This is a two-semester required course examining major periods, styles, and themes in Western Art. The first semester examines works from the Prehistoric era to the Gothic period, continued in the second semester by the study of works from the Renaissance through the early twentieth century. Lectures and readings are devoted to presenting students with a repertoire of significant painting, sculpture, and architecture, and an understanding of the meanings of these works within their original cultural contexts. Students are also challenged to expand their observation and vocabulary skills through close formal analysis of the visual properties of art. Exam essays and writing assignments develop research skills and promote the development of analytic and critical thinking. Requirements each semester: purchase of textbook, assigned readings, museum visit, two exams, a short presentation and essay. Completion of both semesters of this course is required for entry into all upper level Art History courses.

Janson’s History of Art: The Western Tradition, Janson, ISBN-13: 9780205685172, Retail $157.20

This is a two-semester required course examining major periods, styles, and themes in Western Art. The first semester examines works from the Prehistoric era to the Gothic period, continued in the second semester by the study of works from the Renaissance through the early twentieth century. Lectures and readings are devoted to presenting students with a repertoire of significant painting, sculpture, and architecture, and an understanding of the meanings of these works within their original cultural contexts. Students are also challenged to expand their observation and vocabulary skills through close formal analysis of the visual properties of art. Exam essays and writing assignments develop research skills and promote the development of analytic and critical thinking. Requirements each semester: purchase of textbook, assigned readings, museum visit, two exams, a short presentation and essay. Completion of both semesters of this course is required for entry into all upper level Art History courses.

Required:
Art History, Volume 2 (4th Edition), Stokstad & Cothren, ISBN-13: 978-0205744213, Retail: $151.00
Ways of Seeing: Based on the BBC Television Series, Berger, ISBN-13: 978-0140135152, Retail: $15.00
Recommended
A Short Guide to Writing about Art (7th Edition), Barnet, ISBN-13: 978-0321101440, Retail: $42.19

The second half of the nineteenth century witnessed the rise of the European avant-garde: the Realists, Impressionists, Post- Impressionists, Symbolists, Cubists, and Surrealists. Rapid social, economic, and political changes encompassed a revolution
in communication systems and technology. The first half of the twentieth century saw a shift from European to American modernism and the rise of abstract expressionism as Clement Greenberg’s answer to a purely autonomous art form. This course will explore art and visual culture in relation to urban capitalism, colonialism, nationalism and internationalism tracing theories of representation, perception, and modernism from the 19th to the 20th centuries.

An introduction to the development of Illustration from its fine arts roots to become an independent discipline. Students are introduced to pioneers in the field, historical styles, techniques, reproduction and media influences, and current fields of illustration. Course is required by Illustration majors and may be taken as an elective for majors in Sculpture and Painting to be applied towards the additional courses needed for the Art History minor.

This course will explore movements in visual art from the turn of the twentieth century to the present, concentrating on post 1945 approaches, with special interest in post 1980 approaches. In addition to examining modern and contemporary art, the course will survey a variety of critical and scholarly methodologies of modernist and postmodernist viewpoints. Assignments will include written and verbal critiques of this artwork and its critics in the form of essays, presentations, and classroom debates. It is the intention of this course to develop an in-depth visual knowledge of modern and contemporary art, long with a close familiarity with the writings of influential contemporary art critics, and to develop strong written and verbal skills in art criticism.

Required:
Postmodern Perspectives: Issues in Contemporary Art (2nd Edition), Risatti, ISBN-13: 978-0136145042, Retail: $65.20
Criticizing Art: Understanding the Contemporary, Barrett, ISBN-13: 978-0073379197, Retail: $57.20
Recommended:
A Short Guide to Writing about Art (7th Edition), Barnet, ISBN-13: 978-0321101440, Retail: $42.19
After Modern Art 1945-2000 (Oxford History of Art), Hopkins, ISBN-13: 978-0192842343, Retail: $27.95

This course will examine developments in European art and visual culture from the late thirteenth century through the late sixteenth century. Areas of study will include painting, sculpture, architecture, drawing, printmaking, domestic arts, engineering, theory, etc. In addition to addressing “who” had contributed to this period, the course will attempt to
understand “why” and “how” objects of this period were made and used. We will critique traditional notions of the Renaissance, looking as much as possible with a “period eye” at what contemporaries of the time may have believed. The primary course text will be Paoletti and Radke’s Art in Renaissance Italy, 3rd edition (2005).

The term “baroque” and “rococo” can be applied to a variety of time periods and concepts,though this course will address the art and architecture of Europe in the 17th and 18th centuries. At issue are the pictorial and architectural approaches to theatrical display, emotional expression, gravitas, spatial concepts, local contexts, religious expression, political manipulation, military display, commercial gain, psychological condition, social status, aristocratic representation, portraiture, scientific revelations, visual theory, the commonplace, material culture, decorative schemes, eclectic copying, and other visual and rhetorical forms of the period.

Although Leonardo had not referred to himself specifically as a “scientist” or as an “artist”, he wrote about scienza and the arts of painting, sculpture, and engineering. This course addresses his largely theoretical approaches to these arts and to early modern “sciences” such as geometry, arithmetic, and natural philosophy. From Leonardo’s 6000 drawings, three dozen paintings, treatise literature and notes, reconstructions of his machines and inventions, from other contemporary sources, and a possible sculpture or two, the course gleans the essential theoretical and practical pursuits that had made him the popular artist/engineer of his day, not to mention the “genius” that we think we know today. The course attempts to locate Leonardo within the context of his time with the help of information about the materials, sources, and activities that were closest to the business of his various personal achievements.

Students will examine the varied directions of painting and sculpture in the first half of the twentieth century. Discussions and will focus on the emergence of a sense of modernity, the myth of the Future at the turn of the millennium, the optimism of the machine age, and the idea of newness and possibility of the avant-garde.

This course is inspired by the close proximity of the only comprehensive collection of British
art outside of Tate Gallery in London, at the Yale Center for British Art in New Haven. A range of artists and their works available in this unique collection is studied closely, and students choose their course projects from it. Examples of topics to be explored are the Continental Holbein and Van Dyck as artists for the Tudor and Stuart courts; the development of a native English visual language and subject matter in the “modern moral subjects” of Hogarth; the strong development of the primary English subject matter of landscape and portraiture; the continuing trend for subject pictures and social narrative through the Victorian age; and the involvement of English art in the development of the artistic trends of the late nineteenth and twentieth centuries. Other cultural themes to be considered are: the relation of English art to that of the Continent, particularly Italian, Dutch, and French; the association of the visual arts with the preeminent literature of English poets, playwrights, and novelists; the concurrent sensibilities of the practical and naturalistic with the poetic and visionary; and the ever present figurative tradition in the twentieth century from Bacon to Freud and Saville, and its counterpoint at the same time in abstraction and conceptual work, from the Vorticists of the 1910s to the Young British Artists of the 1990s.

Coined as a movement in 1906 by English critic Roger Fry, Post-Impressionism is a blanket term that covers the many responses to art-making after the peak of Impressionism in the 1870s. This course investigates the visual and cultural contributions of seminal Post-Impressionists, such as Georges Seurat, Paul Cezanne, Vincent van Gogh, Paul Gauguin, and Henri Toulouse-Lautrec. The course is inclusive of other types of visual responses during the late nineteenth and early twentieth centuries. The art of the Synthetists, the Symbolists, the Nabis, the Camden Town and Bloomsbury Groups in England, and sculptors from Rodin to Maillol are included in our study. Incorporated are themes of representation, imagination, perception, urban capitalism and leisure, colonialism, nationalism, and gender.

Students will closely examine Italian Renaissance art in the Tuscan city of Florence. From its flowering in the fourteenth century with the narrative cycles in Santa Maria Novella and Santa Croce, to the maturation of Early Renaissance sculpture and painting in the fifteenth century, to the realization of a High Renaissance in the Florentine works of Leonardo, Michelangelo, and Raphael, to the sixteenth-century Mannerists and the founding of the Florentine Academy in 1562, the uninterrupted development of art in Renaissance Florence allows for a thorough study of three centuries of a city’s artistic output. Highlights of architectural accomplishments are also considered, foremost the building of Brunelleschi’s dome atop Santa Maria del Fiore. Important contextual discussions, especially on patronage (particularly by the Medici), its dynastic, religious, civic, and commercial demands, as well as on the reception by the viewing public of the time, form a critical component of our study of the significant art of Renaissance Florence.

At the beginning of the new century, we can, with hindsight, more clearly understand the endurance of the representation of the human form and its coexistence alongside the development of an abstract visual language during the twentieth century. This course explores the various ways the persistent representation of the figure in the last one hundred years
can be interpreted in European and American culture. How are concepts of the natural, the ideal, and the antique still manifested? How do the works convey differing perceptions of the body and the impact of gender, ethnic, and economic status? Why, in the wake of abstraction, photography, and computer technology has the act of representing the human form remained relevant? The various presentations and meanings of human embodiment in painting and sculpture are examined, along with various time based media, from the most realist to the more fragmented, and how these objects and images are inflected with particular social identifications.

This course examines the early Modern period in art through examination of Western European art, traditionally categorized as Neoclassicism, Romanticism, and Realism. Politically, the course moves from entrenched monarchy to revolution, empire to republic. Stylistically, the art displays elements of severe classicism, bravura and artifice, quiet naturalism, turbulent emotionality, the tension between color and line, between realism and abstraction – many of these dichotomies a hold over from the seventeenth-century rivalry between the colorism of Rubens and the linearity of Poussin. While discussing individual artists and key objects, their style and meaning, the subject matter of the course will always be returned to the cultural forces and contexts that influenced the outcome of art. Class discussions are based on readings and lecture material. Paper topics and coordinating presentations derive from the museum collections of Yale University.

This course examines old master painters, sculptors, draftspeople, and printmakers, addressing the European workshop tradition from Giotto to Goya. By focusing on individual artists and principle masterworks, the course considers trajectories of artistic development and historical reception that have led to the consideration of an artist as master or ‘old master,’ or an artwork as masterwork. Included are in-depth case studies and comparisons of artists’ methods, materials, concepts of style, pictorial composition, iconography, patrons, business practices, possible motives, and socio-political and historical contexts. As a means of assessing the varieties of activity closest to the creative process, methods of engagement include class discussions, student presentations, essays and exams.

The course presents aspects of Indian art over a period of 2000 years. The lectures are divided into four main sections: the art of Buddhism, the Hindu temple, Islamic art, and the art of colonial and post-colonial India. The course will focus on architectural sites, sculpture, painting, manuscripts, and photography.  Topics will include rasa theory, Indus Valley Civilization and Ashoka, Sanchi and Amravati, Kushan and Gupta periods, cave monasteries and temples, Darshan, sensuous images within sacred spaces, Mamallapuram, Chola temples, bronze sculpture and temple cities, the sultanate period, early Mughals, Akbari and Jahangiri periods, the Shah Jahani world, the Taj Mahal, Rajput art and architecture, Portuguese and British art and architecture in India, modernism and tradition, and contemporary art. Students will be encouraged through class discussions and assignments to bring their own ways of looking at this art, to read critically in light of what they see, and to consider new approaches to the material.

Indian Art, Dehejia, ISBN-13: 978-0714834962, Retail Price $27.95

Viewing iconic film texts in the context of the artistic, social and national milieus which fostered them, this course will cover the history of film from its abstract beginnings to its primarily narrative present. Important film techniques and national film movements will be introduced as we discuss individual film texts; weekly film viewings will include POTEMKIN, CITIZEN KANE, A BOUT DE SOUFFLE and METROPOLIS among others.

Each semester, an upper-level art history seminar is offered, with topics that change regularly. All students seeking the BFA degree must complete two seminars as a requirement for graduation. Please review the semester’s course schedule for specific information regarding seminar topic/s, the instructor of record, and times/dates offered.

An exploration of the physiology of the joint and muscular systems of the human body in a series of illustrated lectures. Emphasis is placed on physiological principles governing the body’s movements. Points of intersection between such principles and artistic concerns are also addressed. The live model is present during the lectures on a periodic basis to demonstrate and vivify course material. Required weekly readings from the course text, The Anatomy of Movement, by Blandine Calais-Germain, supplement information presented in the lectures. Students are evaluated on the basis of a graded final examination. 

1.5 instructed hours and 3 hours of required independent work each week.

Physiological principles covered in Anatomy I are related to a system of description that proceeds on the basis of comparisons between anatomical structures and drawable Euclidean-type solids. Ways in which the representation of the human body by means of such comparisons can be seen to serve goals common to both scientific and artistic endeavors—particularly the goals of comprehensibility, regularity and predictability—are established. Students prepare individual projects delineating the skeletal and muscular systems for figures they either have chosen from among artistic representations or that they themselves have generated. 

1.5 instructed hours and 3 hours of required independent work each week.

Estimated cost of materials: $25.00

This course focuses on helping students to develop stronger critical reading and writing skills in preparation for their liberal arts coursework. Students undertake a variety of short writing assignments, including: a personal narrative; a comparison and contrast essay; an expository essay; a cause and effect essay; and a persuasive essay. Students also read models of each expository pattern and receive direct instruction in grammar and usage. Finally, students review the process of writing and documenting a research project and prepare an abstract on a literary topic.

English Composition is designed to develop and hone those writing and critical reading skills basic to any college-level coursework. Careful seeing leads to effective writing— only by devoting our scrupulous, passionate attention to the texts and images we encounter, are we able to evaluate them in writing. In weekly assignments students work on organizational and structural strategies; analytical writing skills; and methods of revision. Over the course of the semester students undertake a variety of writing assignments of increasing length and complexity, developed through multiple drafts and constructive peer review.

The Essay Connection (9th edition), Bloom, ISBN-10: 0547190786, Retail $90.95

This is an introductory literature course, with an emphasis on twentieth-century modernism, and its roots in certain foundational works by Goethe, Shakespeare, and Sophocles. We will read and discuss nine works of fiction and drama in terms of their historical context and continuing cultural relevance. Students will be introduced to traditional scholarly views and encouraged to explore their own personal responses to these works. Each student will give an oral presentation elucidating aspects of the work discovered through additional research. Requirements will include formal essays expressing original ideas and following the conventions of literary analysis, as explained in the class.

Backpack Literature: An Introduction to Fiction, Poetry, Drama, and Writing (4th Edition), X. J. Kennedy, ISBN-13: 978-0205151660, Retail: $62.00

What makes one act right, and another wrong? What am I morally required to do for others? What is the basis of morality anyway? These are some of the questions raised in moral philosophy. A careful examination of two of the most important attempts to answer them–the theories of John Stuart Mill and Immanuel Kant. The problem of free will is also examined: Do we really have control over what we do, or are we merely the puppets of external causes? If determinism is true, is moral responsibility impossible? The course also briefly considers Hume on the nature of practical reason, as well as Hobbes on contractarianism. Finally, Nietzsche’s attack on morality is examined.

This course is an introduction to the philosophical tradition in the West, wherein there will be a survey and critical examination of classics in philosophical discourse from Socrates through Sartre. At issue will be primary philosophical questions concerning topics such as knowledge, doubt, metaphysics, immortality, God, time, ethics, freedom, necessity, good and evil, the cosmos, the meaning of life, and some of the attempts to answer them.

Classics of Western Philosophy, Cahn, ISBN-13: 978-0872206373, Retail $44.00

Students will examine optical and conceptual themes in Western Art from Plato to Seurat. At issue are the theoretical and practical applications developed by Western artists and visual theorists. Concentrating on pictorial traditions, the course addresses what artists, authors and artist/engineers have referred to as theoretical, scientific, technical, mechanical, and purely mental solutions to optical, proportional and quantitative visual problems. General themes include philosophy, aesthetics, perspective, form, color, and mechanical devices, and discussions on intellectual training, notebooks, treatises, and collecting.

A critical examination of the divorce of beauty and love that is a presupposition of the establishment of aesthetics and of a distinctly modern approach to art. Readings will include Plato, Alberti, Baumgarten, Kant, Schopenhauer, Nietzsche, Freud, and Macuse. 

This course introduces seminal concepts in narratology, from how stories are generated to how they are developed and implemented in a variety of forms. Included are analyses of short stories, novels, serial storytelling (novels, television), film and graphic narratives. The course will attempt to frame the possibilities for each of these forms; students will produce original stories, critical analyses of genres and a final project.

Because They Wanted To, Gaitskill, ISBN-10: 0684841444, Retail $22.00

Persepolis vol. II, Satrapi, ISBN-10: 159497036X, Retail $11.95

A Visit From The Goon Squad, Eagan, ISBN-10: 0307592839, Retail $14.95

All students are required to complete one humanities course. Humanities courses are generally offered during the fall semester, and should be taken when indicated on the planning sheet to ensure adequate progress towards degree and successful scheduling. Please review the semester’s course schedule for specific information regarding topic, the instructor of record, and time/days offered.

This course examines the practical, philosophical and artistic challenges in pursuing a career as a fine artist. Emphasis is placed on the adjustment in transitioning from the academic environment to the working world and its effects upon the discipline of being an artist. The course covers several aspects of the business side of art including the documentation, presentation and marketing of one’s artwork as well as information concerning: grant opportunities and artist’s residency programs; website development; graduate school; gallery representation, curatorial/museum work and teaching. Through class discussions, assignments, course materials and guest speakers, students are exposed to the various practitioners that comprise the art world and gain the necessary skills for their development as professional artists. Co-requisite Senior Studio.

2 instructed hours and 4 hours of required independent work each week.

Art & Fear, Bayles & Orland, ISBN-13: 978-0961454739, Retail $12.95
ART/WORK, Bhandari & Melber, ISBN-13: 978-1416572336, Retail $16.95

Introductory and intermediate approaches to mathematical and geometrical problems. Topics include: sets, logic, ancient number systems, number theory, algebra, trigonometry, statistics, as well as business math with the goal to improving quantitative reasoning and approaches to business applications 

Mathematical Ideas, Miller, ISBN-13: 978-0321361462, Retail Price $142.67

This two-semester lecture course studies spatial illusion with specific reference to the convention of linear perspective. In the first semester, students learn to represent simple geometric forms on a two-dimensional surface as they would appear in a three-dimensional space. Homework assignments allow them to apply the various methods to more complex figures. The second semester surveys cast shadows and reflections. 

3 instructed hours and 1.5 hours of required independent work each week.

Estimated cost of materials: $35.00

This two-semester lecture course studies spatial illusion with specific reference to the convention of linear perspective. In the first semester, students learn to represent simple geometric forms on a two-dimensional surface as they would appear in a three-dimensional space. Homework assignments allow them to apply the various methods to more complex figures. The second semester surveys cast shadows and reflections.

In this course we will discus the ways in which we process visual and auditory information, such as how we put things in categories, solve simple and complex problems, communicate with each other and with our pets, remember how to ride a bicycle, and how to get to New York City. To answer these questions, we will read and discuss theory and research in cognitive development across the life span, focusing on infancy, childhood, and adolescence. Topics will include perception, categorization, reasoning, theory of mind and autism, language and thought, multilingualism and second-language acquisition, social cognition, and memory. 

This course introduces students to the science of the natural world through first-hand field study, including investigations of the ecology of local environments such as estuaries, streams, forests, and wetlands; as well as examining the ancient natural history of southern Connecticut through paleontological and geological observations. 

This course introduces students to the science of the natural world through first-hand field study. We will investigate the ecology of local environments, such as estuaries, streams, forests, and wetlands; as well as examine the ancient natural history of southern Connecticut through paleontological and geological observations. 4 instructed hours and 8 hours of required independent work each week.

Ecology is the scientific study of how organisms (including humans) interact with each other and their non-living environment.  Students learn how these interactions shape the fundamental properties of biological populations, communities, ecosystems, and landscapes.  Topics include life histories, population growth, competition within and between species, predation, herbivory, parasitism, mutualisms (such as pollination and seed dispersal), distribution and abundance of species (community structure), species diversity, ecological succession, disturbance, nutrient cycling, and energy flow.  Human impact on the environment is explored, especially as it relates to invasive species and extinctions.  Ecological concepts and principles are illustrated through field trips to coastal, wetland, and terrestrial habitats throughout southern Connecticut’s remarkably diverse landscape, as well as through field investigations conducted on campus.

Elements of Ecology (seventh edition, paperback), Smith and Smith, ISBN 0-321-55957-6, Retail Price $137.80

All students are required to complete one science course in addition to the fulfilling the College’s Anatomy requirement. Science courses are generally offered during the fall semester, and should be taken when indicated on the planning sheet to ensure adequate progress towards degree and successful scheduling. Please review the semester’s course schedule for specific information regarding topic, the instructor of record, and time/days offered.

An introduction to the study of the human species, this course investigates human culture and the physical and cultural changes that have occurred over the last several million years. Many of these changes have occurred gradually while others have occurred in quantum leaps. The course will examine the relationship of the human species to these changes and to the natural and cultural environment to which we have adapted. 

Archaeological Method & Theory introduces students to the techniques and concepts used by archaeologist to find, recover, and interpret artifacts in an effort to reconstruct and understand the lives of earlier peoples. The class uses archaeological case studies, films, and hands-on examples of tools and other artifacts produced by stone-age hunters and more complex civilizations that lived throughout the world.

This course will run provisionally and will be assessed for final approval at the end of the 2010-2011 academic year.

The American Constitution is the oldest written Constitution still in practice in the world. The decisions made in the political arena affect each and every student, citizen, and resident of the United States. The goal of this course is to teach each of you how you may benefit from this system, how you may be harmed by the system, and what your role in that system may be. We are most interested in the “what is” questions. Who makes decisions? What factors influence those decisions? What is the impact of those decisions? So our first goal has those basic questions in mind. We will study Congress, the Executive branch, the Supreme Court, and other important institutions. However, a second set of important questions goes beyond the factual points and asks “what ought to be?” After all, these are the questions that decision-makers and those in power usually must answer, frequently claiming to have the support of you, the taxpayer, the voter, and the citizen. How much time should we give to new mothers off work? How long should we keep students in the classroom? How much money should we spend on missile defense? As we learn the framework in which these decisions are made, we will be discussing these types of issues and others in current political debate. At the end of the course, you will know how major decisions are made in American politics, what structural and institutional factors shape those decisions, and how to focus your thinking a little more in regards to some important issues. Most importantly, you will learn that decisions are rarely as clear-cut or easy as many political actors make them seem to be.

This course examines the place of the non fiction film in the examination of social practices and communities from the late 19th century through the present. Beginning with the earliest ‘documents’ of the Lumiere Brothers, we view and examine important texts in the most important international film movements, from the visual anthropology of Robert Flaherty to the cinema verite of Rocha and Maysles Brothers. Topics to be examined include the ethics of documentary, the camera as participant/observer and the role of documentary in social action and change. Films include NANOOK OF THE NORTH, MAN WITH A MOVIE CAMERA, DON’T LOOK BACK, GREY GARDENS

This course will explore the concept of the global through the lens of global cinema. Bolstered with readings from writers such as Edward Said, Homi Bhabha, Gayatri Spivak, Salman Rushdie and Ann Stohler ,we will discuss the concept of globalism as it emerged in the 19th century and its development through to the contemporary. Films such as THE DARJEELING LIMITED, THE BATTLE OF ALGIERS, AGUIRRE THE WRATH OF GOD and SLUMDOG MILLIONAIRE will serve as cornerstones for our discussion of globalism across the continents and throughout history. There will be two essay tests on the readings and films assigned and a class presentation as well as a final research project.

The Connecticut River has been the focal point for prehistoric and historic cultural adaptations and was the center of Native American culture for nearly ten millennia. With the arrival of Europeans in the 15th and 16th centuries, Native American society encountered major changes as the new residents saw the Great River as an entrepreneurial opportunity. An explosion of maritime activity followed that evolved into an unrivaled Connecticut Valley industrial complex. The course takes a cultural-chronological approach and focuses on particular peoples and their relationship to the river and the river valley. The presentation of data is based upon written and physical artifacts leading to a reconstruction of the social, economic, technologic and ideological approaches to life within this region. 

This is an interdisciplinary course which will focus on the art and practice of observation, description and analysis and corollary issues such as audience, point of view, framing,space, semiotics and detail. Most of our texts will be drawn from non fiction, and the social sciences.

Into the Wild, Krakauer, ISBN-10: 0385486804, Retail $19.99

Diving Bell and the Butterfly, Bauby, ISBN-10: 0375701214, Retail $15.00

This course focuses on Native American groups in North America and their cultural adaptation to the ever changing environment. Chronology is the organizing element of this course, which begins with the earliest evidence and hypotheses of the peopling of the New World from both Asian and European sources. The course concentrates on early Native American cultural adaptations to the Late and Post Pleistocene period environments. Corresponding Native American adaptations are analyzed. 

The social, political, economic, and environmental factors that can impact human settlement, subsistence, and interaction. Cross cultural examples from human prehistory and the present day are used to illustrate the dynamic nature of culture.

All students are required to complete two social science courses. Social science courses are offered during both fall and spring semesters, and should be taken when indicated on the planning sheet to ensure adequate progress towards degree and successful scheduling. Please review the semester’s course schedule for specific information regarding topic, the instructor of record, and time/days offered.