10

CURRICULUM

All requests for new courses, changes in existing courses, new degree programs, new minors, new certificates, and new concentrations must be considered for approval by the Associate Dean for Graduate Education in the College. Requests must be approved by both the College and the University Graduate School before listing in the Schedule of Classes, in the University Graduate School bulletin, or on departmental Web sites. 10.1 New Course and Course Change Requests

All course change request forms and new course request forms should be submitted online using OneStart. If you do not have access to the online request forms in OneStart, please contact Jennifer Young Rigsby (jyrigsby@indiana.edu). A syllabus must be included with each course request. If you wish to add information to a request (additional information regarding the justification for a course change, for example), please attach the added information to the request form in the notes section of the online form. To request a change in an existing course, please submit Course Change Request form online. In each case the School/Division is the College of Arts and Sciences. The academic subject code is the three- or four-letter designation for your unit (e.g., ANTH, GER, PHYS, TEL). Please include the current credit hours, the current course title, the effective date (fall 2008, for example), and the course instructors name. On items 10 through 19, please check only those items (course title, credit hours, description, etc.) that you wish to change. After the chairperson has approved the request online, the course request form will be routed to the College Graduate Office. To propose a new course, please submit a New Course Request form online. When you have chosen a course number, please reserve the number by contacting Mandy Bartley in the office of Student Enrollment Services (855-2092). You may also request to have a course number reserved directly from the online request form. Course numbers for all new graduate-level courses should be proposed at the 500-level or higher. The course description should include any prerequisites and should not exceed 50 words. Please attach a copy of the full graduate syllabus and a copy of the graduate reading list for each new course. The course syllabus should be identical to the information that will be given to students on the first day of class and should include descriptions of all written assignments, examinations, and reading assignments along with a description of the grading method to be employed in evaluating students work. In April of 1990 the Graduate Council ended the practice of awarding both undergraduate and graduate credit to new 300- and 400-level courses. All graduate courses proposed since 1990 have been proposed with 500-level course numbers or higher. The graduate bulletin continues to list a number of undergraduate courses that were approved for both undergraduate and graduate credit prior to April of 1990. If you wish to make a change in an existing course that carries both undergraduate and graduate credit (and that is currently listed in both the undergraduate and graduate bulletins), please submit a Course Change Request Form. The Undergraduate Division is not currently accepting online submissions. Please check both the undergraduate credit box and the graduate credit box at the top of the Course Change Request form. Please submit to the Undergraduate Division first. The form will be routed to the College Graduate Office. Please note, however, that it is preferred for departments that currently offer courses carrying both 99

graduate and undergraduate credit discontinue the use of the single 300-400 level course identification and create two separate joint-listed courses at the undergraduate and graduate levels. Please use the following checklists and sample syllabi when proposing a new course or course changes to ensure a proper submissions:

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COLLEGE OF ARTS & SCIENCES NEW GRADUATE COURSE REQUEST FORM CHECK-LIST
1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 20. 21. 22. 23. 24. 25. _____ _____ _____ _____ _____ _____ _____ _____ _____ _____ _____ _____ _____ _____ _____ _____ _____ _____ _____ _____ _____ _____ _____ _____ Campus is listed as BL Is this a matching course? Graduate selected School/Division is: BL-COLL-College of Arts & Sciences Academic Subject Area: e.g. LING-Linguistics; ENG-English Course Number is >500. e.g. E502 Course title listed? Yes or No First time course offered ____________________ Credit hours - Fixed or Variable Is S-F grading approval requested? Yes or No Variable title being requested? Prerequisites listed Yes or No Course Description listed Does course require a special fee? Yes or No Equivalent courses listed if required Yes or No Repeatable for credit? Yes or No Type of Instructional Experience (Component Type) Instructional Mode listed Estimated enrollment (at least 5 students) Percent of grad students (at least 100%) Frequency of Schedule Course typically offered: Fall Spring Summer Course required for majors? Yes or No New course justification attached? Credit hours (units do not match Lecture Contact Hours. Typical 3 credit course meets for three 50-min sessions/week. Non-lecture Contact Hours are included. These should be reserved for time in a language or science laboratory, etc. Instructor does not hold a faculty-level position (visiting professor, associate scientist, associate scholar or professor). Variable Title required. Variable titles are reserved for topics courses and seminars in which the topic will change each semester. _____ 26. _____ Necessary reading materials available in appropriate library? Existing course overlap? Yes or No Reserved in SIS? Yes/No

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Additional points to consider: 1. 2. If the syllabus includes information about a related undergraduate course, please provide a detailed explanation of the differences between undergraduate and graduate expectations. Frequency of Scheduling Proposal should specify whether the course is offered annually, every other year, or at other frequency. It may be appropriate to list here whether it is required for any graduate degree. If reading materials are not available in the library, please list on the form how they will be made accessible (e.g. course packet) Justification for New Course - should describe the rationale for the course, the role it will play in the units curriculum, and details concerning the planned level of instruction. The syllabus should include a list of topics to be covered and required assignments. Please also include a detailed description of grading methods (e.g. 10% for each two exams, 25% for a final paper). Graduate Courses generally require students to turn in at least one written or quantifiable produce (test or exam), and include substantial reading lists (at least 2-3 papers or book chapters per week). Exceptions should be clearly explained and justified. Please check for potential overlap with other existing courses and departments, consult with those programs as appropriate, and attach a summary of those consultations along with the new course proposal. Proposals which appear to overlap but do not include such summaries will be returned.

3. 4. 5.

6.

7.

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COLLEGE OF ARTS & SCIENCES GRADUATE COURSE CHANGE REQUEST FORM CHECK-LIST 1. 2. 3. 4. 5. 6. 7. 8. 9. **** _____ _____ _____ _____ _____ _____ _____ _____ _____ _____ Campus is listed as BL Only Graduate Credit has been checked. (Others approved separately) School/Division is: BL-COLL-College of Arts & Sciences Academic Subject Area: e.g. LING-Linguistics; ENG-English Course Number is >500. e.g. E 502 Current course title listed? Yes or No Course hours listed: Yes or No Special fees listed? Yes or No Effective semester/year e.g. Fall 2008 Items 1-9 are complete.

Items 10-23 should be marked only if relevant to the change. To change course title and description, only items 11 and 17 should be marked. 10. _____ If requesting a Course Number Change, the new number has been reserved in SIS. Call Student Systems Services 5-2218 to reserve a unique number) 11. _____ New Course Title listed 12. 13. 14. 15. 16. 17. _____ _____ _____ _____ _____ _____ _____ _____ _____ 18. 19. 20. 21. 23. 24. 26. _____ _____ _____ _____ _____ _____ _____ Credit Hours changed to: Is this course currently graded S-F? Yes or No Is S-F grading approval being requested? Yes or No Course presently have variable title approval? Yes or No Variable title being requested? Prerequisites listed? Yes or No If requesting to Discontinue Course, for Bloomington or all campuses. Changes listed? Current Course Description? Exceed 50 words? Change Course Description listed? If course content is being changed substantially, it may be more appropriate to propose a new course. Equivalent Courses? Repeatable for Credit? Type of Instructional Experience (Component Type) Instructional Mode Is this a cross-listed course? Yes or No Explanation and Justification for changes Course outline/syllabus attached in Create Note section. Syllabus Example I 103

10.2

Example Syllabi

Greek Cinema and the National Cinema Question

Franklin L. Hess Like most world cinemas, Greek cinema has been marked, since its inception, by a tension between the impulse toward cosmopolitanism and a perceived duty to represent the space of the nation. Though this tension has been a constant, it has not been uniform. The national mission of cinema in Greece has been affected-at times strengthened, at times attenuated- by both historical exigencies and more subtle shifts in cultural attitudes and social values. This course will trace the historical trajectory of cinema in Greece, refracting films and film culture through both major historical events (the Occupation, the Civil War, the Truman Doctrine, the Junta, membership in the EU) and broader cultural, social, and economic trends (modernity, orientalism, the infiltration of consumer culture, immigration, the expansion of the tourist economy). Additionally, students will become versed in current debates about the possibility and desirability of using the nation as an analytical category for thinking about cinematic trends and movements, acquiring, in the process, a comparative basis for thinking about Greek cinema. Required Readings and Films: Books
Hjort, Mette and Scott MacKenzie, eds. Cinema and Nation. New York: Routledge, 2000. Williams, Alan, ed. Film and Nationalism. New Brunswick, N.J.: Rutgers University Press, 2002 Clogg, Richard. A Concise History of Modern Greece. New York: Cambridge University Press, 2002. Couloumbis, Theodore A., Theodore Kariotis, Fotini Bellou, eds. Greece in 2(jh Century. Portland, Oreg.: Frank Cass, 2003.

Films
The Magician of Athens, Ahileas Madras Astero, Dimitris Gaziadis The Ogre of Athens, Nikos Koundouros Never On Sunday, Jules Dassin What Did You Do in the War, Thanassis?, Dinos Katsouridis The Price of Love, Frida Liappa The Engagement of Anna, Pantelis Voulgaris The Traveling Players, Theo Angelopoulos Rebetiko, Kostas Ferris Balkanizater, Stathis Goritsas The Hostage, Constantinos Yiannaris Istanbul Cuisine, Tasos Boulmetis

Articles
Close, David. "Descent to Civil War: April 1946-March 1947" in The Origins of the Greek Civil War (New York: Longman, 1995) Dussel, Enrique. "World-System and 'Trans'-modemity." Neplanta: Views from the South 3(2002): 221-244. Eleftheriotis, Dimitris. "Questioning Totalities: Constructions of Masculinity in the Popular Greek Cinema of the 1960's," Screen 36(Autumn 1995). Frangoudaki, Anna. "Diglossia and the present language situation in Greece: A sociological approach to the interpretation of diglossia and some hypotheses on today's linguistic reality." Language in Society 21(1992): . Goldsworthy, Vesna. "Invention and in(ter)vention: the rhetoric of Balkanization" in Balkan as Metaphor: Between Globalization and Fragmentation (Cambridge: MIT Press, 2002). Gounaridou, Kiki. "Representations of Women in the Films ofPantelis Voulgaris:

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Akropole, The Stone Years, and The Engagement of Anna." Journal of Modem Greek Studies 18 (May 2000): 151-160. Holst, Gail. Chapters 4-5 "Rembetika High-Smyrna Style and Piraeus Style" and "The Indian Summer of Rembetika-the War Years and Tsitsanis" nom Road to Rembetika (Athens, Greece: Denise Harvey & Co., 1975). Horton, Andrew. "The Travelling Players: Figures in the Landscape of Myth and History" in Theo Angelopoulos: A Cinema of Contemplation (Princeton: Princeton University Press, 1987). Iatrides, John O. "Greece at the Crossroads, 1944-1950" in Greece at the Crossroads: The Civil War and Its Legacy (State College, Pa.: The Pennsylvania State University Press, 1995). Iordanova, Dina. "Are the Balkans Admissible?: A Discourse on Europe" in Cinema of Flames: Balkan Film, Culture and the Media (London: British Film Institute, 2001). Kitromilides, Paschalis M. '''Imagined Communities' and the Origins of the National Question in the Balkans," European History Quarterly 19(1989). Leontis, Artemis. "Cultural Politics and Populist Uses of the Ancients," Journal of Modem Greek Studies 9(1991). Mazower, Mark. "The Land and Its Inhabitants" and "Epilogue: On Violence" in The Balkans: A Short History (New York: Modem Library, 2002). Mazower, Mark. "The Chaos of the New Order" in Inside Hitler's Greece: The Experience of Occupation, 1941-44 (New Haven: Yale University Press, 1993.) Myrsiades, Linda S. "Theatrical Metaphors in Theodoros Angelopoulos's The Traveling Players." Journal of Modem Greek Studies 18 (May 2000): 135-149. Papadimitriou, Lydia. "Traveling on Screen: Tourism and the Greek Film Musical." Journal of Modem Greek Studies 18 (May 2000): 95-104. Rastko, Mocnik. "The Balkans as an element in ideological mechanisms" in Balkan as Metaphor: Between Globalization and Fragmentation (Cambridge: MIT Press, 2002). Tsitsopoulou, Vassiliki. "Greekness, Gender Stereotypes, and the Hollywood Musical in Jules Dassin's Never on Sunday." Journal of Modem Greek Studies 18 (May 2000): 79-93. Veremis, Thanos. "From the National State to the Stateless Nation 1821-1910," European History Quarterly 19(1989).

Additional Bibliography
Bjelic, Dusan I. and Obrad Savic, oos., Balkan as Metaphor: Between Globalization and Fragmentation, (Cambridge, Mass.: MIT Press, 2002). Clogg, Richard. Greece 1940-1949: Occupation, Resistance, Civil War, A Documentary History (New York: Palgrave MacMillan, 2002). Close, David. The Origins of the Greek Civil War. New York: Longman, 1995. Hammond, Andrew. The Balkans and the West: Constructing the European Other, 1945-2003. Burlington, Vt.: Ashgate, 2004. Horton, Andrew. The Films ofTheo Angelopoulos: A Cinema of Contemplation. Princeton: Princeton University Press, 1997. Horton, Andrew, ed. The Last Modernist: The Films ofTheo Angelopoulos. Westprot, Conn.: Greenwood Press, 1997. lordanova, Dina. Cinema of Flames: Balkan Film, Culture, and the Media. London: British Film Institute, 200 I. lordanova, Dina. The Cinema of the Balkans. New York: Wallflower, 2006.

Learning Goals
Students in this course should acquire a command of specific bodies of knowledge and an ability to apply specific skills sets in order to further intellectual inquiry. I expect students emerge from the course with:

1) an ability to recall important milestones in the history of both the Greek cinema and

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the Greek nation, 2) an ability to discuss specific films in terms of their historical and cultuml contexts (both the contexts that they represent and the contexts in which they were created), using recalled information to draw inferences about the meaning of individual films, 3) an ability to discuss specific films in terms of the specific formal elements that make film a distinct form of communication from, say, literature or the theater, 4) an ability to think cross-culturally about texts, recognizing the values and biases inherent within both Greek films texts and the cultuml assumptions that the student is bring to the interpretive process, 5) an ability to think broadly about the relationship of cinemas to nations, summarizing major positions on the issue of film's capability of representing the nation, and 6) an ability to critique the values and biases inherent within both films and film viewers (including oneself), generating distinct interpretations of film texts. Expectations Lectures and classroom discussions will be the core of this course. Accordingly, attendance is mandatory as is participation in classroom activities. You are allowed three absences. Missing four or more classes may affect your fmal grade negatively. Ten or more absences may result in failure. I expect students to attend all screenings and complete readings. If, for some reason, it is impossible for a student to attend a screening, that student will be expected to make up the screening on his or her own. Films will be on reserve in the libmry. I reserve the right to administer pop quizzes if I feel readings are not being completed or screenings are not being attended. To facilitate classroom activities, students will be asked to prepare for class by writing brief, 1-2 page (word processed, 12-pointtype, 1" margins) responses to at least four of the eight screening sessions. These responses will be collected at the end of class and graded. Additionally, students will be given two major writing assignments: a pair ot 4-0 page papers analyzing films and incorporating independent research. There will also be a midterm and final.
Approximate Grade Distribution Attendance and Class Participation: Four Film Responses Paper #1 Paper #2 Midterm Exam Final 40% 10% 10% 15% 10% 15%

POLICY REGARDING ACADEMIC DISHONESTY: Each student in class should be familiar with, and follow the guidelines in the I.U. Student Code of Ethics. No cheating, fabrication, plagiarism of any kind will be tolerated. Academic dishonesty of any sort will result in an automatic "F" in the course. Please see me if you have any questions as to what constitutes plagiarism or any kind of academic dishonesty.

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Syllabus Example II

College C500 Sample Course

Department of Chemistry, Indiana University, Bloomington, IN Second Summer Session 2007,Section1864

INSTRUCTOR:
Professor Joe Smith E-mail: joesmith@indiana.edu Office: Bldg 123 Office Hours: Wed. 11:30 am - 1 pm in Bldg 123 or by appointment.

COURSE TIME & LOCATION: 10:30 -11:20 am, MTWRF COURSE DESCRIPTION:
This course provides an introduction to the structure and function of academic functions macromolecules,bioenergetics, and transfer of genetic information. Students learn to appreciate the logic of metabolic pathways and the relationship between metabolic diseases and the enzymes that control these pathways. Students also learn about the complex protein and nucleic acid machines that provide exquisite control over the replication and expression of genetic information.

GOALS OF THIS COURSE:

I. For you to develop a new biochemical vocabulary of key functional groups and linkages, chemical structures of important molecules, and how small molecules combine to form macromolecules. 2. For you to learn core biochemical subjects and principles, including: Structure & function of macromolecules, Properties & mechanisms of enzymes Metabolic pathways, regulation of metabolism, and metabolism & disease Flow of genetic information through replication, transcription and translation 3. For you to apply learned knowledge and critical-thinking skills to solve biochemical problems. 4. For you to you to become familiar with Internet-based resources essential to the study of modem biochemistry and learn how to apply these tools through bioinformatics exercises.

WEBSITE: Please visit OnCourse for the class website. REQUIRED TEXT:
Horton, Moran, Scrimgeour, Perry,and Rawn. Principles of the Academy. 2nd ed. Bloomington, IN: Indiana University Press, 2006.

Due to the large amount of material to be presented in this course, we will move at a rather quick pace. It is necessary for you read the assigned reading prior to attending class.

ADDITIONAL TEXTS:
Additional texts will be on reserve in the library for additional reference and made available via the OnCourse class website.

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PREREQUISITES:
Prior to taking this course it is strongly recommended that all students have completed either COLL-C300 and C400. If you have not completed either COLL-C300-400, you must obtain permission from the instructor to participate in this course.

COURSE GRADES:
Course grades will be based upon a total of 100 points as outlined below from class participation, exam and research paper. Attendance & Participation Exam Research Paper Total Points Possible: 10 15 75 100

Final letter grades will tentatively be based upon a traditional scale: A ~ 90%, B ~ 80%, C ~ 70%, D~ 60%, F < 60%. I reserve the right to alter the grading scale based upon overall class performance. Grade information will be posted on the class OnCourse website:

ACADEMIC MISCONDUCT:
Academic misconduct will not be tolerated. The Indiana University Code of Student Rights. Responsibilities, and Conduct defines academic misconduct as "any activity that tends to undermine the academic integrity of the institution" including cheating, fabrication, plagiarism, interference, violation of course rules, and facilitating academic dishonesty (II:G: 1-6). A complete description of academic misconduct can be found in the Code of Student Rights, Responsibilities, and Conduct in the Schedule of Classes or at the web site http://www.dsa.indiana.edu/Code/indexl.htmI.Itis the instructor's decision whether academic misconduct has occurred. All cases of academic misconduct will be reported to the Dean of Students and the dean of the student's school.

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