Basic Issues in Intercultural Studies Syllabus (Theory Course)
Christopher B Patterson
Chan Winnievisibility
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Class Information: Term 2, 2015/16 Tuesday, 2:30pm-5:15pm
Related papers
Cultural studies
Critical Studies in Media Communication, 1989
413 GSMC REVIEW AND CStlTICISM Roek, P., ft Mdotoih, M. (1974). Deviance and social control. London: Tavistock. Smith, A. a H. (1975). Paper voices: The popular press and todal change, 1935-1965 (with E. ImniiRi ft T-BUckweU). Tatiwa, NJ: Rowman and Litdefidd. Sparb, C. (1977). The evolutioa of cultural itudio. Screen Education, 22,16-30. Streeter. T. (1984). An alteniative appraadi to tdevigioa meardi: Devek^xnenti in Britiih cultural itudia at Binnin^iam. In W. R. Rowland, Jr. ft B. Watldni (Edi.), Interpreting television: Current research perspectives (pp. 74-97). Beverly HUIK Sage. Tobon,A.(1977). The Umiti of masculinity. honAaaiTanttack. Toboo, A. (1986). Popular culture: Practioe and inititution. ID G. MacCabe (Ed.), High theory/low culture: Analyting popular television and fUm (pp. 143-155). New York: SL Martin's Pms. Whannel. G. (1984). Blowing the whistle: The politics of sport. London: Pluta Williami, R. (1961). Thebngrevobitim. Hannondiwortii: Penguin. Williami, R. (Ed.) (1968). May Day mani^sto, 1968. Harmondiworth: Penguin. Willianu. R. (1974). Television: Technology and cultural form. Gla^ow: Fontana. WiUiami, R. (1977a). A lecture OD rcaUsm. Screen, 78(1), 61-74. Williami, R. (1977b). Marxism and literature. Oidbnl: Oxfonl Univenity Fren.
Syllabus for SS-330 CULTURAL STUDIES, Fall 2016.
This course explores the relations of cultural artifacts in the contemporary world to their various social contexts. Culture is understood as the material expressions and images that people create and the social environment that shapes the way diverse groups of people experience their world and interact with one another. The course focuses on the critical analysis of these various forms of media, design, mass communications, arts, and popular culture. DETAILED COURSE DESCRIPTION & OBJECTIVES The present era is often characterized as an age of global integration and a truly world economy as well as an era of social and environmental crises. In the midst of these changes we can often hear " culture " invoked as both a positive expression of this globalism and sometimes as something that opposes it. The full meaning of culture remains a topic of fierce debate and so " culture " is used as a political weapon, a claim of privilege, a rallying point for identity, a reservoir of resistance, or refers to various artifacts and practices that must be either preserved (good culture) or eliminated (degenerate culture). Cultural Studies emerged from the attempts to understand these complex social and political uses of " culture " in such debates as those over " high & low " art, the value of the artifacts of popular culture (cinema, television, music, etc.), the deployments of knowledge and authority in the social relations of everyday life. We will examine how Cultural Studies offered a critical understanding of what Max Horkheimer termed " life as it is lived. " Attention will be paid to the fate of Cultural Studies as it became accepted and absorbed by various academic disciplines. In the final sessions, special attention will be given to the reception of Cultural Studies in the United States. This course is designed to give you a foundation in Cultural Studies. It will show you how Cultural Studies emerged and its subsequent variations and lines of descent. You are not expected to already know this, nor are you expected to already be familiar with the texts we will use and issues that will be raised. You are expected to engage the course materials seriously. You will finish the course with an introduction to different ways of understanding the history of the present day and the social relations of everyday life.
Syllabus - Cross-Cultural Analysis, Spring 2023
2023
In the previous iteration of the course, I learned a lot about where my students experienced different types of resistance to the course materials. I revised the reading schedule to continue to challenge students in useful ways and moved away from some of the material that felt counterproductive for the students. That's always the gambit with teaching about the politics of culture. I also wanted to expand the ways the class engaged with transnational and postcolonial feminisms. Surprisingly, a lot of energy went into re-imagining the class from MWF to TTh--a sneaky bit of logistics!
Perspectives in Cultural Studies I
This course introduces students to the work and significance of representation and power in the understanding of culture as social practice. It helps students to understand the relationships among sign, culture and the making of meanings in society. From this base it approaches the question of ideology and subjectivity in the shaping of culture. With reference to various cultural texts and social contexts, we study examples of cultural production from history and politics to lived experiences of the everyday, from photography and art to cinema and museum, from popular culture to lifestyle etc. In appreciating divergent concerns in the critical analysis of culture and power, we focus on selected topics both mainstream and emergent, with an emphasis on contemporary developments in the Asian contexts. A brief account of the intellectual formations of Cultural Studies will be provided to allow students to appreciate the global, regional and local perspectives in the evolving field of study.
SYLLABUS - "Approaches to Comparative Cultural Studies, I" (Fall 2017)
OVERVIEW: Stuart Hall, one of the recognized founders of cultural studies, posed a question that provides an ideal starting point for this course as an introduction to the field: "Against the urgency of people dying in the streets, what in God's name is the point of cultural studies?...At that point, I think anybody who is into cultural studies seriously as an intellectual practice, must feel, on their pulse, its ephemerality, its insubstantiality, how little it registers, how little we've been able to change anything or get anybody to do anything. If you don't feel that as one tension in the work that you are doing, theory has let you off the hook." Hall's idea that integral to cultural studies is a political and ethical mandate to " change anything " squarely places cultural studies within the domain of critical theory, which has for long provided a pillar to the humanities as central to a model of higher education that is now being slowly dismantled by the neoliberal corporate academia. That notion of the humanities has, on the other hand, reflected the assumptive logics of modern humanism as the dominant cognitive framework within which, among other intellectual endeavors, critical theory has emerged. Humanism is, in fact, predicated upon the Human intended both as the subject of critical theory and the beneficiary of its emancipatory aspirations. Trying to answer Hall's question (" what is the point of cultural studies? ") invites therefore reflection on the critical intersections between cultural studies as a form of knowledge and the human(ist) projects sustaining the now beleaguered humanities. The aim of this course is to provide opportunities, theoretical approaches, and conceptual tools for this type of reflection. The course's topics and readings are therefore loosely organized around few questions: What is the " human " in the humanities? What are the potentialities, effects, constraints, and omissions inherent in the grounding of critical and cultural theory in the " human " ? How do concepts and insights in critical theory invest and define cultural studies? How are such entanglements questioned by writers, voices, and approaches that challenge humanism and its universalist claims by exposing its affinities with coercive and violent processes of colonialism, enslavement, racialized oppression, indigenous displacement, economic exploitation, gendered domination, and environmental devastation? We will, in other words, subject critical theory and cultural studies to the unflinching scrutiny demanded by, in Hall’s words, “people dying in the streets”. The invitation, in the opening quote, to consider the World’s violence and lethality as questions that unsettle Human cultural agency and capacity will also require you to think on whether what is here at stake are mostly injuries on a generic humanity, or rather the perpetuation of a more structural violence that, at variance with humanist universalism, has torn humanity apart or, more precisely, defined humanity as the (white and male) point of enunciation and organization of global social and cultural hierarchies. It is along these lines that cultural theory has been affected by the work of scholars, especially prominent in Black studies and radical theories of race, pointing out that the World the human/ities made exists in fact, to use Saidiya Hartman’s expression, in the “afterlife of [Black] slavery” and, as Christina Sharpe writes, “in the wake” of its “ongoing disasters”. The course will pay specific attention to these lines of inquiry since they have uniquely confronted cultural studies and critical theory in their very intellectual foundations (even requiring, in Sylvia Wynter’s words, a “rewriting of knowledge” beyond the humanities’ current epistemic framework), making such approaches eminently suitable to an introductory graduate course. The course is driven by questions and concepts, rather than canonical authors and schools of thoughts. Weekly discussions will invite you to think through a set of key terms in the humanities and cultural theory by addressing authors and readings that, in conversation or opposition with one another, address those terms from various critical and meta-critical standpoints. “Meta-critical” (in the sense of “critique of the critique”, so to speak) broadly refers, for our purposes, to interventions that do not necessarily proceed from the assumed coherence of categories (like race, gender, class, nation, agency, and culture itself) informing critical theory as a human/ist capacity, but rather position those categories along the problematic divide—often ignored by critical theory itself—between the human/ist subject and those whose humanity and subjecthood are removed or curtailed. The core expectation underlying this course is that you will reflect on the questions and debates raised in class with a view at defining (or revising and refining) your intellectual and scholarly interests, as well as specific empirical questions of your research, by considering these broader theoretical challenges. You should also be able to acquire a complex perspective on the concepts we shall discuss, with a view to their deployment in your own work.
Syllabus, Beyond Political Culture, graduate course, Rutgers (taught last time: Spring 2013)
In a nutshell, this course is about the relationship between culture and power. This relationship will be investigated from a variety of perspectives, disciplines, and methodologies. More formally, our goals are twofold: to provide a systematic review of the state-of-the-art work on the relationship between politics (particularly power) and culture and (b) to explore how "cultural" approaches can complement, enrich or replace more common acultural political scientific and economic analyses of political processes.
Syllabus - Cross-Cultural Analysis, Fall 2022
2022
This course taught me a lot about a student population I was working with for the first time. For this class, I decided to lean into the overlap between cultural studies and critical ethnic studies. I also did a lot of work developing and fine tuning my 'Uneven U' assignments. There was definitely a learning curve for me and the students, but a number of students described feeling more confident with reading and writing academic prose by the end of the term.
CULS 5211A
Basic Issues in Intercultural Studies II
Instructor: Teaching Assistant:
Dr. Christopher B. Patterson Winnie Chan
email@email.com winniechanht@cuhk.edu.hk
Class Information:
Term 2, 2015/16 Tuesday, 2:30pm-5:15pm
The Chinese University of Hong Kong Rm 208, Lee Shau Kee Building
Course Description
This course expands your abilities in cultural studies by focusing on three units: frameworks, positions, and analytic approaches. As cultural studies is a vast and growing field, each unit will consider different vantage points, and readings will vary widely in genre (films, video games, comics) and in region (Europe, America, Southeast Asia). In each week we will hone our analysis to ask how cultural texts reflect, refract and resist modes of transnational domination and imperial attitudes. This means a focus on how artists and producers from various marginalized positions (based on race, class, nation sex, and gender) respond to dominant ideologies (capitalism, militarism, imperialism). In turn, students will practice critical thinking on the texts that we read, as well as on their own identities, positions and cultures.
Learning Outcomes
Upon course completion, students should be able to demonstrate an ability to determine dominant cultural assumptions, to understand marginalized positions, and to analyze a wide array of cultural texts. By engaging with theory, scholarship and art, students will prove their abilities through advancement in paper writing, discussion and presentation skills, and collaboration.
Students should also understand diverse ways of interpreting a text, and recognize their own cultural ways of seeing within a spectrum of cultures and discourses.
Course Components
The work for this course is designed to keep you reading and writing weekly. Class time will consist of lectures, small-group and class-wide discussions, analysis workshops, peer review, group conferences, and presentations. We will also have a field trip, and web-based activities.
All lectures and discussions will be in English. The Professor reserves the right to change this syllabus throughout this course.
Assessment Criteria / Grading Breakdown
25% In Class Participation
10% In-Class Performance and Discussion
Your thoughtful participation in class will count positively towards your performance grade. We will often have in-class writing and group work, and students are expected to share their thoughts on the weekly readings, and to perform analyses of everyday texts using the methods introduced in class. This grade rewards those who take leadership roles and contribute consistently.
15% Class Presentations
With an assigned group, you will perform a 15-20 minute class presentation on the readings for the week, as well as host a 15 minute class discussion. These presentations will attempt to use the ideas from the readings to analyze texts that the students are already familiar with. This includes television, comics, fashion, music, etc.
15% Unit One Quiz
At the end of the first four week unit, we will have a five question quiz to assess students’ understanding of texts as well as their critical analysis skills. Four questions will be on the specific reading, while one will ask them to analyze a particular piece of art using the methods in class.
30% Research Paper
The research paper, due at the end of Unit 2, will be 2,000-2,500 words in MLA style with a Works Cited page. Papers will be graded on their critical thinking, their subject knowledge, their use of texts, their cohesion, and their use of MLA style.
30% Group Online Resource Project
For Unit 3, you will collaborate with a group to create an online resource focusing on a single trope, theme or figure in multiple (three or more) types of texts, such as: films, television, comics, advertising, digital texts, video games, graffiti, smart phone apps, or others. Using a host site (like wordpress.com), you will create a website that visitors can use to have a comprehensive overview of your topic. Besides presenting analyses of multiple texts, you will use online resources (hyperlinks, infographs, videos, podcasts) and will produce an original, creative element (a video, mechanima, comic, song, podcast).
Topic Examples:
"The Superhero in Film, Television, and Smartphone Apps"
"The Hong Kong Umbrella Movement in Songs, Graffiti, and Art"
"Tourism in Southeast Asia, as Seen in Advertisements, Video Games, and Pamphlets"
"Fan-created Star Wars Stories in mechanime, memes, and online fiction"
Requirements:
* Use of 5 different texts from the course (or one per group member)
* 1,000 words of analysis from each group member
* Use of lectures and presentations from the course to construct analyses.
* Use of digital tools (infograms, maps, podcasts, hyperlinks, videos)
* Original, creative component (a song, comic, video, etc.)
* 5-10 minute in-class presentations on your projects (due last week of class)
Course Calendar
Unit 1 - Ideology, Culture, Capital
Week 1, January 12th – Introduction: Ideology and Education
Required Reading
Dick Hebdige’s “From Culture to Hegemony.” In The Cultural Studies Reader. London: Routledge, 1993. Print. 357-367.
(skim) Althusser, Louis. "Ideology and ideological state apparatuses (notes towards an investigation)." The anthropology of the state: A reader (2006): 86-111.
Suggested Reading
Freire, Paulo. “Education as the Practice of Freedom.” In Education for Critical Consciousness. New York: Seabury Press, 1973. Print. 3-78
Gramsci, Antonio. “The Intellectual” and “On Education” in Selections from the Prison Notebooks. Trans Quentin Hoare and Geoffrey Nowell Smith. London: Lawrence and Wishart, 1971. Print.131-190
Week 2 - January 19th – Author, Audience, Text
Required Reading
Barthes, Roland. “The Death of the Author.” In Image, Music, Text. London: Fontana, 1977.
(skim) Barthes, Roland. The Pleasure of the Text. New York: Hill and Wang, 1975. Print. 1-22.
Suggested Reading
(In its entirety) Barthes, Roland. The Pleasure of the Text. New York: Hill and Wang, 1975. Print. 1-22.
Michel, Foucault. "What is an Author?" The Foucault Reader, New York: Pantheon Books (1984).
Chandler, Daniel. "An Introduction to Genre Theory." Media and Communication Studies, http://www. aber. ac. uk/media/Documents/intgenre/intgenre1. html (1997). Web.
Week 3 - January 26th – Genealogy and the Subject
Required Reading
Williams, Raymond. “Dominant, Residual, Emergent,” “Structures of Feeling,” and “Alignment and Commitment” in Marxism and Literature Oxford England: Oxford University Press, 1977. Print.
Suggested Reading
Foucault, Michel. “Nietzsche, genealogy, history.” In The Foucault Reader. New York: Pantheon Books, 1984. Print.
Nietzsche, Friedrich W, and Douglas Smith. On the Genealogy of Morals: A Polemic. Oxford: Oxford University Press, 1996. Internet resource.
Week 4 - February 2nd - Postmodernism and Consumption
Required Readings
Borges, J L. "Of Exactitude in Science." Quaderns Barcelona Collegi D Arquitectes De Catalunya. (2002): 12. Print.
(Selections) Baudrillard, Jean. Simulacra and simulation. University of Michigan press, 1994.
Suggested Reading
(In its entirety) Baudrillard, Jean. Simulacra and simulation. University of Michigan press, 1994.
Baudrillard, Jean. America. London: Verso, 1989. Print.
Foucault, Michel. “Chapter Nine – American Neo-Liberalism” in The Birth of Biopolitics: Lectures at the Collège De France, 1978-79. Basingstoke [England: Palgrave Macmillan, 2008. Print.
Unit #1 Quiz
No Class Feb 9 – Lunar New Year
Unit 2 - Race, Ethnicity, Gender
Week 5 - February 16th – Ethnicity (Group 1 Presenting)
Required Reading
Hall, Stuart. "Gramsci’s Relevance for the Study of Race and Ethnicity." Journal of Communication Inquiry 10.2 (1986): 5-27.
(skim) Gramsci, Antonio. "Hegemony, relations of force, historical bloc," in An Antonio Gramsci Reader: Selected Writings, 1916-1935. New York: Schocken Books, 1988.
Suggested Reading
Hall, Stuart. "Old and New Identities, Old and new ethnicities.” In Culture, Globalization and the World-System: Contemporary Conditions for the Representation of Identity. Ed. Anthony D. King. Vol. 3. U of Minnesota Press, 1991.
Nakamura, Lisa. "Race in/for cyberspace: Identity tourism and racial passing on the Internet." Works and Days 25.26 (1995): 13.
Week 6 - February 23rd – Post-colonialism (Group 2 Presenting)
Required Reading
Dan Carlin’s “Globalization Unto Death” Hardcore History. Feb 27 2010. http://www.dancarlin.com/product/hardcore-history-32-globalization-unto-death/ accessed June 12 2015. Podcast.
Said, Edward. “Orientalism.” In The Post-Colonial Studies Reader. Ed Bill Ashcroft, Gareth Griffiths, and Helen Tiffin. London: Routledge, 1995. Print.
Suggested Reading
Said, Edward. “Overlapping Territories, Intertwined Histories” in Culture and Imperialism. New York: Vintage Books, 1994. Print.
Spivak, Gayatri Chakravorty. “Can the Subaltern Speak?” In Cary Nelson and Lawrence Grossberg (eds.) Marxism and the Interpretation of Culture. Basingstoke: Macmillan Education, 1988. pp. 271-313.
Week 7 - March 1st – Gender (Group 3 Presenting)
Required Reading
Haraway, Donna. “A Cyborg Manifesto: Science, Technology and Socialist-Feminism in the Late Twentieth Century'." The Cybercultures Reader, London: Routledge, 2000.
Suggested Reading
Donna Haraway, "The Biopolitics of Postmodern Bodies," In Simians, Cyborgs, and Women: The Reinvention of Nature. New York: Routledge, 1991. Print. 203-230.
Modern Girl Around the World Research Group. “Modern Girl as Heuristic Device: collaboration, connective comparison, multidirectional citation.” In The Modern Girl Around the World: Consumption, Modernity, and Globalization. Durham: Duke University Press, 2008. Print.
Week 8 - March 8th - (Group 4 Presenting)
Bring Research Paper Draft to class
Required Reading
Halberstam, Judith. “Introduction” and “Dude, where's my phallus? forgetting, losing, looping.” In The Queer Art of Failure. Durham: Duke University Press, 2011. Print.
Suggested Reading
Butler, Judith. “Critically Queer” Bodies That Matter. New York and London: Routledge, 1993. 223-242.
Berlant, Lauren and Michael Warner, “Sex in Public” Critical Inquiry 24. Winter, 1998: 547-566.
Gopinath, Gayatri. “Local sites/global contexts : the transnational trajectories of fire and "The quilt".” In Impossible Desires: Queer Diasporas and South Asian Public Cultures. Durham: Duke University Press, 2005. Print.
Research Paper Due Friday, March 11th
Unit 3: Technology, Visual and Digital Cultures
Week 9 - March 15th - Technology of Film (Group 5 Presenting)
Required Reading
Benjamin, Walter. "The Work of Art in the Age of Its Technological Reproducibility (First Version)." Grey Room 39 (2010): 11-37.
Suggested Reading
Hagedorn, Jessica. "Asian women in film: No joy, no luck." Ms. Magazine 4.4 (1994): 74-79.
hooks, bell. “The Oppositional Gaze: Black Female Spectators.” In Critical Theory: A Reader for Literary and Cultural Studies. Ed. Robert Dale Parker. New York: Oxford UP, 2012.
Shih, Shu-mei. "Globalization and minoritization: Ang Lee and the politics of flexibility." New Formations: A Journal of Culture/Theory/Politics 40 (2000): 86-101.
Week 10 - March 22nd - Tourism and Photography (Group 6 Presenting)
Watch: Ways of Seeing by John Berger
Required Reading
Crawshaw, Carol, and John Urry. "Tourism and the photographic eye." Touring cultures: Transformations of travel and theory (1997): 176-95.
Suggested Reading
Gonzalez, Vernadette V. “Introduction: military-tourism partnerships in Hawai'i and the Philippines” Securing Paradise: Tourism and Militarism in Hawai'i and the Philippines. , 2013. Print.
Ritzer, George, and Allan Liska. "McDisneyization” and “Post-Tourism”: complementary perspectives on contemporary tourism." Touring cultures: Transformations of travel and theory (1997): 96-109.
Week 11 - March 29th – Comics and Politics (Group 7 Presenting)
Required Reading
McCloud, Scott. “The Vocabulary of Comics,” in Understanding comics: The invisible art. New York: Harper, 1990.
Vaughan, Brian K., Niko Henrichon, and Todd Klein. Pride of Baghdad. DC Comics, 2006.
Suggested Reading
McCloud, Scott. Understanding Comics: The invisible art. New York: Harper, 1990.
Yang, Gene L, and Lark Pien. American Born Chinese. New York: First Second, 2006. Print.
Week 12 - April 5th – Global Hip Hop (Group 8 Presenting)
Required Reading
McBride, James. "Hip-hop Planet." National Geographic. 211.4 (2007): 100. Print.
Kelley, Robin DG. "Looking for the “Real” Nigga." That's the Joint!: The Hip-hop Studies Reader (2004): 119.
Suggested Reading
Pennycook, Alastair. "Language, localization, and the real: Hip-hop and the global spread of authenticity." Journal of Language, Identity, and Education 6.2 (2007): 101-115.
Baker, Geoffrey. "Preachers, Gangsters, Pranksters: Mc Solaar and Hip-Hop As Overt and Covert Revolt." The Journal of Popular Culture. 44.2 (2011): 233-255. Print.
Week 13 - April 12th – Video Games and Militarism (All Group Project Presentations)
Required Reading
Amanda Phillips, “Shooting to Kill: Headshots, Twitch Reflexes, and the Mechropolitics of Video Games” Games and Culture, October 2015, 4.
Marcus Schulzke, "Rethinking Military Gaming: America's Army and Its Critics" Games and Culture 8.2, February 2013, 59-76.
Suggested Reading
Mbembe, J-A., and Libby Meintjes. "Necropolitics." Public culture 15.1 (2003): 11-40.
Olli Tapio Leino, “Death Loop as a Feature,” Game Studies 12.2 December 2012, http://gamestudies.org/1202/articles/death_loop_as_a_feature (accessed June 29, 2015).
Puar, Jasbir K., and Amit Rai. "Monster, terrorist, fag: The war on terrorism and the production of docile patriots." Social text 20.3 (2002): 117-148.
Group Projects Due Friday April 22nd
Feedback for Evaluation
End-of-term university course evaluation will be conducted in class. Students’ comments and feedback on the course through e-mails or personal meeting with the instructor are always welcomed.
Honesty in Academic Work: A Guide for Students and Teachers
The Chinese University of Hong Kong places very high importance on honesty in academic work submitted by students, and adopts a policy of zero tolerance on cheating and plagiarism. Any related offence will lead to disciplinary action including termination of studies at the University. All student assignments in undergraduate and postgraduate programmes should be submitted via VeriGuide with effect from September 2008: https://academic.veriguide.org/academic/login_CUHK.jspx
Although cases of cheating or plagiarism are rare at the University, everyone should make himself/herself familiar with the content of this website and thereby help avoid any practice that would not be acceptable.
Section 1 What is plagiarism
http://www.cuhk.edu.hk/policy/academichonesty/Eng_htm_files_(2013-14)/p01.htm
Section 2 Proper use of source material
http://www.cuhk.edu.hk/policy/academichonesty/Eng_htm_files_(2013-14)/p02.htm
Section 3 Citation styles
http://www.cuhk.edu.hk/policy/academichonesty/Eng_htm_files_(2013-14)/p03.htm
Section 4 Plagiarism and copyright violation
http://www.cuhk.edu.hk/policy/academichonesty/Eng_htm_files_(2013-14)/p04.htm
Section 5 CUHK regulations on honesty in academic work
http://www.cuhk.edu.hk/policy/academichonesty/Eng_htm_files_(2013-14)/p05.htm
Section 6 CUHK disciplinary guidelines and procedures
http://www.cuhk.edu.hk/policy/academichonesty/Eng_htm_files_(2013-14)/p06.htm
Section 7 Guide for teachers and departments
http://www.cuhk.edu.hk/policy/academichonesty/Eng_htm_files_(2013-14)/p07.htm
Section 8 Recommended material to be included in course outlines
http://www.cuhk.edu.hk/policy/academichonesty/Eng_htm_files_(2013-14)/p08.htm
Section 9 Electronic submission of assignments via VeriGuide
http://www.cuhk.edu.hk/policy/academichonesty/Eng_htm_files_(2013-14)/p09.htm
Section 10 Declaration to be included in assignments
http://www.cuhk.edu.hk/policy/academichonesty/Eng_htm_files_(2013-14)/p10.htm
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