| LIT 499 – 03 1 course unit Term: Spring 2023 Time: 3:30-4:50pm TF Room: Bliss Annex 228 Prerequisites: LIT 101 and 102 |
Prof. G. Steinberg Office: Bliss 216 Office Phone: (609) 771-2106 Office Hours: 1:30-4:30pm Thursdays E-mail : gsteinbe@tcnj.edu |
TEXTBOOKS:
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- The Fabliaux, trans. Nathaniel E. Dubin (Liveright, 2013), ISBN 9780871403575
- Guillaume de Lorris and Jean de Meun, Romance of the Rose, trans. Frances Horgan (Oxford University Press, 2009), ISBN 9780199540679
- Geoffrey Chaucer, Dream Visions and Other Poems, ed. Kathryn L. Lynch (Norton, 2006), ISBN 9780393925883
- Sir Gawain and the Green Knight, ed. and trans. James Winny (Broadview, 1992), ISBN 9780921149927
- Sir Gawain: Eleven Romances and Tales, ed. Thomas Hahn (TEAMS, 1995), ISBN 9781879288591
- Geoffrey Chaucer, The Canterbury Tales: Seventeen Tales and the General Prologue, ed. V. A. Kolve and Glending Olson, 3rd ed. (Norton, 2018), ISBN 9781324000563
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COURSE DESCRIPTION. Small classes that focus on specific topics in literary or linguistic research and theory. Formal seminar presentations and several papers, including completion of a major research essay. To be taken twice by English majors – once in the junior, and once in the senior year. In this particular section, we focus on ecocriticism and medieval literature.
Lots of the stories in the Middle Ages take place in “natural” settings. This course examines how medieval writers conceive of and portray the natural world – in comparison with how we understand nature today and in the context of ecocritical theory and environmental sociology. We read lots of different medieval texts, including Arthurian romances, fabliaux (dirty stories that engage in social satire), and dream visions. This course may also have a community-engaged learning component, working with a community partner on an environmental education project that uses what we have learned in class. From knights wandering in forest wilds to modern-day initiatives to encourage gardening for wildlife, we consider how humans define, describe, and engage with the natural world.
When the College went through a curriculum revision several years ago, the vast majority of undergraduate courses were “transformed” from 3-credit to 4-credit (1-unit) learning experiences. While most of the classes continued to meet for only 3 academic hours per week (typically 150 minutes on the TCNJ schedule grid), it was understood that the “transformed” courses offered a depth of learning with additional learning tasks unfolding in the equivalent of a fourth hour, including, sometimes, an actual additional hour of class interaction. As the equivalent of the fourth hour in this course,
F) The students are assigned additional learning tasks that make the semester’s learning experience more deeply engaged and rigorous, and no other additional classroom space is needed.
GOALS. In terms of my goals for this course, I want you to
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- to grow ever more responsible for and independent in your own learning,
- analyze how creative texts, artworks, or performances reflect, shape, exalt, or challenge the values of a culture,
- understand better that human cultures from different times and places construct “nature” differently and that their constructions of nature affect human behavior toward the environment,
- become familiar with a variety of medieval texts of different genres,
- demonstrate the ability to analyze medieval literature and culture from an ecocritical perspective.
- conduct advanced research in the humanities by building upon the basic research skills first introduced in Approaches to Literature,
- demonstrate the kind of intellectual independence and sustained, critical thought required for the production of high-quality literary, linguistic, textual and/or rhetorical scholarship,
- discover, assert and insert your own critical “voice” into the ongoing dialogues, critiques, and debates that characterize the humanities,
- apply a range of critical theories – linguistic, literary, rhetorical and/or cultural – to texts and their contexts in order to elucidate complex issues and suggest additional avenues of critical inquiry,
- think theoretically, moving beyond issues of textual analysis into more abstract modes of thinking, and
- communicate your ideas and your findings with precision, appropriateness, and clarity.
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This course also contributes to the following Middle States goals for the School of Humanities & Social Sciences and the English Department:
#1 Written Communication
#2 Oral Communication
#5 Critical Analysis and Reasoning: Ability to critique the arguments of others in the discipline and the construction of one’s own arguments in the discipline, using data/evidence are a focus of instruction and/or the ability to analyze linguistic and cultural patterns
#6 Information Literacy: Evaluating the validity and/or reliability of a source
#7 Interpret Language and Symbol
#12 Students will be able to demonstrate familiarity with a range of critical, generic, and literary traditions (including recent theoretical approaches) that shape – and are shaped by – literary discourses and texts of particular periods or movements
#15 Students will be able to read a literary work and characterize its main aesthetic, structural, and rhetorical strategies in an argumentative, thesis-driven essay or in a writing workshop
#16 Students will be able to write a substantial essay of literary scholarship that is theoretically informed and engages with current research and criticism in relevant fields of study, asserting their own critical voice in ongoing dialogues and debates
REQUIREMENTS. This course has the following graded assignments:
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- eight two-page response papers (together worth 20% of your final grade),
- two research assignments (10% and 20% of your final grade),
- a seminar paper (30%), and
- a comprehensive exam (20%).
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Your final grade will be based on the following scale: A = 93%-100%, A- = 90%-92%, B+ = 87%-89%, B = 83%-86%, B- = 80%-82%, C+ = 77%-79%, C = 73%-76%, C- = 70%-72%, D+ = 67%-69%, D = 60%-66%, and F = below 60%. This scale is absolute. Because the response papers are in a sense a form of extra credit built into this course from the start, I do not give extra credit assignments at the end of the semester to help students raise their grade even a whisker. So, even if, at the end of the semester, you are just .0001 points away from an A-, your final grade will be a B+.
LANGUAGES ACROSS THE CURRICULUM. A ¼ unit (one credit) Languages Across the Curriculum independent study (LAC 391) may be added to this course for those students who have intermediate level proficiency in another language, especially Latin or French, and who wish to complement the work in this course by utilizing their language skills. LAC 391 (P/U grading only) will be noted on the student’s transcript. Students must complete the LAC Proposal Form to enroll in the LAC independent study by the end of the first week of classes. Please contact LAC Supervisor Dr. Holly Didi-Ogren (holly.didi-ogren@tcnj.edu) with any questions.
PROFESSOR’S AVAILABILITY. My office is Bliss Hall 216. My in-person office hours this term are 1:30-4:30pm on Thursdays and by appointment. In addition, I can meet you over Zoom if that’s more convenient for you. You may contact me by email (gsteinbe@tcnj.edu) or by calling my office phone (609-771-2106) and leaving a message (if I do not answer), but email is usually the best way to get in touch with me. You may also leave a written message for me in my box at the English Department offices in Bliss Hall 124.
ATTENDANCE. Regular attendance is a virtual necessity for successful completion of this class. Class discussion constitutes important, useful preparation for your graded work. If you miss a class, you will essentially lose out on that day’s contribution to your preparation, since it is never really possible to reproduce or recapture the dynamics and flow of information for a missed class meeting (even if you get notes from someone). If, however, you positively must miss a class, I expect you to find out what you missed and to come fully prepared – without excuses – to the next class meeting. For more information on the College’s attendance policy, please go to https://policies.tcnj.edu/?p=77.
ACADEMIC INTEGRITY. Academic dishonesty is any attempt by a student to gain academic advantage through dishonest means, to submit, as his or her own, work which has not been done by him/her or to give improper aid to another student in the completion of an assignment. Such dishonesty would include, but is not limited to, submitting as his/her own a project, paper, report, test, or speech copied from, partially copied, or paraphrased from the work of another (whether the source is printed, under copyright, or in manuscript form). Credit must be given for words quoted or paraphrased. The rules apply to any academic dishonesty, whether the work is graded or ungraded, group or individual, written or oral. TCNJ’s academic integrity policy is available on the web at https://policies.tcnj.edu/?p=130.
ACCOMMODATIONS. The College of New Jersey prohibits discrimination against any student on the basis of physical or mental disability or perceived disability. The College will also provide reasonable and appropriate accommodations to enable students with disabilities to participate in the life of the campus community. If you require special accommodations, I will make every reasonable effort to accommodate your needs and to create an environment where your special abilities are respected. For more information, please go to https://policies.tcnj.edu/?p=145 and https://arc.tcnj.edu/.
DIVERSITY AND INCLUSION. We are all enriched by greater diversity, and we all bring different perspectives to this class. I want to create a learning environment that supports diversity and honors your identities and perspectives (including your race, gender, class, sexuality, religion, mental and physical health, differing abilities, politics, etc.). If you go by a name and/or set of pronouns that differ from those that appear in your official records, please let me know. If you feel that your performance in class is being impacted by a hostile environment related to your identity outside of class, please don’t hesitate to talk to me. If something is said or posted in class (by anyone, including me) that makes you feel that your identity is being targeted, misunderstood, or disparaged, please talk to me about it. I will expect our whole class (including me) to strive always to honor every form of diversity. To see TCNJ’s official diversity statement, please go to https://diversity.tcnj.edu/campus-diversity-statement/.
SCREENS. I encourage you to use screens (laptops, phones, ipads) as little as possible in class. In the last ten years, there has been a ton of research that shows that screens are bad for learning – that you are less likely to remember what happens in class if you take notes on an electronic device rather than with pen and paper, that you are less likely to comprehend and remember what you read if you read it on a screen rather than in a printed format, that you are more likely to be distracted and miss things in class if you use an electronic device during class time. I am not a Luddite (someone who despises all technology); I love my screens and use them a lot. But I have watched a lot of students over the last few years perform much worse in my classes than they could (or should) have performed, because they used screens for taking notes and reading. And my anecdotal experience with students over the years is nothing in comparison with the towering tsunami of research that shows just how bad screens are for students.
For that reason, while I do not forbid you to use screens (because you are adults, responsible for your own choices), I nevertheless encourage you – with every fiber of my being – to consider taking the “minimal screens” pledge below:
In order to maximize my learning in this class, I pledge
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- to take notes in class with pen and paper,
- to read assignments in print format if at all possible,
- to keep all electronic devices out of sight during class (unless needed for a reading assignment or to look up information requested by the professor), and
if I do use an electronic device during class time for any reason,
- to avoid the temptation to “multitask” by opening only the programs, websites, and apps that I need for class.
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I can almost guarantee that you will do better in class – participate more, learn more, retain more – if you take this pledge and follow its guidelines than if you do not.
CLASSROOM ENVIRONMENT AND COMMITMENT TO STUDENT SUCCESS, SAFETY, AND WELL-BEING. The TCNJ community is dedicated to the success, safety, and well-being of each student. TCNJ strictly follows key policies that govern all TCNJ community members’ rights and responsibilities in and out of the classroom. In addition, TCNJ has established several student support offices that can provide the support and resources to help students achieve their personal and professional goals and to promote health and well-being. You can find more information about these policies and resources at the “TCNJ Student Support Resources and Classroom Policies” webpage here: https://academicaffairs.tcnj.edu/tcnj-syllabus-resources/.
Students who anticipate and/or experience barriers in this course are encouraged to contact the instructor as early in the semester as possible. The Accessibility Resource Center (ARC) is available to facilitate the removal of barriers and to ensure reasonable accommodations. For more information about ARC, please visit: https://arc.tcnj.edu/.
RESPONSE PAPERS. You are required to write 8 short, informal papers (about 2 pages each) on the literary readings for class. You may only submit a response paper on a day for which we have a literary reading assignment, although you may choose which of those days you want to submit a paper (as long as you have completed 8 total by the last day that we have a literary reading). You should write your response paper before the class meeting at which we discuss the reading assignment covered in your paper. So, you’re writing about the reading before we discuss it in class and submitting the paper on the day for which that reading is assigned. You can’t submit a response paper about a past day’s reading assignment. You should submit each response paper by “sharing” it with me as a Google Doc before class on the literary reading’s assigned day. Be sure to grant me “editing” or “suggesting” status when you share the Google Doc with me (so that I can comment directly on the paper).
Your response papers should focus on one of the following topics:
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- Social Construction of Nature. How does the reading assignment construct and mediate the natural world? What culturally developed conceptions and attitudes toward the natural world does the reading communicate in the very act of representing it? What shared social meanings does the natural world seem to have? What social group(s) might be the source of those shared meanings? To what social group(s) does the writer belong? Does the reading contest hegemonic conceptions and attitudes toward the natural world?
- Nature or nature. Does the reading assignment represent Nature or nature (or both)? Is its representation of the natural focused primarily on an abstract concept of Nature that directs the world and humans to behave in certain “natural” ways (in contrast to “unnatural” behaviors)? Or is its representation of the natural focused more on concrete things in nature (plants, animals, soil, water, sky)?
- Naturework. How does the reading assignment make sense of and express the relationship of humans to the environment? Into which competing ideological vision of nature does the text seem to fit – protectionist, organicist, or humanist? Is the reading misanthropic, viewing human beings as a blight upon an authentic, uncontaminated natural world? Is the text romantic or pastoral, viewing humans as simply part of an organic whole with nature rather than alienated from it? Does the reading view nature solely as a resource or tool to be tamed and used to serve human needs according to human choices? Does the reading want to protect nature, embrace it, or use it?
- Cyborgs. How does the reading assignment break down the boundaries of dualisms – between male and female, human and animal, technology and nature, for example? What “cyborg” figures show up in the reading? What kinds of disruptive technologies exist in the text? In what ways do technology and nature meld or transgress boundaries? Where are boundaries reinforced or reproduced? Where do you see an emphasis on the strict integrity of objects or people? How do monsters in the reading help redefine the proper limits of community and shore up the boundaries between male and female, human and animal, technology and nature? How do they threaten or erase those boundaries?
Response papers will be graded Pass/Fail. They need not be a perfect, polished product. Rather, response papers should be just what their name says – a response. Don’t worry about answering every question under the topics above. Think about the day’s reading assignment in relation to one or two of the questions; then, write a response. Be as specific as you can, getting down as much as you can, as quickly as you can. Treat response papers more like a journal entry than like a formal paper. I don’t want a five-paragraph theme. Rather, I want an exploration – as detailed and specific as possible – of the reading assignment for the day. But don’t focus too narrowly on just one scene or passage from the text. Try to generalize about the text and then look at specific examples from all over to support your generalization.
Normally, as long as you submit a response paper of suitable length, detail, and thoughtfulness (and as long as you submit it before class on the proper day), you will receive all the credit that the response paper is worth (i.e., 100% = A+).
The purpose of the response papers is
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- to help you in your preparation for class discussion,
- to help me see where you’re struggling with the theories and readings for class,
- to help you to develop your intellectual independence and your confidence as a reader of medieval texts,
- to help you broaden and enrich your understanding of the literary theories that we are exploring, and
- to serve as a safe space for you to generate and try out potential ideas for your seminar paper.
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You may submit more than 8 response papers in the course of the semester (to make up for any response papers that do not receive a grade of “Pass”), but no matter how many extra response papers you submit, you will not receive credit for more than 8. You may NOT submit more than one response paper for a single day, NOR may you submit a response paper for a day that you are absent from class. (NOTE: Even if you do not submit a response paper on a particular day, you should still come to class prepared to discuss the response paper topics in relation to the reading assignment, since we will focus on these topics in our in-class discussions all semester; in other words, the response paper topics above are a great guide for your class prep every day – not just when you write a response paper.)
RESEARCH ASSIGNMENT 1. Find at least six scholarly sources (articles or book chapters) related to The Merchant’s Tale. As much as possible, these sources should be recent (published within the last 30 years) and should be the best, most significant sources that you can find – not simply the first six available. Once you have chosen your sources, compose a brief description (maximum of 1 page, not including your “Works Cited”) that situates the sources in relation to one another. What is the “conversation” in which these sources are engaged (literally or figuratively)? What are the various positions that the participants take in that conversation? Do not simply summarize one source after the other. Put the sources in relation to one another within a larger narrative of an unfolding conversation about the poem. As you think about how to characterize this critical conversation, consider the following questions:
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- What is the main point of each source? Do all the main points relate to each other in any way – explore similar ideas, hold similar or contradictory views, focus on the same figure, episode, or theme?
- If they tend to focus on the same figure, episode, or theme, do they tend to view that figure, episode, or theme in one or two different ways? In other words, can you group them as looking at the figure, episode, or theme either this way or that way?
- If they tend to explore similar ideas (such as gender, social class, genre, aesthetics), do they tend to explore those ideas in one or two different ways? In other words, can you group them as looking at the same thing either this way or that way?
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Your paper will be assessed based on the following criteria:
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- Does the description of the sources have a clear logic of its own? Rather than summarizing one source after another after another, does the description situate the sources in relation to one another in an interesting and accurate way?
- How many sources does the paper use and how recent and important are they? Are the sources that are used the most significant and authoritative sources available (e.g., published in the most important journals, written by important scholars, cited by other sources)?
- Is the description of the sources and their relation to one another accurate and fair? Are characterizations of each individual source clear and accurate enough to give a proper understanding of the main point of the source to someone who is unfamiliar with it?
- Is the “conversation” among the sources significant? Does the conversation include important, interesting perspectives on the text?
- Does the paper have unified, well-developed, and coherent paragraphs?
- Does the paper use proper MLA documentation format, including a correct and complete “Works Cited” page?
- Is the writing in the paper clear, effective, and appropriate to an academic setting?
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RESEARCH ASSIGNMENT 2. Do the exact same assignment as Research Assignment 1 again, but this time find at least six scholarly sources (articles or book chapters) related to Sir Gawain and the Green Knight. Your paper will be assessed based on the same criteria as Research Assignment 1.
SEMINAR PAPER. In a seminar paper of 15-20 pages, argue a clear, specific, original thesis with an ecocritical focus about a medieval text of your choice that we have not discussed in class. For your medieval text, I recommend one of Chaucer’s tales or one of the Gawain romances in Sir Gawain that we did not cover in class (such as The Knight’s Tale, The Nun’s Priest’s Tale, or The Awntyrs off Arthur), although you may also look at https://d.lib.rochester.edu/teams/text-online to find other texts of potential interest. I expect you to show sophistication in terms of your theoretical thinking and to enter into the critical conversation going on in scholarly articles and books on your topic, saying something new while also responding to what others have said before you.
Your seminar paper will be evaluated according to the following criteria:
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- Does the paper have a clear, specific, original thesis? Does the thesis offer an interesting perspective or “hook” that is sophisticated in its theoretical thinking and provocative without being gimmicky or offensive?
- Does the paper use a variety of sources (rather than rely heavily on a single source)? Does the paper synthesize its sources, characterizing the critical conversation on its topic and entering into that conversation in a meaningful way? Does the paper summarize information and arguments from its sources and from the critical conversation accurately and fairly? Does the paper respond to its sources critically and thoughtfully (rather than simply cite sources to lend authority to its own pronouncements)?
- Does the paper engender confidence that its research is reasonably authoritative and complete? As much as possible, are the paper’s sources recent (i.e., published within the last 30 years)? Are all the paper’s sources appropriately scholarly?
- Does the paper’s organization progress logically? Does the paper have a clear and consistent overall organization that relates all the ideas of the paper together in support of the thesis (rather than simply list random observations without relation to one another or to the thesis)? Does the paper have appropriate transitions to aid the reader in following the paper’s logic (rather than weak transitions, such as “The first…,” “Another…,” and “…also…”)?
- Does the paper provide relevant, concrete evidence and logically persuasive reasons for every assertion? Is factual information in the paper accurate?
- Does the paper show sensitivity to the concrete historicity of the text(s) under consideration (rather than treat texts as timeless museum pieces or reflect on them anachronistically)?
- Does the paper exhibit confidence and insight when analyzing passages, texts, and scholars not discussed in class?
- Does the introduction to the paper offer an interesting, helpful preview of the content, logic, and organization of the paper?
- Is the writing in the paper clear, effective, and appropriate to an academic setting?
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You are required to submit a topic paragraph leading up to your seminar paper. This topic paragraph is simply a paragraph in which you describe the topic that you’re planning to write about in your paper. You are also required to attend at least one virtual conference a couple weeks before the seminar paper is due. At these conferences, you should be prepared to summarize the progress that you have made on your seminar paper up to that point and your plans for the future. You should also be able to show copies of all notes, sources, and drafts that you have accumulated so far (because I may ask you at the conference to show me a particular source that you’ve mentioned or a section of the draft of your paper that we’re discussing). I will not, however, read the entire draft of your paper and critique it for you. I want you to become more self-reflective and self-reliant when it comes to your own writing, and so, I want you to identify the weaknesses in your paper on your own (and ask me about them) rather than have me read your entire draft and identify the weaknesses for you. The due date for the topic paragraph and the dates for the conferences are noted in the course schedule below.
Toward the end of the semester, you will give a brief presentation (5-10 minutes) to class about your topic. These presentations are intended to be relatively relaxed and informal but are good practice for you and should be taken seriously. In your presentation, you should describe your topic for your classmates and give at least one concrete example of what you plan to talk about in your paper, pointing to (and reading out loud) a relevant passage. You should not read from notes during the presentation but rather talk to us casually about your paper.
If you fail to submit your topic paragraph, miss a conference, or skip your presentation of your topic to class, your seminar paper’s grade may suffer.
COURSE SCHEDULE. This schedule is subject to change at the discretion of the professor. Changes in the schedule made after the start of the semester will be in red.
| Date | Assignment |
| T Jan 24 | Introductions |
| F Jan 27 | Terry Gifford, “The Social Construction of Nature” (under “Files” in Canvas) and The Fabliaux #15 |
| T Jan 31 | Gary Alan Fine, “Naturework and the Taming of the Wild” (under “Files” in Canvas) and The Fabliaux #3 |
| F Feb 3 | Donna Haraway, The Haraway Reader, pp. 7-45 (under “Files” in Canvas), and The Fabliaux #27 |
| T Feb 7 | The Fabliaux #6, #11, #19, #24, #58 |
| F Feb 10 | The Fabliaux #5, #28, #34, #36, #53 |
| T Feb 14 | The Miller’s Tale (in The Canterbury Tales) |
| F Feb 17 | Mark Gaipa, “Breaking into the Conversation,” pp. 419-425 and Frederick M. Biggs and Laura L. Howes, “Theophany in the Miller’s Tale,” Medium Ævum 65 (1996), 269-279 and Alcuin Blamires, “Philosophical Sleaze?: The ‘strok of thought’ in the Miller’s Tale and Chaucer Fabliau,” The Modern Language Review 102 (2007), 621-640 (all three available under “Files” in Canvas) |
| T Feb 21 | Louise M. Bishop, “‘Of Goddes pryvetee nor of his wyf”: Confusion of Orifices in Chaucer’s Miller’s Tale,” Texas Studies in Literature and Language 44 (2002), 231-246 and Mary Flowers Braswell, “‘A Completely Funny Story’: Mary Eliza Haweis and the ‘Miller’s Tale,’” The Chaucer Review 42 (2008), 244-268 (both available under “Files” in Canvas) |
| F Feb 24 | The Merchant’s Tale (in The Canterbury Tales) |
| M Feb 27 | RESEARCH ASSIGNMENT 1 DUE in Canvas by 11:59pm |
| T Feb 28 | The Wedding of Sir Gawain and Dame Ragnelle (in Sir Gawain) |
| F Mar 3 | Sir Gawain and the Carle of Carlisle (in Sir Gawain) |
| T Mar 7 | Sir Gawain and the Green Knight, Fitts 1 and 2 |
| F Mar 10 | Sir Gawain and the Green Knight, Fitts 3 and 4 |
| T Mar 14 | NO CLASS (Spring Break) |
| F Mar 17 | NO CLASS (Spring Break) |
| M Mar 20 | RESEARCH ASSIGNMENT 2 DUE in Canvas by 11:59pm |
| T Mar 21 | Sir Degaré (available free online at https://d.lib.rochester.edu/teams/text/laskaya-and-salisbury-middle-english-breton-lays-sir-degare) and Sir Orfeo (available free online at https://d.lib.rochester.edu/teams/text/laskaya-and-salisbury-middle-english-breton-lays-sir-orfeo) |
| F Mar 24 | The Wife of Bath’s Tale (in The Canterbury Tales) |
| M Mar 27 | Last day to withdraw from class with a W |
| T Mar 28 | The Romance of the Rose, Chapters 1-3 |
| F Mar 31 | NO CLASS (I will be away at the Sigma Tau Delta conference.) |
| T Apr 4 | The Romance of the Rose, Chapters 9-10 |
| F Apr 7 | Pearl (available free online at https://d.lib.rochester.edu/teams/text/stanbury-pearl) |
| T Apr 11 | The Book of the Duchess (in Dream Visions and Other Poems) |
| F Apr 14 | COMPREHENSIVE EXAM |
| T Apr 18 | Gaipa, “Breaking into the Conversation,” pp. 425-437 (available under “Files” in Canvas) TOPIC PARAGRAPH for SEMINAR PAPER DUE as a shared Google Doc by 11:59pm (be sure to grant me “editing” or “suggesting” status so that I can comment directly on the paragraph) |
| F Apr 21 | NO CLASS (CONFERENCES) |
| T Apr 25 | NO CLASS (Celebration of Student Achievement) |
| F Apr 28 | NO CLASS (CONFERENCES) |
| T May 2 | ORAL PRESENTATIONS on seminar papers |
| F May 5 | ORAL PRESENTATIONS on seminar papers |
| SEMINAR PAPER DUE in Canvas by 11:59pm |