HAD 610 (2 Credits)
2022 Spring Semester
Weds. 5-6:15pm (section 04); 7-8:15pm (section 05)
Location: ONLINE
Dr. Brendan D. Moran
[email protected]
Office Hours: By appointment
History of Interior Design II
Course Description
This course is the second in a two-semester sequence that presents the history of interior design from
Antiquity to the present. Focusing on design since the beginning of the Industrial Revolution in the
eighteenth century, it observes the relation between interiors and the social, political, and economic contexts
in which they were born. Furniture, textiles, decorative items and other objects of daily use are studied in
addition to theories about the interior and architectural surrounds. Class format includes slide lectures,
seminar sessions consisting of discussions of assigned readings, in-class presentations, and research
assignments.
Course Goals
• To study important periods of design in order to understand historical antecedents and current
movements in the fields of interior design and interior design history
• To develop the ability to interpret meanings, concepts, theories, and societal attitudes embedded in
historical interiors from the eighteenth century to today
• To appreciate various interior design traditions and the socio-cultural contexts in which they were
formulated, building upon knowledge acquired in HD 609
• To develop effective communication and analytical skills in order to discuss, compare and contrast
(verbally and in writing) various interiors
• To learn how to research and cite sources in appropriate academic writing
Student Learning Objectives
At the end of the class, students will be able to ANALYZE and INTERPRET interiors visually and to think
critically about these spaces and the role they played within their particular socio-cultural contexts. They will
begin to think about how they can APPLY this knowledge to the interiors that surround us in our daily lives
– from those in TV shows and movies, newspapers and illustrated journals to those in private homes, public
spaces, and on their colleagues’ drawing boards. In addition, they will have learned how to research the
background of a particular designer, designed environment, design movement or style, how to present their
findings to an informed audience (formed of class peers), how to discuss and write about various interiors,
and how to work in a team.
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Course Schedule and Reading Assignments (subject to modification)
Note: A general history of interior design, John Pile and Judith Gura’s A History of Interior Design (New York:
John Wiley & Sons, 2014—4th edition), is recommended as a sourcebook; some additional readings
are taken from this source (they are NOT available on Canvas).
Class#/Date
C1/Jan. 19
C2/Jan. 26
C3/Feb. 2
C4/Feb. 9
Topic/Lecture
Assignment Due in class
C5/Feb. 16
Introduction
Lect. 1: The Age of Revivals I
Lect. 2: The Age of Revivals II
Lect. 3: Gendering the Private
Sphere
Presentations I
C6/Feb. 23
C7/Mar. 2
Presentations II
Lect. 4: Fashioning New Styles
C8/Mar. 9
Lect. 5: Millennial Modernism
Mar. 16
C9/Mar. 23
Spring Break—No Class
Research Presentation I
C10/Mar. 30
C11/Apr. 6
Deliver Presentations
C12/Apr. 13
C13/Apr. 20
Research Presentation II
No Class—Attend Interior
Provocations conference
Lect. 6: Multiple Modernisms
Lect. 7: Glass and Glamour
C14/Apr. 27
C15/May 4
Lect. 8: Dreams of Opulence
Discussion of Chunks
Present Chunk comments
Submit Papers
Reading Response
Reading Response
Reading Response
Deliver Presentations
Deliver Presentations
Reading Response
Research Paper Paragraphs
Reading Response
Notes (Discussion Leader)
Deliver Presentations
For Next Class
Prepare Readings
Prepare Readings
Prepare Readings
Complete
Presentations
Work on Paper
Paragraphs
Prepare Readings
Complete
Presentations
Work on Paper
Presentation
Prepare Readings
Reading Response
Reading Response
Prepare Readings
Complete Chunks
Assess Chunks
Finish Paper
Class 1
Jan. 19
Introduction: What is interior design and where does it come from?
Class 2
Jan. 26
Lecture 1. The Age of Revivals I: The Scholar and Collector on the Grand Tour—
Neoclassical, Empire, and Greek Revival Design (Lecture + Discussion)
How do archeological discoveries influence taste? How is the private interior a reflection of its
owner’s professional or social status?
Read:
Robin Evans, “The Developed Surface: An Inquiry into the Brief Life of an Eighteenth Century
Drawing Technique,” 9H, no. 8 (1989), 120–147.
Helene Furján, “The Specular Spectacle of the House of the Collector,” Assemblage, no. 34 (Dec.
1997), 56-91. (READ ONLY: 57-70)
Today’s focus will be to understand any differences between the work of an interior architect, an
interior decorator, and an interior designer. What is it that makes today’s interior design
profession so special? What are the historical origins of this field?
Additional suggested readings (optional):
Jeannie Ireland, “Neoclassical, Empire, and Greek Revival Design,” History of Interior Design
(Fairchild Publications, Inc., 2009), (429-451).
Thomas Hope, “Household Furniture and Interior Decoration (1807),” Intimus reader, 153-155.
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Class 3
Feb. 2
Lecture 2. The Age of Revivals II: Public Homes and Private Museums or Living with
the Past—Gothic Revival and Eclectic Designs (Lecture + Discussion)
This week is dedicated to understanding the development of the Romantic movement in Europe
(especially in Britain, Germany, and France) and its effects on architecture and interior
design. How is the Gothic Revival style a response to the development of national
sympathies and the rediscovery of the medieval past? How do late 18th-century ideas about
the sublime and the beautiful translate into architecture and design? What is the relationship
between the “Gothic” in 18th and 19th century fiction and design?
Read:
Kenneth L. Ames, “Death in the Dining Room,” from Death in the Dining Room and Other Tales of
Victorian Culture (Philadelphia: Temple University Press, 1992), 44-96.
Elizabeth Emery and Laura Morowitz, “From the Living Room to the Museum and Back Again:
The Institutionalization of Medieval Art,” from Consuming the Past: The Medieval Revival in Finde-Siècle France (Ashgate, 2003), 61-84 and pp. 238-244. (READ ONLY: 61-70 and 77-84)
Lea C. Stephenson, “Kingscote’s Dining Room and the Multisensorial Interior in the Late
Nineteenth Century,” in NCAW: https://www.19thcartworldwide.org/summer21/stephenson-on-kingscotes-dining-room-and-themultisensorial-interior
Additional suggested readings (optional):
Pile and Gura, “Eclecticism” (305-327).
Rachel Rich, “Designing the Dinner Party,” Intimus reader, 292-296.
John Ruskin, “The Nature of Gothic (1853),” The Industrial Design Reader, 14-19.
Edmund Burke, Selections from A Philosophical Inquiry into the Origin of Our Ideas of the Sublime and
Beautiful (1757): http://www.gutenberg.org/files/15043/15043-h/15043-h.htm#Page_117
Class 4
Feb. 9
Lecture 3: (En)gendering the Private Sphere: Shopping and the Design Reform Movement—
Victorian Taste, the Crystal Palace, and Arts and Crafts Aesthetics (Lecture + Discussion)
We will be looking at the development of the Arts and Crafts aesthetic in Britain through the
work of theorists, architects, and designers such as Augustus Welby Northmore Pugin, John
Ruskin, and William Morris. – What is the Arts and Crafts movement reacting to and how is
it a strong influence on today’s design? What role do world’s fairs and the idea of
‘conspicuous consumption’ play in the development of a new awareness towards the private
interior? How does shopping inform taste and design throughout the 19th century?
Read:
Kristin Hoganson, “Cosmopolitan Domesticity: Importing the American Dream, 1865-1920,”
The American Historical Review 107, no. 1 (February 2002), 55–83.
Juliet Kinchin, “Interiors: Nineteenth-Century Essays on the ‘Masculine’ and the ‘Feminine’
Room,” in Pat Kirkham, ed., The Gendered Object (Manchester: Manchester University Press,
1996), 12-29.
Lisa Tiersten, “The Chic Interior and the Feminine Modern: Home Decorating as High Art in
Turn-of-the-Century Paris,” in Christopher Reed, ed., Not at Home: The Suppression of
Domesticity in Modern Art and Architecture (New York: Thames and Hudson, 1996), 18-32.
Émile Zola, Chapter I and Chapter IV from Ladies’ Paradise (Paris: Charpentier, 1883) – available
online through Project Gutenberg: http://gutenberg.net.au/ebooks14/1400561h.html
Additional suggested readings (optional):
Pile and Gura, “The Victorian Era” & “Britain: Arts and Crafts” (251-275).
William Morris, “The Lesser Arts (1877),” The Industrial Design Reader, 35-40.
3
Class 5
Feb. 16
Presentations 1 – Types of Interiors and their History (3x20min each)
Note: ALL Students must submit their PDF/Notes of their presentations by start of class on the
first day of presentations
Class 6
Feb. 23
Presentations 2 – Types of Interiors and their History (3x20min each)
Class 7
Mar. 2
Lecture 4. Fashioning New Styles: Aesthetic Design and Art Nouveau (Lecture +
Discussion)
Paragraph Confirming Research Paper + Bibliography Due (5% of total grade)
This week we will examine the emergence of modern design through the invention of two
important concepts: l’art pour l’art (from French, “art for art’s sake”) and Gesamtkunstwerk
(from German, “the total work of art”). What are some of the non-Western origins of Art
Nouveau and the Aesthetic Style? How do you feel about the bloody lineages of modern
design?
Read:
Sarah Cheang, “Selling China: Class, Gender and Orientalism at the Department Store,” Journal
of Design History 20, no. 1 (2007): 1–16.
Julia B. Rosenbaum, “Outside In: Space, Light, and the Artful Interior at Frederic Church’s
Olana,” NCAW: https://www.19thc-artworldwide.org/summer21/rosenbaum-on-spacelight-and-the-artful-interior-at-frederic-churchs-olana
Debora Silverman, “Art Nouveau, Art of Darkness: African Lineages of Belgian Modernism,” in
West 86th, vol. 18, no. 2 (Fall-Winter 2011): 139-181.
Additional suggested readings (optional):
Pile and Gura, “The Aesthetic Movement” & “Art Nouveau and the Vienna Secession” (275303).
Class 8
Mar. 9
Millennial Modernism: Design for a New Age
Read:
Alice T. Friedman (with Maristella Casciato), “Family Matters: The Schröder House, by Gerrit
Rietveld and Truus Schröder,” Women and the Making of the Modern House: A Social and
Architectural History (Harry N. Abrams, 1998), 64-91.
Deborah Schneiderman, “The Prefabricated Kitchen: Substance and Surface,” in Home Cultures:
The Journal of Architecture, Design and Domestic Space 7:3 (2010), pp. 243-262.
Joel Sanders, “Curtain Wars: Architects, Decorators, and the 20th-Century Domestic Interior,”
Harvard Design Magazine 16 (Winter/Spring 2002): 14-20.
This week takes up efforts at moving beyond Art Nouveau, in order to forge a 20th century style
that took up all that was unprecedented on the cusp of a new century. Centering around
developments in German-speaking culture, in particular Hermann Muthesius’ efforts to
establish just what was it that made Britain’s homes so different, so appealing, it will
compose early efforts at generating modernist interiors. How were interiors envisioned as
capable of enhancing people’s lives and improving social relations? How were changing
economic and technical aspects of contemporary life reflected in design debates and
innovations? How was the traditional domestic environment the focus of such inquiries?
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Additional suggested readings (optional):
Pile and Gura, “The Emergence of Modernism,” (329-353); “Modernism in America” & “The
Ascendancy of Modernism,” (381-415).
Frank Lloyd Wright, “The Art and Craft of the Machine (1901),” The Industrial Design Reader, 5561.
Le Corbusier, “Architecture or Revolution (1923),” Toward a New Architecture (Dover
Publications, 1986), 271-289.
Week of
Mar. 16
Spring Break – NO CLASS
Class 9
Mar. 23
Multiple Modernisms: The Rise of the Interior Designer (Lecture + Discussion)
Read:
Anne Massey, “The Emergence of Interior Decoration as a Profession,” in Interior Design of the
Twentieth Century (London and New York: Thames and Hudson, 2001), 123-144.
Mary McLeod, “New Designs for Living: Domestic Equipment of Charlotte Perriand, Le
Corbusier and Pierre Jeanneret, 1928-29,” Charlotte Perriand: An Art of Living, ed. Mary
McLeod (2003), 36-68.
Peter McNeil, “Designing Women: Gender, Sexuality and the Interior Decorator, c. 1890-1940,”
Art History 17/4 (December 1994), 631-57.
This week is dedicated to a variety of design styles that developed after the 1925 Exposition
Internationale des Arts Décoratifs et Industriels Modernes in Paris. How can multiple styles coexist
and what does that tell us about the interior design field? To what extent is the modern
interior a response to war? And what influence does mass culture have (in particular, film)
on the spread of new design ideas?
Additional suggested readings (optional):
Pile and Gura, “Art Deco and Industrial Design” & “The Spread of Early Modernism in
Europe,” (355-379).
Adolf Loos, “Ornament and Crime (1908),” The Industrial Design Reader, 74–81.
Class 10
Mar. 30
RESEARCH PRESENTATIONS 1 (will likely meet for whole class time)
NOTE: ALL Students must submit their PDF/Notes of their presentations by start of class on
the first day of presentations.
Class 11
Apt. 6
RESEARCH PRESENTATIONS 2 (will likely meet for whole class time)
Class 12
Apr. 13
NO CLASS – ATTEND INTERIOR PROVOCATIONS SYMPOSIUM, April 9th
Questions to address after conference (due at following class meeting):
1. In your opinion, which designer gave the best talk and why?
2. In your opinion, which historian gave the best talk and why?
3. Did the keynote address appropriately reference the issues raised throughout the symposium?
Why/Why not?
4. What other topic could have been covered successfully at the symposium?
5. Choose one paper that you have heard at the symposium and write a brief statement about
how it has impacted your thinking about your own work.
5
Class 13
Apr. 20
Glass & Glamour: Privacy and Exposure through the International Style and Mid-
Read:
Hilde Heynen, “’Leaving Traces’: Anonymity in the Modernist House,” in Penny Sparke, Anne
Massey, and Brenda Martin, eds., Designing the Modern Interior: From the Victorians to Today
(Berg, 2009), 119–129.
Neil Jackson, “Case Study House 21: The (Re)making of a Collector’s Item,” Getty Research
Journal 7 (January 2015), 53-66.
Amani Morrison, “Quotidian Expenses: Residential Repertoires and Domestic Pedagogies in
Great Migration Chicago’s Kitchenettes,” American Quarterly, forthcoming (March 2022).
Kristina Wilson, “Like a ‘Girl in a Bikini Suit’ and Other Stories: The Herman Miller Furniture
Company, Gender and Race at Mid-Century,” Journal of Design History 28:2 (2015): 161–181.
Century American Modernism (Lecture + Discussion)
Where does the picture window originate, and what are some of its cultural implications? How
are the International Style and the Mid-Century American Modernist Movement connected?
We will be using Philip Johnson’s Glass House (1949) as a point of departure to understand
the complexities of each of these questions.
Additional suggested readings (optional):
Alice T. Friedman, “People Who Live in Glass Houses,” from Women and the Making of the Modern
House: A Social and Architectural History (Harry N. Abrams, 1998), 126-159.
Kevin Melchionne, “Living in the Glass House,” Intimus reader, 228-232.
Class 14
Apr. 27
Dreams of Opulence: Advertising Suburbia and Postmodern Appeal
Read:
Sarah Chaplin, “Locating the Modern Impulse in the Japanese Love Hotel,” in Penny Sparke,
Anne Massey, and Brenda Martin, eds., Designing the Modern Interior: From the Victorians to Today
(Berg, 2009), 249-260.
Beatriz Colomina, “Unbreathed Air 1956,” Grey Room 15 (Spring 2004), 28-59.
Dianne Harris, “Magazine Lessons: Publishing the Lexicon of White Domesticity,” from Little
White Houses: How the Postwar Home Constructed Race in America (University of Minnesota Press,
2013).
Thomas Hine, “Taking Off,” from Populuxe (Knopf, 1986), 2-14.
Robert Venturi, “Complexity and Contradiction in Architecture (1966, excerpt),” The Industrial
Design Reader, 184–85.
–Popular Designs between Avant-Garde and Kitsch (Lecture + Discussion)
What are some of the social, cultural, economic, and political developments that favor the birth
of Post-Modernism in design? How are the new interiors indebted to vernacular culture,
especially Disneyland and Vegas?
Additional suggested readings (optional):
Pile and Gura, “After the International Style” (417-441); “Design on a New Playing Field,” (443471).
Alice Friedman, “’Just get me plenty of glamour:’ Morris Lapidus’s Miami Beach Hotels,” in
American Glamour and the Evolution of Modern Architecture (New Haven, CT: Yale University
Press, 2010).
Alison J. Clarke, “’Parties Are the Answer’: The Ascent of Tupperware Party” in Grace LeesMaffei and Rebecca Houze, eds., The Design History Reader (Berg 2010), 409-414. [reprint
from Clarke, Tupperware: The Promise of Plastic in 1950s America, 1999]
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Class 15
May 4
Discussion of Chunks & Concluding Remarks
There are no reading assignments for this week. However, please read through your colleagues’
preliminary drafts and provide written feedback.
NOTE: Chunks due day before class @ 9am May 3rd
Final Paper Due (Via Email to Instructor) Noon May 9th
Course Requirements:
1. Textbooks, Readings, and Other Materials:
All mandatory reading assignments will be uploaded on the course’s Canvas site. Please refer to our Course
Schedule above in order to identify the correct readings for each week.
HOW TO READ FOR THIS CLASS:
As you read for this class, I want you to take notes using Kasey Grier’s “STEAM” method: Structure of
narrative/Thesis/Evidence/Argument/Methodology and Motive for Writing. We will discuss methodology,
narrative strategies, and the kinds of evidence used by the authors as much as we discuss the content of the
readings. Please note that the slide lectures will NOT include all of the information presented in the
readings, nor in the additional textbook readings; these are recommended for students for which design and
interiors is a relatively unfamiliar topic, as additional contextual information. Lectures will focus on a few
canonical buildings and interiors, which we will complement with further material not present in these
books.
2. Assessment and Grading:
Class Participation: Participation in Class Discussions, Discussion Leading, and Reading Responses
Group Presentations
Research Project (to be graded as follows)
• Preliminary Bibliography (divided according to primary and secondary sources)
(5%)
• Research Presentation (including tentative argument and sources)
(15%)
• First Draft (Chunk) of the Final Paper/Comments on Peers’ Chunks
(10% + 5%)
• Final Research Paper
(15%)
TOTAL
25%
25%
50%
_____
100%
Please Note: This percentage distribution should be used merely as a rough guideline. Each and every
assignment should be treated with equal attention and dedication! LATE ASSIGNMENTS will be subject
to penalties to be determined by the Instructor.
2a. Class Participation, Discussion Leading, and Reading Responses (25%):
Each of you is responsible for the weekly assigned readings, which should be completed before each class.
Participating in the classroom conversation is essential to your success in this course. Additionally, you are to
write a short, one to two paragraph responses for EACH assigned reading, uploading it to the Class
Google Drive folder. These responses serve two purposes: (1) they tell me you have prepared for the class;
(2) they extend the class discussion to give everyone a chance to contribute. The reading responses are due
by 9pm the evening before our class meetings.
In addition, make sure to respond to at least one of your colleague’s posts in order to extend the
classroom conversation; once you have posted your reading response, open another student’s
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response—one that no one has yet commented upon—and add a comment in reaction to their post,
in RED typeface (approximately 100 words). Once during the semester, you will also be designated to
lead discussion, which consists of commenting on the week’s text(s) and the responses provided by your
colleagues. You will be asked to present your questions and thoughts to everyone in the audience. This
assignment is meant to encourage you to formulate your opinions in a clear manner and to think critically
about the information that has been presented to you. The kinds of questions that you SHOULD ask are:
1.
2.
3.
4.
5.
6.
7.
8.
9.
What is the main thesis of each of our readings? (i.e.: What do we learn?)
Are there any secondary theses?
How do the authors support their arguments?
What kinds of sources and images do they use?
How are the various arguments developed?
Do you agree with the argument(s) made? Why? Why not?
How do the readings support/contradict what you have learned in your classes up this day?
What is the value of learning about these topics?
Can we apply what we learn from these readings to other interiors, art objects, cultures, and
contexts?
Can you find any similarities between the time-period discussed (and its design) and our
contemporary culture?
10.
2b. Group Presentations (20 minutes, 25%):
For this assignment, you will team up with one of your classmates and make an in-class presentation on the
history of a particular type of interior from the list given below. You should be in contact with the instructor
in order to determine suitable readings for the presentation. Prepare a PPT that includes the following:
1. A description of the interior typology
2. A history of its development
3. Examples from different historical periods and/or geographical locations and their meanings within
their various socio-cultural contexts
In addition to presenting in class, you should submit your presentation AND the accompanying notes you
used to make it. [If you use the note function in PowerPoint, that is sufficient; if you do not, you need to
submit a PDF of these notes. Each group will present one set of notes, and get the same grade.] Your
presentation will be graded based on the following parameters:
1.
2.
3.
4.
5.
6.
Did you select appropriate spaces for analysis?
Did you contact your instructor for a list of preliminary sources?
Did you choose an appropriate bibliography for your historical account?
Was your presentation creative?
Were you enthusiastic about the topic?
Did you proofread any text that might accompany your presentation and double-checked spelling
and grammar?
7. Did you collaborate with your colleague and contribute to the general success of your presentation?
Presentation Topics (choose one, in collaboration with a colleague):
Office spaces
Banks
Schools
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University campuses
Prisons
Hospitals
Museums
Libraries
Theaters
Photography studios
Restaurants
Hotels
Trains
Planes
Space shuttles/station
Ocean liners
Train stations
Subway stations
Airports
[NOTE: Types of spaces written in italics are a bit more difficult to track down, so they would probably
require more research effort.]
2c. Research Paper:
10-12 pages (double-spaced). This is the largest assignment that you will produce for this course (worth 45%
of the final grade). You may choose your own research topic, but you must do so in consultation with the
instructor. A paragraph confirming your research paper topic and preliminary argument (with accompanying
bibliography) is due earlier in the semester, by the start of Class 7 on March 2nd. You will also prepare and
submit a preliminary draft (i.e., a ca. 3-page chunk of your final paper, with accompanying “map” or
diagrammatic outline of larger paper), due at 9am on May 3rd, the day before Class 15. Each student will
read and comment on two of their peers’ “chunks,” and submit these comments in advance of Class 15 on
May 4th. These preliminary steps are meant to help you focus your attention, develop your argument, and
improve your writing skills—with the intention of assuring an optimal grade for the final project. The final
research paper will be due via email to instructor during the final exam week, no later than Noon on May 9th.
This project will REQUIRE research and you must footnote your sources and use quotation signs (“…”)
whenever repeating someone else’s exact words (including those found on the museum online website or
the museum wall label!). If you paraphrase someone else’s ideas, you must still cite your source in a
footnote. Please use the Chicago Manual of Style as a guideline. You can find examples of citations here:
http://www.chicagomanualofstyle.org/tools_citationguide/citation-guide-1.html
Please use the “Notes and Bibliography” format. Pratt Library is a wonderful research venue, as are other
libraries in the city. Depending on your interests, we can figure out which ones are best for you.
The final work submitted must be original research on the part of the student. It needs to conform to the
following style guidelines:
•
•
•
Introductory paragraph with thesis statement, followed by supporting evidence in the Main Body,
and a Conclusion rehearsing the main ideas of your thesis (i.e.: summarizing what you have proved)
10-12 double-spaced pages of text (not including your works cited, title page, or any additional
images)
Relevant images
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•
•
•
•
•
Engaging title
A separate ‘Works Cited’ page
Times New Roman, 12 pt. font; double-spaced text, single-spaced footnotes, 1 inch margins
Pages numbered
Please double-check spelling, grammar and punctuation; file should be PDF format, although Word
files will also be accepted.
Your RESEARCH PRESENTATION must include:
➢
➢
➢
➢
➢
➢
➢
A summary of your topic of inquiry with engaging title
Thesis statement
Examples of at least 3 primary sources that you will analyze in front of the class
Description of each of these sources – how/why are they primary?
Relation to each other and to the thesis/topic; how can they help you prove your argument?
Brief statement about what the secondary literature on the topic says
A slide in which you explain how YOUR argument/approach is different from sources you have
found.
➢ Bibliography (arranged according to primary and secondary sources) on the last slide of your Power
Point; it is recommend that you
➢ Notes from your in-class presentation (if you do not use PowerPoint format employing notes
function.
Your presentation will be graded based on the following parameters:
➢
➢
➢
➢
➢
Did you follow the instructions listed above?
Did you choose appropriate historical sources?
Was your presentation creative?
Were you enthusiastic about the topic?
Did you proofread any text that might accompany your presentation and did you double-check
spelling and grammar?
➢ Please make sure to label every image presented on your Power Point: What is it? Where did it come
from? Who drew/photographed it? – Refer to the Final Paper Guidelines for further specifications
3. Grading System:
A = 93-100%, (A+: 97-100; A: 93-96)
A- = 90-92%,
B+ = 87-89%,
B = 83-86%,
B- = 80-82%,
C+ = 77-79%,
C = 70-76%, F = 0-69%.
Course Policies
Students must adhere to all Institute-wide policies listed in the “Community Standards” section of the
Bulletin, which include policies on attendance, academic integrity, plagiarism, computer, and network use.
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1. Plagiarism:
Here is how the Merriam-Webster Online Dictionary defines plagiarizing: “to steal and pass off (the ideas or
words of another) as one’s own;” to “use (another’s production) without crediting the source.”
(http://www.merriam-webster.com/dictionary/plagiarizing). In your written assignments, you must use
quotation marks and cite your sources if you use direct quotations. If you paraphrase someone else’s ideas,
you must still cite your source. The Chicago Manual of Style is the most common format for citations used
in the Humanities.
Other instances of academic dishonesty: forgery, bribing, possessing course exam materials, using notes or
electronic devices during exams, not doing your own work, unauthorized collaborations, multiple
submissions of the same work.
2. Policy on students with disabilities:
Students who require special accommodations for disabilities must obtain clearance from the Office of
Disability Services at the beginning of the semester. They should contact the Disability Services Coordinator
in the Office of the Vice President for Student Affairs, Main Building, Lower Level: 718-636-3711.
3. Classroom Decorum:
The classroom is a professional learning environment. I expect all of you to behave in a professional
manner with other fellow students, your professor(s), and any other potential guests. Casual comings and
goings during class (unless for bathroom and other emergencies) are not acceptable.
4. Instructor’s Policies:
I might not be able to answer your emails immediately. – If you have concerns about a specific assignment,
reading, or administrative issue related to the course, reserve plenty of time to contact me in advance of a
deadline. I do not use the Voice Mail feature on my office phone. If you want to reach me, send me an
email.
PLEASE NOTE: Dr. Brendan D. Moran is the instructor of record for this class. Only the instructor of
record can issue a final grade. The course schedule is subject to possible adjustments due to severe weather
events or other unforeseen circumstances.
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2c. Research Paper:
10-12 pages (double-spaced). This is the largest assignment that you will produce for this course (worth 45%
of the final grade). You may choose your own research topic, but you must do so in consultation with the
instructor. A paragraph confirming your research paper topic and preliminary argument (with accompanying
bibliography) is due earlier in the semester, by the start of Class 7 on March 2″. You will also prepare and
submit a preliminary draft (i.e., a ca. 3-page chunk of your final paper, with accompanying “map” or
diagrammatic outline of larger paper), due at 9am on May 3rd, the day before Class 15. Each student will
read and comment on two of their peers’”chunks,” and submit these comments in advance of Class 15 on
May 4th. These preliminary steps are meant to help you focus your attention, develop your argument, and
improve your writing skills—with the intention of assuring an optimal grade for the final project. The final
research paper will be due via email to instructor during the final exam week, no later than Noon on May 9th,
This project will REQUIRE research and you must footnote your sources and use quotation signs (“…”)
whenever repeating someone else’s exact words (including those found on the museum online website or
the museum wall label!). If you paraphrase someone else’s ideas, you must still cite your source in a
footnote. Please use the Chicago Manual of Style as a guideline. You can find examples of citations here:
http://www.chicagomanualofstyle.org/tools citationguide/citation-guide-1.html
Please use the “Notes and Bibliography” format. Pratt Library is a wonderful research venue, as are other
libraries in the city. Depending on your interests, we can figure out which ones are best for you.
The final work submitted must be original research on the part of the student. It needs to conform to the
following style guidelines:
.
Introductory paragraph with thesis statement, followed by supporting evidence in the Main Body,
and a Conclusion rehearsing the main ideas of your thesis (i.e.: summarizing what you have proved)
10-12 double-spaced pages of text (not including your works cited, title page, or any additional
images)
Relevant images
9
Engaging title
A
separate
Works Cited’
page
Times New Roman, 12 pt. font; double-spaced text, single-spaced footnotes, 1 inch margins
Pages numbered
Please double-check spelling, grammar and punctuation; file should be PDF format, although Word
files will also be accepted.
Your RESEARCH PRESENTATION must include:
→ A summary of your topic of inquiry with engaging title
Thesis statement
> Examples of at least 3 primary sources that you will analyze in front of the class
Description of each of these sources – how/why are they primary?
Relation to each other and to the thesis/topic; how can they help you prove your argument?
Brief statement about what the secondary literature on the topic says
→ A slide in which you explain how YOUR argument/approach is different from sources you have
found.
> Bibliography (arranged according to primary and secondary sources) on the last slide of your Power
Point; it is recommend that you
Notes from your in-class presentation (if you do not use PowerPoint format employing notes
function.
Your presentation will be graded based on the following parameters:
Did
you
follow the instructions listed above?
> Did you choose appropriate historical sources?
> Was your presentation creative?
► Were you enthusiastic about the topic?
Did you proofread any text that might accompany your presentation and did you
double-check
spelling and grammar?
► Please make sure to label every image presented on your Power Point: What is it? Where did it come
from? Who drew/photographed it? – Refer to the Final Paper Guidelines for further specifications

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