Course Information: HUSL6372: The Harlem Renaissance. Spring 2009.

Tim Redman. Wednesdays 4:00-6:45pm, JO 4.312.

Professor Tim Redman Contact Information

Office hours

My office is JO 5.102. My extension is 2775; the full phone number is 972 883-2775. My office hours are Saturdays
from 1:30-2:00pm, and Wednesdays from 3:30-4:00pm, and by appointment. I am usually available after class as well.
My e-mail address is redman@utdallas.edu. The University has instituted a policy (see below) stating that instructors
are not required to respond to e-mail coming from outside the University’s own e-mail system. I do not fully agree with
that policy (though I see its wisdom and its caution) and will strive to answer questions from any e-mail source.
However, be sure that your subject line contains HUSL 6372 at the start.

Email Use
The University of Texas at Dallas recognizes the value and efficiency of communication between faculty/staff and
students through electronic mail. At the same time, email raises some issues concerning security and the identity of
each individual in an email exchange. The university encourages all official student email correspondence be sent only
to a student’s U.T. Dallas email address and that faculty and staff consider email from students official only if it
originates from a UTD student account. This allows the university to maintain a high degree of confidence in the
identity of all individuals corresponding and the security of the transmitted information. UTD furnishes each student
with a free email account that is to be used in all communication with university personnel. The Department of
Information Resources at U.T. Dallas provides a method for students to have their U.T. Dallas mail forwarded to other
accounts.

Course Pre-requisites, Co-requisites, and/or Other Restrictions

This course is a graduate seminar in the School of Arts and Humanities. It is open to students in any track within the
School in keeping with our interdisciplinary tradition, respecting different learning styles following Gardner’s work on
multiple intelligences. Students should have already taken or be taking concurrently HUMA 5300. Prior courses in
literature, either at the graduate level or the upper-division undergraduate level, are desirable.

Course Description

The principal focus of the seminar will be on professional development, how to choose a topic for a conference
presentation, prepare a proposal for a conference presentation, and prepare the presentation itself (2500 words). The
same procedures that you will learn in the course are applicable to art and performance pieces (displays or
performances) as well. Students will thus gain valuable professional insight from this seminar in not only submitting
proposals for conference presentations but also in understanding how panels are organized

Student Learning Objectives/Outcomes

Students will learn careful and close reading of highly concentrated historical, philosophical, autobiographical, and
fictional texts within a modernist tradition along with critical and social essays relevant to the works. You will do
careful reading, and selected outside research, take weekly quizzes, and participate in discussions actively responding
to the readings, presentations, and occasional lectures.

Students will also learn how to formulate an academic or artistic argument leading to a formal conference presentation
or display or performance in your field in four steps: a venue report (10%) in which you choose a site where your work
will be presented along with a preliminary bibliography (10%) demonstrating that you have acquired a sufficient
command of the area in which you will present, and a formal proposal with finished bibliography (20%) in which, after
sufficient reading and thought, the student will be able to formulate the presentation, art work, or performance in terms

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of a problem to be solved or a question to be answered (in one sentence). The student will then generate a sufficiently
finished draft of the presentation or paper, performance or artwork for a preliminary critique (20%), and finally, finish
the final presentation/performance/artwork (20%) as a step towards domain mastery. There will also be weekly quizzes
(20%).

All work for the course is pre-professional: the careful analysis, synthesis, and criticism (evaluation) of works of
literature or art, the ability to focus one’s work on a narrowly defined problem or question, the production of the work
with feedback from the professor and one’s seminar colleagues, and the ability to present one’s work in a ten-minute
time frame at the end of the seminar.

Research in the field of learning indicates that it takes ten years for an individual to achieve domain mastery – the
ability to make notable contributions in a field. The seminar process prepares the student for domain mastery, but it is
not expected at this stage of one’s career. On rare occasions, I will suggest that a paper or presentation, performance or
artwork be submitted for a professional conference presentation or show or festival, indicating that it is a potentially
noteworthy contribution to the field. I am available to guide students in selecting a dissertation topic that is appropriate
to their interests and to the various areas of expertise of faculty in the School of Arts and Humanities. At this stage, you
should be defining your M.A. portfolio papers or works or your Ph.D. exam fields and recruiting professors to oversee
them.

Only tenured or tenure-track faculty can serve on these committees. Many faculty will not serve on a committee if the
student has had no courses with them. It is your responsibility to get to know the faculty. Go to the Arts and Humanities
website and read faculty descriptions of their work carefully.

Required Textbooks and Materials

W.E.B. Du Bois, The Souls of Black Folks, Dover pb.

Zora Neale Hurston, Dust Rracks on a Road, Harper pb.
David Levering Lewis, ed., The Portable Harlem Renaissance Viking pb.
Nella Larsen, Passing, Norton pb.
Alain Locke, ed., The New Negro, Tourchstone/Simon and Schuster pb.
Claude McKay, Home from Harlem, Northeastern University Press pb.
Jean Toomer, Cane, Norton pb.
Booker T. Washington, Up from Slavery, Dover pb.
Sondra Kathryn Wilson, ed., The Crisis Reader, Modern Library pb.
Sondra Kathryn Wilson, ed., The Opportunity Reader, Modern Library pb.
Internet access
Computer use
Word
A good college composition handbook (I use Harbrace)
A good college dictionary (I use Random House)

Student Responsibility for Texts

The Campus Bookstore and Off-Campus Books have been given book orders. Regrettably though understandably they
frequently order too few books for the class size. The situation has come about because students use other sources to
order their books, such as the internet. “The bookstore was out” is not an excuse for not being prepared for class.
Students are required to have access to required textbooks prior to the second day of class.

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Assignments & Academic Calendar
Course requirements

The semester project or paper will be broken down into four steps: a venue report (where will it be read, shown,
performed?) for your presentation/paper/artwork/performance and a preliminary bibliography for same, a
presentation/paper/artwork/performance proposal of 500 words plus a finished bibliography. The final proposal and
bibliography is the culmination of the previous two assignments leading to the ability to work professionally in the
field. This final proposal and bibliography is, by far, the most difficult assignment of the semester. If I accept it, you
will receive an “A” for content. If I reject it, you will have to redo it. If I accept the second attempt, you will receive a
“B” for content, and so forth. The most common problem in this first step is lack of focus. Most often a proposal is
returned because the question or problem submitted is suitable for a book, but not for a semester-length project.
Consult with the instructor during your work on the proposal! Five minutes of conversation can save you five
weeks of work.

The second step in this process is turning in a draft of your presentation/paper/artwork/performance for critique. The
third step is the final version of your presentation/proposal/artwork/performance. There will also be a weekly short-
answer quiz, consisting of five questions each worth up to two points. Each of these components counts 20% towards
your final grade. Finally, at the end of the seminar, you will give a short, ten-minute presentation of your final project
for the course.

Robert Sylwester (1995) has classified knowledge as declarative (what you know) and procedural (what you can do
with what you know). The quizzes largely test the former, the four-stage presentations the latter. Another way to think
of this division is that the quizzes largely require remembering and understanding, the work in the professional
development sequence and the presentation require applying, analyzing, and evaluating. Intelligent participation in
class discussion may raise your final grade by up to one full letter at the discretion of the instructor. There is no final
exam in this course. However, we may use the time the final is scheduled to hold class. For further details on paper
grading policies and quiz misses see below. Note particularly that in order to pass the course, you must score
above 50% (more than 50 points) on the aggregate score of your best ten quiz grades. No makeup quizzes are
given for any reason.

Course calendar

Jan. 14. Course introduction. Music. Quiz.

Jan. 21. 1901 Booker T. Washington, Up from Slavery. From The Portable Harlem Renaissance
Reader (HR): “Introduction” xv, “Chronology” xlv. Quiz.

Jan. 28. Venue description due. 1903 W.E.B. DuBois, The Souls of Black Folk, note, forethought,
chs. I-VII. HR: “Returning Soldiers” 3. Quiz.

Feb. 4. Venue description returned. 1903 DeBois, Souls, chs. VIII-XIV, afterthought. HR:
“Migration” 6. Quiz.

Feb. 11. Preliminary bibliography due. 1911-1918: From The Crisis Reader (C): “The Teacher,”
17. “Lyncher,” 17. “The Servant,” 47. “The Doll,” 89. “Twilight,” 221. “Emmy,” 51. “Freedom,”
6. “My Love,” 28. “Abraham,” 31. “A Man,” 79. “Hope,” 4. “Scintilla,” 5. “The Road,” 9.
“Funeral,” 98. “Brothers,” 31. “September,” 14. “Soldiers,” 26. “The Work of a Mob,” 345. 1923
Jean Toomer, Cane, preface, pp. 3-57. HR: “Gift” 10. Quiz.

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Feb. 18. Preliminary bibliography returned. 1919-1922: From C: “Sonnet,” 38. “Documents,”
351. “Dunbar,” 42. “Fields,” 191. “New Literature,” 247. “The Negro Speaks of the Rivers,” 24.
“Motherhood,” 29. “Marcus Garvey,” 360. “Dad,” 11. “Bread & Wine,” 12. “Sonnet,” 12. “The
South,” 24. “Prejudice,” 29. “Banking Coal,” 44. “A Tale,” 122. “Symbolism,” 255. “Placido,”
260. “Steps,” 267. “Faith,” 366. HR: “If We Must Die,” 290. “Baptism,” 290. From The Emperor
Jones, 311. From Birthright, 333. From Banana Bottom, 395. 1923 Toomer, Cane, pp. 58-117.
Quiz.

Feb. 25. Project proposals due. 1923-1925: Alain Locke, ed., The New Negro, intro, foreword,
pp. 1-150. From C: “Sonnet,” 10. “Old Things,” 27. “White Things,” 42. “National Association,”
273. “Cooperation,” 371. From The Opportunity Reader (O): “Heritage,” 3. Black Finger,” 26.
“Voyaging,” 28. “Christmas Greetings,” 38. “Domestic,” 192. “Cynthia,” 198. HR: “Reflections”
58. Quiz.

Mar. 4. Project proposals returned. 1923-1925: Locke, The New Negro, pp. 153-298. From O:
“Nigger – A Novel,” 277. “Folk Song,” 336. “Roland Hayes,” 343. “The Church,” 390. “Harvard’s
Own,” 396. “Higher Education,” 411. “Public Opinion,” 430. “Klu Klux Klan,” 454. From HR:
“Africa for the Africans,” 17. “Emancipation Day Speech,” 26. “Garvey,” 29. Quiz.

Mar. 11. Revised project proposals due. 1924-1925: Locke, The New Negro, pp 300-420. From
C: “Usward,” 3. “Hope,” 4. “Rencontre,” 14. “Wealth,” 27. “All God’s Children,” 224. “Soviet
Russia,” 276. “Younger,” 288. “Antar,” 293. “Negro,” 304. “John Brown Day,” 374. From O:
“”Wind,” 3. “Rendezvous,” 21. “Dusk,” 26. “I Weep,” 26. “Our Land,” 31. “Africa,” 43.
“Drenched,” 91. “Vignettes,” 202. “Cholo,” 206. “Black Verse,” 284. “Gift,” 288. “Reflections,”
352. “Note,” 460. “Reflections,” 58. “Confusion,” 340. “Fire,” 351.HR: Countee Cullen poems
(all), 242-251. Quiz.

Mar. 18. Spring break.

Mar. 25. Revised project proposals returned. 1925-1928: Claude McKay, Home to Harlem,
foreword, pp. 1-159. From C: “Letters,” 18. “Exodus,” 40. “Tree,” 109. “High Yaller,” 127. “On
Being,” 227. “Temperament,” 377. From O: “Birthday,” 4. “Well,” 17. “Babe,” 17. “Dead,” 21.
“Jim,” “Love,” “Death,” 22-3. “Augustine,” “Communism,” “Music,” 24-5. “Light,” 26. “Brown
Boys,” 29. “America,” 31. “Jester,” 33. “Riddle,” 38. “Shadow,” 45. “Solace,” 46. “Spunk,” 99.
“Fog,” 149. “The Stone,” 195. “Voodoo,” 215. “Some Books,” 280. “Negro’s Cycle,” 301.
“Germany,” 332. “Ira Aldridge,” 355. “Audience, 359. “Characters,” 361. “View,” 378. “Virgin
Islands,” 392. “City Dweller,” 472. From HR: “Well,” 241, “Requiescam,” 251, “Lady, Lady,”
299, “Caucasian” 110, “The Negro” 134, “Smoke” 569. Quiz.

Apr. 1. 1926-1928: McKay, Home to Harlem, pp. 160-340 From C: “Dirge,” 4. “Decay,” 29.
“Courier,” 30. “Nothing New,” 164. “Broken Banjo,” 194. “College,” 237. “Criteria,” 317. From
O: “Camps,” 4. “Hatred,” “Dumas,” 5. “Shattering,” “Golgotha,” 7. “Tragedy,” 18. “Phantom,” 30.
“Leroy’s,” 34. “Night” through “Mother,” 39-41. “My House,” 43. “America,” 44. “Joy,” 47.
“”Citadel,” “Edict,” 48. “Symphonesque,” 60. “Muttsy,” 118. “Clay,” 158. “Typewriter,” 225.
“Boll Weevil,” 233. “Sugar Cain,” 258. “Color,” 291. “The New South,” 296. “Heroines,” 306.
“Poet,” 314. “Review,” 317. “Sand,” 327. “Negro History,” 416. “Negro Heaven,” 421. From HR:

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“The Negro Artist,” 91. “Hokum,” 96. “Critique,” 106-108. “Song,” 221. “Day-Breakers,” 224.
Hughes, poems (all) 257-270. “Tropic Death,” 548. Quiz.

Apr. 8. Draft projects due. 1927-1929: Nella Larsen, Passing. From C: “Storm,” 8. “Harlem,” 23.
“Old,” 25. “International Spirit,” 37. “Bluebird,” 40. “Death Game,” 145. “Unfinished
Masterpieces,” 160. “Rambles,” 172. “The Man,” 181. “Exit,” 211. “Hungers,” 232.
“’Intellectuals,’” 326. “Achievements,” 385. From O: “Saints,” 10. “Summer,” 41. “Game,” 77.
“High Ball,” 131. “Antropoi,” 167. “Pot Maker,” 241. “Plumes,” 250. “Washington,” 364.
“Washington,” 368. “Booker T. Washington,” 444. From HR: “Garvey,” 29. “Caucasian,” 110.
“Tower,” 247. “Mulatto,” 262, “Elevator Boy,” 263, “Ruby Brown,” 264. “Death,” 284.
“Princess,” 511. “Jericho, 537. “Luanni,” 581, Wallace Thurman (all) 625, 629, 632, 645 . Quiz.

Apr. 15. Draft projects returned. 1929-1942: Zora Neale Hurston, Dust Tracks on the Road,
foreword, pp. 1-142. From C: “Courage,” 15. “Proletariat,” 38. “To His Friends,” 242.
“Autobiography,” 245. “Authors and Publishers,” 263. “Present South,” 394. From O: “Coulev’
Endormi,” 177. “Black Sadie,” 323. From HR: “Two Poets,” “Nothing Endures,” 250. “Banjo,”
389, “Blueprint” 194. Quiz.

Apr. 22. Final projects due. 1930-1942: Hurston, Dust Tracks, pp. 143-285. From C: “Musical
Invasion,” 334. “Negro Authors,” 341. “Africa, Our Challenge,” 400. From O: “Prodigal,” 9.
“Strong Men,” 14. “Death,” “Aesthete,” “Flight,” “Pride,” “Seed,” “Servant,” 34-36. “Vers,” 42.
“Quest,” 54. “Cross,” 57. “Dust,” 73. “Nomah,” 185. “Billy Pierce,” 387. “Lawyer,” 403. “Labor,”
493. “Negro,” 502. “Business,” 509. “Nat Turner,” 515. “Radio Operator,” 521. From HR: “Black
Manhattan,” 34. “Thursday Afternoon,” 588. “God Sends Sunday,” 663. “Mule Bone,” 725. Quiz.

Apr. 29. Final projects returned. 1932 and beyond: From HR: “The Big Sea,” 77. “Goodbye
Christ,” 266, “Advertisement,” 267. “Johnson,” 108. “The Negro Artist,” 138. “Long Way from
Home, 157. “Road,” “Big Boy,” “Frankie and Johnny,” “Ma Rainery,” “Long Gone,” “Georgie
Grimes,” “Nat Turner,” 227-236. “To France,” 250. “With Langston Hughes,” 182. “Blue
Meridian,” 303. “White Folks,” 595. “Black Thunder,” 670. “One Way to Heaven,” 676. “Jonah’s
Gourd Vine,” 715. “Harlem Runs Wild,” 190. “Dust Tracks, 142. “Aaron Douglas,” 118. “The
Negro Renaissance,” 206. Quiz.

May 13. Final exam date. There is no final for this seminar, but we may use this time.

Grading Policy for Papers

Grading guidelines for form

Grades for form will be evaluated according to the following point scale.

Points Abbreviation Error

1 ab abbreviation error

3 ad adverb or adjective error

3 agr agreement error (subject-verb, pronoun-

antecedent)

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 2 awk awkward, needs rewording

1 _ capitalization (letter underlined)

3 ca error in case

5 cs comma splice

2 dan dangling or misplaced modifier

2 d informal language, inappropriate diction

5 frag sentence fragment

3 l? logic not clear

10 mf major form: ribbon, spacing, margins, etc.

3 new paragraph

3 <---- no new paragraph

3 // faulty parallelism

1 p punctuation

2 ref? reference unclear

2 rep repetitious, too wordy, redundant

5 run run-on sentence

3 shift in person or tense

1 ____ spelling (word underlined)

3 v verb error

2 ^ word(s) missing, insert

1 ww wrong word

Other marks for form

[...] concerning this passage

invert order

link together

? unclear

! very nice, funny, exceptionally good point

eliminate this

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Grading scale for form

92-100 A 83-91 B 73-82 C 65-72 D 0-64 F

Note: It is all right to have a friend proofread your paper for typos or errors in form, but ultimately only you are
responsible for what you write.

Form

You are expected to have mastered, by now, the conventions of English usage, spelling, and grammar. If you do not
already own them, I suggest you purchase a handbook of grammar and usage, and a dictionary. Points are taken off of
your papers for errors in form. In particular, papers are heavily penalized for errors in sentence structure and
punctuation.

The Sentence

Style begins at the sentence level.

There are four correct types of English sentences: simple, compound, complex, and compound-complex. You need to
master these types and how they are punctuated. The rules are not difficult.

You need to be able to differentiate between a phrase (a related group of words) and a clause (a related group of words
with a subject-verb core). You need to be able to distinguish between a main (or independent) clause and a subordinate
(or dependent) clause.

There are three major sentence errors: fragment, comma splice, and run-on. A fragment is punctuated as a sentence,
but lacks a subject-verb core, or it is a subordinate clause standing alone as a sentence. Although fragments are
sometimes used for emphasis in English prose, it is not suggested that you do so. A comma splice is the incorrect
attempt to hook together two main clauses with only a comma. A run-on is a sentence that has gone beyond its
boundaries, too many clauses trying to make up one sentence instead of being broken up into two or more sentences.

The Paragraph

Rhetoric begins at the paragraph level.

A paragraph is used to develop one idea. It normally contains a thesis sentence that gives the idea. The thesis sentence
is usually either the first or last sentence of the paragraph.

Content

Grading guidelines for content (from Garrison, How a Writer Works, and CCCC)

The "A" Paper

 Conveys immediately a sense of person behind the words; an individual voice speaks firmly and clearly from the
page.
 Contains a significant and central idea clearly defined and supported with concrete, substantial, and consistently
relevant detail. The essay is packed with information, and detail has a "just right" feel to it.
 Displays freshness and originality of perception; moves through its ideas with an inevitability organic to its
central idea.
 Engages attention and interest at the beginning, progresses by ordered and necessary stages, and ends with a
conclusion that summarizes the essay without being repetitive. Development is economical, original, well proportioned,
and emphatic.

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The "B" Paper
 Possesses many of the same features of the "A" paper, but the style, originality, and level of excellence is less
exceptional.
 Information may be thin. Examples or illustrations may feel slightly forced or exaggerated.
 Organization is clear; the reader does not confuse the sequence of information or ideas. However, transitions may
be somewhat awkward, abrupt, mechanical, or monotonous.

The "C" Paper

 Characterized by awkwardness throughout. It does not read smoothly aloud.
 The central idea is apparent but too general, too familiar, or too limited. It is supported with concrete detail,
though that detail may be occasionally repetitious, irrelevant, or sketchy.
 The essay gives the reader an impression of fuzziness and lack of assurance on the part of the writer.
 Organization is sometimes confused, especially between sentences. The reader sometimes has to stop and reread
material to be sure of its meaning.

The "D" Paper

 The main impression is one of haste, carelessness, lack of attention or simply an inability to draft even direct or
simple statements.
 The central idea is missing, confused, superficial, or unsupported by concrete or relevant detail. Content is
obvious, contradictory, or aimless.
 The essay has no clear and orderly stages and fails to emphasize and support the central ideal. Paragraphs are
typographical rather than structural; transitions between paragraphs are missing, unclear, ineffective or rudimentary.
 The essay may make some sense, but only if the reader struggles to find it. The writer has scanty control of the
material.

Course & Instructor Policies

Paper submission policy and late papers

Papers are due at the beginning of class on the dates indicated in the course calendar. Late papers are penalized by one
grade. Papers must be turned in both in a printed form, double-spaced, and in an electronic form, as a Word
attachment sent with an e-mail to redman@utdallas.edu with husl6372 on the subject line.

Paper Grading Policy

Your final grade for a paper will be based on the average of the grade for form and the grade for content, e.g., a "C" for
form and an "A" for content will result in a paper grade of a "B," except that when the grade is an intermediary grade
the grade for content will carry slightly greater weight, e.g., an "A" for form and a "B" for content will result in a paper
grade of "B+," while a "B" for form and an "A" for content will result in a paper grade of "A-." Note that “+” and “-“
grades will be used throughout the course and for the final grades.

Quiz and Bibliography Grading Policy

There will be weekly short quizzes on the readings and class discussions and lectures worth ten points each. The ten
highest of your quiz grades will be added and placed on a curve for your final quiz grade. However, you must score
above 50% on your final quiz grade in order to pass the course. Bibliographies will be judged on relevance and
completeness. They must include works from the periodical literature. The two other pre-professional components will
be judged on form and content. No makeup quizzes are given. Since I am dropping the five lowest quiz grades,
those are the ones that cover illness, emergency, or religious holiday.

Attendance Policy
Attendance is required. You may miss up to three classes without incurring any penalty, but more frequent absences
jeopardize your final grade. Further, these absences may, at the discretion of the instructor, result in a lowering of your
final grade. Tardiness disrupts the learning environment. Frequent tardiness will be penalized by the lowering of your
grade entirely at the discretion of the instructor.

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Writing Tutoring
Free writing tutoring is available from the Learning Center. You must make an appointment by calling (972) 883-
6707. The Center is located in McDermott. It is perfectly legitimate to have a writing tutor work with you on papers
for this course, though the final responsibility is yours.

Student Conduct & Discipline

The University of Texas System and The University of Texas at Dallas have rules and regulations for the orderly and
efficient conduct of their business. It is the responsibility of each student and each student organization to be
knowledgeable about the rules and regulations which govern student conduct and activities. General information on
student conduct and discipline is contained in the UTD publication, A to Z Guide, which is provided to all registered
students each academic year.

The University of Texas at Dallas administers student discipline within the procedures of recognized and established
due process. Procedures are defined and described in the Rules and Regulations, Board of Regents, The University of
Texas System, Part 1, Chapter VI, Section 3, and in “Title V, Rules on Student Services and Activities” of the
University’s Handbook of Operating Procedures. Copies of these rules and regulations are available to students in the
Office of the Dean of Students, where staff members are available to assist students in interpreting the rules and
regulations (SU 1.602, 972/883-6391).

A student at the University neither loses the rights nor escapes the responsibilities of citizenship. He or she is expected
to obey federal, state, and local laws as well as the Regents’ Rules, University regulations, and administrative rules.
Students are subject to discipline for violating the standards of conduct whether such conduct takes place on or off
campus, or whether civil or criminal penalties are also imposed for such conduct.

Academic Integrity

The faculty expects from its students a high level of responsibility and academic honesty. Because the value of an
academic degree depends upon the absolute integrity of the work done by the student for that degree, it is imperative
that a student demonstrate a high standard of individual honor in his or her scholastic work.

Scholastic dishonesty includes, but is not limited to, statements, acts or omissions related to applications for enrollment
or the award of a degree, and/or the submission as one’s own work or material that is not one’s own. As a general rule,
scholastic dishonesty involves one of the following acts: cheating, plagiarism, collusion and/or falsifying academic
records. Students suspected of academic dishonesty are subject to disciplinary proceedings.

Plagiarism, especially from the web, from portions of papers for other classes, and from any other source is
unacceptable and will be dealt with under the university’s policy on plagiarism (see general catalog for details). This
course will use the resources of turnitin.com, which searches the web for possible plagiarism and is over 90% effective.

Plagiarism
You may get help revising or proofreading your papers from friends or family, fellow students, or writing tutors.
However, the principal work on your paper must be yours. Plagiarism is the presentation of another person's work as
your own, whether you mean to or not. Copying or paraphrasing passages from another writer's work without
acknowledging what you've done is plagiarism. Allowing another writer to write any significant portion of your essay
is plagiarism. Plagiarism is a serious offense in academia and can result in failure for the paper or failure for the course
or worse.

Conduct

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In the 18th century the French defined liberty as the freedom to do anything that doesn't hurt other people. Behavior
that distracts others or disrupts the learning environment, such as talking or tardiness, hurts other people and won't be
tolerated. Cell phones and pagers must be turned off. Penalties for infractions are entirely at the discretion of the
instructor.

Withdrawal from Class

The administration of this institution has set deadlines for withdrawal of any college-level courses. These dates and
times are published in that semester's course catalog. Administration procedures must be followed. It is the student's
responsibility to handle withdrawal requirements from any class. In other words, I cannot drop or withdraw any
student. You must do the proper paperwork to ensure that you will not receive a final grade of "F" in a course if you
choose not to attend the class once you are enrolled.

Student Grievance Procedures

Procedures for student grievances are found in “Title V, Rules on Student Services and Activities,” of the university’s
Handbook of Operating Procedures.

In attempting to resolve any student grievance regarding grades, evaluations, or other fulfillments of academic
responsibility, it is the obligation of the student first to make a serious effort to resolve the matter with the instructor,
supervisor, administrator, or committee with whom the grievance originates (hereafter called “the respondent”).
Individual faculty members retain primary responsibility for assigning grades and evaluations. If the matter cannot be
resolved at that level, the grievance must be submitted in writing to the respondent with a copy of the respondent’s
School Dean. If the matter is not resolved by the written response provided by the respondent, the student may submit
a written appeal to the School Dean. If the grievance is not resolved by the School Dean’s decision, the student may
make a written appeal to the Dean of Graduate or Undergraduate Education, and the deal will appoint and convene an
Academic Appeals Panel. The decision of the Academic Appeals Panel is final. The results of the academic appeals
process will be distributed to all involved parties.

Copies of these rules and regulations are available to students in the Office of the Dean of Students, where staff
members are available to assist students in interpreting the rules and regulations.

Incomplete Grade Policy

As per university policy, incomplete grades will be granted only for work unavoidably missed at the semester’s end and
only if 70% of the course work has been completed. An incomplete grade must be resolved within eight (8) weeks
from the first day of the subsequent long semester. If the required work to complete the course and to remove the
incomplete grade is not submitted by the specified deadline, the incomplete grade is changed automatically to a grade
of F.

Disability Services
The goal of Disability Services is to provide students with disabilities educational opportunities equal to those of their
non-disabled peers. Disability Services is located in room 1.610 in the Student Union. Office hours are Monday and
Thursday, 8:30 a.m. to 6:30 p.m.; Tuesday and Wednesday, 8:30 a.m. to 7:30 p.m.; and Friday, 8:30 a.m. to 5:30 p.m.

The contact information for the Office of Disability Services is:

The University of Texas at Dallas, SU 22

PO Box 830688
Richardson, Texas 75083-0688
(972) 883-2098 (voice or TTY)

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Essentially, the law requires that colleges and universities make those reasonable adjustments necessary to eliminate
discrimination on the basis of disability. For example, it may be necessary to remove classroom prohibitions against
tape recorders or animals (in the case of dog guides) for students who are blind. Occasionally an assignment
requirement may be substituted (for example, a research paper versus an oral presentation for a student who is hearing
impaired). Classes enrolling students with mobility impairments may have to be rescheduled in accessible facilities.
The college or university may need to provide special services such as registration, note-taking, or mobility assistance.

It is the student’s responsibility to notify her or his professors of the need for such an accommodation. Disability
Services provides students with letters to present to faculty members to verify that the student has a disability and needs
accommodations. Individuals requiring special accommodation should contact the professor after class or during office
hours.

Religious Holy Days

The University of Texas at Dallas will excuse a student from class or other required activities for the travel to and
observance of a religious holy day for a religion whose places of worship are exempt from property tax under Section
11.20, Tax Code, Texas Code Annotated.

The student is encouraged to notify the instructor or activity sponsor as soon as possible regarding the absence,
preferably in advance of the assignment. The student, so excused, will be allowed to take the exam or complete the
assignment within a reasonable time after the absence: a period equal to the length of the absence, up to a maximum of
one week. A student who notifies the instructor and completes any missed exam or assignment may not be penalized
for the absence. A student who fails to complete the exam or assignment within the prescribed period may receive a
failing grade for that exam or assignment.

If a student or an instructor disagrees about the nature of the absence [i.e., for the purpose of observing a religious holy
day] or if there is similar disagreement about whether the student has been given a reasonable time to complete any
missed assignments or examinations, either the student or the instructor may request a ruling from the chief executive
officer of the institution, or his or her designee. The chief executive officer or designee must take into account the
legislative intent of TEC 51.911(b), and the student and instructor will abide by the decision of the chief executive
officer or designee.

These descriptions and timelines are subject to change at the discretion of the Professor.

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