arh 2051 introduction to principles and history of art 2 ...arh 2051 introduction to principles and...

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ARH2051IntroductiontoPrinciplesandHistoryofArt2RenaissancetothePresent

Fall2016

ProfessorNikaElder GraduateAssistants: MauraGleeson ClemensOttenhausen nelder@arts.ufl.edu emgleeson@ufl.edu clemens.alban@ufl.edu OfficeHours: Officehours: Th,11:30am-12:30pm F,9:30am-10:30amWeds.,4-6pm FAC118(“TheSalon”) FAC118(“TheSalon”) FAC121 Lectures: DiscussionSections: Th,Periods7&8 F,Periods2&4T/Th,Period6 LIT101

Giotto,“Lamentation,”ArenaChapel, JacobLawrence,“DuringtheWorldWartherewasagreatc.1303-1306 migrationNorthbySouthernNegroes,”TheMigrationSeries,

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CourseDescriptionandGoalsOnFebruary15,2015,thewebsiteBuzzfeedpostedaquiztitled,“Howwelldoyouknowart?”Itaskedsuchquestionsas:“TrueorFalse:VanGoghwasanImpressionistpainter?”And,“WhopaintedtheLastSupper?”AquickGooglesearchwillrevealtheanswerstothesequestionsandmanyotherfactsaboutvisualart,suchastheyearacertainpaintingwasmade,thepersonwhocommissionedagivenbuilding,orwhetheraprintisanetchingoranengraving.Butarthistoryisaboutmorethannamesanddates;itisawayoflookingatimagesandobjectsofallkinds,decipheringwhattheysayabouttheirgivensubjects,andunderstandingwhytheysaythosethings—whatpersonal,political,religious,orculturaldemandstheimagesorobjectsmet.ThiscoursewillintroduceyoutothemeaningandsignificanceofmajorworksofWesternartfromtheRenaissancetothepresentandempoweryouwiththeskillstodevelopsuchinterpretationsyourself.Ultimately,youwillbeabletoaceaBuzzfeedquiz,butalso(andmuchmoreimportantly)walkthehallsofanymuseumoropenanymagazineornewspaperandbegintodecipherthemessagesandvaluesthattheimagesyouseetherecommunicate.

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CourseRequirements:Thecoursehasthreerequirements:engagement,writingassignments,andexams.

1.ENGAGEMENT

Theengagementgradehasthreecomponents:1)AttendanceAttendanceisrequiredateverylectureanddiscussionsection.Studentsareexpectedtoarriveontime.YouarepermittedTWOunexcusedabsencesinlectureandNOunexcusedabsencesinsection.Anyadditionalabsencesand/orcontinuedlatenessineitheraspectofthecoursewilladverselyaffectyourengagementgrade.2)ParticipationGreat,you’reinclass—nowwhat?

1.Takeextensivenotesonlecture.Lecturesgowellbeyondthetextbookandwillbethebasisofallexams,soitistoyourbenefittobeasthoroughinyournote-takingaspossible.SeeAppendixAforsomehelpfulnote-takingtips.Lecturewillpresumefamiliaritywithinformation,names,anddatescoveredinthetextbook.Readingsfromthetextbookshouldbecompletedinadvanceofthedatesforwhichtheyareassigned.

Thecoursetextbookis:MarilynStokstad,ArtHistoryvolume2,5thedition(2015)

ItisrequiredandcanbepurchasedattheUFbookstoreoronline(justbesuretobuythecorrectedition—paperbackisfine).

2.PostresponsestothediscussionquestionsonCanvas.Thesequestionswillhelpyoudigestthereadingsforsectionand,assuch,prepareyoufordiscussion.Responsestodiscussionquestionsaredueby11:59pmthenightbeforeyoursectionmeets;so,ifyoursectionmeetsonThursdaysat1:55pm,yourresponseshavetobeinby11:59pmonWednesdayinordertocount.Thereisnopartialcredit—theresponseeitherhasbeenofferedandpostedby11:59pm,orithasnot.Readingsforsectionareavailableinthe“CourseReserves”sectiononCanvas.Ifyourprintingbudgetpermits,Istronglyencourageyoutoprintthetextspriortoreadingthemsoyoucanunderline,highlight,andjotdownnotes,thoughts,andquestionswithabandonaswellasbringthereadingstoclassforyourreference.

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3.Participateindiscussionsinsection.Engagingindiscussioncantakemanyforms:respondingtoquestionsaboutthereadings,totheimagesonthescreen,tothecommentsmadebyyourclassmates,oraskingquestionsofyourown.Feelfreetodrawconnectionstocontemporaryeventsandissues,personalexperience,otherclasses,andmaterialcoveredatanypointinthesemester.Offeringopinionsthatdifferfromthosepresentedbyclassmatesisencouraged.Posequestionsonthelectures,statementsmadebyotherstudents,etc.Thesecontributionswillenrichtheclassroomexperienceforallinvolved.

3)PoliciesPleaseadheretoallcoursepolicies.ElectronicsPolicyCellphonesshouldbeplacedonsilentand,alongwithotherelectronicdevices,includinglaptops,putawayforthedurationoflectureandsection.Notescanandshouldbetakenwithpen/pencilonpaperratherthanbylaptop.Researchhasproventhattakingnotesbyhandbenefitscomprehension,retention,andtheoverallclassroomexperience.See,forexample,thefollowingarticlefromTheChronicleofHigherEducationhttp://chronicle.com/blogs/wiredcampus/taking-notes-by-hand-benefits-recall-researchers-find/51411andthejournalarticleonwhichthatpiecewasbasedhttp://www.academia.edu/6273095/The_Pen_Is_Mightier_Than_The_Keyboard_Advantages_of_Longhand_Over_Laptop_Note_TakingWithdocumentationfromtheDeanofStudentsOffice,awaiverwillbemadetothelaptoppolicy.EmailPolicyPleasecheckyourUFemailandCanvasregularly.Importantinformationaboutassignments,meetinglocations,etc.willbedisseminatedviasectionlist-servs.Youareautomaticallysubscribedtothelist-servwithyourUFemail.Inmostcases,Irespondtoemailswithin24-48hours.ConductPolicyAsamatterofcourse,studentsareexpectedtoabidebytheUniversity’spoliciesregardingacademichonesty,thehonorcode,andstudentconductrelatedtothehonorcode.Fullinformationregardingthesepoliciesisavailableatthefollowingsites:AcademicHonesty:http://www.registrar.ufl.edu/catalog/policies/students.html#honestyHonorCode:http://www.dso.ufl.edu/sccr/honorcodes/honorcode.phpStudentConduct:http://www.dso.ufl.edu/sccr/honorcodes/conductcode.php

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2.WRITINGASSIGNMENTSTherearethreewritingassignmentsforthiscourse,eachapproximately3-5pagesinlength.AllassignmentsarevisualanalysesofaworkofartondisplayattheHarnMuseumofArt.ThefirstassignmentisdueinsectionduringWeek5;therevisionofthefirstassignmentisdueonCanvasonThursday,September29thatnoon.ThesecondassignmentisdueonCanvasonTuesday,November22atnoon.

3.ExamsTherewillbeamidtermexamandafinalexamforthiscourse.Bothwillconsistofidentifications,comparisons,andshortanswerquestions.Theywilldrawuponthematerialcoveredincourselectures,discussionsections,andreadings.ThemidtermwillbeinclassonTuesday,October11.AmidtermreviewwilltakeplaceinclassonThursday,September29.ThefinalwillbeinclassonTuesday,December6andwillbeprecededbyafinalreviewinclassonTuesday,November22.AccommodationsEveryeffortwillbemadetoaccommodatestudentswithdisabilities.Studentsinneedofdisabilityaccommodationsshouldscheduleanappointmentwithmeassoonaspossible.AllaccommodationsrequestsmustbeaccompaniedbynecessarydocumentationfromtheDeanofStudentsOffice.CourseResources1)Canvas–slidelistsandanyotherdocumentsdistributedinclasswillbepostedonthecoursepage.2)OFFICEHOURS:I’mhappytomeetwithyouduringmyofficehoursWednesdays,4pm-6pminmyoffice,FAC121,todiscussanyquestionspertainingtothecoursecontent,readingassignments,writingassignments,orexams.Officehoursdon’trequireanappointment;feelfreetojustdropby.Ifyou’reunavailableatthattime,justaskoremailme,andwecanarrangeanothertimetomeet.Additionally,thecourseTA’sarehappytomeetwithyouduringtheirofficehoursinFAC118(Salon):MauraGleeson Th,11:30am-12:30pm ClemensOttenhausen F,9:30am-10:30am 3)ACADEMICSUPPORTUFTeachingCenterhttps://teachingcenter.ufl.edu/UFWritingStudiohttp://writing.ufl.edu/writing-studio/UniversityCounseling&WellnessCenterhttp://www.counseling.ufl.edu/cwc/

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GradingThefinalcoursegradeiscalculatedasfollows:20%Engagement20%MidtermExam10%VisualAnalysisI10%Revision20%VisualAnalysisII20%FinalExamAllexamsandassignmentswillbeassignedlettergrades.Belowpleasefindachartthatoutlinesthenumericequivalentsusedtocalculatethefinalgrade,andthespaneachencompasses.

Grades A A- B+ B B- C+ C C- D+ D D- E WF I NG S-

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Grade Points 4.0 3.67 3.33 3.0 2.67 2.33 2.0 1.67 1.33 1.0 .67 0 0 0 0 0

Score

(95-Point Scale) Letter Grade Score

(4.0 Scale) Letter Grade

92.51 – 95.00

A

3.86-4.0

A

89.01 - 92.50 A- 3.51-3.85 A- 86.51 – 89.00 B+ 3.16-3.50 B+ 82.51 - 86.50 B 2.86-3.15 B 79.01 - 82.50 B- 2.51-2.85 B- 76.51 – 79.00 C+ 2.16-2.5 C+ 72.51 - 76.50 C 1.86-2.15 C 69.01 - 72.50 C- 1.51-1.85 C- 64.51 – 69.00 D .86-1.50 D

0 - 64.50 F 0-.85 F Gradingrubricsforeachcomponentofthecoursecanbefoundintheappendicestothissyllabus.Inordertopassthiscourse,allassignmentsmustbecompleted.Noexceptions.Toreceivefullcredit,assignmentsmustbeturnedinontime.Extensionswillonlybegrantedunderspecialorextremecircumstanceswithvaliddocumentationand,unlessimpossible,mustbearrangedinadvance.Withoutanapprovedextension,lateassignmentswillbemarkeddown1/3ofagradeperday.Nomake-upexamswillbegivenwithoutdocumentationdemonstratingthatthescheduledexamdateisimpossible.ImportantDatesataGlanceThurs.,Sept.24 VisualAnalysisIdueatnoonThurs.,Oct.11 Midterm(inclass)Thurs.,Oct.20 RevisionofVisualAnalysisIdueatnoonThurs.,Nov.22 VisualAnalysisIIdueatnoon

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Thurs.,Dec.6 FinalExam(inclass)ProjectedCourseSchedule

13THAND14THCENTURIES:THEPROTO-RENAISSANCEWeek1: The“Beginning”August23 IntroductionAugust25 ChristianIdeals Reading: ArtHistory,pgs.532-533,536-547 (Cimabue,Giotto,Duccio)Section: HowtoReadImages

Reading:JenniferRoberts,“ThePowerofPatience,”HarvardMagazine(Nov.-Dec.2013),40-43SylvanBarnet,AShortGuidetoWritingaboutArt,pgs.113-116,47-76

THE15THCENTURY:THERENAISSANCEWeek2: HumanPerspectivesAug.30 TheNetherlands

Reading:ArtHistory,pgs.563-564,573-576,578-579(RobertCampin,JanVanEyck)

Sept.1 Italy

Reading:ArtHistory,pgs.595-599,603,606,609-611,626-628(Brunelleschi,Ghiberti,Donatello,Masaccio,Botticelli)

Section: HowtoReadObjects

CLASSMEETSOUTSIDEAT“TheFrenchFries”Reading:SylvanBarnet,AShortGuidetoWritingaboutArt,pgs.76-96

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THE16THCENTURY:THERENAISSANCEWeek3: Italy:TheArtistasScholarSept.6 Part1:PhilosophyandHistory

Reading:ArtHistory,pgs.633-635,640-643,652-653(Raphael,St.Peter’s)

Sept.8 Part2:Anatomy

Reading:ArtHistory,pgs.643-647,636-640(Michelangelo,Leonardo)

Section: VisualAnalysisinPractice

SectionmeetsattheHarnMuseumofArt

RichardBrilliant,“TheAuthorityoftheLikeness,”inPortraiture(London:ReaktionBooks,1991),pgs.23-44

Week4 WorldlyMattersSept.13 Venice

Reading:ArtHistory,pgs.629-631,656-661,673-677(Bellini,Giorgione,Titian,Palladio)

Sept.15 TheNetherlands

Reading:ArtHistory,pgs.679-681,685-687,704-705,753-757(Dürer,PieterBruegeltheElder,Ruisdael,Claesz)

Section: HowtoWriteaboutArt

Reading:*JulesPrown,“MindinMatter:AnIntroductiontoMaterialCultureTheoryandMethod,”WinterthurPortfolio,Vol.17,No.1(Spring,1982),pp.7-10

*SamplePaper(s)

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THE17THCENTURY:THEBAROQUEWeek5: TheArtofSpectacle Sept.20 TheNetherlands

Reading:ArtHistory,pgs.736-741,746-751(Rubens,Rembrandt,andVermeer)

Sept.24 ItalyandSpain

Reading:ArtHistory,pgs.713-719,722-726,732-735(ElGreco,Bernini,Caravaggio,Velázquez)

**VisualAnalysisdue**uploadtocanvasbynoon

Section: HowtoRevise

Reading:

Bringahardcopyofyourvisualanalysistosection

THE18THCENTURY:Rococo/TheEnlightenmentWeek6: FantasytoPhilosophySept.27 France

Reading:ArtHistory,pgs.763-765,905-912,934-935(Poussin,Watteau,Fragonard,Chardin,Vigée-Lebrun)

Sept.29 MidtermReviewSection: How(Art)HistoryisMade

Reading:LindaNochlin,“WhyHaveThereBeenNoGreatWomenArtists?”(1971)inWomen,Art,andPowerandOtherEssays,pgs.147-158

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THE18THCENTURYWeek7: Art&PoliticsOct.4 HistoryPainting,TheAcademy

Reading: ArtHistory,pgs.926-929,936-938,946-947,952 (BenjaminWest,David)Oct.6 …andTheirAfterlives

Reading: ArtHistory,pgs.946-947,952 (Gros,Ingres)Section: BeforePhotoshop:Art,Truth,andFiction Readingforprecept:

JulianBarnes,“TheShipwreck,”HistoryoftheWorldin10½Chapters(1989)THE19THCENTURYWeek8: PoliticsUnfilteredOct.11 MidtermOct.13 RomanticismacrossEurope Reading: ArtHistory,pgs.940-943,947-951 (Goya,Géricault,Delacroix)Section: NoneWeek9: Art&IndustryOct.18 TheRiseofLandscapePainting Reading: ArtHistory,pgs.954-958 (Constable,Turner,Cole,Friedrich)

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Oct.20 TheArtandScienceofPhotography

Reading:ArtHistory,pgs.968-971***RevisionDue***uploadtoCanvasbynoon

Section: FromReadingImagestoArtHistory

Reading:MichaelBaxandall,“ThePeriodEye,”PaintingandExperienceinFifteenthCenturyItaly,pgs.29-36StephenJayGould,“Church,Humboldt,andDarwin:TheTensionandHarmonyofArtandScience,”FredericEdwinChurch(1989),pgs.94-107

Week10: Realism:TheEverydayEntersArtOct.25 France

Reading:ArtHistory,pgs.972-974,976-980(Courbet,Manet)

Oct.27 America

Reading:ArtHistory,pgs.980-984(Eakins,Tanner)

Section: ArtfromEveryAngle

Reading:GiorgioVasari,“Michelangelo,”LivesofthePainters,Sculptors,andArchitects(1550,1568),[excerpts]RolandBarthes,“TheDeathoftheAuthor,”Aspenno.5-6(1967),[6pgs.]

Week11: ModernityandItsDiscontentsNov.1 Impressionism

Reading:ArtHistory,pgs.987-994(Monet,Caillebotte,Pissarro,Degas,Cassatt,Morisot)

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Nov.3 SubjectiveStates

Reading:ArtHistory,pgs.994-999,1003,1012-1015(Seurat,VanGogh,Gauguin,Cézanne,Rodin)

Section: TheMuseumExperience CLASSMEETSATTHEHARN

Reading:CarolDuncan,“ArtMuseumsandtheRitualofCitizenship,”inExhibitingCultures:ThePoeticsandPoliticsofMuseumDisplay,pgs.88-103

THE20THCENTURYWeek12: MakingModernismNov.8 ModernArchitecture Reading:

ArtHistory,pgs.1009-1012,1044-1049,1057(skyscrapers,FrankLloydWright,LeCorbusier,TheInternationalStyle)

Nov.10 DeconstructingArt Reading:

ArtHistory,pgs.1017-1018,1021-1026,1037-1044(Cubism,Dada,StieglitzCircle)

Section: None–HappyHomecoming!Week13: NewPossibilitiesNov.15 EnvisioningUtopia

Reading:ArtHistory,pgs.1033-1035,1050-1054,1060-1061/1064-1065(Futurism,SuprematismandConstructivism,DeStijl,theHarlemRenaissance)

Nov.17 CATCH-UP Section: ArtistsonArt

Reading:ArtHistory,pgs.1019-1021,1029-1031HenriMatisse,“NotesofaPainter”inArtinTheory:1900-2000,pgs.69-75WasilyKandinsky,excerptsfromOntheSpiritualinArtinArtinTheory:1900-2000,pgs.82-89

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Week14: TakingStockNov.22 FinalReview

***VisualAnalysisIIdueonCanvasatnoon***

Nov.24 Holiday!Section: None-HappyThanksgiving!Week15: ThePsychologyofArtNov.29 RealismandSurrealism

Reading:ArtHistory,pgs.1057-1060,(Surrealism)

Dec.1 AbstractExpressionism Reading:

ArtHistory,pgs.1073-1081Section: DecipheringArtCriticism

ClementGreenberg,“ModernistPainting”(1960)HaroldRosenberg,“AmericanActionPainters”(1952)http://ubu.com/film/namuth_pollock.html

Week16: The“End”Dec.6 FinalExam

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AppendixA

Note-TakingStrategiesInlisteningtolectures,keeptrackoftwothings:1.thetrajectoryorarcofWesternarthistoryThecoursetracesanarrativeaboutthedevelopmentofWesternartfromthe15thcenturythroughthepresentasartistsrespondtotheworldaroundthemandtooneanother.Atthestartofeverylecture,Iwilloutlinethekeythemesandcontributionsoftheartist,movement,ortimeperiodunderdiscussionaswellashowtheyfitintothetrajectoryofWesternart.2.themeaningofindividualworksofartLectureswillofferhistoricallysituatedinterpretationsofindividualworksofart.Thatistosay,theywillexplainwhatagivenworkofartsaysaboutitssubjectandwhy.Thingstolistenforinclude:*thesubjectofaworkofart

*reasonswhyanartisttookupagivensubject*howtheartistdepictedthatsubject *whatdecisionsdidsheorhemake?*thepictorialorculturalcircumstancesthatinformedthosedecisions*finally,whatthosedecisionsmeanfortheworkofart:whattheworksaysaboutitssubjectandwhyYouwillalsobeaskedtoaddressthesetopics(oftenreferredtoinclassasthe“what,”“how,”and“why”)onthemidtermandfinalexam.Thediscussionandinterpretationofindividualworksofartinclasscanalsoserveasamodelforthevisualanalysispapers.Visualanalysisisthefirststepindevelopinganinterpretationofaworkofart.Ityieldsanhypothesisaboutwhataworkofartsaysaboutitssubject,whichisthentestedandtweakedthroughrecoursetocontextualinformation.Althoughlectureswilldrawoncontextualinformationandthevisualanalysispaperswillnot(theywillbebasedstrictlyontheworksofartthemselves),visualanalysisisakeycomponentoflecturesandwillprimestudentsforthewrittenassignments.

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AppendixB

Engagement:GradingRubricA:studenthasgoneaboveandbeyondinachievingthecoursegoals—hasreallytriedtolearnandunderstandthehistoryandprinciplesofWesternart.Thestudentreadandprocessedthereadings,waspreparedforlectureandsection,andtrulyadvancedconversationsinsectionbyposingprobingquestions,makingdeepinsightsintothereadings,offeringalternativeviewpoints,ornotingcomplicatingfactors.Thefirstpaperwasasfullydevelopedandpolishedasitcouldbe,notjustadraft.Itgoeswithoutsayingthatthisstudenthasattendedalllecturesandsections,alwaysarrivedontime,andadheredtoothercoursepolicies.A-:great,butfallsjustshortoftheabove.B+:averygoodeffort.Usuallydidandprocessedthereadings;regularlycontributedtoconversationsbyansweringquestions,butalsointroducingnewpoints,questions,etc.;submittedathought-provoking,butunpolishedpaper.B:agoodeffort.Studentdidthereading,regularlyansweredquestions,handedinasolidfirstpaper.Thisstudenthasattendedalmostalllecturesandsections,generallyarrivedontime,andadheredtoothercoursepolicies.B-:anokayeffort.Studentusuallydidthereading,answeredquestionsonoccasion,submittedadraft-likefirstpaper.C+:almostthere.Studentusuallyshowsupforclass,mostlyontime,buthasyettoreallymakeherorhispresenceknownbyparticipatingintheconversation;unclearwhetherornotthereadingshavebeendone.Thefirstpaperwastreatedasamessydraft.C:fallsshortoftheaboveinsomeway.C-:fallsshortofaC+inmorethanoneway.D:somethingthatmakesthegradenotanF.F:studentisdisengagedfromtheclass—doesnotattendlectureand/orsectionregularlyand,therefore,hasnotputherselforhimselfinapositiontofulfilltheengagementrequirement.

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AppendixC

Exams:GradingRubric

A=hasafirmgrasponthecoursecontent(meaning:whateachworkisabout,whatitmeans,anditssignificancewithinthehistoryofart)aswellassolidunderstandingofvisualanalysis,thegoalsofarthistory,andtheabilitytoapplytheseskillstoknownandunknownworksaswellasindividualpiecesandpairings.

A-=theexamfallsjustshortoftheabove.It’sgreat,butmissesacoupleofkeypointshereandthereoroffersalessthancompellingthesisforthecompareandcontrast.

B+=averygoodeffort,butmissesaseveralkeypointshereandthereorconsistentlyleavesoutanelementofeachquestion(the“how”orthe“why,”forexample)butdoeseverythingelseverywell.

B=asolideffort,butinconsistent—getssomequestions,butnotothers.Demonstratesaburgeoningunderstandingthatworksofarthavemeaningandarelationshiptobroadersocio-culturalconcerns,buthasnotyetinternalizedhowallthesethingsconnect.

B-=anokayeffort;thestudentiscertainlytrying(theID’sarethere,forexample)andthere’sattentiontomaterialdeliveredinlecture,butanswerstoquestionsarequitespotty,vague,orlackaclearpointorfocus.

C+=onthewaytogettingthere;ID’smightbespotty;it’snottotallyclearthatthestudenthasstudied,perhapssheorheremembersthingsfromlecture,but,atthesametimeasanswersmayseemtohavebeenpulledoutofnowhere,theydemonstratesomeawareness/understandingofvisualanalysisand/orhowarthistoryworks.

C=theexamfallsshortoftheabove.TheID’sareevenspottier,andtheanswersmorevague;keytermsarenotmentionedorused.

C-=theexamshowssomeeffort,butthestudentdoesn’tseemtounderstandarthistory,visualanalysis,etc.

D=somethingthatmakestheexamnotanF—someID’sareonpoint,oratleastacoupleofanswersaresemi-acceptable

F=acoupleofID’s,nocontentfromlectureorthetextbook,inabilitytoevenreadthepaintingsbysight

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AppendixD

Papers:GradingRubric

A=meetsandexceedsassignmentgoals.There’ssomethingaboutthepaperthat’strulyexcitingandfreshandrevelatory—itreallycapturesyourattention.Theargumentisinsightfulandwellsupportedbytheevidenceprovided(i.e.thestudent’sdescriptionsoftheworkofartandanalysesofthosedescriptions);thestructureservestheargument,andthepaperis,asawhole,convincingandapleasuretoread.

A-=thepaperfallsjustshortoftheabove.It’sgreat,butmissessomekeyaspectoftheimageoroffersaninsightfulthesis,butnotnecessarilyasurprisingorunexpectedone.

B+=averygoodeffort,buttheargumentcouldbebetterexecuted;someaspectsoftheimagemightgounaddressed,theanalysiscouldbedeeper,theinterpretation/thesiscouldbeclearer.

B=asolideffort.There’sasenseofathesis/interpretation,butit’sabitvagueorgeneral.Thestructurallogicbehindthesepaperstendstobeabitunclear.Thepapermayaddresssomekeyaspectsoftheimageandofferanalysesofsomedescriptions,butnotothers.

B-=meetsthebasiccriteriafortheassignmentinsomewayshapeorform.Itmovesbeyonddescription,butnotbyverymuch.

C+=onthewaytogettingthebasicsofvisualanalysis:lotsofdescription,butithasyettocohereintoapoint/thesis,thoughthereareglimmersofhopeandpromise.

C=alldescriptionallthetime

C-=thepaperputsforwardsomeeffort,butit’suncleartowhatend;thestudentdoesn’tseemtounderstandtheassignment,formalanalysis,etc.

D=somethingthatmakesthepapernotanF

F=thepaperlacksanawarenessoftheassignment,formalanalysis,etc.Thesepapersareoftensignificantlyshorterthanthestipulatedlength.