! HOUSEKEEPING COVER SHEET Use this form to propose changes to courses that fall under the College of Design Policy on Routine Maintenance and Housekeeping Decisions. Housekeeping Department: DHA Course Designator: RM Program: Retail Merchandising Effective Term: Fall 2016 Career: X Undergraduate Graduate Course Number: 4218 Submission Date: 6/30/16 Submission from: A. Heldt Required: Academic Support Resources (ASR) Needed Libraries Computer Lab Digifab Lab Goldstein Imaging Lab Other Technology Workshop ASR Support not needed. Select Changes: Change in Delivery Format Change in Grading Method Change in Prerequisite X Other: Inactivate Change in Catalog Description Change in Course Number Change in Course Title Change in Term Offered Correction of typographical or grammatical errors Offering of a Topic Can be offered a maximum of 2 times. I. Briefly describe proposed changes. (Executive Summary in Workflow Gen) Inactivate RM 4218 Fashion and Culture. This class has not been offered.!
1 of 9 6/30/2016 9:47 AM Signed in as: aheldt Sign out Campuses: Twin Cities Crookston Duluth Morris Rochester Other Locations Search U of M Web sites RM 4218 - VIEW COURSE PROPOSAL Back to Proposal List Approvals Received: Approvals Pending: Effective Status: Department on 06-28-16 by Amber Heldt (aheldt@umn.edu) College/Dean > Provost > Catalog New: Inactive Old: Active Effective Term: New: 1169 - Fall 2016 Old: 1153 - Spring 2015 Course: RM 4218 Institution: Campus: Career: College: Department: UMNTC - Twin Cities/Rochester UMNTC - Twin Cities UGRD TALA - College of Design 10832 - DHA Retail Merchandising General Course Title Short: Course Title Long: Max-Min Credits for Course: Catalog Description: Fashion and Culture Fashion and Culture 3.0 to 3.0 credit(s) New: Relationship of fashion/dress/culture to time/place. Design. Fashion centers, fashion industry, globalization. Chinese fashion industry as case study. prereq: Upper division undergraduate or grad student. Old: Relationship of fashion/dress/culture to time/place. Design. Fashion centers, fashion industry, globalization. Chinese fashion industry as case study. prereq: Upper division undergraduate or grad student. Print in Catalog?: CCE Catalog Description: Grading Basis: Topics Course: Honors Course: Yes A-F only No No
2 of 9 6/30/2016 9:47 AM Online Course: Instructor Contact Hours: Course Typically Offered: Component 1 : Auto-Enroll Course: Graded Component: Academic Progress Units: Financial Aid Progress Units: Repetition of Course: Course Prerequisites for Catalog: Course Equivalency: Add Consent Requirement: Drop Consent Requirement: Enforced Prerequisites: (course-based or non-course-based) Editor Comments: Proposal Changes: History Information: Yes 2.5 hours per week Every Fall LEC (no final exam) No LEC Not allowed to bypass limits. 3.0 credit(s) Not allowed to bypass limits. 3.0 credit(s) Repetition not allowed. No course equivalencies No required consent No required consent No prerequisites Faculty Sponsor Name: Faculty Sponsor E-mail Address: Juanjuan Wu jjwu@umn.edu Liberal Education Requirement this course fulfills: Other requirement this course fulfills: Criteria for Core Courses: None None Describe how the course meets the specific bullet points for the proposed core requirement. Give concrete and detailed examples for the course syllabus, detailed outline, laboratory material, student projects, or other instructional materials or method. Core courses must meet the following requirements: They explicitly help students understand what liberal education is, how the content and the substance of this course enhance a liberal
3 of 9 6/30/2016 9:47 AM education, and what this means for them as students and as citizens. They employ teaching and learning strategies that engage students with doing the work of the field, not just reading about it. They include small group experiences (such as discussion sections or labs) and use writing as appropriate to the discipline to help students learn and reflect on their learning. They do not (except in rare and clearly justified cases) have prerequisites beyond the University's entrance requirements. They are offered on a regular schedule. They are taught by regular faculty or under exceptional circumstances by instructors on continuing appointments. Departments proposing instructors other than regular faculty must provide documentation of how such instructors will be trained and supervised to ensure consistency and continuity in courses. Criteria for Theme Courses: Describe how the course meets the specific bullet points for the proposed theme requirement. Give concrete and detailed examples for the course syllabus, detailed outline, laboratory material, student projects, or other instructional materials or methods. Theme courses have the common goal of cultivating in students a number of habits of mind: thinking ethically about important challenges facing our society and world; reflecting on the shared sense of responsibility required to build and maintain community; connecting knowledge and practice; fostering a stronger sense of our roles as historical agents. LE Recertification-Reflection Statement: (for LE courses being re-certified only) Statement of Certification: This course is certified for a Core, effective as of This course is certified for a Theme, effective as of Writing Intensive Propose this course as Writing Intensive curriculum: Question 1 (see CWB Requirement 1): No How do writing assignments and writing instruction further the learning objectives of this course and how is writing integrated into the course? Note that the syllabus must reflect the critical role that writing plays in the course. Question 2 (see CWB Requirement 2): What types of writing (e.g., research papers, problem sets, presentations, technical documents, lab reports, essays, journaling etc.) will be assigned? Explain how these assignments meet the requirement that writing be a significant part of the course work, including details about multi-authored assignments, if any. Include the required length for each writing assignment and demonstrate how the minimum word count (or its equivalent) for finished writing will be met. Question 3 (see CWB Requirement 3): How will students' final course grade depend on their writing performance? What percentage of the course grade will depend on the quality and level of the student's writing compared to
4 of 9 6/30/2016 9:47 AM the percentage of the grade that depends on the course content? Note that this information must also be on the syllabus. Question 4 (see CWB Requirement 4): Indicate which assignment(s) students will be required to revise and resubmit after feedback from the instructor. Indicate who will be providing the feedback. Include an example of the assignment instructions you are likely to use for this assignment or assignments. Question 5 (see CWB Requirement 5): What types of writing instruction will be experienced by students? How much class time will be devoted to explicit writing instruction and at what points in the semester? What types of writing support and resources will be provided to students? Question 6 (see CWB Requirement 6): If teaching assistants will participate in writing assessment and writing instruction, explain how will they be trained (e.g. in how to review, grade and respond to student writing) and how will they be supervised. If the course is taught in multiple sections with multiple faculty (e.g. a capstone directed studies course), explain how every faculty mentor will ensure that their students will receive a writing intensive experience. Statement of Certification: This course is certified as Writing Internsive effective as of Course Syllabus Course Syllabus: For new courses and courses in which changes in content and/or description and/or credits are proposed, please provide a syllabus that includes the following information: course goals and description; format;structure of the course (proposed number of instructor contact hours per week, student workload effort per week, etc.); topics to be covered; scope and nature of assigned readings (text, authors, frequency, amount per week); required course assignments; nature of any student projects; and how students will be evaluated. The University "Syllabi Policy" can be found here The University policy on credits is found under Section 4A of "Standards for Semester Conversion" found here. Course syllabus information will be retained in this system until new syllabus information is entered with the next major course modification. This course syllabus information may not correspond to the course as offered in a particular semester. (Please limit text to about 12 pages. Text copied and pasted from other sources will not retain formatting and special characters might not copy properly.) University of Minnesota, College of Design, Department of Design, Housing, and Apparel Fashion and Culture (3 credits) Course Designator: ADES/RM; Apparel Studies Course Number: 4XXX and 5XXX Semester and Year: Fall 2012 Class Meeting Days &Time: course will be distributed in 15 weekly increments on Moodle
5 of 9 6/30/2016 9:47 AM Final Exam Date & Time: will be during final exam week with a limited time to complete online examination. Instructor Names: Marilyn DeLong, Joanne Eicher, Juanjuan Wu Office Location: 240 McNeal Hall Office Phone: 612-625-1219; Email: mdelong@umn.edu; jeicher@umn.edu; jjwu@umn.edu Office Hours: TBDâ based on location of students who register Course Description: Study of the relationship of fashion, dress, and culture, to time and place and design; Focus on fashion centers, the fashion industry, globalization, and the Chinese fashion industry as a case study. Required and Recommended Materials: *Berg Fashion Library and the Internet will be used for all reading assignments. *Need for access to computer on a daily or alternate day basis. Student Learning Objectives: 1. To understand the role of culture and how it relates to fashion and dress. 2. To learn about the factors involved in cultural variation in fashion related to time and place. 3. To understand the relationships of fashion, culture and the fashion industry based upon one locale. 4. To learn the importance of context, i.e. place, time, culture, in establishing a design identity. 5. To understand how one fashion culture and industry, e.g.china, relates to both domestic and international fashion. 6. To learn how to apply the knowledge about fashion and culture to design. Student Learning Outcomes: Can locate and critically evaluate information Students will use the Online Berg Fashion Library (BFL) to locate and critique scholarship and images related to fashion in various cultural contexts in a class discussion forum. The insights and depth of studentsâ critique of the articles will be evaluated by both the instructor and their peers. Release of Work Statement: Students understand that enrollment in this course grants consent for their work to be selected for inclusion in college or departmental publications (online or in print). Your instructor may select to use your work to represent her/his skills as an instructor in a teaching portfolio (online or in print). Expectations: Attendance: Class assignments will be posted each week on Monday and student will participate as directed in reading and activities and assignments. Workload: For a 3 credit course, you are expected to work for a grade of C in the various assignments for 3 hours per credit per week. Grading structure: This would be the structure provided in the U of MN policies and procedures. Students will be graded with equal weight given to three primary aspectsâ 1. course examinations and quizzes, 2. weekly participation: e.g. posting of chats, and 3. Project and involvement with team on project. Accepting and returning assignments: Assignments may be turned in any time during the week the assignments are posted as on time. Timing of postings will need to be early in the week so that otherâ s responses to your posting may be completed within the week. Grading late work: Work turned in past 1 week will be graded as lateâ one grade lower. If work is more than 2 weeks late, it will be graded as late and 2
6 of 9 6/30/2016 9:47 AM grades lower. Policy for missed exams: It is expected that students will not miss exams as there will be ample announcement and window for completing the examination. However, in the case of prolonged hospitalization or other excusable reasons according to the University of Minnesota policies, a student needs to notify the instructor via email prior to the scheduled examination and arrange for an make up examination. Failure to notify the instructor that you are unable to take the exam at the scheduled time will result in a 0 on the exam. The make up examination can only be arranged after the instructor receive a written documentation of your absence. Note other items will be added as required by the syllabus template Outline of Topics I.Fashion, Dress, & Culture (Eicher) (4 weeks) Relationships of Clothing, Costume & Dress Fashion Industry and Fashion II. Design, Culture, Time, & Place (DeLong) (4 weeks) The Places and Spaces of Fashion Fashion Centers When Clothes become Fashion Design and Innovation System III. Design, Fashion & Globalization (All) (3 weeks) Influence of internationalizing of fashion on local context IV. Case Study Focusing on Place and Fashion System (4 weeks) China: Fashion & Design Readings for Each Section Section I: Fashion, Dress & Culture (Eicherâ 4 weeks) Eicher, Joanne. "Clothing, Costume, and Dress." The Berg Fashion Library. 2005. http://www.bergfashionlibrary.com.ezp2.lib.umn.edu/view/bazf/bazf00129.xml Tortora, Phyllis. "Technology and Fashion." The Berg Fashion Library. Augu. http://www.bergfashionlibrary.com.ezp2.lib.umn.edu/view/bewdf/bewdfv3/edch3213.xml Tortora, Phyllis. "Introduction to Demographic and Social Influences." The Berg Fashion Library. Sept. http://www.bergfashionlibrary.com.ezp2.lib.umn.edu /view/bewdf/bewdf-v3/edch3028a.xml Lynch, Annette, Strauss, Mitchell D. "Fashion and the Self." The Berg Fashion Library. 2007. http://www.bergfashionlibrary.com.ezp2.lib.umn.edu /view/changfash/chapter-changfash00010004.xml Lynch, Annette, Strauss, Mitchell D. " Fashion Change in the New Millennium: An Introduction." The Berg Fashion Library. 2007. http://www.bergfashionlibrary.com.ezp2.lib.umn.edu/view/changfash/chapter- CHANGFASH00010003.xml Eicher, Joanne B, Sumberg, Barbara, "World Fashion, Ethnic and National Dress." The Berg Fashion Library. 1995. http://www.bergfashionlibrary.com.ezp2.lib.umn.edu/view/dressethn/chapter- DRESSETHN0020.xml Eicher, Joanne B, "Introduction: Dress as Expression of Ethnic Identity." The Berg Fashion Library. 1995. http://www.bergfashionlibrary.com.ezp2.lib.umn.edu /view/dressethn/chapter-dressethn0005.xml Bulag, Uradyn. "Wearing Ethnic Identity: Power of Dress." The Berg Fashion Library. Sept. http://www.bergfashionlibrary.com.ezp2.lib.umn.edu/view/bewdf /BEWDF-v6/EDch6014.xml Tortora, Phyllis. "History and Development of Fashion." The Berg Fashion Library. Sept. http://www.bergfashionlibrary.com.ezp2.lib.umn.edu/view/bewdf/bewdfv10/edch10020a.xml Lamp, Frederick. "Dress, Undress, Clothing, and Nudity." The Berg Fashion Library. Sept. http://www.bergfashionlibrary.com.ezp2.lib.umn.edu/view/bewdf /BEWDF-v10/EDch10004a.xml
7 of 9 6/30/2016 9:47 AM Section II. Design, Culture, Time, & Place (DeLong--4 weeks) Breward C. 1998. Cultures, Identities, Histories: Fashion a Cultural Approach to Dress,â Fashion Theory. Vol 2:4, pp. 301-314. Skov, L. 2011. Dreams of small nations in a polycentric fashion world. Fashion Theory 15:2.137-156. Reinach, S.S. 2011. National identities and international recognition. Fashion Theory, 15:2,267-272. Craik, J.â Is Australian Fashion and Dress Distinctively Australian?â Fashion Theory. 13:4, 409-442. Gimeno-Martinez, J. 2011. â Restructuring Plans for the Textile and Clothing Sector in Post-industrial Belgium and Spain,â Fashion Practice. 3:2, 197-224 Melchoir, M. R. 2010. â â Doingâ Danish Fashion: On National Identity and Design Practices of a Small Danish Fashion Company,â Fashion Practice 2:1,13-40. Medvedev, K. 2010. â Designing from Dumpsters: Cambodians Start at Grassroots with Fashion,â Fashion Practice. 2:2, 223-248. Bhandari, V. 2011. â Interview with Sabyasachi Mukherjeeâ Fashion Practice. 3:2, 253-264. Section III. Design Fashion & Globalization (DeLong, Eicher, Wu, 3 weeks) DeLong, Marilyn. "Fashion, Theories of." The Berg Fashion Library. 2005. http://www.bergfashionlibrary.com.ezp1.lib.umn.edu/view/bazf/bazf00212.xml Eicher, Joanne. "Ethnic Dress." The Berg Fashion Library. 2005. http://www.bergfashionlibrary.com.ezp1.lib.umn.edu/view/bazf/bazf00194.xml Blausen, Whitney. "Theatrical Costume." The Berg Fashion Library. 2005. http://www.bergfashionlibrary.com.ezp1.lib.umn.edu/view/bazf/bazf00582.xml Hecht, Thomas. "Dance Costume." The Berg Fashion Library. 2005. http://www.bergfashionlibrary.com.ezp1.lib.umn.edu/view/bazf/bazf00157.xml Rabine, Leslie. "Globalization." The Berg Fashion Library. 2005. http://www.bergfashionlibrary.com.ezp1.lib.umn.edu/view/bazf/bazf00273.xml Skov, Lise. "Ethnic Style in Fashion." The Berg Fashion Library. 2005. http://www.bergfashionlibrary.com.ezp1.lib.umn.edu/view/bazf/bazf00195.xml Sterlacci, Francesca. "Fashion Designer." The Berg Fashion Library. 2005. http://www.bergfashionlibrary.com.ezp1.lib.umn.edu/view/bazf/bazf00216.xml Wilson, Eric. "Fashion Industry." The Berg Fashion Library. 2005. http://www.bergfashionlibrary.com.ezp1.lib.umn.edu/view/bazf/bazf00223.xml Maynard, Margaret. "Globalization and Dress." The Berg Fashion Library. Sept. http://www.bergfashionlibrary.com.ezp1.lib.umn.edu/view/bewdf/bewdfv10/edch10035.xml Eicher, Joanne. "Introduction to Global Perspectives." The Berg Fashion Library. Sept. http://www.bergfashionlibrary.com.ezp1.lib.umn.edu/view/bewdf/bewdfv10/edch10002a.xml Section IV. Case Study of China: Focusing on Place and Fashion System (Wu--4 weeks) Wu, Juanjuan (2009). Chinese fashion from Mao to now. Oxford and New York: Berg â Ch. 1-The post-mao Fashion Revival â Ch.2-The Spread of Fashion Through Mass Media â Ch.6-Reinvented Identity: The Qipao and Tang-Style Jacket â Ch.7-The Evolution of the Fashion Industry: Designers and Models â Ch.8-Importing Dreams of Luxury: Western Brand Names
8 of 9 6/30/2016 9:47 AM Tsui, Christine (2009). China fashion: Conversations with designers. Oxford and New York: Berg â Ch. 1-Introduction: A brief history of Chinese fashion designers Fashion Practice: The Journal of Design, Creative Process & the Fashion Industry Contemporary Chinese Fashion Special Issue (Edited by Wu, Juanjuan) â The Future of Chinese Fashion Linda Welters and Arthur C. Mead â Chinese Fashion Designers: Questions of Ethnicity and Place in the Twenty-First Century Hazel Clark â The Identity of Fashion in Contemporary China and the New Relationships with the West Simona Segre Reinach â Branding â Created in Chinaâ : The Rise of Chinese Fashion Designers Tiziana Ferrero-Regis and Tim Lindgren Examples of Assignments: Section II, Lesson 1: Objective: to examine the relationship of specific cultures to fashion history and identity Discussion of readings by Breward and Skov to examine relationships and the advantages and disadvantages of developing a strong local identity through fashion. Follow directions for postings on Moodle. Read the following: *Breward C. 1998. Cultures, Identities, Histories: Fashion a Cultural Approach to Dress,â Fashion Theory. Vol 2:4, pp. 301-314. (Unlike most production and commercial activities, fashion expresses an elaborate culture, composed of symbols ideologies and lifestyles. Fashion centers are vital hubs and have cultural power. Many countries are seeking to build and develop a reputation through promoting their fashion industry.) *Skov, L. 2011. Dreams of small nations in a polycentric fashion world. Fashion Theory 15:2.137-156. (Skov explores how fashion production has been split between a globalized clothing industry and localized designer fashion sector. Fashion design has taken on national significance in terms of staging events and displays and engaging with cultural references outside the field of fashion. Placemaking uses the UN Security council model for interaction between first and second tier fashion cities. Various examples of the meaning of new fashion centers engage people industries and government. Providing knowledge and experience is important to attract tourists who have interests in establishing creativity and local designers can direct themselves toward a more sustainable and authentic design through engaging with tradition.) Section II, Lesson 2: Objective: To learn how local resources within one culture can affect the design outcome. Read: *Medvedev, K. 2010. â Designing from Dumpsters: Cambodians Start at Grassroots with Fashion,â Fashion Practice. 2:2, 223-248. (In her visit to Cambodia, Medvedev experiences the use of local resources in this fascinating story of creating design from resources found in dumpsters.) *Bhandari, V. 2011. â Interview with Sabyasachi Mukherjeeâ Fashion Practice. 3:2, 253-264. (Through this interview with an Indian designer the reader gets a sense of the evolutionary nature of apparel design and how culture and resources influence that direction. ) Questions for Discussion: What is a local identity? How do available resources affect the outcome? Explain how a locale can influence a designer. Follow directions for posting on Moodle. Specific Activity: Think of how the design outcomes would change depending
9 of 9 6/30/2016 9:47 AM upon one local context that you select and specify. Post your thoughts. Then respond to one otherâ s posting. As a result of this exercise teams will be developed and each team will pursue research and develop a specific design and publicity for one local context. Section IV Objective: To become familiar with Chinese designers and their approach to design Specific Activity: View and Critique the video â Wuyongâ and analyze Ma Keâ s approach to design and her participation in Haute Couture. Strategic Objectives & Consultation Name of Department Chair Approver: Strategic Objectives - Curricular Objectives: How does adding this course improve the overall curricular objectives ofthe unit? Strategic Objectives - Core Curriculum: Does the unit consider this course to be part of its core curriculum? Strategic Objectives - Consultation with Other Units: In order to prevent course overlap and to inform other departments of new curriculum, circulate proposal to chairs in relevant units and follow-up with direct consultation. Please summarize response from units consulted and include correspondence. By consultation with other units, the information about a new course is more widely disseminated and can have a positive impact on enrollments. The consultation can be as simple as an email to the department chair informing them of the course and asking for any feedback from the faculty. Back to Proposal List Contact Us 2014 Regents of the University of Minnesota. All rights reserved. The University of Minnesota is an equal opportunity educator and employer Information current as of June 30, 2016 Twin Cities Campus: Parking & Transportation Maps & Directions Directories Contact U of M Privacy