ITL 221: Italy, Matrix of Civilization

Dr. Sante Matteo, Dept. of French and Italian

208 Irvin, 529-5932; Office Hours: M W , 11 AM – 2 PM

matteos@muohio.edu; Home Page: http://www.users.muohio.edu/matteos/

COURSE DESCRIPTION: An investigation of Italian contributions to civilization through recorded history, from the cultures of the Etruscans and the Romans to contemporary Italians, taking into consideration the Italian peninsula’s geography and history, the artistic outpouring of the Renaissance, the scientific revolution, opera, literature, cinema, the massive emigration of the 19^th and 20^th centuries, followed by the more recent immigration of foreigners into Italy, and Italy's multi‑ethnic future. Taught in English. No prerequisites.

LIBERAL EDUCATION PRINCIPLES: This is Foundation course in category IIB Humanities as well as IIIC World Cultures.

The course emphasizes the importance of understanding cultural production in context: geographical, historical, economic, philosophical, and artistic. We will examine and analyze different types of cultural products: e.g. poems, paintings, architecture, movies, religious beliefs, social customs, scientific discoveries, etc., in terms of how they relate to each other and how they carry on a dialogue with what came before and what comes after; what remains constant from one cultural moment to the next, and what intrusions, borrowings, or acquisitions filter in as a result of exposure to other cultures.

Probing the relationships among different art forms, various socio-political structures, and diverse belief systems and institutions will require and promote critical thinking, whereby initial responses to texts or images must be constantly re-contextualized, probed, and tested, both in light of new knowledge, produced by adopting new perspectives, and new understanding, produced by dialogue with other learners. Class discussion will be conducted in small-group as well as large-group formats to allow and encourage a fruitful exchange of questions, ideas, and interpretations among all students.

Italian history is characterized by a tension between centripetal and centrifugal forces. Geographically the peninsula is relatively isolated and hard of access, bounded by the Alps to the north and the sea on all other sides, and yet throughout history it has been a crossroads in the Mediterranean, visited, traversed, and inhabited by many different peoples who have all left their traces in the country’s customs and institutions. At times it has been at the center of vast political, artistic, and religious empires (e.g. the Roman Empire, Renaissance art, the Catholic Church), and at other times it has been marginalized and fragmented, reduced to a patchwork of disparate, disenfranchised states. Consequently, Italians, through their art and literature and other forms of cultural expression, have engaged issues such as imperialism from both ends, both as colonizers and the colonized, and they have constantly had to negotiate problems of internal as well as external diversity: the linguistic, social, and even racial differences that differentiate the various regions of Italy, and the differences introduced from foreign contexts, whether through invasions, migrations, commerce, or tourism. As a result, the ideological, civic, and ethical components of Italian cultural practices are often as important as their purely esthetic aspects. By reflecting on all these issues in dialogue with other learners, students will be encouraged to engage, question, or reaffirm their own sense of civic, ideological, and moral commitment, and to become aware that critical understanding is not merely passive acquisition of information, but an active process, a commitment to participate in the ongoing process of creating civilization.

COURSE REQUIREMENTS:

A. PREPARATION, ATTENDANCE, AND DISCUSSION: Regular attendance and active, informed participation in class discussion are crucial. Up to 4 points will be assigned for each period’s participation in the discussion, based on demonstrated degree of preparation and pertinence and cogency of contributions: 4, excellent; 3, good; 2, satisfactory; 1, less than satisfactory; 0, absent. Of 30 class periods, 25 will count in the tabulation, excluding the first two days of the semester and the day of the mid-term exam, and allowing for two un-penalized absences (25 x 4 = 100 points).

B. JOURNAL: A bi-weekly journal, consisting of short "reaction" essays to a specific reading or image from the week’s assignments (2‑page maximum) will be due once every two weeks (see guidelines below).

C. ORAL PRESENTATION: Students will give an oral presentation to the class, explaining and analyzing some aspect of Italian culture related to that week's assignments and providing a basis for further analysis and discussion (see guidelines below).

D. QUIZZES: Each week there will be a brief quiz (10 points) on that week’s assignments. The best 10 scores of 13 will count. Quizzes cannot be made up. Any missed quiz will be one of the three dropped.

E. EXAMS: There will be two exams: one mid-term test and a comprehensive final exam at the end of the course.

GRADING: Each student's semester grade will be calculated by adding the points awarded in six categories. The standard breakdown scale will apply:

93%+=A; 90-92%=A-;

87-89%=B+; 83-86%=B; 80-82%=B-;

77-79%=C+; 73-76%=C; 70-72%=C-;

67-69%=D+; 63=66%=D; 60-62%=D-

points

A. Participation (25 classes x 4@) 100

B. Journal of brief "reaction" papers (6/7 x 10@ + 2 x 20@) 100

C. Oral presentation 50

D. Quizzes (10/13 x 10@) 100

E. Mid-term exam 100

F. Final examination 150

TOTAL: 600

JOURNAL GUIDELINES: c. 300-500 words (1-2 pages), double-spaced or with wide margins to allow for my comments, due every other week as indicated on the syllabus. These should be "thought" or "reaction" essays rather than research reports. You do not have to read other sources, but rather should rely on your own analysis and interpretation of a specific text/image/musical piece from the assignment for that day (from the required reading, not the recommended, and preferably from a primary text, rather than a secondary historical or critical text, if possible). From the material assigned for the day on which your essay is due, choose a specific passage or paragraph from a prose text, a short lyric poem or one stanza or limited number of verses from a longer poem, a painting or statue, or a musical theme, and explicate it in your own terms. Pay attention to the literal as well as the allegorical meaning(s), and to stylistic as well as narrative or thematic aspects, whenever possible.

The important thing is to work from the particular to the general--focus your attention on a concrete, well-defined part of the artistic text, and by close analysis and interpretation, suggest how it contributes to the more general meaning of the text as a whole. Your explication should consist of three sequential steps, with each subsequent step following logically and coherently from the previous one:

1) a description of the artistic devices used (e.g. literature: similes, metaphors, alliteration, rhyme scheme, imagery, allusions, etc.; art: composition, balance, color, movement, plasticity, etc.; Music: tempo, melody, dynamics, harmony, etc.).

2) an analysis of the effects produced by these devices, i.e. the reaction elicited from the reader, viewer, or listener: What thoughts, feelings, responses do they produce in you?

3) an interpretation of the general meaning of the work, based on your analysis of specific parts or aspects: What kind of ideological statement is the work as whole making about the human condition? What does the work tell us about ourselves, life, the world, nature, etc.?

PROCEDURE: The class will be divided into 4 categories: A, B, C, and D, with papers due sequentially: e.g. “A” students will hand in their essay on Tuesday of the first week, “B” students on Thursday of the first week, “C” students on Tuesday of the second week, and “D” students on Thursday of the second week, and then the cycle will start again. These papers will be read but not graded. They will be worth 10 points each (6 of 7), if done correctly and handed in on time. Late papers will not be accepted.

DISCUSSION: Each day the class will be divided into small groups of 3 or 4 students for a 10-15-minute discussion. Students who have written a paper for that day will present their papers to the other members of the group, who will then discuss and critique the paper, offering suggestions on how to improve it. The student will hand in a copy of the original paper at the end of the period, but should subsequently rewrite the paper for inclusion in the journal, based on the feedback received from the small-group discussion, on ideas generated during the whole-class discussion, as well as the instructor’s written comments on the papers.

FINAL JOURNAL: At the end of the semester students will hand in a journal containing all their papers, with both the original and the rewritten versions of each one. I will randomly pick 2 of the papers to evaluate and grade, based on how well they follow the guidelines above and how cogently and persuasively they make their argument (20 points each).

ORAL PRESENTATION GUIDELINES: Students, working in groups of two or three, should prepare a 20-30-minute joint, well-coordinated presentation on one of the topics listed below (c. 10 minutes per student). To accompany your oral presentation you should collectively prepare a 1 or 2-page handout (one per group, not a separate one for each speaker), consisting of the following components: 1) an outline of the information in your presentation, 2) a compilation of pertinent and striking quotations which provide insight into your subject, 3) a bibliography of the sources you have consulted (author, title, publisher, place and date of publication; or web-site address), and--if you wish; but it's not required--4) graphs, pictures, or anything else that you feel will make your presentation more memorable. You should make enough copies of this handout for every member of the class so that they can follow your discussion better and also have something with which to study afterwards. The information provided in these presentations will be included in the exams.

THESE ARE RESEARCH PROJECTS. You should consult at least five sources (books, articles, tapes, web sites, etc.) in researching the topic, and list them in your bibliography. Students who know Italian should use Italian sources whenever possible. There are encyclopedias and reference materials in the Humanities Reference area of the library. Ask for assistance at the Reference desk.

A portion of the grade (30 points) will be assigned collectively to all members of the group: level of research (10 points), accuracy of information (10), and significance of content (10). The rest of the points (20) will be assigned individually to each presenter: clarity and knowledge of argument (10), and rhetorical efficacy (eliciting and maintaining interest in the audience, presenting information persuasively and in such a way that it will hit home and be retained) (10 points).

TOPICS: Choose one of the topics listed below by printing your names next to it:

Sept. 16, Medieval Art: Romanesque/Byzantine/Gothic: _______________ _______________ ________________

23, Birth of Italian Literature: __________________ ___________________ _____________________

30, Humanism: ____________________ _____________________ ____________________

Oct. 7, 1492: A New World Emerges: _______________________ __________________ _________________

14, Religious Wars: Reformation and Counter-Reformation: _____________ ______________ _______________

21, Opera Takes the Stage: __________________ ________________________ __________________

28, Risorgimento: Reinventing Italy: _________________ ___________________ ________________

Nov 4, Italy’s African Colonies: __________________ _________________ ___________________

11, Fascism:: __________________ ___________________ ___________________

18, The Mafia: ___________________ _______________________ ______________________

25, Italian Emigration: A Different Type of Colonization: _______________ ______________ ________________

Dec. 2, Communism vs. Catholicism: _________________ __________________ __________________

9, Immigration: Italy’s New Multi-Racial Face: ______________ __________________ __________________

REQUIRED READINGS:

Beverly Allen and Keala Jewell, eds., The Defiant Muse: Italian Feminist Poems from the Middle Ages to the Present: A Bilingual Anthology. Feminist Press, 1987.

Zygmunt Baranski and Rebecca West, The Cambridge Companion to Modern Italian Culture. Cambridge U. Press, 2001.

Harry Hearder, Italy: A Short History. Cambridge U. Press, 1990.

Italian Painting: Artists and Their Masterpieces throughout the Ages. Konneman, 1998.

Sante Matteo, ed., ItaliAfrica: Bridging Contintents and Cultures. Forum Italicum Press, 2001.

Judith Testa, Roma Amor: Rome Is Love Spelled Backward: Enjoying Art and Architecture in the Eternal City. Northern Illinois U. Press, 1998.

Photocopy packet:

1. Christopher Duggan, “The Geographical Determinants of Disunity” (Aug. 28)

John Dickie, “Geographies—Imagined Italies” (Aug. 28)

2. Virgil, 6^th book of the Aeneid and“4^th Eclogue” (Sept. 9)

Mark Twain, “The Buried City of Pompeii” (Sept. 9)

3. Medieval poets: St. Francis, Cecco Angiolieri, Guido Cavalcanti (Sept. 16)

4. Dante, sonnets and excerpts from The Divine Comedy (Sept. 18)

5. Francesco Petrarca, “Letter to posterity” and poems from Canzoniere (Sept. 23)

6. Giovanni Boccaccio, stories from Decameron (Sept. 25)

7. Giovanni Pico della Mirandola, excerpts from “Oration on the Dignity of Man” (Sept. 30)

Medici Letters (Sept. 30)

Lorenzo the Magnificent, “The Triumph of Bacchus and Ariadne” (Sept. 30)

Amerigo Vespucci, Letter to Lorenzo (Sept. 30)

8. Niccolò Machiavelli, excerpts from The Prince (Oct. 7)

9. Baldessare Castiglione, from The Book of the Courtier (Oct. 9)

10. David Kimbell, “Opera”:

A. “The Beginnings of Opera” (Oct. 23)

B. “Dramma per musica and opera buffa” (Oct. 23)

C. “Opera since 1800” (Nov. 4)

11. Stillman Drake, “Italy, Science and Modern Culture” (Oct. 28)

Poems by Giuseppe Parini and Ugo Foscolo (Oct. 28)

12. Byron, “On Rome” (Oct. 30)

Jerome McGann, “Rome and Its Romantic Significance” (Oct. 30)

Alessandro Manzoni, “The Death of Ermengarda” (Oct. 30)

Giacomo Leopardi, poems (Oct. 30)

13. Giovanni Verga, stories (Nov. 4)

14. Giovanni Pascoli, poems (Nov. 6)

Gabriele D’Annunzio, poems (Nov. 6)

15. Tullio De Mauro, “Linguistic Variety and Linguistic Minorities” (Nov. 11)

Umberto Saba, poems (Nov. 11)

16. Armando Balduino, “Killer on the Phone” (Nov. 18)

17. Salvatore Mondello, “Italians in the United States” (Nov. 25)

Helen Barolini, “Greener Grass” (Nov. 25)

18. Giuseppe Ungaretti, poems (Dec. 2)

Eugenio Montale, poems (Dec. 2)

Salvatore Quasimodo, poems (Dec. 2)

19. Aldo Busi, “It’s a Deal!” (Dec. 4)

RECOMMENDED READINGS:

Russell R. Esposito, The Golden Milestone: Over 2500 Years of Italian Contributions to Civilization. New York Learning Library, 2000.

Jonathan White, Italy: The Enduring Culture. Continuum, 2000.

Class schedule: Topics, reading assignments; class activities:

Aug. 26 Introduction to course

28 The geography of the Italian peninsula and the Mediterranean basin: Readings: Larry Mayer, “Italian Earthquakes: A Legacy of the Past and a Preview of the Future,” in Matteo, pp. 23-37; Christopher Duggan, “The Geographical Determinants of Disunity”; John Dickie, “Geographies—Imagined Italies” (Packet 1)

Sept. 2 M/T switch

4 Classical Heritage: Hearder, 1, “Italy in the Classical World”; Testa I, “Ancient Rome,” # 1-4; (Recommended reading: Edwin Yamauchi, “The Romans and Meroe in Nubia,” in Matteo, pp. 38-46; Esposito, 2, “Art & Architecture,” pp. 19-38); Quiz 1

9 Testa, I, “Ancient Rome,” # 5-9; Virgil, 6^th book of the the Aeneid and “4^th Eclogue”; Mark Twain, “The Buried City of Pompeii” (packet 2); Journal A1

11 The Medieval Heritage: Hearder, 2, “The Early Middle Ages”; Testa II, “Early Christian and Medieval Rome,” # 10-12; Evelyn Edson, “Defining Africa: European Views of the Continent in the Middle Ages,” in Matteo; (Recommended reading: Esposito, 2, “Art & Architecture,” pp. 39-63); Journal B1; Quiz 2

16 Birth of New Italian Art: Testa, # 13-15; Italian Painting, pp. 8-27; Medieval poets: St. Francis, Cecco Angiolieri, Guido Cavalcanti (packet 3); The Defiant Muse, xv-4; (Recommended: Esposito, 2 “Art & Architecture,” pp. 64-88); Oral presentation: Medieval Art; Journal C1

18 Birth of Italian Literature: Hearder, 3, “The High Middle Ages”; Dante, sonnets and excerpts from The Divine Comedy (packet 4); (Recommended: White, 1, “Cities, Dantesque and Other”; Esposito, 9, “Language & Literature”); Journal D1; Quiz 3

23 Birth of Humanism: Petrarca, “Letter to Posterity,” poems from Canzoniere (packet 5); Italian Painting, 28-43; Oral presentation: Birth of Italian Literature; Jrnl A2

25 The Human Comedy: Giovanni Boccaccio, stories from Decameron (packet 6); Italian Painting, 46-75; (Recommended: White, 2, “Sexuality, Class, and Economics: The Decameron as Originary Text”); Jrnl B2; Quiz 4

30 Humanism: Pico’s “Oration”; Medici letters; Lorenzo the Magnificent, “The Triumph of Bacchus and Ariadne”, Vespucci, Letter to Lorenzo de’ Medici; (packet 7); Italian Painting, 76-117; (Recommended: White, 3, “’The Architect Achieves His Victory’: Renaissance and Later Ideal Cities”; Esposito, 6, “Economics, Finance, & Accounting”; 7, “Exploration”); Presentation: Humanism; Jrnl C2

Oct. 2 Renaissance: Hearder, 4, “The Renaissance”; Italian Painting, 118-137; Testa, # 16; The Defiant Muse, 5-15; Jrnl D2; Quiz 5

7 Renaissance: Machiavelli, excerpts from The Prince (packet 8); Testa, # 17-19; Italian Painting, 140-169; Presentation: Age of Exploration; Jrnl A3

9 Crisis: Castiglione, from The Book of the Courtier (packet 9); Testa, # 20-24; Italian Painting, 170-203; (Recommended: John Brackett, “Africa and Africans in the Imagination of Renaissance Italians,” in Matteo); Jrnl B3; Quiz 6

14 Reformation and Counter-reformation: Testa, # 25-26; Italian Painting, 204-239; The Defiant Muse, 15-23; (Recommended: Esposito, 15, “Philosophy”; 16, “Religion”); Presentation: Reformation; Jrnl C3 and D3

16 MID-TERM EXAM

Oct. 21 Baroque: Hearder, 5, “The Political and Cultural Eclipse of Italy”; Testa, # 27-28; Italian Painting, 242-269; (Recommended: Esposito, 3, “Astronomy”; 11, “Mathematics”; 12, “Medicine, Biology & Health”; 14, “Music”; 17, “Science & Technology”); Presentation: Opera; Jrnl A4

23 Birth of Opera: Kimbell, “The Beginnings of Opera,” “’Dramma per musica and opera buffa’ and ‘After Metastasio’” (packet 10.A & 10.B); Testa, # 29-32; Italian Painting, 270-301; The Defiant Muse, 25-29; (Recommended: Esposito, 1, “American Government”; 10, “Law”); Jrnl B4; Quiz 7

28 Enlightenment and Neo-Classicism: Stillman Drake, “Italy, Science, and Modern Culture”; Poems by Giuseppe Parini and Ugo Foscolo (packet 11); White, 4, “’When the Kissing Had to Stop’: Eighteenth-century Venice—Apotheosis or Decline?” (in recommended book and on reserve); Italian Painting, 302-333; Presentation: Risorgimento; Jrnl C4

30 Resurgence and Romanticism: Hearder, 6, “The Risorgimento, 1790-1861”; Italian Painting, 334-351; Byron, “On Rome”; Jerome McGann, “Rome and Its Romantic Significance”; Poems by Alessandro Manzoni and Giacomo Leopardi (packet 12); (Recommended: White 5, “Opera, Politics and Television: Bel Canto by Satellite”); Jrnl D4; Quiz 8

Nov. 4 Unified Italy: Hearder, 7, “From Unification to Fascism, 1861-1922”; Kimbell, “Opera since 1800” (packet 10.C); Italian Painting, 352-369; Giovanni Verga, stories (packet 13); (Recommended: Waterhouse, “Since Verdi: Italian Serious Music 1860-1995,” in Baranski); Prsnt: Colonies; Jrnl A5

6 African Colonialism: Calchi Novati, “Italy and the Horn: The Unbearable Weight of a Weak Colonialism,” Lombardi-Diop, “Mothering the Nation: An Italian Woman in Colonial Eritrea,” L. Harris, “L’abbandono: Who’s Meticcio/Whose Meticcioin the Eritrea-Italy Diaspora?” all in Matteo; The Defiant Muse, 31-47; Poems by Pascoli and D’Annunzio (packet 14); (Recommended: Esposito, 13, “Military Innovations”); Jrnl B5; Quiz 9

11 Fascism: Hearder, 8, “The Fascist Disaster, 1922-1945”; Testa, # 33-34; The Defiant Muse, 49-61; Tullio De Mauro, “Linguistic Variety and Linguistic Minorities”; Poems by Saba (packet 15); (Recommended: Esposito, 19, “Transportation”); Presentation: Fascism; Jrnl C5

13 The Italian Republic: Hearder, 9, “Italy since the Second World War, 1945-1989”; The Defiant Muse, 61-67; Testa, # 35; Biasin, “Narratives of Self and Society”; Paulicelli, “Art in Modern Italy,” both in Baranski; Italian Painting, 370-391; Jrnl D5; Q 10

18 Theater and Cinema: Lepschy, “Drama: Realism, Identity, and Reality on Stage”; Bondanella, “Italian Cinema,” both in Baranski; C. Harris, “Nero su bianco: The Africanist Presence in Twentieth-Century Italy and Its Cinematic Representations”; Riccio, “Black Skin,” both in Matteo; Balduino, “Killer on the Phone,” (packet 16); (Recommended: White, 6, “Mimesis or Montage? Reflections on the Languages of Literature and Cinema”; Parati, “Shooting a Changing Culture: Cinema and Immigration in Contemporary Italy,” in Matteo); Presentation: Mafia; Jrnl A6

20 Church and State: Bull, “Social and Political Cultures in Italy from 1860 to the Present Day,” Allum, “Catholicism”; Wood and Farrell, “Other Voices: Contesting the Status Quo,” all in Baranski; The Defiant Muse, 69-75; (Recommended: White, 7, “The Triumph of Death: History in the Sicilian Context”;); Jrnl B6; Quiz 11

25 Italian Emigration: Dickie, “The Notion of Italy”; Richardson, “Questions of Language,” both in Baranski; Mondello, “Italians in the United States”; Barolini, “Greener Grass” (packet 17); The Defiant Muse, 75-85; (Recommended: White, 8, “’A Fine Funeral of Our Identities’? The Italian Diaspora of the Modern Epoch”; Esposito, 5, “Culture, Conventions, and Traditions”); Presentation: Emigration; Jrnl C6 and D6

27 Thanksgiving

Dec. 2 Other Political –isms: Ward, “Intellectuals, Culture and Power in Modern Italy”; Dombroski, “Socialism, Communism and Other ‘isms’,” Vinall and O’Neill, “Searching for New Languages: Modern Italian Poetry,” all in Baranski; Poems by Ungaretti, Montale, Quasimodo (packet 18); The Defiant Muse, 87-99; (Recommended: Esposito, 20, “World Peace”); Presentation: Catholicism vs. Communism; Jrnl A7

4 "Made in Italy": Sparke, “A Modern Identity for a New Nation: Design in Italy since 1860”; Paulicelli, “Fashion: Narration and Nation”; Wagstaff, “The Media,” all in Baranski; The Defiant Muse, 101-111; Busi, “It’s a Deal!” (packet 19); (Recommended: Carrera, “Folk Music and Popular Song from the Nineteenth Century to the 1990s,” in Baranski; Esposito, 4, “Culinary Contributions”; 8, “Fashion”; and 18, “Sports, Theater & Entertainment”) ; Jrnl B7; Quiz 12

9 Foreign Immigration into Italy: Andall, “Libere, insieme? Gender, Ethnicity, and Coalition Politics in Italy”; Romani, “Italian Identity and Immigrant Writing: The Shaping of a New Discourse”; Orton, “The Economy of Otherness: Modifying and Commodifying Identity”; Pedroni, “An African Writing in Italy: An Interview with Kossi Komla-Ebri,” all in Matteo; The Defiant Muse, 113-123; (Recommended: Bellucci, “The International Political Economy of Immigration: The Changing Face of Italy”; Ghezzi, “Some Remarks on African Immigrant Literature in Italian: My Homeland Is Literature,” both in Matteo); Presentation: Immigration into Italy; Jrnl C7

11 Italy's Multi‑ethnic, Multi‑racial, Multi‑cultural Future: Matteo, “African Italy: Bridging Continents and Cultures”; Picarazzi, “Italian African meticciato artistico in the Teatro delle Albe”; Feinstein, “Reinventing Harlequin in End-of-the Millennium Ravenna”; all in Matteo; West, “Epilogue: Italian culture or multiculture in the new millennium?” in Baranski; The Defiant Muse, 123-133; (Recommended: Bryant-Jackson, “The Decentered Spectator: Imaging Moor Harlequin’s 22 Misfortunes Cross Culturally,” in Matteo; White, “Introduction”); Jrnl D7; Quiz 13

ACADEMIC MISCONDUCT

Following is the definition of academic misconduct from the Student Handbook. Please read it carefully before proceeding to the next page, and refer to the Student Handbook for further information on procedure and penalties.

Academic misconduct is defined as any activity which tends to compromise the academic integrity of the institution or subvert the educational process. Examples of academic misconduct include, but are not limited to:

· Conduct with respect to and during a quiz, examination, or similar evaluation.

Possessing, referring to, or employing open textbooks or notes or other devices not authorized by the instructor.

Looking at or using information from another person's paper.

Communicating with, providing assistance to, or receiving assistance from another person in a manner not authorized by the instructor.

Possessing, buying, selling, obtaining, or using a copy of any unauthorized materials intended to be used in or actually used in the preparation of a quiz or examination or similar evaluation.

Taking a quiz or examination or similar evaluation in the place of another person.

Utilizing another person to take a quiz, examination, or similar evaluation in place of oneself.

Violating procedures prescribed to protect the integrity of a quiz, examination, or similar evaluation.

Changing material on a graded examination and then requesting a regrading of the examination.

· Written and other assignments.

Submitting an assignment purporting to be the student's original work, which has been wholly or partly created by another person.

Presenting as one's own the work, ideas, representations, or words of another person without customary and proper acknowledgment of sources.

Knowingly permitting one's work to be submitted by another person as if it were the submitter's original work.

Submitting the identical or substantially the same assignment to fulfill the requirements for two or more courses without the approval of the instructors involved, or submitting the identical or substantially the same assignment from a previously completed course to fulfill requirements for another course without the approval of the instructor of the later course.

Violating procedures prescribed to protect the integrity of the assignment.

Cooperation with another person in academic misconduct, either directly or as an intermediary agent or broker.

Theft, attempted theft, malicious defacement, mutilation of library materials, or other academic resources.