Course Syllabus

Course Information
Course Number/Section HUMA 3300
Course Title Reading and Writing Texts: What is Modernism?
Term fall 2010
Days & Times T, R 10:00-11:15 AM

Professor Contact Information

Professor Milton Cohen
Office Phone 972-883-2029
Email Address mcohen@utdallas.edu
Office Location JO 5.518
Office Hours T 6-7 PM, R 11:30-12:15

Course Pre-requisites, Co-requisites, and/or Other Restrictions

HUMA 1301 or equivalent

Course Description
This introductory course to the School of Arts and Humanities devotes a semester to
answering the question “What is Modernism?” Not simply a style, a period, or a
movement, modernism was a revolutionary upheaval that swept through all the Western
arts in the late 19th and early 20th centuries, subverting centuries-old traditions regarding
form, content, and the artist’s relation to society.

Although we don’t have time to encompass all the arts, we will study modernist painting,
music, poetry, and fiction. We will begin with formalist revolutions, asking “What is a
modernist painting?” “What is a modernist poem?” etc. The course then considers
revolutions in theme and content and ends by studying the confrontational relationship
between the artist and society.

Required Textbooks and Materials

Christopher Butler, Early Modernism: Literature, Music and Painting in Europe 1900-
1916 (Oxford U. Press)
Milton A. Cohen, Movement, Manifesto, Melee: the Modernist Group, 1910-1914
(Lexington Books)
Virginia Woolf, Mrs. Dalloway
Strindberg, Two Plays
packet of readings

music selections on Naxos data base (through McDermott Library)

painting selections on ArtStor data base (through McDermott Library) or in packet; see
list following Syllabus for specific works.

Course Syllabus Page 1

 Syllabus: Assignments & Academic Calendar

Date Topic / Reading (* reaction paper due for this assignment)

8/19 Introduction to course

How to use ArtStor and Naxos data bases

I. Overview

8/24 What is modernism? Historical parameters

Bradbury and McFarlane, “The Name and Nature of Modernism” (packet)

8/26 Modernism: philosophical attitudes

Bullock, “The Double Image” (packet)
McFarlane, “The Mind of Modernism” (packet)
Early Modernism, 1-14

8/31 Modernism: historical contexts

readings tba

II. Formalist approaches:

9/02 What is a modernist painting?

Visual traditions: verisimilitude, 3-D illusionism, one-point perspective,
appropriate subjects, “beauty”:
Gerome (ArtStor)
Bourguereau (ArtStor)
Early Modernism, 14-24

9/07 Modernist revolutions: Impressionism & Post-impressionism

Brettell, “Impressionism,” “Post-Impressionism,” “Neo-Impressionism” (packet)
Manet (ArtStor)
Monet (ArtStor)
Renoir (ArtStor and Brettell)
Cézanne (ArtStor and Brettell)

9/09 Matisse and Fauvism, Picasso and Cubism

Early Modernism, 25-37; 56-69
Brettell, “The Fauves,” “Cubism” (packet)
Vlaminck (ArtStory and Brettell)
MatissertStor and Butler)
Picasso (ArtStor and Brettell)

Course Syllabus Page 2

 Braque (ArtStor)
Gris (ArtStor)

9/14 Isms and groups all over the place!

Movement, Manifesto, Melee, ch. 1, appendix 2
Brettell, “Expressionism,” “Orphism,” “Vorticism,” “Suprematism,”
Kirchner (ArtStor)
Schmidt-Rottluff (ArtStor)
Heckel (ArtStor)
Kokoschka (ArtStor)
Kandinsky (ArtStor)
Marc (ArtStor)
Macke (ArtStor)
Delaunay (ArtStor)
Lewis (ArtStor)
Malevich (ArtStor)
Sheeler (ArtStor)

9/16 Guest lecture: Dr. Richard Brettell

9/21 What is a modernist composition?

Aural traditions: melody: diatonic vs. chromatic scales, harmony: consonance vs.
dissonance
Mozart, “Piano sonata #16 in C (K. 545), 1st movement” (Naxos)
Beethoven, Symphony #3, 1st movement (Naxos)

9/23 Guest lecture: Dr. Winston Stone

Wagner and chromaticism
Wagner, “Prelude to Tristan and Isolde” (Naxos)
Debussy, impressionism, and new scales
Debussy: “Nocturnes: Clouds (Nuages)” (Naxos)

9/28 Stravinsky and polyrhythms

(in class): Leonard Bernstein, “The Poetry of the Earth” (from his Harvard
lectures, “The Unanswered Question”): ca. 30 minutes
Stravinsky, “Le Sacre du Printemps” (Naxos)

9/30 (in class): Stravinsky, “Le Sacre du Printemps” (ballet)

Course Syllabus Page 3

 10/05 Schoenberg, pantonality, and “pieces”
Early Modernism, 46-56
(in class): Leonard Bernstein, “The 20th Century Crisis” (from his Harvard
lectures, “The Unanswered Question”): ca. 18 minutes
Schoenberg, “5 Pieces for Orchestra, Op. 16” (Naxos)
Webern, “5 Pieces for Orchestra, Op. 10” (Naxos)

10/07 What is a modernist poem?

Poetic traditions: rhyme, meter, theme
Herrick, “To the Virgins to Make Much of Time” (packet)
Shelley, “Ode to the West Wind” (packet)
Tennyson, sections 54-55 from “In Memorium” (packet)

10/12 Imagism and Ezra Pound

Early Modernism, ch. 5, pp. 209-214
Flint/Pound, “Imagisme” (packet)
Pound, “A Few Don’t by an Imagiste” (packet)
Pound, “In a Station of the Metro” (packet: “Imagist Poems”)
Lowell, “A Decade” (packet: “Imagist Poems”)

10/14 Allusive difficulty: early T. S. Eliot

Eliot, “The Love Song of J. Alfred Prufrock,” (packet)

10/19 Modes of abstraction & concretion:

“Modernist Literature: three paths towards abstraction” (packet)
Stein, from Tender Buttons (packet)
Cummings, “the / sky /was” (packet: “Three Visual Poems”)
Apollinaire, calligramme (packet: “Three Visual Poems”)
Cummings, “the sky” (earlier draft--packet)

* 10/21 What is a modernist novel?

Virginia Woolf, Mrs. Dalloway

10/26 Mrs. Dalloway

III. Revolution in theme and content

10/28 Early Modernism, ch. 3-4, 261-68

Course Syllabus Page 4

 Anti-beauty
Eliot’s “Preludes” (packet, following “Prufrock”)
Matisse (Butler)
Jawlensky (ArtStor)

11/02 Primitivism
Prokovief, “Scythian Suite” (Naxos)
Gauguin, (ArtStor)
Nolde, (ArtStor)
Pechstein, (ArtStor)
Hemingway, chapters from In Our Time (packet)

11/04 Sexuality
Manet (ArtStor)
Munch (ArtStor)
Klimt (ArtStor)
Kirchner (ArtStor)
Schiele (ArtStor)
Cummings, “her flesh came,” “the dirty colours of her kiss have just” (packet)

* 11/09 Dream states and Symbolism

Strindberg, A Dream Play
Mallarmé, “Sigh” (packet)
Puvis de Chavannes (ArtStor)
Moreau (ArtStor)
Redon (ArtStor)

Surrealism
Brettell, “Surrealism” (packet)
Dali (ArtStor)
Magritte (ArtStor)
Tanguy (ArtStor)

11/11 Pyschological dislocation: Expressionism, the city, the self

Meidner (ArtStor)
Kirchner (ArtStor)
Munch (ArtStor)
Schiele (ArtStor)

Discoveries of Freud and Jung

Early Modernism 92-96
Kafka, “The Judgment” (packet)
Jakob van Hoddis, “End of the World” (packet)

Course Syllabus Page 5

 Georg Heym, “Umbra Vitae” (packet)
Schoenberg, “Erwartung” (Naxos)
Meidner (ArtStor)
Munch (ArtStor)

V, The artist and society

11/16- The arts and modernity

11/18 New inventions and a new sense of time and space
Stephen Kearn, The Culture of Time and Space: chapter 5-6 (on reserve)
Early Modernism, 137-153
Movement, Manifesto, Melee, prologue

Futurism and Dynamism

Marinetti, “The Futurist Foundation Manifesto” (packet)
Boccioni, et al. “Technical Manifesto of Painting” (packet)
Marinetti, “Destruction of Syntax ...” (packet)
---, “Parole in Libertà” (packet)
Balla (ArtStor)
Boccioni (ArtStor)
Léger (ArtStor)
Duchamp (ArtStor)
Simultaneism
Delaunay (ArtStor)
Kupka (ArtStor)

11/23 Modernist groups, leaders, and manifestos:

Cohen, Movement, Manifesto, Melee, chs. 2-3
Pound, letters to Harriet Monroe, editor of Poetry (packet)
Boccioni et al., “The Exhibitors to the Public 1912” (packet)
Vorticists, manifestos from BLAST! (packet)
Lewis, from Blasting and Bombadiering (packet)
Marc, from Der Blaue Reiter Almanac” “The Savages of Germany” (packet)
Cubo-Futurist manifestos: “Slap in the Face of Public Taste,” “from
Explodity,” “Declaration of the Word as Such” (all in packet)

11/25 Thanksgiving

11/30 Confrontations w/ bourgeoisie; the artist as rebel

Cohen, Movement, Manifesto, Melee, chapter 4
Cubists in France:
Gleizes (ArtStor)
Metzinger (ArtStor)

Course Syllabus Page 6

 Villon (ArtStor)
Delaunay (ArtStor)
Rayists and Cubo-Futurists in Russia
Goncharova (ArtStor)
Malevich (ArtStor)
Dadaists in Germany
Brettell “Dada” (packet)
First International Dada Fair, 1920 (ArtStor, under Hausmann)
Hausmann, ArtStor)
Grosz (ArtStor)
Futurists everywhere
Boccioni (ArtStor)
the Schoenberg School: “Skandalkonzert”:
cover illustration of Movement, Manifesto, Melee
Webern, “Six Pieces for Large Orchestra” (Naxos)

12/02 The effect of WWI

Cohen, Movement, Manifesto, Melee, Epilogue, Appendix 3
Early Modernism 264-79
Villon (ArtStor)
Kandinsky (ArtStor)
Marc (ArtStor)
Meidner (ArtStor)
Hartley (ArtStor)

Pound, from “Hugh Selwyn Mauberly” Parts 4 and 5 (packet)

Owen, “Dulce et Decorum Est” (packet)
Grosz (ArtStor)
Dix (ArtStor)
Wyndham Lewis (ArtStor)
Nash (ArtStor)
C. W. Nevinson (ArtStor)

Course Syllabus Page 7

 Paintings (on ArtStor unless noted otherwise)

Academic examples
Gerome, “Pygmalian and Galatea,” c. 1890
---, “Snake Charmer”
---, “The Roman Slave Market,” c. 1884
Bouguereau, “The Nut Gatherers,” 1882
---, “The Birth of Venus,” 1879

Manet, “Olympia,” 1863

Monet, La Grenouillère, 1868
Renoir, Le Grenouillère, 1868
Cézanne, “Mount Saint Victoire,” 1885
---, “Mount Saint Victoire,” 1905
---, “La Gardanne,” 1885

Vlaminck, “Restaurant de la Mac,” 1905

Matisse, “Woman in Japanese Robe,” 1905 (Butler, after 158)
Picasso, photo of Cadaques
---, “The Reservoir at Horta de Ebro,” 1909 (Butler 61)
---, “Girl with Mandolin” 1910 (Butler 62)
---, “Ma Jolie” (Butler 66)
Braque, “Road near L’Estaque,” 1908
Picasso, “Portrait of Vollard,” 1909-10 (Brettell/packet)
Braque, “Céret: Roofs” 1911
Braque, “Glass, Carafe, Newspaper” 1913
Gris, “Jar, Bottle, & Glass” 1911

Kirchner, “Group of Artists” [Die Brűcke], 1926-27

Schmidt-Rottluff, “Sommertag” 1913
---, “Estate in Dangast” 1910
---, “Self-Portrait” 1095
Heckel, “Straslund,” c. 1913
Kokoschka, “Bride of the Wind,” 1914
Kandinsky, “Bavarian Mountains with Village,” 1909
---, “Composition II (Study),” 1910
---, photo of Kandinsky and others (Blue Rider group) 1912
---, “Composition VII,” 1913 (Butler, after 158)
Marc, “Yellow Cow” 1911
---, “Doe in Cloister Garden” 1912
Macke, “Zoological Gardens I,” 1912
---, “Girl with Fish Bowl,” 1914

Delaunay, “Window with Orange Curtain,” 1912

---, “Windows on the City, No. 3, 2nd motif, 1st part,” 1912
---, “Windows,” 1912

Course Syllabus Page 8

Lewis, “Crowd,” 1914-15
Larionov, “Rayonism,” 1912-1913
Malevich, “Knife-Grinder,”
Sheeler, “Church Street El,” 1920

Matisse, “Portrait of Madame Matisse (the Green Line),” 1905 (Butler, after 158)
Jawlensky, “Girl with Green Face,” 1910

Gauguin, “Tahitian Idyll,” 1892

---, “The Day of the God,” 1894
Nolde, “Black Woman,” 1910
---, “Wildly Dancing Children,” 1909
Pechstein, “The Black and Yellow Bathing Suit,” 1909

Manet, “Olympia,” 1863

Munch, “The Day After,” 1893
---, “Puberty,” 1893
---, “Ashes,” 1894
---, “Madonna,” 1895
Klimt, “Danae,” 1907-08
Kirchner, “Self-Portrait with Model,” 1910-26
Schiele, “Reclining Woman,” 1917
---, “Two Women Embracing,” 1911
---, “Standing Girl with Raised Skirt,” 1911

Puvis de Chavonnes, “Between Art and Nature”

---, “Girls on the Beach,” 1874
---, “Beheading of St. John the Baptist,” 1869
Redon, “Dans le Reve: Gnome,” 1879
---, “Head with Flowers,” 1895
---, “Baronne de Domecy,” c. 1900
---, “Evocation of Butterflies”
Moreau, “Salome Dancing Before Herod” 1876

Dali, “Soft Construction with Cooked Beans” 1936

---, “Giraffe Aflame” 1937
---, “Ghost of Two Cars,” 1929
---, “Last Supper,” 1955 + detail of Christ
---, “Stereoscopic Painting,” 1976
Magritte, “False Mirror,” 1928
---, “Light of Coincidence,” 1933
---, “Rights of Man,” 1947-48
---, “This is Not a Pipe,” 1929
Tanguy, “The Furniture of Time,” 1939

Meidner, “The House on the Corner,” 1913

Course Syllabus Page 9

Boccioni, “The City Rises,” 1910
Kirchner, “Street, Berlin,”1913
---, “Potsdamplatz,” 1913
Munch, “Evening in Karl Johann St.,” 1892

Meidner, “Self-Portrait” 1912

Munch, “The Scream,: 1893
Schiele, “Self-Portrait,” 1911
---, “Mother and Child,” 1912

Balla, “Speeding Automobile,” 1912

Russolo, “Dynamism of an Automobile,” 1911
Boccioni, “The Street Enters the House,” 1911 (Butler, after 158)
Léger, “Contrast of Forms,” 1913
---, “Exit the Ballets Russes,” 1914
Duchamp, “Nude Descending a Staircase, No. 2,” 1912
Goncharova, “Airplane Above the Train,” 1913
Delaunay, “Simultaneous Contrasts: Sun and Moon” 19112
Kupka, “Red and Blue Discs” 1911-12

Gleizes, “Landscape with a Figure,” 1911

Metzinger, “Portrait of Gleizes” 1912
Villon, “Young Girl” 1912
Delaunay, “Eiffel Tower” 1910-1911

Goncharova, “Rayonism: Blue-Green Forest,” 1913

Malevich, “Victory Over the Sun” (set design) 1913
---, “Suprematist Compositon,” 1915
First International Dada Fair, 1920 (ArtStor, under Hausmann)
Hausmann, “Tatlin at Home,” (collage, 1920)
---, “Art Critic,” 1919
Grosz, “Grey Day,” 1921
Boccioni, Caricature of a Futurist Evening, 1911

Villon, “Marching Soldiers,” 1913

Kandinsky, “Improvisation No. 30: Warlike Theme,” 1913
Marc, “Fate of the Animals” 1913
---, “Fighting Forms,” 1913
Meidner, “Apocalyptic Town,” 1913
Hartley, “Portrait of a German Officer,” 1914
Grosz, “Fit for Active Service,” 1916-17
Otto Dix, “Self-Portrait,” 1917
---, “The Wounded: War,” 1916
Wyndham Lewis, “Battery Getting Shelled,” 1919
Paul Nash, “We Are Making a New World,” 1918
C. W. Nevinson, “After a Push,”

Course Syllabus Page 10

Dix, “Match Seller,” 1919
Grosz, “Street Scene (Kufűrstendamm),” 1925

Student Learning Objectives/Outcomes

t.b.a.

General Course Information and Policies

Syllabus
Items on the syllabus (due dates, readings, etc.) are subject to change at the instructor's
discretion.

Reaction Papers
R.P. encourage you to express your views of the assigned work or a particular element
of it (character, theme, style, etc.). R.P. are evaluated with a √+ (effort above
expectations), √ (meets expectations), or √- (below expectations). A missing r.p. counts
as a two √-. These marks are averaged at the end the semester. Straight √'s over the
semester = B.

Class Participation
C.P. is part of your final grade, though the exact percentage varies from course to
course. It represents your active contribution to class discussion. Quality, not quantity,
of contributions is what matters.

C.P. is computed as follows. At the end of the semester, I assign a participation grade
using a "C" base. I.e., if you came to class, but said nothing, you would receive a "C" for
c.p. I then adjust that grade based on your attendance. Excellent attendance (0-2
absences in a twice-a-week course) can raise c.p. by 1/3 of a grade; 3-4 absences don't
change it; more than 4 absences lower it progressively by the number of absences.

Those students who would sooner face a firing squad than speak in class should contact
me after the first class about doing extra written work to compensate for their silence.

Attendance
I do take attendance, and your cumulative absences affect your class participation grade
(see above). Absences are excused for medical reasons or family emergencies only
and require documentation (e.g., doctor's note, Rx, severed hand, etc.). Grandparents,
I've found, have a disturbing tendency to die when major assignments are due (anxiety
e.s.p., no doubt); in such cases, bring a signed and dated card from the hospital or
funeral home. Leaving after the break in a long class may result in an absence recorded
for that class.

Tardiness
Since class typically starts on time, if you come in late, you disturb not only the instructor
and your classmates, but the "flow" of the lesson. Coming in late while a student is
presenting an oral report is even more disturbing. And leaving early (except in an
emergency) really has no justification in a 75 minute class. If you know you must leave

Course Syllabus Page 11

early, let me know at the beginning of class and sit near the door. Cumulatively, two
tardies = one absence.

Late Papers
Graded papers turned in late will be marked down as follows: 1-2 days late = 1/3 of a
grade lower; 3-4 days late = 2/3 of grade lower; 5-7 days late = full grade lower; beyond
1 week, paper not accepted. Late reaction papers are normally not accepted.
Slide late papers under my door (JO 5.518), but be aware that it's when I receive it, not
when you submit it, that determines the paper's lateness.

Secondary Research
Check to see if s.r. is required, optional, or forbidden for the assigned paper. (In reaction
papers, for example, s.r. is not allowed.). When used, it should never dominate your
paper or control the discussion; your ideas should. Use s.r. to amplify your arguments,
to provide contrasting views you will argue against, or (in your introduction) to suggest
the range of critical opinion on your topic.

Consider the source's potential validity (and respectability): scholarly books and journal
articles have been peer-reviewed and are therefore more reliable (and usually more
sophisticated) than material found on the internet. Going into the library stacks also
shows more effort than relying on the internet or on material in omnibus collections (e.g.,
Poetry [or Short Story] Criticism). High school-level notes such as Cliff's Notes or
Monarch Notes are never acceptable.

Use quotation marks for all material taken directly from a secondary source. For quoted
material and for paraphrased material, cite your source parenthetically immediately
after the quoted or paraphrased material, using author's last name (or abbreviated book
title) and page number: "xxxxx" (Smith 40). At the end of your paper add a "Works
Cited" page with complete bibliographical data. See the MLA Handbook for correct form.

Using the internet

Internet material is easy to obtain, but did not necessarily pass a quality-control test of
peer-review and may therefore contain misinformation or highly dubious claims. Let the
user beware! Researching books and articles on an author or work shows more effort.

Plagiarism
Passing off someone else's ideas as your own constitutes plagiarism, whether it was
done intentionally or inadvertently. Likewise, having someone else write all or part of
your paper. Thus, it's essential to show where your ideas came from, using
parenthetical citation (see "Secondary Research" above). Be aware that A&H
subscribes to "Turnitin.com," which can trace the source of material taken from the
internet. UTD takes all forms of academic dishonesty very seriously, as does your
instructor. Plagiarism can result—and in my courses has resulted—in an "F" for the
course and the incident recorded on the student's permanent record.

Grading
As you'll see, I spend a lot of time on each paper, hoping (perhaps Quixotically) that
you'll apply corrections and comments to your subsequent papers. When I've finished
grading a set of papers, I then distribute them by grade and scan each paper quickly to
make sure it conforms (in relative strengths and weaknesses) to others of the exact

Course Syllabus Page 12

same grade. This final scanning sometimes results in a grade being raised or lowered
slightly. Split grades, e.g., A-/B+ means the grade is on the borderline.

In computing your grades, I assign specific points to each grade:

A+ 4.5 B+ 3.5 etc.
A 4.25 B 3.25
A- 4.0 B- 3.0
A-/B+ 3.75 B-/C+ 2.75

I then multiply the grade by its relative weight (30%, 40%, etc.) to determine total points.
Likewise, for class participation, which comprises oral participation (typically 35% of CP)
and reaction papers (typically 65%).

Normally, total points for the semester determine the final grade as follows:
340 B+ 240 C+ 140 D+
413+ A 313 B 213 C 113 D
375 A- 275 B- 175 C- 75 D-

Improvement points
In many courses, I review your work over the entire semester, and add a few points to
your semester total if your writing has improved. Hence, save all your written work
during the semester as I may collect it at the end of the semester.

Course Syllabus Page 13

Student Conduct & Discipline

The University of Texas System and The University of Texas at Dallas have rules and regulations
for the orderly and efficient conduct of their business. It is the responsibility of each student and
each student organization to be knowledgeable about the rules and regulations which govern
student conduct and activities. General information on student conduct and discipline is contained
in the UTD publication, A to Z Guide, which is provided to all registered students each academic
year.

The University of Texas at Dallas administers student discipline within the procedures of
recognized and established due process. Procedures are defined and described in the Rules and
Regulations, Board of Regents, The University of Texas System, Part 1, Chapter VI, Section 3, and
in Title V, Rules on Student Services and Activities of the university’s Handbook of Operating
Procedures. Copies of these rules and regulations are available to students in the Office of the
Dean of Students, where staff members are available to assist students in interpreting the rules and
regulations (SU 1.602, 972/883-6391).

A student at the university neither loses the rights nor escapes the responsibilities of citizenship.
He or she is expected to obey federal, state, and local laws as well as the Regents’ Rules,
university regulations, and administrative rules. Students are subject to discipline for violating the
standards of conduct whether such conduct takes place on or off campus, or whether civil or
criminal penalties are also imposed for such conduct.

Academic Integrity

The faculty expects from its students a high level of responsibility and academic honesty. Because
the value of an academic degree depends upon the absolute integrity of the work done by the
student for that degree, it is imperative that a student demonstrate a high standard of individual
honor in his or her scholastic work.

Scholastic dishonesty includes, but is not limited to, statements, acts or omissions related to
applications for enrollment or the award of a degree, and/or the submission as one’s own work or
material that is not one’s own. As a general rule, scholastic dishonesty involves one of the
following acts: cheating, plagiarism, collusion and/or falsifying academic records. Students
suspected of academic dishonesty are subject to disciplinary proceedings.

Plagiarism, especially from the web, from portions of papers for other classes, and from any other
source is unacceptable and will be dealt with under the university’s policy on plagiarism (see
general catalog for details). This course will use the resources of turnitin.com, which searches the
web for possible plagiarism and is over 90% effective.

Email Use

The University of Texas at Dallas recognizes the value and efficiency of communication between
faculty/staff and students through electronic mail. At the same time, email raises some issues
concerning security and the identity of each individual in an email exchange. The university
encourages all official student email correspondence be sent only to a student’s U.T. Dallas email
address and that faculty and staff consider email from students official only if it originates from a
UTD student account. This allows the university to maintain a high degree of confidence in the
identity of all individual corresponding and the security of the transmitted information. UTD
furnishes each student with a free email account that is to be used in all communication with
university personnel. The Department of Information Resources at U.T. Dallas provides a method
for students to have their U.T. Dallas mail forwarded to other accounts.

Course Syllabus Page 14

Withdrawal from Class

The administration of this institution has set deadlines for withdrawal of any college-level courses.
These dates and times are published in that semester's course catalog. Administration procedures
must be followed. It is the student's responsibility to handle withdrawal requirements from any
class. In other words, I cannot drop or withdraw any student. You must do the proper paperwork
to ensure that you will not receive a final grade of "F" in a course if you choose not to attend the
class once you are enrolled.

Student Grievance Procedures

Procedures for student grievances are found in Title V, Rules on Student Services and Activities,
of the university’s Handbook of Operating Procedures.

In attempting to resolve any student grievance regarding grades, evaluations, or other fulfillments
of academic responsibility, it is the obligation of the student first to make a serious effort to
resolve the matter with the instructor, supervisor, administrator, or committee with whom the
grievance originates (hereafter called “the respondent”). Individual faculty members retain
primary responsibility for assigning grades and evaluations. If the matter cannot be resolved at
that level, the grievance must be submitted in writing to the respondent with a copy of the
respondent’s School Dean. If the matter is not resolved by the written response provided by the
respondent, the student may submit a written appeal to the School Dean. If the grievance is not
resolved by the School Dean’s decision, the student may make a written appeal to the Dean of
Graduate or Undergraduate Education, and the deal will appoint and convene an Academic
Appeals Panel. The decision of the Academic Appeals Panel is final. The results of the academic
appeals process will be distributed to all involved parties.

Copies of these rules and regulations are available to students in the Office of the Dean of
Students, where staff members are available to assist students in interpreting the rules and
regulations.

Incomplete Grade Policy

As per university policy, incomplete grades will be granted only for work unavoidably missed at
the semester’s end and only if 70% of the course work has been completed. An incomplete grade
must be resolved within eight (8) weeks from the first day of the subsequent long semester. If the
required work to complete the course and to remove the incomplete grade is not submitted by the
specified deadline, the incomplete grade is changed automatically to a grade of F.

Disability Services

The goal of Disability Services is to provide students with disabilities educational opportunities
equal to those of their non-disabled peers. Disability Services is located in room 1.610 in the
Student Union. Office hours are Monday and Thursday, 8:30 a.m. to 6:30 p.m.; Tuesday and
Wednesday, 8:30 a.m. to 7:30 p.m.; and Friday, 8:30 a.m. to 5:30 p.m.

The contact information for the Office of Disability Services is:

The University of Texas at Dallas, SU 22
PO Box 830688
Richardson, Texas 75083-0688
(972) 883-2098 (voice or TTY)

Essentially, the law requires that colleges and universities make those reasonable adjustments
necessary to eliminate discrimination on the basis of disability. For example, it may be necessary
to remove classroom prohibitions against tape recorders or animals (in the case of dog guides) for

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 students who are blind. Occasionally an assignment requirement may be substituted (for example,
a research paper versus an oral presentation for a student who is hearing impaired). Classes
enrolled students with mobility impairments may have to be rescheduled in accessible facilities.
The college or university may need to provide special services such as registration, note-taking, or
mobility assistance.

It is the student’s responsibility to notify his or her professors of the need for such an
accommodation. Disability Services provides students with letters to present to faculty members
to verify that the student has a disability and needs accommodations. Individuals requiring special
accommodation should contact the professor after class or during office hours.

Religious Holy Days

The University of Texas at Dallas will excuse a student from class or other required activities for
the travel to and observance of a religious holy day for a religion whose places of worship are
exempt from property tax under Section 11.20, Tax Code, Texas Code Annotated.

The student is encouraged to notify the instructor or activity sponsor as soon as possible regarding
the absence, preferably in advance of the assignment. The student, so excused, will be allowed to
take the exam or complete the assignment within a reasonable time after the absence: a period
equal to the length of the absence, up to a maximum of one week. A student who notifies the
instructor and completes any missed exam or assignment may not be penalized for the absence. A
student who fails to complete the exam or assignment within the prescribed period may receive a
failing grade for that exam or assignment.

If a student or an instructor disagrees about the nature of the absence [i.e., for the purpose of
observing a religious holy day] or if there is similar disagreement about whether the student has
been given a reasonable time to complete any missed assignments or examinations, either the
student or the instructor may request a ruling from the chief executive officer of the institution, or
his or her designee. The chief executive officer or designee must take into account the legislative
intent of TEC 51.911(b), and the student and instructor will abide by the decision of the chief
executive officer or designee.

Off-Campus Instruction and Course Activities

Off-campus, out-of-state, and foreign instruction and activities are subject to state law and
University policies and procedures regarding travel and risk-related activities. Information
regarding these rules and regulations may be found at the website address given below.
Additional information is available from the office of the school dean.
(http://www.utdallas.edu/Business Affairs/Travel_Risk_Activities.htm)

These descriptions and timelines are subject to change at the discretion of the Professor.

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