Party: A Critical Context,” in Norma Broude and
Mary D. Garrard, eds., Reclaiming Female Agency: Feminist Art History after Postmodernism
(Berkeley: University of California Press, 2005), 408-433
Group presentation (2-3 students)
Cottingham, Laura, “The Feminist Continuum: Art After 1970,” in Norma Broude and Mary D. Garrard,
The Power of Feminist Art: The American Movement of the 1970s, History and Impact (New York:
Harry N. Abrams, 1994), 276-287.
Owens, Craig, “The Discourse of Others: Feminists and Postmodernism,” in The Anti-Aesthetic:
Essays in Postmodern Culture, ed, Hal Foster (Port Townsend, Wash.: Bay Press, 1983), 57-82.
Group presentation (2-3 students)
Week 12
Post-modernism/Post-structuralism and Contemporary Art
Tickner, Lisa, “Sexuality and/in Representation: Five British Artists,” in Kate Linker and Jane
Winestock, Difference: On Representation and Sexuality (New York: New Museum, 1985), 19-30.
Heartney, et al., “Introduction,” After the Revolution: Women Who Transformed Contemporary Art,
revised and expanded edition (Prestel, 2013), 9-27.
Group presentation (2-3 students)
Effective Fall 2012
Week 13
Intersections of Race, Class and Gender in Contemporary Feminist Art
Gaspar de Alba, Alicia, “Devil in a Rose Bikini: The Second Coming of Our Lady in Santa Fe,” in in
Alicia Gaspar de Alba and Alma Lopez, eds., Our Lady of Controversy: Alma Lopez’s Irreverent
Apparition (Austin: University of Texas Press, 2011), 212-248.
Lopez, Alma, “It’s Not about the Santa in My Fe, but the Santa Fe in My Santa,” Alicia Gaspar de
Alba and Alma Lopez, eds., Our Lady of Controversy: Alma Lopez’s Irreverent Apparition (Austin:
University of Texas Press, 2011), 249-292.
Group presentation (2-3 students)
Smith, Valerie, “Abundant Evidence: Black Women Artists of the 1960s and 70s,” in Butler, Cornelia,
ed., WACK! Art and the Feminist Revolutions (Cambridge, Mass.: MIT Press and Los Angeles: The
Museum of Contemporary Art, 2007), 400-427.
Mithlo, Nancy Marie, "'The Way Things Are,' Curating Place as Feminist Practice in American Indian
Women's
Art." In Entering the Picture, Judy Chicago, The Fresno Feminist Art Program, and the Collective
Visions of Women Artists, ed. Jill Fields, Pp. 267-282. New York, NY: Routledge.
Group presentation (2-3 students)
Week 14
Transnational and Global Feminist Art
Reilly, Maura, “Introduction: Toward Transnational Feminisms,” in Maura Reilly and Linda Nochlin,
eds., Global Feminisms: New Directions in Contemporary Art (London: Merrell and New York:
Brooklyn Museum, 2007), 14-45.
Cenini, Marta, “Coco Fusco’s Room: Rethinking Feminism After Guantanomo,” n.paradoxa, vol. 30
(July 2012): 59-66.
Group presentation (2-3 students)
Week 15
10-minute student final paper presentations
Final Papers Due Friday, December 12, 5:00 p.m.
ASSESSMENT OF STUDENT LEARNING OUTCOMES:
Methods of Assessment:
Attendance and discussion =
10 weekly reaction papers @ 2% each =
2 group presentation (IN GROUPS OF 2-3) @ 10% =
2 presentations on research paper @ 10% each =
Final research paper (10 pages minimum) =
Effective Fall 2012
10%
20%
20%
20%
30%
Timeline for Assessment:
Ten weekly reaction papers to be turned in to instructor
Two group presentations
Two individual presentations
Final research paper due
Weekly
dates to be assigned
dates to be assigned
Finals Week
Grading System:
ALL assignments must be completed in order to pass the course, unless you provide the instructor
with a valid written medical or institutional letter discussing why this will not be possible (notes from
the Fronske health center are not acceptable). With proper documentation, your remaining grades
will be averaged together.
The grading scale for the course is as follows:
90%-100% =A
80%-89% =B
70%-79%=C
60%-69%=D
Below 59%=F
COURSE POLICIES:
Late Assignments: There will be NO makeup tests unless there is a valid medical written excuse
(from the doctor, hospital, etc), or a valid institutional excuse presented (or notification that it will
be forthcoming) within 24 hours of the missed assignment. A missed assignment will be counted as
a zero.
Attendance Policy: Given the structure of the course, which is based partly on class discussions, it
is imperative that you attend each class, participate actively, and demonstrate your knowledge of the
assigned readings both verbally and in writing. Any more than two unexcused absences (those
without a valid medical excuse or a valid institutional excuse) will result in a reduction of the student’s
letter grade by one-third (i.e., from an A to an A-).
Statement on Plagiarism and Cheating: The Department of Comparative Cultural Studies
considers cheating and plagiarism serious issues and deals with them severely. Any student found
cheating or plagiarizing will fail the exam or assignment, and may be removed from the class.
Cell Phones and Other Electronic Devices: ALL cell phones, pagers, beeping watches and any
other form of electronic device MUST BE SWITCHED off BEFORE you enter the classroom. If one of
these devices goes off, you will be asked to leave the class for the remainder of the period.
NORTHERN ARIZONA UNIVERSITY
POLICY STATEMENTS
NAU’s Safe Working and Learning Environment Policy prohibits sexual harassment and assault, and
discrimination and harassment on the basis of sex, race, color, age, national origin, religion, sexual
orientation, gender identity, disability, or veteran status by anyone at this university. Retaliation of any
Effective Fall 2012
kind as a result of making a complaint under the policy or participating in an investigation is also
prohibited. The Director of the Office of Affirmative Action & Equal Opportunity (AA/EO) serves as the
university’s compliance officer for affirmative action, civil rights, and Title IX, and is the ADA/504
Coordinator. AA/EO also assists with religious accommodations. You may obtain a copy of this policy
from the college dean’s office or from the NAU’s Affirmative Action website nau.edu/diversity/. If you
have questions or concerns about this policy, it is important that you contact the departmental chair,
dean’s office, the Office of Student Life (928-523-5181), or NAU’s Office of Affirmative Action (928)
523- 3312 (voice), (928) 523-9977 (fax), (928) 523-1006 (TTD) or aaeo@nau.edu.
STUDENTS WITH DISABILITIES If you have a documented disability, you can arrange for
accommodations by contacting Disability Resources (DR) at 523-8773 (voice) or 523-6906 (TTY),
dr@nau.edu (e-mail) or 928-523-8747 (fax). Students needing academic accommodations are
required to register with DR and provide required disability related documentation. Although you may
request an accommodation at any time, in order for DR to best meet your individual needs, you are
urged to register and submit necessary documentation (www.nau.edu/dr) 8 weeks prior to the time
you wish to receive accommodations. DR is strongly committed to the needs of student with
disabilities and the promotion of Universal Design. Concerns or questions related to the accessibility
of programs and facilities at NAU may be brought to the attention of DR or the Office of Affirmative
Action and Equal Opportunity (523-3312).
ACADEMIC INTEGRITY Integrity is expected of every member of the NAU community in all
academic undertakings. Integrity entails a firm adherence to a set of values, and the values most
essential to an academic community are grounded in honesty with respect to all intellectual efforts of
oneself and others. Academic integrity is expected not only in formal coursework situations, but in all
University relationships and interactions connected to the educational process, including the use of
University resources. An NAU student’s submission of work is an implicit declaration that the work is
the student’s own. All outside assistance should be acknowledged, and the student’s academic
contribution truthfully reported at all times. In addition, NAU students have a right to expect academic
integrity from each of their peers.
Individual students and faculty members are responsible for identifying potential violations of the
university’s academic integrity policy. Instances of potential violations are adjudicated using the
process found in the university Academic Integrity Policy.
RESEARCH INTEGRITY The Responsible Conduct of Research policy is intended to ensure that
NAU personnel including NAU students engaged in research are adequately trained in the basic
principles of ethics in research. Additionally, this policy assists NAU in meeting the RCR training and
compliance requirements of the National Science Foundation (NSF)-The America COMPETES Act
(Creating Opportunities to Meaningfully Promote Excellence in Technology, Education and Science);
42 U.S.C 18620-1, Section 7009, and the National Institutes of Health (NIH) policy on the instruction
of the RCR (NOT-OD-10-019; “Update on the Requirement for Instruction in the Responsible Conduct
of Research”). For more information on the policy and the training activities required for personnel
and students conducting research, at NAU, visit: http://nau.edu/Research/Compliance/ResearchIntegrity/
Effective Fall 2012
SENSITIVE COURSE MATERIALS University education aims to expand student understanding and
awareness. Thus, it necessarily involves engagement with a wide range of information, ideas, and
creative representations. In the course of college studies, students can expect to encounter—and
critically appraise—materials that may differ from and perhaps challenge familiar understandings,
ideas, and beliefs. Students are encouraged to discuss these matters with faculty.
CLASSROOM DISRUPTION POLICY Membership in the academic community places a special
obligation on all participants to preserve an atmosphere conducive to a safe and positive learning
environment. Part of that obligation implies the responsibility of each member of the NAU community
to maintain an environment in which the behavior of any individual is not disruptive. Instructors have
the authority and the responsibility to manage their classes in accordance with University regulations.
Instructors have the right and obligation to confront disruptive behavior thereby promoting and
enforcing standards of behavior necessary for maintaining an atmosphere conducive to teaching and
learning. Instructors are responsible for establishing, communicating, and enforcing reasonable
expectations and rules of classroom behavior. These expectations are to be communicated to
students in the syllabus and in class discussions and activities at the outset of the course. Each
student is responsible for behaving in a manner that supports a positive learning environment and
that does not interrupt nor disrupt the delivery of education by instructors or receipt of education by
students, within or outside a class. The complete classroom disruption policy is in Appendices of
NAU’s Student Handbook.
Effective Summer 2014;
Approved UCC – 1/28/14
Approved UGC – 2/12/14
Effective Fall 2012