Eastern Illinois University
Department of Theatre Arts
Spring Semester 2016
THA 3752G: EUROPEAN AND U.S. THEATRE FROM 1660 TO THE PRESENT DAY*
Professor.
Dr. Chris Mitchell
Office:
CAH Deans’ Suite
2216 Doudna Fine Arts Center (how to find me)
Hours: By Appointment†
Telephone:
(217) 581-2922 (this is the main number, ask for me)
E-mail:
cjmitchell@eiu.edu (best means of communication)
Facebook:
Dr. Christopher J. Mitchell (OK to message me there)
Website:
ux1.eiu.edu/~cjmitchell (handouts/schedule changes)
D2L:
Not used in this course.
Class Meets. TR, 3:00 – 4:15 pm, in DFAC 2040
Texts.
Textbook rental should issue you:
Wilson and Goldfarb, Living Theatre: A History (6th ed.)
Wise and Walker, The Broadview Anthology of Drama, Vols. I and II
Jacobus, The Bedford Anthology of Theatre (6th ed.)
MLA Handbook for Writers of Research Papers
One play on Booth Library e-reserves:
Lillo, The London Merchant
Also, you’ll get copies of or URLs for a few items in the second half.
Other Costs. None.
Prerequisites. ENG-1001G and ENG-1002G.
Catalog
Course
Description.
“A journey through the major periods in the development of theatre in
Europe and the U.S., from the time of the English Restoration and
colonization of North America to today. Connections to the social,
political, religious, and artistic trends of the times will be
This course was formerly titled “Theatre History II” prior to 2015 curricular changes. For comparison
purposes, this course is a briefer treatment of the material of the former Theatre History II course, coupled
with a briefer treatment of the material covered in the former THA 3756, “Twentieth Century Theatre.”
†
Since I am currently an administrator, all consultations must be scheduled as my schedule will vary weekto-week (i.e. there are meetings I must attend, etc.) However, getting on my calendar is very easy; either
do so by e-mail or calling the number above.
*
emphasized. Special attention will be given to artists who have had a
lasting impact on world theatre. No background in or knowledge of
theatre is required.” [Emphasis mine.]
Curricular
Fit.
For THA majors and minors, see how this course fits in your curriculum.
For general education students, see how this course fits in the curriculum.
For other relevant curricula (Education, etc.), please consult your advisor.
This course is designated writing-intensive and culturally diverse.
Learning
Goals/
Objectives.
In this course, you will continue to develop your skills in critical
thinking, writing and critical reading, speaking and listening,
quantitative reasoning, and responsible citizenship; all of which
are central to an EIU education. Our objectives are that you will/
will be able to:
a.
Analyze and evaluate primary and secondary source
evidence of European and U.S. theatre (play texts,
theoretical tracts, extant and extinct theatre spaces,
renderings of sets and costumes, diaries of theatre artists,
etc.) from 1660 to the present day.
b.
Analyze and evaluate the relevant social, political,
religious, and artistic trends in Europe from 1660 to the
present day that inform and are impacted by the theatre.
c.
Critically and reflectively compare the major periods of
European and U.S. theatre from 1660 to the present day and
evaluate their impact on succeeding generations of world
theatre.
d.
Conduct guided research on relevant topics within the
historical periods covered; synthesize and present such
research in scholarly-quality written formats.
e.
Formulate, present, and orally defend cogent scholarly
arguments regarding (a), (b), and (c); orally defend the
research synthesized in (d) in a conference-style setting.
Requirements The grading scheme is easy to follow for this class. Please note the
And Grading. individual point values for each numbered assignment below.
The course requirements are as follows:
1. Active participation and keeping up with assigned readings. This
includes ensuring that the reading assigned for a particular series of
classes is done on time, that you bring the relevant texts to class, and
that you enthusiastically and intelligently contribute to discussions in
class, especially at times at which you are appointed the leader of a
group discussion. (I will cover how that will work in the first days of
class.) The volume and scope of covered material necessitates your
constant engagement with the material and with other members of this
class; your rating of 0 to 100 points in each instance reflects how
consistently and diligently you are engaging these. You will be rated
TWICE, once at midterm and once at the end of the semester. Each
rating is an independent grade. There is a rubric sheet explaining how
participation is evaluated on your class page of my website. (Thus the
total point value for this requirement is 200 points.)
Reading assignments appear in the course schedule appearing
at the end of this syllabus.
SPECIAL NOTE TO THEATRE FOLKS: Repeat this until it
sticks in your head— “Being in rehearsal, in shop, in tech, or
in performance does not excuse me from my responsibilities to
this class.” Part of being a theatre major/minor is learning to
achieve a balance between classwork and the practice of your
art. Strive to achieve that balance. I expect no less.
2. A midterm exam and a final exam. In keeping with the writingintensive designation of this course, these are essay exams which will
determine how well you connect concepts together and see the “big
picture” of how theatre morphs over time— and how often history
repeats itself in a slightly different package. The midterm, tentatively
scheduled for March 3, will cover material from the first half of the
semester and the final, scheduled for Thursday, May 5, from 2:45 to
4:45 pm, will cover material from the second half only (i.e. it’s not
cumulative). Each exam is worth 200 points.
I do generate review sheets for each component we cover.
They will be posted on your class page of my website.
3. A semester-long research project, culminating in a scholarly
quality 10-12 pp. article on a topic in theatre history within the
periods/cultures covered, chosen by you in consultation with me. This
will involve library and online research and will be done in stages— at
each stage you will receive feedback from me. The project will begin
right away. The stages are as follows:
An approximately 300-word written proposal and a working
annotated bibliography, due January 28, and a follow-up
meeting with me in which you and I will discuss the strengths and
weaknesses in your research proposal, which must take place
between February 1 and 5. Together, these are worth 50 points.
A progress draft, due March 24, and a follow-up meeting with
me in which you and I will discuss the strengths and weaknesses in
your progress draft, and in which you will describe your
completion strategy. The meeting must take place between
March 28 and April 1. Together, these are worth 100 points.
Presentation of the completed paper at an in-class mock
conference during the final week of class (April 26 and 28), at
which you will address audience questions about your research.
This exercise is worth 50 points.
The polished and properly cited final draft, due April 29, and is
worth 200 points.
Paper particulars are covered in handouts which be posted on
your class page of my website.
So the overall grading scheme for the course breaks down thusly:
First half participation
=
100 possible
Second half participation
=
100 possible
Midterm exam
=
200 possible
Final exam
=
200 possible
Research project:
Proposal/Mtg =
50 possible
Prog Draft/Mtg =
100 possible
Presentation
=
50 possible
Final Draft
=
200 possible
--------------------------------------------------------------------TOTAL
=
1000 possible
Your final score, which will be adjusted for attendance (see
“Attendance,” below) and any extra credit received (see “Extra Credit,”
below) will correspond to the following final letter grade:
A = final adjusted score 900 – 1,000 points
B = final adjusted score 800 – 899 points
C = final adjusted score 700 – 799 points
D = final adjusted score 600 – 699 points
F = final adjusted score less than 600 points
ATTENDANCE. Along with active participation, consistent and
prompt attendance is absolutely necessary to reap the maximum benefit
from the course. As such, you will be held accountable for your
attendance. An attendance sheet will be circulated at every class meeting
on and after Tuesday, January 19, and it is YOUR RESPONSIBILITY to
ensure you have signed it before you leave class. In tracking absences, the
following definitions apply:

“Excused absence”: An excused absence results ONLY from a
University-sanctioned activity, a family emergency, a health-related
absence in which you are under a physician’s care, or an extraordinary
circumstance as determined by the professor. All “excused absences”
must be supported by a note from an official (physician, University
official, etc.) supporting the absence.
o “Excused absences” do not result in a penalty applied to your
final point total.

“Unexcused absence”: Anything not defined by “excused absence”
above. This includes, but is not limited to: “personal” days or nonUniversity business, oversleeping, and health-related absences not
supported by a physician’s note.
o You are permitted TWO “unexcused” absences without penalty
to your final average; more than three, see box below.
For every unexcused absence beyond the TWO you are permitted,
you will lose forty (40) points off your final point total. (That’s
nearly 1/2 of a letter grade, folks. ATTENDANCE IS SERIOUS
BUSINESS IN MY CLASSES.)
SPECIAL ATTENDANCE EVENTS:
EXTRA CREDIT. There will be an opportunity or two for you to earn
some extra points that can bolster your final average. As a general rule,
these will be posted to my website, so it is up to you to keep checking it!
Late Policy.
Research
Proposal and
Follow-Up
Meeting.
Unless an alternate arrangement is made with me in
advance, for each WEEKDAY of lateness, 2.5 points
will be deducted from the score for that portion of the
assignment. If your follow-up meeting is held beyond the
prescribed window, for each WEEKDAY past the window
prescribed, you will lose 2.5 points from the score for that
portion of the assignment. (Exceptions made if you make
an alternate arrangement with me well in advance for good
reason, or if you have an “excused absence” that is
unforeseen.)
Progress
Draft and
Follow-Up
Meeting.
Unless an alternate arrangement is made with me in
advance, for each WEEKDAY of lateness, 5 points
will be deducted from the score for that portion of the
assignment. If over 10 weekdays (two weeks) late, the
score becomes zero.
Classroom
Etiquette.
Final
Draft of
Paper.
Unless an alternate arrangement is made with me in
advance, for each WEEKDAY of lateness, 10 points
will be deducted from the score for that portion of the
assignment. However, because of grade submission
deadlines, the paper cannot be accepted past final exam
date (May 5)— after that, the score becomes zero.
Mock
Conference.
Since conference time is extremely limited, and missing
a presentation seriously compromises the event (just like
in the “real world”), missing your assigned presentation
time (except in case of emergency, as approved by the
professor) will result in a deduction of 20 points from that
component of the assignment, and you will be re-assigned
only if time permits (and, if it doesn’t, this portion of the
assignment receives a zero score).
Exams.
I only grant makeups for absences that meet the criteria for
“excused absences” above. These will be done outside of
class time.
A few ground rules to maximize fairness to all and to help make
our classroom environment enjoyable and productive:
1.
Be on time and plan to stay the whole time. Class begins at 3:00
pm and ends at 4:15 pm. (That is, don’t begin getting ready to go
at 4:10— or earlier. If you’re doing that, you’re being rude to
everyone in the class.)
“The 15-minute rule.” Even though I can’t remember the last
time this was relevant (I’m very time-conscious), you may safely
assume that the “15-minute rule” is valid for this class, according
to the “official time” of the classroom (usually the classroom
clock, unless otherwise designated by the professor).
2.
Respect other class members’ right to learn as well as your own,
and do your best to keep an open mind to challenging material.
This includes not having distracting conversations with your
neighbor (or your online/texting buddy), not listening to your
music during class time, not reading or working on non-class
material during class, and always respecting others’ opinions in
class conversation, even if you disagree. While you may keep
your mobile on “VIBRATE” in case of emergencies, all other
electronic devices (save laptops) must be turned OFF during class
time. Laptops and tablets are permissible, but do NOT Facebook,
Tweet, etc.— keep your activity relevant to class coverage, please.
3.
During examinations, NO electronic device is permitted in the
classroom, save your cell phone on “VIBRATE” and out of sight.
Students with Should you require any special accommodations due to a documented
Disabilities. disability, please contact the Office of Student Disability at 581-6583 as
soon as possible. It is YOUR RESPONSIBILITY to give me a copy of the
“Academic Accommodations” statement no later than January 26.
Booth
Library.
Located in the center of campus, Booth Library is the best place to do
research, find expert help, or study in a calm, distraction-free
environment. In addition to the many print resources, Booth provides
access to high quality e-books, journals and scholarship not freely
available on the Web. Stop by the Reference Desk or go
to http://library.eiu.edu to explore library resources. Get expert help with
your research by contacting the Booth Library reference librarians. Visit,
call 581-6072, or go to http://booth.eiu.edu/ask to connect with a librarian.
The Student
Success
Center.
Students who are having difficulty achieving their academic goals are
encouraged to contact the Student Success Center for assistance with time
management, test taking, note taking, avoiding procrastination, setting
goals, and other skills to support academic achievement. The Student
Success Center provides individualized consultations. To make an
appointment, call 581-6696, or go to 9th Street Hall, Room 1302.
Academic
Integrity.
All assignments are expected to be your original work, and ALL
resources you quote must be properly cited using an accepted citation
method, appropriate to your discipline. (If you are in Theatre Arts,
the most appropriate method is MLA.) THIS INCLUDES INTERNET
SOURCES! You can always ask for help from me on citation method;
that’s what I’m here for.
Academic honesty, suffice it to say, is taken VERY seriously here, and
any instance of plagiarism (see me if you are not clear on the definition of
the word) or cheating will result in a zero for the assignment AT
MINIMUM (depending on the severity of the infraction).
No project will be accepted for a grade without proper documentation
of sources. If I see a paper without citations, I will return it to you the
next class period and you will begin losing points as per the late policy
above.
THIS SYLLABUS IS SUBJECT TO CHANGE
AT THE DISCRETION OF THE PROFESSOR.
A PREFATORY NOTE ON TEXTS AND READINGS
The Wilson and Goldfarb text (Living Theatre: A History, 6th ed.) serves two purposes for
this course:
1. It is a reference text that provides excellent illustrations relevant to concepts we
cover in the class. I will refer to such illustrations periodically in class. (As such,
I encourage you to bring it regularly!) Chapter 1 (which is an Introduction),
Chapters 10, 11, 12, 13, 14, 15, and select parts of Chapters 16 and 17 are all
relevant to the course coverage. However, the exam material comes from
lectures and class discussions primarily; don’t assume you can miss class and
catch up from just reading the text. Also, as a matter of policy, I do NOT
give out copies of my PowerPoints. If you miss a class, you may catch up on
notes with a classmate and see me with any questions you might have.
2. It is a launching point for ideas for your research paper. You will need to browse
through Chapters 10-17 to get some inspiration for topics early in the semester.
There’s a good bibliography in the back for starters, too; Booth has many of these
titles listed, and if not, they can be swiftly interlibrary-loaned.
The Wise and Walker texts (The Broadview Anthology of Drama, Vols. I and II) and the
Bedford Anthology are the primary books in which the plays we will cover will be
contained. Completion of play readings should be done as per the schedule below. Make
sure to bring the relevant anthology (i.e. relevant to the play under discussion) to
each class. Don’t show up on a discussion day without it! You’ll be at a severe
disadvantage during the discussion if you don’t have it, and repeated occurrences of
not having the book handy will cost you participation points.
SCHEDULE OF COURSE CONTENT AND ASSIGNMENTS
Subject to change at professor’s discretion – visit my website often to check for changes
Please know that covered topics may stretch between class periods specified below.
Dates
Key Topics Covered
Readings and Assignments
PART ONE. Overview of class. What a Theatre Historian does. How to think and act
like one and how to navigate research sources. Brief recap of European theatre history,
pre-1660. Theatre in the English Commonwealth (1642-1660).
January 12
Introduction to the course and
Read syllabus thoroughly prior to Jan.
addressing of syllabus
12 (or ASAP thereafter if you add the
questions. The practice of
class late).
theatre history. Brief recap of
European theatre history, pre1660.
January 14
Theatre practices during the
Over the weekend: practice searching
English Commonwealth period. Booth databases for topics suggested
Introduction to research and
in class. Scan over “Purdue Owl”
writing strategies in theatre
website. Locate the Writing Center.
history. How to effectively
Also read Wycherley’s The Country
search academic article
Wife (Wise and Walker Vol. I, pp.
databases. Developing an eye
for separating good online info
from the “yahoos.” Judicious
and effective citation of sources.
Balancing rendering of sources
with your own argumentation.
How to sound authoritative
without alienating your
audience. What the EIU
Writing Center can do for you.
PART TWO. English Restoration Theatre.
January 19
Influences. Heroic and BlankVerse Tragedies. Comedies of
“Humours,” Intrigue, and
Manners. Introduction to our
group discussions and
discussion of The Country Wife.
January 21
552-604) prior to Jan. 19’s class.
Today (Jan. 19) is the first day of
formal attendance taking. Don’t
miss the attendance sheet going
around.
Between the classes of January 19 and
26, meet with your discussion group
as directed by the professor.
Work on getting your topic in shape!
Proposal and Working Annotated
Bibliography due soon (Jan. 28).
PROFESSOR OUT OF TOWN.
Guest lecturer will screen The
Way of the World. (There is a
copy of the play in your Wise
and Walker, Vol. I anthology,
pp. 605-648, if you’re
intrigued— or if you miss
class!)
January 26
Wrapping up discussion of
Read Lillo’s The London Merchant
Country Wife and talking a bit
for January 28’s class. (The play is on
about the Way of the World
Booth Library e-reserves; instructions
video. Restoration theatre
for access will be given in class.)
spaces, staging practices,
costumes, and actors.
PART THREE. Eighteenth Century Europe and Colonies/early U.S.
January 28
The “transitional” (turn of 18th
Proposal/Bibliography for Research
century) period in England.
Paper is due electronically by
Overview of 18th Century.
Thursday, Jan. 28 at 5 pm. FollowEnglish Domestic Tragedy and
up meetings (by appointment) must
Sentimental Comedy.
take place the week of Feb. 1-5.
Dissemination of The London
Between the classes of Jan. 28 and
Merchant discussion questions. Feb. 2, meet with your discussion
group to discuss your assigned
London Merchant question(s).
February 2
Discussion of The London
Merchant. English drama in the
second part of the 18th century.
What’s happening theatrically
in the British North American
colonies and early U.S. in the
18th century.
Theatre practice in France, 18th Have Schiller’s The Robbers (Wise
century pre- and postand Walker, Vol. I, pp. 770-832) read
Revolution. Trends in Italian
for Feb 9.
theatre in the 18th century—
especially the making “literary”
of the Commedia dell’Arte.
February 9
Innovations in 18th century set
Between the classes of Feb. 9 and Feb.
design. Trends in 18th c. theatre 11, meet with your discussion group
spaces and costumes. Actors
to discuss your assigned The Robbers
and acting practices in the 18th
question(s).
c. First steps of the “director.”
Dissemination of The Robbers
discussion questions.
February 11
Trends in drama and theatre
Have Aiken’s Uncle Tom’s Cabin
practice in “Germany.”
(Wise and Walker, Vol. II, pp. 25-65)
Discussion of The Robbers.
read for Feb. 16’s class.
PART FOUR. 1800-1875 Europe/US.
February 16
Sociocultural background of
Between the classes of Feb. 16 and
Europe/US in this period.
Feb. 18, meet with your discussion
Romanticism, the Hernani
group to discuss your assigned Uncle
controversy, and the postTom’s Cabin question(s).
Romantic era. “Well-Made
Plays” and Melodrama.
Dissemination of Uncle Tom’s
Cabin questions.
February 18
Discussion of Uncle Tom’s
Have Ibsen’s Hedda Gabler (Wise
Cabin. Popular Theatre Forms. and Walker, Vol. II, pp. 66-107) read
19th Century Scenic Design
for Feb. 23’s class.
innovations. 1800-1875 theatre
space trends, actors and acting.
PART FIVE. Rise of Realism/Naturalism (1875-WWI).
February 23
Theoretical foundations of
Between the classes of Feb. 23 and
Realism— sociocultural and in
Feb. 25, meet with your discussion
the theatre world. Melodrama
group to discuss your assigned Hedda
vs. Realism. Dissemination of
Gabler question(s).
Hedda Gabler questions.
February 25
Discussion of Hedda Gabler.
How Naturalism came to be.
March 1
Screening of extended excerpt
Prepare questions for me and group
from Miss Julie and discussion. for Mar. 2 session if you plan to
(There is a copy of the play in
come!
your Bedford Introduction to
Drama anthology, pp. 697-715,
if you’re intrigued— or if you
miss class!) Discussion of
midterm exam format.
Wednesday,
OPTIONAL evening-before
Make sure you have acquired an
March 2
midterm review session,
“exam booklet” from the bookstore
(time to be
location TBA.
for your final exam if you plan on
February 4
agreed upon)
March 3
handwriting it.
Have Jarry’s King Ubu (Wise and
Walker, Vol. II, pp. 144-166) read for
Mar. 8’s class.
th
PART SIX. Turn of the (20 ) Century Anti-Realism, Acting Styles.
March 8
Symbolism: theoretical
Between the classes of Mar. 8 and
foundations and practice. The
Mar. 10, meet with your discussion
“unclassifiables” and “hybrids” group to discuss your assigned King
of this time. Dissemination of
Ubu question(s).
King Ubu discussion questions.
March 10
Discussion of King Ubu.
Influential acting styles at the
turn of the 20th century.
March 15, 17 SPRING BREAK: No class.
Over break: no assignment. Relax and
have fun. (Be safe!)
PART SEVEN. European/U.S. “-isms” of the 1910s.
March 22
Sociocultural background of
For March 24’s class, read the “The
Europe/US, 1910-WWII.
Futurist Synthetic Theatre” manifesto
Expressionism: theoretical
(Copy or URL given to you).
foundations and practice.
March 24
Futurism, Constructivism,
Progress Draft due today (Mar. 24),
Dada, and Surrealism.
electronically by 5 pm. For March
29’s class, read Artaud’s “An End to
Masterpieces” manifesto and his
playlet The Spurt of Blood (Copy or
URL given to you). Also read
Brecht’s Mother Courage (Jacobus,
pp. 987-1020).
PART EIGHT. 1920s-1930s Europe/U.S. Theatre.
March 29
Pirandello, Garcia Lorca,
Follow-up meetings for progress
Copeau, Giradoux, Anouilh.
draft (by appointment) must be this
Discussion of Artaudian theory week, March 28-April 1. Between
and Blood. Bauhaus, Epic
the classes of Mar. 29 and Mar. 31,
Theatre, intro. to Brecht and
meet with your discussion group to
discussion questions for Mother discuss your assigned Mother
Courage disseminated.
Courage question(s).
March 31
Discussion of Mother Courage. For April 5’s class, read Beckett’s
US Theatre: Rise of Broadway, Krapp’s Last Tape (Jacobus, pp.
the Little Theatre Movement,
1162-69) and Williams’ Cat on a Hot
O’Neill, Jones/Mielziner,
Tin Roof (Wise and Walker, Vol. II,
revues, the Harlem Renaissance, pp. 389-438).
the Federal Theatre Project.
PART NINE. 1940s-1950s Europe/U.S. Theatre.
April 5
Sociocultural background of
Between the classes of Apr. 5 and 7,
Europe/US, ‘40s/’50s.
meet with your discussion group to
Absurdist and Existentialist
discuss your assigned Cat on a Hot
theatre, discussion of Tape. The Tin Roof question(s).
“Angry Young Man”
movement, off-Broadway, and
Midterm examination.
other rebellions. Dissemination
of Cat questions.
April 7
Discussion of American realism
and Cat on a Hot Tin Roof.
HUAC and the “Red Scare.”
Maturation of the musical in the
US. Stanislavskian acting
interpretations: Strasberg vs.
Adler.
PART TEN. 1960s-1970s Europe/U.S. Theatre.
April 12
Sociocultural background of
Europe/US in this period.
Redefinitions of theatre:
Grotowski, The Living Theatre,
The Open Theatre, Schechner/
Environmental Theatre. Reemergence of Thrust and Arena
Spaces. Off-Off-Broadway
Movement. Rock Musicals.
Liberation and Pride
Movements. Boal. Effects of
Vietnam, Watergate, Détente,
etc. on theatre. Dissemination
of Homecoming questions.
April 14
Discussion of Homecoming and
continuation of April 12 topics.
For April 12’s class, read Grotowski’s
tract “The Theatre’s New Testament”
and Boal’s “Theatre of the Oppressed”
(Copies or URLs given to you). Also
read Pinter’s The Homecoming
(Jacobus, pp. 1289-1317).
Between the classes of Apr. 12 and
14, meet with your discussion group
to discuss your assigned The
Homecoming question(s).
For April 19’s class, read Angels in
America: Millennium Approaches
(Jacobus, pp. 1544-1579).
PART ELEVEN. 1980s-present day Europe/U.S. Theatre.
April 19
Sociocultural background of
Between the classes of Apr. 19 and
Europe/US in this period. Rise 21, meet with your discussion group
of postmodernism.
to discuss your assigned Angels in
Performance Art. AIDS crisis
America question(s).
and theatre. Mega-musicals.
Theatrical reactions to
conservative surges, South
African Apartheid, Japanese
wonder economy, collapse of
USSR, genocides, 9/11.
Dissemination of Angels
questions.
April 21
Discussion of Angels in
America and continuation of
April 19 topics. Discussion of
final exam format and
conference.
PART TWELVE. Spotlight on your research and final exercises.
April 26
Allocated for Mock
Conference, day one.
April 28
Allocated for Mock
Final, polished research paper,
Wednesday,
May 4 (time
to be agreed
upon)
Thursday,
May 5, 2:45
– 4:45 pm
Conference, day two.
Discussion of final exam
format.
OPTIONAL evening-before
midterm review session,
location TBA.
Final Examination. Grades
will be available by Monday,
May 9 at 4 pm unless
announced to be so previously.
properly cited, is due electronically
Friday, April 29, by 5 pm.
Make sure you have acquired an
“exam booklet” from the bookstore
for your final exam if you plan on
handwriting it.