1 Syllabus: Arh 303 (19535), Survey Renaissance Through Modern Art

SYLLABUS: ARH 303 (19535), SURVEY RENAISSANCE THROUGH MODERN ART

Instructor: Douglas Cushing Email: [email protected] Class times: Tuesdays and Thursdays 3:30-5:00 PM Class Location: ART 1.110 Office: DFA 2.108 Office hours: Wednesday, 1-2:00 PM

COURSE DESCRIPTION

Visual culture is everywhere. We are constantly bombarded by images and objects that appeal to us for our emotional and intellectual attention. Separately and in chorus, our myriad global traditions give shape to the history of art, and that history in turn helps to determine our perceptions and expressions. Understanding art’s past—including its lexicons, conventions, and uses—is key to unlocking our visual present.

This course offers a sampling of objects (e.g., paintings, photographs, sculptures, architecture, performance, etcetera), movements, and ideas in art, spanning from the fourteenth century through the present. In surveying such a large swath of history across multiple cultures, generalization and fragmentation are unfortunately requisite. Nevertheless, together we will articulate a history that highlights connections across time and place. We should not, however, fall into the trap of believing the path we follow through this history is singularly definitive. Rather, this course plots one constellation among countless possibilities. For the sake of imparting a grasp of conventional art history, we will often track the discipline’s canon. Yet, in the course of learning the canon we will also seek to unravel it, considering its objectives, biases, and lacunae. And we will endeavor to supplement the canon by exploring examples of work once excluded from that pantheon.

In this course students will examine art formally, analyzing and understanding changes in styles over time. We will also examine how human beings have engendered and conveyed ideas visually. We will not, however, limit ourselves to looking at the art as if it existed in a vacuum. Art is made within the context of culture and society. Therefore, in lecture, readings, and discussions, we will consider historical, philosophical, and literary texts that provide a wider frame for grasping how works of art—and the artists who made them—relate to the time and place of their origin. In general, we will progress chronologically with Western art as our foundation, branching out at various points to investigate simultaneous historical developments across various global cultures. Course themes will include—without being limited to— cultural exchanges, reason versus emotion, art and politics, space and representation, and art as a means for generating new ways of thinking.

COURSE OBJECTIVES • Familiarization with major critical, historical, and technical terms relating to art from 1400 through the present • Building a knowledge base of artists and works which stand as prominent representatives of the history of art • Grasping of the greater historical events and trends surrounding various artistic movements • Development of a critical ground from which to understand and begin to assess the conventional canon of art history; we will learn the canon as we learn to unwind it. • Practicing of critical reading and writing skills • Practice of presentation skills

GLOBAL CULTURES This course carries the Global Cultures flag. While course lectures and texts will deal often with canonical art form Europe and the United States, whenever possible we will also explore contemporaneous issues in cultures outside of the North-Atlantic corridor.

CANVAS Throughout the semester, I will use canvas for posting essential as well as supplemental materials. Essential: the course syllabus, non-textbook readings in PDF format, assignments and prompts, and exam study guides. (Textbook readings are, of course essential, but the text itself will not be on canvas.) Supplemental: optional readings and timely art history news items. You will need to reference your readings into your exam essays. Mentioning supplemental texts in addition to required readings will only help your grade.

CLASSROOM CONDUCT and CONSIDERATIONS Above all, everyone must treat one another with respect during our classroom discussions. I will not abide disruptive behavior or the demeaning or threatening of others. This constraint does not preclude our discussion of complex and difficult matters. Rather, such dialogue is welcome, so long as we remain considerate to our interlocutors.

Electronic devices: while taking notes by hand has been shown to have learning benefits over typed notes, laptops and tablets are welcome in the classroom so long as students use them for course-related matters alone. This is a privilege that is contingent on an individual student’s actions. Students might use their laptops or tablets to take notes, read PDFs, search for more work by an artist, or to view materials related to discussion. If students are found to be reading Facebook, watching Netflix, shopping online, etcetera, they will be marked absent and will receive a warning; the second time this happens students will be informed that they cannot use electronic devices in class. Phones must be silenced and put away during class. If you have a legitimate reason for watching your phone (you have a loved one in the hospital, or a child in day care and the provider needs to be able to reach you) let me know. You can keep your phone out, on silent, but be sure to leave the classroom before taking a call.

Regarding emotionally sensitive materials: art reflects lived culture and life. Thus, it is not all beautiful, uplifting, or positive in its subject matter. Let this statement stand as a general warning; we will be discussing and looking at images (and considering themes) that may be traumatic to some of you, e.g., Artemesia Gentilesci and sexual violence, Francisco Goya and the atrocities of war, J.M.W. Turner and Kara Walker on slavery, or the Surrealists and transgressive sexuality. I will try to give warning before showing traumatic imagery, but it is not guaranteed. We will also look at the human body in vary states of undress—this is art history, after all, and we have been our own subjects since time immemorial.

COMMUNICATION Please email me directly at [email protected]. Do not send me messages in canvas. It is unreliable, and I will not respond to messages sent in that manner. Please begin any email to me with “ARH 303:” at the beginning of the subject line; that way I can set up Gmail filter to group your emails into a single folder, helping me to respond in a timely manner. I will try to answer all emails within 48 hours Monday-Friday. You, similarly, should keep up to date on emails that I send out to the class. I will, throughout the semester, send out messages about assignments, exams, etcetera: items that you will need to know about in order to succeed in the course. Before you send me questions, be sure that your answer is not in the syllabus or among my communications to the class.

Piazza: What is piazza? It’s a digital town’s square for the class, accessible through Canvas (and it is FERPA compliant). You will need to create an account to use this feature. What happens there? You can post comments or questions to Piazza either publicly under your name or anonymously (for the class; the grader and I will know your identity). If you have a question about material in the class, others probably do as well, so please ask! You classmates can answer, and I can either endorse their answer, or I can add my own responses. I’ll answer any question there, save for those answered already in the syllabus. What else can we do there? I’ll make important announcements there. What else? Did you find a news story or something else that you think is pertinent to the material in the class? Please share! You want to begin a conversation about something in class, or art in general: please do! Please, however, keep your shares professional. This space is a virtual extension of our classroom, and the guidelines for Classroom Conduct above hold true in Piazza as well. I will be generally hands-off in policing posts, but if something crosses a line, I will remove posts and let the poster know why. I will not, for instance, abide insults directed against fellow students.

*A note about writing emails and other messages: in addition to teaching you to think, and imparting some basic knowledge, college is about preparing you for the professional world. Thus, you should get into the habit of being respectful/deferential in your academic and business communications, particularly the first time you draft an email or letter to a recipient. In this spirit, “Dear Mr. Cushing” would be an appropriate salutation for an introductory missive. (I’m still a PhD candidate, so there’s no need to call me “Dr.,” and I do not hold the title of professor, so that is unnecessary as well.)

ACADEMIC HONESTY Your actions in an academic setting define you in terms of your personal integrity, and they determine the integrity of your work. When high ambitions meet the demands of real life, we can be tempted to cut corners. Do not let temptation lead you down the path of academic dishonesty. Cheating and plagiarism are extremely serious matters and are subject to disciplinary penalties, up to and including failure of the course and dismissal from the University. If you plagiarize in this course, the very least result will be a zero for the assignment.

The Definition that the University of Texas at Austin uses for “plagiarism” is as follows: “‘Plagiarism’ includes, but is not limited to, the appropriation of, buying, receiving as a gift, or obtaining by any means material that is attributable in whole or in part to another source without any indication of the original source, including words, ideas, illustrations, structure, computer code, and other expression or media, and presenting that material as one’s own academic work being offered for credit or in conjunction with a program course or degree requirements.” A good rule of thumb is that any five consecutive words lifted from a source without attribution constitutes plagiarism. This does not mean, however, that if you take a paragraph from a book and change every fifth word, you will be in the clear; that is still plagiarism. Similarly, submitting work for this class that you created for another course, without explicit permission from the instructor, constitutes self-plagiarism: it is not allowed. If you have any questions about plagiarism or cheating, please visit me during office hours to discuss.

My source for the definition above, as well as the university’s other policies on academic honesty, can be found here: https://catalog.utexas.edu/general-information/appendices/appendix-c/student-discipline-and- conduct/

ACADEMIC ACCOMODATIONS Any students with academic accommodations letters should present them as soon as possible. I must have these letters in hand in order to begin to arrange for students’ individual needs.

GRADING OVERVIEW

Exam #1: 25% Exam #2: 25% Short writing assignments: 10% Quizzes: 5% Presentations: 10% Research Paper:20% Attendance: 5%

GRADING KEY

Grading for all students in this course will observe the plus-and-minus system. I will round up any averages ending in 0.5, but I will NOT adjust grades in any other manner. In other words, if you have an 88.6 average at the end, you will receive a B+ for this course. Moreover, the course grader and I are using our first assignment as a calibration for ourselves as well as for you; it will be recorded as pass/fail, but with an assigned letter grade that lets you know what it would have received otherwise. After the first assignment, the grader’s judgment stands in all but extreme cases, such as clear mistakes in grading. I will discuss assignment grades during office hours only. If you still wish to appeal a grade, please send me an email with a detailed explanation of your position along with a scan of the assignment/exam at least 24 hours before we meet. Know, however, that there is little chance your grade will change. And in reviewing a given assignment, I will fully review your grade, increasing or decreasing it as the work warrants in my estimation.

93-100 = A (4.00) 73-76 = C (2.00) 90-92 = A- (3.67) 70-72 = C- (1.67) 87-89 = B+ (3.33) 67-69 = D+ (1.33) 83-86 = B (3.00) 63-66 = D (1.00) 80-82 = B- (2.67) 60-62 = D- (.67) 77-79 = C+ (2.33) 0-59 = F (0.00)

READINGS

The required textbook for this course is Marilyn Stokstad and Michael W. Cothren’s Art History, Sixth Edition, Volume II. Pearson/Revel has decided (to my chagrin, frankly) that they want to transition towards a primarily digital platform. Thus, you need to acquire the digital version and then you can get a hardcopy from them by mail once you create an account with them. They sell two versions. One (ISBN 9780134485195) is just for digital access, but it gives you the option of ordering a physical, three-hole punch copy for an additional $19.99. The other one (ISBN 9780135197462) includes a printed copy in the price, as sent by mail. As I said, both require creating an account with Pearson/Revel. The University Coop will have access cards for the textbook available for sale, and you are free to buy from the publisher or another source as you will.

Here is the publisher’s page on the book: https://www.pearson.com/us/higher- education/program/Stokstad-Art-History-Vol-2-6th-Edition/PGM2200340.html

Here’s the direct link that the Coop supplied: https://utcoop.verbacollect.com/courses/9512881/edit

You will need an invite link to view the Pearson textbook. Here it is: https://console.pearson.com/enrollment/omg6ik

All other readings, required and optional, I will scan and post as PDFs on canvas. I reserve the right to change readings in response to our class discussions and interest. If I do so, I will give several weeks’ notice.

EXAMS

We will have two exams. These exams will include some combination of slide identifications, multiple choice questions, short answer questions, and short and medium length essays (including slide comparisons). The exams will not be cumulative, though this is a history course and the past always has bearing on any given moment. Reference to Test I material in Test II may be well appropriate in the context of your essays. Before each exam, I will distribute study guides and slide lists, and we will do some practice slide comparison during class in order to prepare you for the essay portions of the exams.

Make-up exams will only happen under two exceptionally rare circumstances: 1) you have an important academic or career-related event (e.g., a job interview) scheduled at the same time as class and you clear it with me at least two weeks in advance, or 2) acute illness (mental or physical) or serious personal issues (e.g., family emergencies). In these latter cases, I will need to know same day (or as soon as is safe and possible) and I reserve the right to ask you for documentation, such as a note from your doctor or health services. I will not offer make-up exams liberally; it would not be fair to those who study and prepare to give out make-up tests to someone who merely claims to be sick in order to get extra time to prepare.

ASSIGNMENTS IN GENERAL

For each of your assignments I will post a PDF detailing the aims and requirements of that exercise. All of your assignments should have a header that includes your name, UT EID, the class and assignment name, and the date. For groups, it should include names for all members.

SHORT WRITING ASSIGNMENTS

In addition to the précis on the Elkins text, you will be responsible for writing two additional short pieces during the semester.

Short writing assignments should be submitted on paper, physically, at the end of class on the day that they are due. They are to be typed in 12 point Times New Roman, double-spaced, with 1” margins. Length should be 250-300 words. Do not go longer. Writing in abstract or short-form format is a useful skill to possess—necessary in the academy and in many private sector jobs. Citations are not expected for these assignments as they require no research beyond the assigned reading, but if you do cite material, use Chicago/Turabian style. Short-form writing is difficult, and it only comes with practice.

Note: late writing assignments will lose one full letter grade per day.

QUIZZES

Throughout the semester, I will give you seven unannounced quizzes. They will be multiple choice and should be easy if you have done the reading and come to class. Of the seven quizzes, I will drop the lowest two. If you are absent on a quiz day, you will get a zero on that quiz and it will count towards your dropped lowest scores.

PRESENTATIONS

Throughout the semester, students will give short presentations on artists who, in one way or another, hail from outside the western academic tradition, who straddle worlds, or who have been traditionally excluded from the canon. I will supply a list of artists to choose from. Students will work in groups of fiveSep that are randomly determined. Presentations will include Powerpoint slides with examples of the artist’s body of work. Additionally, each group will submit an annotated bibliography (in Chicago style) with 2-3 sentences describing the argument and scope of each source. These bibliographies will be shared with the class.

RESEARCH PAPERS

The purpose of this assignment is two-fold. I want students to have the opportunity to work on their writing, and I hope that they will find topics that excite them and promote curiosity and independent learning. These papers might cover an individual artist or work, a comparison of artists/works, a narrowly defined idea in art, etc. Topics should be manageable in the short length of this paper and each student must develop an argument in the course of the paper.

Papers will be 5-7 pages PLUS cover, figures, and bibliography. They essays should be executed in 12 point Times New Roman, double-spaced, with footnote citations in the Chicago/Turabian style. Because the papers are due less than a week before grades must be submitted, late papers will not be accepted. PAPERS ARE DUE BY DECEMBER 13th. They may be left for me in my mailbox via the admins/coordinators in the art history suite of DFA, or they can be handed to me during the last class or during my office hours. If students wish to discuss paper topics, I ask that they please come to office hours; it would be a great idea to do so, but I won’t require it.

Sources: be aware that it is extremely unlikely that students can complete the research for this paper entirely online and still receive a satisfactory grade. Students will need to go to the library and possibly request books and journals from storage and interlibrary loan, so I suggest starting early. Many sources online are not legitimate for citing in academic research. That includes not only blogs and other such sites, but also Wikipedia. Sources should consist primarily of books, peer-reviewed journal articles (many of these, at least, are online—if they are recent), and museum and gallery ephemera (such as gallery guides and didactic labels). Wikipedia is fine for background knowledge, but it is not citation worthy; the sources its articles cite, however, will likely be useful. If students have a question about evaluating a source, come to my office hours and we can discuss. I am willing to read drafts of student work up until Wednesday December 4th.

ATTENDANCE

Showing up is part of being a student (or a teacher). It is how you receive lectures and get to ask questions. Attendance is calculated in a straightforward manner. You have three grace days— absences that do not affect your grade. Beginning with your fourth absence you will lose a cumulating 10% of your attendance grade per missed class. Thus, missing thirteen classes will mean receiving a zero for attendance. I understand that we sometimes have scheduling conflicts, or we are too sick for class. That is why you have three no question/no excuse passes; they represent more than ten percent of the overall class meetings. Exceptions beyond these three days

will only be made in extraordinary circumstances, and then only when we discuss the matter at the time of your absence.

Bill Watterson takes on Marcel Duchamp

Wednesday Aug 28 classes begin, Monday December 10 last day, December 13, 15, 17, 19 exams COURSE SCHEDULE, READINGS and ASSIGNMENTS

Week 1 Thurs, Aug 29 (Class , Instructor Away, No Class Meeting) Read the Syllabus Readings: Stokstad, Introduction; Anna Bryzyski, “Introductions: Canons and Art History” in Partisan Canons (PDF); James Elkins, “Canon and Globalization in Art History” in Partisan Canons (PDF) Optional reading: James Elkins, “Introduction: Art History as a Global Discipline” in Is Art History Global? (PDF)

**Assignment: Write a critical précis of 200-250 words based on your reading of the required Elkins text** Week 2 Tues, Sept 3 (Class 2) Material: Course introduction, Syllabus review, and Giotto, Duccio, Lorenzetti—Italy in the 14th century Readings: Stokstad, Chapter 18; Vasari. “Preface to the Lives” in The Lives of Artists. (PDF)

**Short Writing Assignment #1, a précis on the Elkins text, due**

Thurs, Sept 5 (Class 3) Material: 15th Century Italy, Medici Florence, Massacio, Pollaiuolo, Donatello, Ghiberti Readings: Stokstad, Chapter 20; Petrarch: letters to Cicero and Homer (PDF) Optional reading: Pico della Mirandola, “Oration on the Dignity and Excellence of Man” (PDF)

Videos (lost wax casting): https://vimeo.com/159788008

Week 3 Tues, Sept 10 (Class 4) Material: 15th Century Italy continued: Brunelleschi, Uccello, Perugino

Readings: Alberti, Leon Battista. “On Painting” (skim book I, read II and III more closely) (PDF) Optional readings: Pliny, Selections from Natural History, Book XXXV

Thurs, Sept 12 (Class 5) Material: Northern Renaissance, Gutenberg, van Eyck, Dürer, Bosch Readings: Stokstad, Chapters 19 and 22 Optional readings: Linda Hults, “Early Relief and Intaglio Techniques” in The Print in the Western World: An Introductory History.

Videos: (on wood engraving): https://www.youtube.com/watch?v=eKmArlrjxLI (and copper plate etching) https://www.youtube.com/watch?v=fQvghHs15hA

Week 4 Tues, Sept 17 (Class 6) Material: 16th Century Renaissance and the idea of genius: Leonardo, Michelangelo, Raphael (and Raimondi), Titian Readings: Stokstad, Chapter 21; selections from Leonardo on Painting (PDF)

Thurs, Sept 19 (Class 7) Material: Persian miniatures, Chinese ink paintings Readings: Stokstad, Chapter 25, Selection from Nizami’s Haft Paykar (PDF) Optional Reading: Bloom, Jonathan, and Sheila Blair, “Penman and Painters: The Art of the Book” in Islamic Arts (PDF),

Extra resource: The British Library’s digitized version of the book containing our primary object: http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Or_6810

Week 5 Tues, Sept 24 (Class 8) Material: Italian Mannerism into Baroque, Bronzino, Caravaggio, Gentileschi Readings: Stokstad, Chapter 23; Heinrich Wölfflin, “Introduction” in Principles of Art History.

Thurs, Sept 26 (Class 9) Material: Bernini, Velazquez, Rubens, Rembrandt Readings: Mary Crawford Volk, “On Velázquez and the Liberal Arts” (PDF)

**Due: Short writing assignment #2, a reflection on Jeffrey Gibson: This is the Day at the Blanton, due [Read Stokstad Chapter 27 before your visit]**

Week 6 Tues, October 1 (Class 10) Bernini and the Vatican, Mugal art, Taj Mahal Reading: Stokstad, Chapter 24; Calligraphic inscriptions from Taj Mahal [just get a sense of them] (PDF)

Thurs, October 3 (Class 11) Neoclassicism and Romanticism, David, Friedrich, Géricault, Delacroix Reading: Stokstad Chapter 30; Excerpts from Burke and Kant on the Sublime (PDF); Fragment on Romanticism by Novalis (PDF); Excerpt from Percy Shelly’s Defense of Poetry (PDF);

Except from Johann Winckelmann, “Thoughts on the Imitation of Greek Works in Painting and Sculpture (1755)” (PDF)

Week 7 Tues, October 8 (Class 12) Goya, Spanish Colonial art, Casta painting Reading: Stokstad Chapter 30 (Review 30.6); Goya, announcement for his Caprichos (PDF); Gaspar Melchor de Jovellanos, “Letter on the French Revolution (1794)” (PDF)

Thurs, October 10 (Class 13) Japanese printmaking (ukiyo-e): Yoshitoshi, Hokusai, Kuniyoshi Reading: Stokstad, Chapter 26

Week 8 Tues, October 15 (Class 14) Exam Review Thurs, October 17 (Class 15) Exam #1

Week 9 Tues, October 22 (Class 16) Symbolism and Realism, Impressionism, Postimpressionism, Courbet, Manet, Monet, Gauguin, Cézanne Reading: Stokstad, Chapter 31; G. Albert Aurier, from “Symbolism in Painting: Paul Gauguin (PDF), Charles Baudelaire, “The Painter of Modern Life” and “Correspondences” (PDF)

Thurs, October 24 (Class 17) Postimpressionism cont., Fauvism, Cubism, Matisse, Braque, Picasso Reading: Stokstad, Chapter 32 (Intro, 32.1 & 32.2); Henri Matisse, “Notes on a Painter.” (PDF); Henry-David Kahnweiler, from “The Rise of Cubism” (PDF) Optional reading: Alfred Jarry, Ubu Roi (PDF)

Week 10 Tues, October 29 (Class 18) German Expressionism, de Stijl, Bauhaus, Mondrian, Kandinsky Reading: Stokstad, Chapter 32 (32.3); Walter Gropius, “Bauhaus Manifesto and Program” (PDF); Rose-Carol Washton-Long, “Kandinsky and Abstraction: The Role of the Hidden Image” (PDF) Optional Reading: excerpts from Kandinsky’s Concerning the Spiritual in Art (PDF)

Thurs, October 31 (Class 19) Futurism, Constructivism, Suprematism, Balla, Boccioni, TatlinMalevich Reading: Stokstad, Chapter 32 (32.3 & 32.4); F.T. Marinetti, Futurist Manifesto (PDF)

Week 11 Tues, November 5 (Class 20) Dadaism/ Surrealism/ Purism, Duchamp, Höch, Masson, Ernst Reading: Stokstad, Chapter 32 (32.3 & 32.4), Selected Dada and Surrealist Manifestos and excerpts (PDF)

Optional reading: selected excerpts from Surrealist texts

Thurs, November 7 (Class 21) Harlem Renaissance, Douglas, Lawrence, Modernism in Mexico, Posada, Rivera, Kahlo

Reading: Stokstad, Chapter 32 (32.5); Alain Locke, “The New Negro,” Augustin Artega, “Mexico’s Renaissances” in Mexico 1900-1950.

Week 12 Tues, November 12 (Class 22) From Paris to NY: Abstract Expressionism, Gorky, Frankenthaler, Pollock, Rothko Reading: Stokstad, Chapter 32 (32.6); Clement Greenberg, “Modernist Painting” (PDF), Harold Rosenberg, “The American Action Painters” (PDF)

Thurs, November 14 (Class 23) Neo-Dada/ Pop, Fluxus and performance, Johns, Rauschenberg, Warhol, Lichtenstein, Ono, Beuys Reading, Stokstad: (Intro, 33.1 & 33.2); Leo Steinberg, from “Jasper Johns: The First Seven Years of his Art” and “Other Criteria” (PDF) Optional reading: excerpt from Andy Warhol, The Philosophy of Andy Warhol (PDF)

Watch Yoko Ono’s Cut Piece (performed March 21, 1965): https://www.youtube.com/watch?v=- yqhSZsXIJQ

Week 13 Tues, November 19 (Class 24) Minimalism into Postminimalism/ Conceptualism, Environmental, Judd, Smith, Hesse, Sol Lewitt, Nauman, Christo Reading: Stokstad, Chapter 32 (33.3); Lucy Lippard, “Escape Attempts” (PDF) Optional Reading: Donald Judd, “Specific Objects.”

Thurs, November 21 (Class 25) Femmage, Feminism, appropriation: Schapiro, Chicago, Kreuger, Guerilla Girls Reading: Stokstad, Chapter 32, 33.4 & 33.6, Linda Nochlin, “Why Have There Been No Great Women Artists” (PDF)

Week 14 Tues, November 26 (Class 26) Identity, AIDS, Photography and other media, Ringold, Mapplethorpe and Fani-Kayode Reading: Stokstad, Chapter 32 (33.8); Kobena Mercer, “Imagining the Black Man’s Sex” (PDF)

**Short writing assignment #3, a critical reflection on either the Nochlin or Mercer text or the Ono performance, due**

Thurs, November 28 (Class 27) THANKSGIVING BREAK, no class meeting

Week 15 Tues, December 3 (Class 28) Modernism in African Art, Samba, Kingelez, Kentridge, Alexander Reading: Reading: Stokstad, Chapter 29

Thurs, December 5 (Class 29) Exam Review

Week 16 Tues, December 10 (Class 30) Exam #2

***FINAL PAPER IS DUE BY DECEMBER 13, 5pm. NO LATE PAPERS ACCEPTED.

THERE IS NO FINAL EXAM ON DECEMBER 17.