Surrealism and Eastern and Central European Cinema (Richard Capes) - AFV600011
|
|
Rozvrh Nástěnka
| Soubory | Komentář | Kdo přidal | |
 |
Sylabus_SurrealismEasternEurope.pdf | Sylabus | Mgr. Magda Španihelová, Ph.D. |
|
||
|
Charles University, Faculty of Arts
East and Central European Studies Fall 2016 Surrealism and Eastern and Central European Cinema CUFA F 365 Instructor: Richard Capes Email: ceno_bite@yahoo.com Office Hours: by appointment Class Days/Time: Seminar 1: Mondays 17:30-19:00, Film Screening: Mondays 19:00-20:45, Seminar 2: Wednesdays : 17:30-19:15 Classroom: 326 Please note that this syllabus is subject to change. All changes to the syllabus will be announced in class. Course Description What is the relationship between surrealism and cinema? How has this relationship changed since the surrealist movement first emerged in the early 1920s? And what makes a particular film or film maker surrealist? These are some of the key questions explored in Surrealism and Eastern and Central European Cinema, a course that aims to chart the history of surrealist filmmaking, with a focus on surrealist films produced in Eastern and central Europe from the mid-1960s to the present day. Students will develop an in-depth understanding of key concepts related to surrealism, which they will use to analyse and evaluate a variety of surrealist films, such as Juraj Herz's The Cremator (1969), Jan Švankmajer's Alice (1988), and Béla Tarr's Werckmeister Harmonies (2000). In addition, they will also examine the influence of central and Eastern European surrealist films on filmmakers from outside the region, such as David Lynch (Blue Velvet [1986]) and the Quay brothers (Institute Benjumenta [1995]). The course consists of two seminars a week (one of 90-minutes; the other, of 105-minutes) and a film screening (film times vary). Course Goals to enable students to evaluate the political/philosophical/aesthetic aims of surrealist filmmakers to enable students to use key concepts from surrealism to analyse film texts to explore the development of surrealist filmmaking in central and Eastern Europe to examine the influence of central and Eastern European surrealist films on film makers from outside the region Required Reading 'First Surrealist Manifesto' by André Breton 'Alice's Adventure in Wonderland' and 'Alice Through the Looking Glass' by Lewis Carroll 'The Story of the Eye' by Georges Bataille 'Philosophy in the Boudoir' by The Marquis de Sade (also known as 'Philosophy in the Bedroom') 'Valerie and Her Week of Wonders' by Vítězslav Nezval 'The Death of Ivan Ilych' by Leo Tolstoy Secondary Reading 'The Age of Gold: Surrealist Cinema' by Robert Short 'Dada & Surrealism' by Robert Short 'The Shadow and Its Shadow: Surrealist Writings on the Cinema' by Paul Hammond (ed.) 'What is Surrealism?' by André Breton 'Second Surrealist Manifesto' by André Breton 'The Unsilvered Screen: Surrealism on Film' by Graeme Harper 'Surrealism and Cinema' by Michael Richardson 'Dada and Surrealist Film' by Rudolf E Kuenzli 'Dada and Surrealism: A Very Short Introduction' by David Hopkins 'Manifestoes of Surrealism' by André Breton 'The Czechoslovak New Wave' by Peter Hames 'The Cinema of Jan Svankmajer: Dark Alchemy', edited by Peter Hames 'Czech and Slovak Cinema: Theme and Tradition' by Peter Hames 'The Interpretation of Dreams' by Sigmund Freud Classroom Procedures I expect my students to: attend all of the seminars and screenings participate in all seminar discussions arrive on time for both film screenings and seminars have their mobile phones turned off during film screenings and seminars complete all of the required reading for the course read all of the emails I send them in full complete all tasks that I assign them Assignments and Grading Policy Grades based on letters A through F will be given. ECES does not provide courses with pass/fail grades. Participation*: 20 % Presentation (15-20 minutes in length): 35 % Final Paper (2,500 – 3,000 words in length): 45 % * = A record of student participation will be made every seminar. Those students who regularly fail to play an active role in class discussions will receive 0% for participation. Important Note: Students who fail to complete +any+ of the required reading for the course will receive a final grade of no higher than a 'C'. Attendance Regular and punctual class attendance is mandatory for all students. Absence of 180 minutes is allowed. Three or more absences (90 minutes each) lower the grade automatically (A to A-, A to B+ in case of 4 absences etc.). Students must attend at least 70 % of the course. If a student attends less than 70 % of the class meetings, he or she will receive the final grade 'F' on their transcript. Presentation Policy: Missing the presentation will result in an F (when applicable). If the student wants to switch the date, he/she must find someone to do it and both students must confirm the change in e-mails to the professor at least 10 days in advance. If the student is sick and has a medical note, then the professor must agree with the student on how the work will be made up for. Final Test or Paper Policy: Completing the final test or paper is required. Failure to submit the final test or paper according to the deadline will result in a letter grade F for the entire course. For further details, please see the Attendance Policy at the ECES website under “Academic Policies and Procedures”: http://eces.ff.cuni.cz/. Student Responsibility and Code of Conduct Standards of study and conduct in the ECES Program are set and maintained. You are subject to the general standards and requirements of Charles University in regard to attendance, examinations, and conduct, as well as to specific requirements of the program. The student is expected to assume the initiative in completing all requirements at the time specified. It is the responsibility of the student to be informed concerning all regulations and procedures required. In no case will a regulation be waived or an exception granted because a student pleads ignorance of the regulation or asserts that he/she was not informed by an advisor or other authority. Charles University expects all students to adhere to the highest standards of ethics and academic integrity. Students certify that all work (whether an examination, research paper, research project, form of creative expression, or any other academic undertaking) submitted for evaluation, presentation, or publication meets these standards. All forms of academic fraud are strictly prohibited. An automatic grade of F will result for the entire course if a student is found guilty of academic misconduct. These include, but are not limited to: • Plagiarism • Cheating • Falsification • Violation of professional ethics • Misrepresentation or research data Weekly Schedule Week 1 What is Surrealism?: An Introduction. This week's seminars will focus on the meaning, origin, ideas, and aims of surrealism. Students will be encouraged to study André Breton's first surrealist manifesto, explore the differences between Dada and surrealism, recognise the importance of Freud's theories regarding the unconscious on the surrealist movement's ideas, and analyse two surrealist film classics, both of which were made close to the start of the movement's development: Luis Buñuel and Salvador Dali's Un Chien Andalou (1929, FR) and Jean Vigo's Zero for Conduct (1933, FR). They will also compare and contrast the former film with Max Ernst's film Desire (1947, US), and explore the surreal elements of some of Ernst's most important paintings and collages. Films: Un Chien Andalou (1929, Luis Buñuel & Salvador Dali, 21 minutes) Europe After the Rain: Dada & Surrealism (1978, Mick Gold, 90-minutes) Zero for Conduct (1933, Jean Vigo, 41 minutes) Desire (1947, Max Ernst, 10-minutes) Darkness Light Darkness (1989, Jan Švankmajer, 6-minutes) Required readings: - 'First Surrealist Manifesto' by André Breton, provided by course tutor - 'What is Surrealism?' handout, provided by the course tutor Week 2 More Buñuel: 'Belle De Jour' (1967) + The Marquis de Sade In this week's seminars, we will return to the work of the surrealist film maker Luis Buñuel, focusing on his classic surrealist film Belle de Jour. Students will consider what makes this film a surrealist film, and whether or not this is the best 'genre' of film to situate it within. They will also be asked to compare and contrast the film with the other films they seen on the course so far in order to illuminate its similarities and differences. Moreover, students will explore what the film tells us about sex, love, and desire, as well as the importance of the writings of the Marquis de Sade to Buñuel and other notable surrealists, such as Jan Švankmajer. They will also examine the inter-textual presence of Lewis Carroll's Alice books in Belle de Jour. Films: Luis Buñuel's Belle de Jour (1967) Luis Buñuel's L'âge d'or (1930) – may show excerpts from Jan Švankmajer's Conspirators of Pleasure (1996) – may show excerpts from Required readings: - Marquis de Sade's Philosophy in the Bedroom (1795), available online in full (for free and in English) here - Selected interviews, articles and essays, provided by the course tutor Week 3 Surrealism and Feminism 1: 'Daisies' (1966) + The Prague Spring & Surrealism: 'The Cremator' (1969) This week's first seminar will focus on Věra Chytilová's Daisies (1966). Students will be asked to analyse and evaluate the film and, in doing so, consider some of the following questions: (1) What makes the film a surrealist film? (2) What are the similarities and differences between the film and other surrealist films, past and present? (3) Is the film a feminist film? (4) How successful is the film at being both feminist and surrealist? (5) How does consideration of the film as surrealist help to illuminate it or surrealism? In the second seminar, students will be asked to analyse and evaluate Juraj Herz's The Cremator (1969) as a surrealist text and also interpret the film within its historical context. They will also learn about psychoanalyst Erich Fromm's concept of freedom, as outlined in his book The Fear of Freedom, and the psychoanalytic concept of paranoia, and be asked to use both concepts to interpret The Cremator. Moreover, they will learn about Salvador Dali's 'paranoia-critical method' and its importance to the evolution of surrealist thought. Films: Věra Chytilová's Daisies (1966) Juraj Herz's The Cremator (1969) Věra Chytilová 's Something Different (1963) – may show excerpts from Jan Němec's Mucedníci lásky / Martyrs of Love (1967) – may show excerpts from Jiří Menzel's Larks on A String (1969) – may show excerpts from Required readings: - Chapter on Daisies in Peter Hames' The Czechoslovak New Wave, provided by the course tutor - 'The Stinking Ass' by Salvador Dali: http://notesonartists.blogspot.cz/2010/10/stinking-ass-by-salvador-dali.html - 'What is Surrealism?' by André Breton: http://pers-www.wlv.ac.uk/~fa1871/whatsurr.html - The chapters on The Cremator in Peter Hames' The Czechoslovak New Wave - Brian Hoyle on The Cremator: http://sensesofcinema.com/2007/cteq/cremator/ - Selected interviews, articles and essays, provided by the course tutor Week 4 Surrealism and Feminism 2: 'Valerie and Her Week of Wonders' (1970) & Black Moon (1975) This week's seminars will focus on Jaromil Jireš's Valerie and Her Week of Wonders (1970). Students will be asked to analyse and evaluate the film and discuss many of the same questions they discussed when they studied Daisies. They will also be asked to discuss whether the film is a successful adaptation of the book it is based on, and interpret the film within its historical context. Moreover, they will assess surrealist specialist Michael Richardson's argument, in his book Surrealism and Cinema, that Valerie is not a surrealist film. In addition, students will study Louis Malle's surrealist film Black Moon (1975), and compare and contrast it with Valerie. Films: Jaromil Jireš's Valerie and Her Week of Wonders (1970) Neil Jordan's The Company of Wolves (1984) – may show excerpts from Louis Malle's Black Moon (1975) – will encourage students to watch at home Required readings: - Valerie and Her Week of Wonders (1932) by Vítězslav Nezval - Selected interviews, articles and essays, provided by the course tutor Week 5 Surrealism and Feminism 3: 'A Real Young Girl' (1976) The focus of this week's seminars will be French film maker Catherine Breillat's A Real Young Girl (1976). Students will be asked to compare and contrast the film with Daisies, Valerie and Her Week of Wonders, and Black Moon in order to establish whether or not all three feminist-surrealist films share the same aesthetic/political/philosophical aims. They will also be asked to read Lewis Carroll's Alice's Adventure in Wonderland , a popular books with surrealists, and discuss how A Real Young Girl uses elements of the book in the development of its story. Furthermore, they will be introduced to Julia Kristeva's theory of the abject and be asked to use it to interpret A Real Young Girl and determine its subversiveness. They will also be asked to examine the inter-textual presence of Buñuel's Belle De Jour in the film, as well as explore the problems that arise with classifying a cultural product as 'obscene'. Films: Catherine Breillat's A Real Young Girl (1976) Required readings: - Alice's Adventure in Wonderland by Lewis Carroll - An essay on A Real Young Girl by Lauren Kaminsky: http://www.reverseshot.com/article/real_young_girl - Essay on the pornographic imagination by psychoanalyst Bohuslav Brouk, founding member of the Surrealist Group of Czechoslovakia (from Edition 69 [1931], Twisted Spoon Press, 2004), provided by the course tutor Week 6 The Cabinet of Jan Švankmajer: 'Alice' (1988) + Kristeva's Concept of Abjection The focus of this week's seminars will be Jan Švankmajer's feature-length film Alice (1988). Students will be asked to compare and contrast his surrealist films with other surrealist films they have seen, in order to establish their similarities and differences. Moreover, they will be asked to watch scenes from two Švankmajer shorts, Down to the Cellar (1983) and Jabberwocky (1971), and identify the key themes and distinguishable stylistic features of Svankmajer's work. Furthermore, they will explore the similarities and differences between Švankmajer's Alice and Lewis Carroll's. They will also examine both the portrayal of childhood in Švankmajer's films and the portrayal of childhood in Todd Haynes' short surrealist film Dottie Gets Spanked (1993). Furthermore, they will employ Kristeva's notion of the abject to interpret Alice and determine its subversiveness. Films: Jan Švankmajer's Alice (1988), Down to the Cellar (1983), and Jabberwocky (1971) Todd Haynes' Dottie Gets Spanked (1993) Required readings: - Alice's Adventure in Wonderland and Alice Through the Looking Glass by Lewis Carroll - 'Approaching Abjection' by Julia Kristeva (from her book Powers of Horror: An Essay on Abjection), provided by the course tutor - Selected interviews, articles, and essays, provided by the course tutor Week 7 Surrealism and Eroticism: 'Ai No Corrida' (1976) & George Bataille's 'The Story of the Eye' (1928) The focus of this week's seminars will be on two classic surrealist works that explore eroticism and death: Japanese filmmaker Nagisha Oshima's Ai No Corrida and philosopher and fiction writer George Bataille's The Story of the Eye. Students will explore the philosophical ideas about sexual desire underpinning these two texts, as well as determine to what extent both are erotic and/or pornographic. They will also consider the portrayal of women and female sexual desire in both texts, and discuss whether or not either one or the other can be considered to have feminist aims. Moreover, they will examine the way in which both texts seek to deepen the foundations of the real. They will also be introduced to Georges Bataille's theory of the relationship between sex and death from his book Eroticism, and be asked to use this theory to interpret Ai No Corrida and The Story of the Eye. Films: Nagisha Oshima's Ai No Corrida (1976) Required readings: - Georges Bataille's novella The Story of the Eye (1928) - Susan Sontag's 'The Pornographic Imagination' - Selected interviews, articles and essays, provided by the course tutor Week 8 Polish Surrealism 1: Andrzej Żuławski's 'Possession' (1981) + Freud's 'The Uncanny' & Noël Carroll's definition of horror fiction In this week's seminars, students will analyse the surrealist Polish filmmaker Andrzej Żuławski's film 'Possession'. They will be asked to ascertain and evaluate the film's sexual politics, examine the relationship between the work's form and content, and think about the ways in which the film creates a reality more real than 'everyday reality' (in other words, a surreality). They will also be asked to study and evaluate Susan Sontag's seminal essay 'Against Interpretation', and consider whether or not 'Possession' has a 'deep' philosophical meaning, or any meaning at all. Furthermore, students will be introduced to Freud's concept of the uncanny and be asked to use it to explore how the film creates an uncanny feeling in the viewer. They will also be introduced to philosopher Noël Carroll's definition of horror fiction, from his book 'The Philosophy of Horror', and be asked to use it to determine the extent to which 'Possession' can be said to belong to the genre. Moreover, they will study film critic Robin Wood's theory for identifying the politics of horror films, and be asked to evaluate the theory and use it to interpret 'Possession'. Films: Andrzej Żuławski's Possession (1981) Andrzej Żuławski's The Third Part of the Night (1971, PL) – may show excerpts from Required readings: - 'An Introduction to the American Horror Film' by Robin Wood, provided by the course tutor - 'The Uncanny' by Sigmund Freud, provided by the course tutor - 'Against Interpretation' by Susan Sontag, provided by the course tutor - Selected interviews, articles and essays, provided by the course tutor Week 9 Polish Surrealism 2 : 'The Hourglass Sanatorium'(1973) & Roman Polanski's 'Two Men and a Wardrobe' (1958) and 'The Fat and the Lean' (1961) This week's seminars will focus on the Polish filmmaker Wojciech Has' The Hourglass Sanatorium (1973), based upon several short stories by Bruno Schulz. Students will be asked to analyse and evaluate the film as a surrealist text, comparing and contrasting it with the other surrealist films they've seen. They will also be asked to explore the film's relationship to the Schulz stories upon which it is based, as well as think about the significant differences between the Polish, Czech, and French surrealist films they've seen. Furthermore, they will consider whether it is best to position the film as a horror, Gothic, fantastic, or surrealist text in order to understand it fully, as well as examine how the film creates an uncanny feeling in the viewer. They will also be asked to analyse and interpret two of Polish filmmaker Roman Polanski's surreal short films, 'Two Men and a Wardrobe' (1958) and 'The Fat and the Lean' (1961), and determine whether or not they and the other Polish surrealist films they have seen express a similar world-view. Furthermore, students will be introduced to literary critic Rosemary Jackson's definition of fantastic fiction, from her book Fantasy, and be asked to consider whether or not such fiction and surrealist fiction share overlapping philosophical and political aims. Films: Wojciech Has' The Hourglass Sanatorium (1973) Roman Polanski's Two Men and a Wardrobe (1958) and The Fat and the Lean (1961) Selected animated shorts by Walerian Borowczyk The Brother Quay's Street of Crocodiles (1986), based on the short story of the same name by Bruno Schulz Required readings: - Extract from Rosemary Jackson's book Fantasy, provided by the course tutor - Extracts from Polish writer Witold Gombrowic's surrealist novel Ferdydurke (1937), provided by the course tutor - Selected interviews, articles and essays, provided by the course tutor Week 10 Is Tarkovksy's 'Mirror'(1975, RUS) a Surrealist Film? + The Surrealist Documentary: Buñuel's 'Land Without Bread' (1933, SP) & Franju's 'Blood of the Beasts' (1949, FR) When the Russian film maker Tarkovsky was once asked during an interview if his 1975 film Mirror could be considered a surrealist film, he replied that it certainly could not. In this week's seminars, students will discuss whether or not Tarkovsky was correct in this assessment of his own work, whether the film is in fact a surrealist text. They will also consider whether or not considering the film as a work of surrealism is the best of way of understanding or interpreting the film, drawing upon the understanding and knowledge of surrealist films that they have acquired so far. Moreover, they will be asked to compare and contrast 'Mirror' with a classic novella with which it share some similarities: Leo Tolstoy's 'The Death of Ivan Ilych'. Furthermore, students will analyse two surrealist documentaries, Luis Buñuel's 'Land Without Bread' (1933, SP) and Georges Franju's 'Blood of the Beasts' (1949, FR), and be asked to specify what exactly it is about the films that makes them surrealist. Films: Andrei Tarkovsky's Mirror (1975) Luis Buñuel's Land Without Bread (1933, SP) Georges Franju's Blood of the Beasts (1949, FR) Required readings: - Leo Tolstoy's 'The Death of Ivan Ilych'. - Tarkovsky Talks About 'Mirror': http://skywalking.com/tarkovskyold/tmirror.html - Selected interviews, articles and essays, provided by the course tutor Week 11 Hungarian Surrealism: 'Werckmeister Harmonies' (2000) + Yugoslavian Surrealism: 'WR: Mysteries of the Organism' (1971) The first of this week's two seminars will focus on Hungarian film maker Béla Tarr's Werckmeister Harmonies (2000), whereas the second will focus on Serbian filmmaker Dušan Makavejev's 'WR: Mysteries of the Organism' (1971). Students will be asked to analyse both films, interpret them, and decide if they qualify as true surrealist works. Films: Béla Tarr's Werckmeister Harmonies (2000) Dušan Makavejev's WR: Mysteries of the Organism (1971) Required readings: - Selected interviews, articles and essays, provided by the course tutor Week 12 Surrealist Films Outside of Central And Eastern Europe: 'Blue Velvet' (1986) & 'Institute Benjumenta' (1995) This week's seminars will look at the work of filmmakers influenced by Central and Eastern European surrealist films. Students will be asked to watch David Lynch's 'Blue Velvet' (1986) and the Quay brothers' 'Institute Benjumenta' (1995), compare them with the Central and Eastern European films they have studied, and consider whether or not both films can be said to be true surrealist texts. Also, they will read and evaluate philosopher John Zerzan's article 'The Case Against Art', which argues that one of the principles of surrealism – that social reality can be transformed by the dissolution of the barrier between art and everyday life – is based upon a fundamental misunderstanding of what art is. Films: David Lynch's Blue Velvet (1986) The Brothers Quays' Institute Benjumenta (1995) Required readings: - An extract from the second introduction to Robin Wood's book Hitchcock's Films (in which Wood discusses the politics of Blue Velvet), provided by the course tutor - 'The Case Against Art' by John Zerzan, available here: http://www.primitivism.com/case-art.htm - Selected interviews, articles and essays, provided by the course tutor Poslední úprava: Španihelová Magda, Mgr., Ph.D. (27.09.2016)
|
|
||
|
Required Reading 'First Surrealist Manifesto' by André Breton 'Alice's Adventure in Wonderland' and 'Alice Through the Looking Glass' by Lewis Carroll 'The Story of the Eye' by Georges Bataille 'Philosophy in the Boudoir' by The Marquis de Sade (also known as 'Philosophy in the Bedroom') 'Valerie and Her Week of Wonders' by Vítězslav Nezval 'The Death of Ivan Ilych' by Leo Tolstoy Secondary Reading 'The Age of Gold: Surrealist Cinema' by Robert Short 'Dada & Surrealism' by Robert Short 'The Shadow and Its Shadow: Surrealist Writings on the Cinema' by Paul Hammond (ed.) 'What is Surrealism?' by André Breton 'Second Surrealist Manifesto' by André Breton 'The Unsilvered Screen: Surrealism on Film' by Graeme Harper 'Surrealism and Cinema' by Michael Richardson 'Dada and Surrealist Film' by Rudolf E Kuenzli 'Dada and Surrealism: A Very Short Introduction' by David Hopkins 'Manifestoes of Surrealism' by André Breton 'The Czechoslovak New Wave' by Peter Hames 'The Cinema of Jan Svankmajer: Dark Alchemy', edited by Peter Hames 'Czech and Slovak Cinema: Theme and Tradition' by Peter Hames 'The Interpretation of Dreams' by Sigmund Freud Poslední úprava: Španihelová Magda, Mgr., Ph.D. (15.09.2016)
|
|
||
|
Classroom Procedures I expect my students to: ñ attend all of the seminars and screenings ñ participate in all seminar discussions ñ arrive on time for both film screenings and seminars ñ have their mobile phones turned off during film screenings and seminars ñ complete all of the required reading for the course ñ read all of the emails I send them in full ñ complete all tasks that I assign them
Assignments and Grading Policy Grades based on letters A through F will be given. ECES does not provide courses with pass/fail grades. Participation*: 20 % Presentation (15-20 minutes in length): 35 % Final Paper (2,500 – 3,000 words in length): 45 %
Important Note: Students who fail to complete +any+ of the required reading for the course will receive a final grade of no higher than a 'C'. Attendance Regular and punctual class attendance is mandatory for all students. Absence of 180 minutes is allowed. Three or more absences (90 minutes each) lower the grade automatically (A to A-, A to B+ in case of 4 absences etc.). Students must attend at least 70 % of the course. If a student attends less than 70 % of the class meetings, he or she will receive the final grade 'F' on their transcript.
Presentation Policy: Missing the presentation will result in an F (when applicable). If the student wants to switch the date, he/she must find someone to do it and both students must confirm the change in e-mails to the professor at least 10 days in advance. If the student is sick and has a medical note, then the professor must agree with the student on how the work will be made up for.
Final Test or Paper Policy: Completing the final test or paper is required. Failure to submit the final test or paper according to the deadline will result in a letter grade F for the entire course. For further details, please see the Attendance Policy at the ECES website under “Academic Policies and Procedures”: http://eces.ff.cuni.cz/.
Student Responsibility and Code of Conduct Standards of study and conduct in the ECES Program are set and maintained. You are subject to the general standards and requirements of Charles University in regard to attendance, examinations, and conduct, as well as to specific requirements of the program. The student is expected to assume the initiative in completing all requirements at the time specified.
It is the responsibility of the student to be informed concerning all regulations and procedures required. In no case will a regulation be waived or an exception granted because a student pleads ignorance of the regulation or asserts that he/she was not informed by an advisor or other authority.
Charles University expects all students to adhere to the highest standards of ethics and academic integrity. Students certify that all work (whether an examination, research paper, research project, form of creative expression, or any other academic undertaking) submitted for evaluation, presentation, or publication meets these standards.
All forms of academic fraud are strictly prohibited. An automatic grade of F will result for the entire course if a student is found guilty of academic misconduct. These include, but are not limited to: • Plagiarism • Cheating • Falsification • Violation of professional ethics • Misrepresentation or research data Poslední úprava: Španihelová Magda, Mgr., Ph.D. (15.09.2016)
|