Dr. Matthew Wilsey-Cleveland
Program for Writing & Rhetoric
University of Colorado, Boulder
ENVD 1B50F
Tel: (303) 735 3058 Email: clevelam@colorado.edu
Office/Consultation Hours (by appointment only):
Tuesdays and Thursdays 1pm-3pm
Mailbox:
ENVD 1B62C (lobby)
WRTG 3020 Topics in Writing
Spring 2012
Gender & Sexuality: Reading Contemporary American Culture through Feminist and Queer
Theories
Section 058
Section 063
TTH 8am-9.15am
CHEM 133
TTH 9.30am-10.45am CHEM 133
COURSE DESCRIPTION & OBJECTIVES
This course will explore the logos, ethos, and pathos of a range of prevalent feminist and queer theoretical frameworks from the
late-20th Century onwards. Aside from developing the ability to identify, assess, and meaningfully discuss rhetorical components
of these theoretical structures, students will also learn how to apply/instrumentalize particular feminist and/or queer “lenses” to
interpreting selected texts from late-20th Century and contemporary American fiction and cinema. The “point” of learning to
understand and use theoretical approaches in the process of interpretation is at once for inexperienced thinkers/writers to
develop critical thinking and writing skills and to empower these thinkers/writers with the ability to conceive of how any text can
become meaningful in ways exceeding their personal expectations/experiences. Through essays, journaling, peer-editing
workshops, discussion, lectures, and various class activities, students will acquire skills of critical reading and communication
(written and oratory) germane to formal (professional and academic) contexts.
Students are advised that this is a WRTG course and thus should expect a greater emphasis upon writing (mechanics etc.) as well
as matters of rhetorical and critical analyses. Also, a certain extent of this course consists of exercises and activities that require
students to produce multiple drafts of written work. As such, every student should prepare him-/herself for the prospect of being
asked to perform major revisions and re-writes of their work. Students are also advised that all written work produced may be
shared and scrutinized publicly. Therefore, overly personal information should not be included nor will any overtly aggressive or
disrespectful language be tolerated.
Almost all work submitted must be typed and electronic copies maintained.
Colorado Commission on Higher Education (CCHE) Criteria & Program for Writing & Rhetoric (PWR)
Goals
This course subscribes to PWR goals (http://www.colorado.edu/ArtsSciences/PWR/) and meets the CCHE criteria for the
general education requirement in communication for advanced writing courses (CO3) in the following capacities:
Rhetorical Knowledge: Firstly, this course will refresh student awareness of fundamental frameworks of rhetorical
knowledge pertaining to audience awareness; differentiality of genre as well as context; and the instrumentality of voice, tone, and
format. Subsequently, students will then develop and extend their rhetorical facility via engaging with, and drawing from,
published critical analyses of creative and cultural texts pertaining to topics of gender and sexuality. Finally, students will learn to
synthesize data from critical and creative texts in order to more effectively communicate ideas and substantiate arguments.
Writing Processes: In this course, great emphasis will be placed upon developing editing skills. Basically, not only will
students learn to be problem solvers of their own work through learning to recognize and redress mechanical and structural issues
in the work of others (both peers and professional writers/scholars), they will also learn how specific rhetorical strategies operate
to improve clarity and persuasiveness. To this end, students will perform multiple guided peer reviews of other students’ writing
and craft multiple drafts of each major submission. Finally, students will learn effective academic research skills in relation to a
Major Research Essay assignment.
Writing Conventions & Communication Strategies that Demonstrate Content Knowledge: Although this course is
structured in part around the themes of gender and sexuality, it is essentially a writing course. As such, form and mechanics will
be at least as important as content. In other words, although students will be evaluated for their comprehension of, and ability to
engage with, the creative, scholarly, and theoretical material covered, a great deal of attention will be placed upon each student’s
ability to adhere to academic writing conventions. Not only will submitted writing be assessed in terms of syntax, grammar,
punctuation, and spelling, it will also be judged in terms of demonstrated ability to use specialized vocabulary as well as fluency
with employing specific voices and idioms in relation to different rhetorical contexts and/or audiences. All writing will be
formatted according to MLA conventions.
READINGS
A broad range of readings and other media will be used. Specific readings for each week are listed below in the Course Outline
Section. Texts that will be used reflect the above-listed CCHE criteria. For example, students will be provided with excerpts and
handouts pertaining to rhetorical knowledge and editing practices from various composition and rhetoric publications such as the
PWR’s own Knowing Words; Ann Raimes’ Keys for Writers (Houghton Mifflin, 2002), and Betty Mattix Dietsch’s Reasoning and Writing
Well: A Rhetoric, Research Guide, Reader, and Handbook (McGraw-Hill, 2006). Readings pertaining to research strategies and format
will come from Principles of Writing Research Papers by James Lester and James Lester Jr. (Penguin, 2007). As apparent below,
content knowledge pertaining to the topics of gender and sexuality will come from a broad range of literature and non-fiction:
from short stories written by authors such as John Updike and Joyce Carol Oates, to theoretical or philosophical excerpts from
Slavoj Žižek, Mimi Marinnucci, and Eve Sedgwick; from Leslie Feinberg’s seminal transgender novel Stone Butch Blues, to creative
non-fiction pieces from Julia Kristeva and Marlon T. Riggs; from lesbian poetry about abjection, to renovated classics such as
Olga Broumas’ “Little Red Riding Hood.” The 2011 film Bridesmaids directed by Paul Feig will also be screened and studied.
The only text that needs to be purchased for this course is:
Feinberg, Leslie. Stone Butch Blues. New York: Alyson Books, 2003 (1993).
Short stories, poetry, handouts and additional theoretical readings are available online via CULearn (see below). Most of the
shorter literary pieces (short stories and poetry) come from the collection Literature and Gender: Thinking Critically Through Fiction,
Poetry, and Drama. Comps. Robyn Wiegman and Elana Glasberg. New York: Longman, 1999. In the course outline below,
theoretical readings are designated by a (T) and composition/rhetoric material by a (R).
* Please note that for the purposes of characterization and/or realism, profanity, uncouth language, and explicit sexual content
(including discussions and descriptions of non-mainstream sexual identities and acts), are featured in some of the texts that will be
explored. If you are uncomfortable with such language or subject matter, please choose another course.
CULearn
The course syllabus, additional readings and resources, as well as assignments, may be obtained via CULearn (formerly WebCT).
CULearn for this section of WRTG 3020 can be accessed by going to the ‘Courses’ tab after logging on to CUConnect and
following the link on the top left-hand vertical menu. Because it is mandatory that students are able to adequately negotiate
CULearn, please consult ITS or the course professor for help with any problems or concerns.
ASSESSMENT
Major Research Essay (1500-1750 words)
Writing Portfolios A & B
Minor Essay (1000-1250 words)
Attendance/Participation
35%
10% + 15% = 25%
25%
15%
* Please note that in order to qualify for a passing grade, ALL assignments must be completed with a minimum grade of D-.
Final Grade Scale (all values are in %): 94-100=A, 90-93.9=A-, 86.1-89.9=B+, 84-86=B, 80-83.9= B-, 76.1-79.9 = C+, 7476=C, 70-73.9=C-, 66.1-69 = D+, 64-66=D, 60-63.9=D-, < 60% = F
Minor Essay (25%)
due Feb 21 (Week 6)
The Minor Essay (ME) will require students to provide an expositional account of the two definitional/theoretical texts examined
during the first four weeks of the semester and then to apply theoretical ideas from these texts to two literary texts from the same
period. While the ME will allow students to express their opinions within an academic rhetorical context, neither research nor a
works cited page will be required. Aside from students’ demonstrated understanding of, and facility with, the theoretical ideas in
question, the ME will be assessed in relation to general fluency and mechanical ability (not just grammar/syntax but also effective
paraphrasing and quotation), as well as adherence to academic formats and audience awareness. The ME question prompt will be
disseminated to students during Week 2.
Major Research Essay (35%)
due Friday Apr. 27th (2pm Friday, Week 14)
Expanding upon the skills acquired in the ME, the Major Research Essay (MRE) will essentially require students to pose an
argument and then support that argument through research and synthesis of scholarly, socio-cultural (e.g. via the news media or
primary research), literary, and/or cinematic texts. Students will need to demonstrate advanced comprehension of content
knowledge, communicative fluency and control, research skills, the ability to synthesize data from scholarly and non-scholarly
sources, and a sophisticated degree of argumentation. The topics for the MRE will be supplied in Week 9 of the semester.
Students are strongly advised not to exceed the 1750-word limit (use a word count). Students may not write about any of the texts
discussed in their Minor Essay. No late submissions will be accepted for any reason.
Writing Portfolio (10 + 15 = 25%)
WPA due Feb. 14th (WK 5) WPB due Apr. 12th (WK 12)
The Writing Portfolio (WP) component of assessment will be comprised of a working Glossary (see below) as well as various
short writing, grammar, and related assignments based upon the readings. In some WP assignments, students will be expected to
use formal language in writing exercises that apply ideas garnered from rhetorical (R) or theoretical (T) texts to literary ones
(poems, short stories, the novel, etc.) or the film that will be assessed. Students will also have the opportunity to compose
informal reflective pieces based upon how their initial interpretations and theoretical applications have changed (or not) as a result
of class lecture and discussion. Basically, the writing performed for the WP will serve as “low stakes” writing assignments that will
not only provide scaffolding for both formal assignments, but also the opportunity for students to rehearse a range of rhetorical
and mechanical applications/strategies covered in class. Peer review worksheets and drafts, as well as other miscellaneous
homework (such as diagnostic exercises) given out in class, must also be neatly included in the WP. With the exception of
annotated essays from peer review sessions and peer review worksheets, all work submitted with each WP must be typed.
GLOSSARY
The Glossary section of the WP will basically include a list of critical (or otherwise unfamiliar) terms, concepts, and their attending
definitions (rather than copying dictionary definitions verbatim, students are to present definitions in their own words;
moreover, as a mnemonic strategy, students are encouraged to be as creative as they want with their definitions). This list will
grow each week as students are introduced to new terms and their critical application. Students should also take the initiative to
include useful/appropriate terms that they might encounter within and beyond this course. Extra credit will be awarded to
students who include Glossary terms in their submitted essays (bold or highlight Glossary items). Namely, for each essay, students
will be awarded 1 extra point per 5 or 6 correctly used glossary terms. The maximum extra credit for glossary word usage per
essay is 1 point.
Because the two WP submissions together constitute 25% of the total assessment for this course, it is advised that students take
care to compose thoughtful and orderly entries for it.
Attendance/Participation/Group-work (15%)
Unless medical or other official certification is provided, every student must attend every class session. In order to avoid a poor
grade, students are advised to be appropriately prepared before every class (namely, fulfilling all weekly set readings and
homework, etc.). Students arriving to any class without having completed homework or readings will incur a 2% penalty
on their overall grade each time such oversights occur. It should also be noted that students will primarily be graded upon
their (unsolicited) contributions to class discussion as well as their ability to work/interact cooperatively with others. And
although mere attendance contributes very little to the final Attendance/Participation/Group-work grade, students will be
penalized for absenteeism. In the case where students are able to document valid cause for their nonattendance, they will still be
required to read over the missed lecture notes and complete all homework and readings for the following class session. It is also
the responsibility of absentee students to email their professor in order to obtain homework given out in class. Because
it is necessary for absentees to have sufficient time to catch up on homework and readings BEFORE the class following their
absence, absentees have 12 hours to email their professor to obtain missed work/notes from the missed class – failure to
do so will result in half grade penalizations (i.e. 5%) on their overall grade. Students failing to attend more than 3 classes
without approved documentation will be penalized a half grade for each subsequent class missed. Failing to attend more than 5
class meetings (for any reason whatsoever) will result in outright failure. Malingering and tardiness will not be tolerated. If a
student is more than 10 minutes late for class, s/he will be listed as absent.
** Religious Observances: Reasonable accommodations will be made on a case by case basis. In general, if students are not
penalized for missing class as a result of religious observance, they will still be required to fulfill every assignment and reading set
for the missed class and must email the professor at least 24 hours in advance of the missed class to receive any consideration/
accommodation. No deadline extensions will be granted in relation to religious observances.
Academic Misconduct: Plagiarism and the CU Honor Code
The handing in of assignments with identical answers/phrasing/data by pairs or groups of students, or of plagiarized work,
contravenes university rules. The penalties are severe. Plagiarism is the unacknowledged appropriation of the words and/or ideas
of someone else. Basically, it is intellectual theft and can take many forms; ranging from the reproduction of published material
without appropriately documenting the source of that material, to submission of an essay written by someone else. Generally, the
individual indulging in such deceit is aware of her/his transgression, but there may be cases when, because one’s own thoughts
coincide closely with those of someone else (e.g. a researched author), confusion arises as to whether or not plagiarism is an issue.
In such circumstances, students are expected to discuss the dilemma with the course professor. Students should note, in any
event, that plagiarism is regarded very seriously as a violation of the objectives of a university education. Incorrect or insufficient
referencing in a submitted paper will result in the student having to address ALL the referencing issues in that paper within a 48
hour period. Any other form of plagiarism (including: submitting an essay for more than one course, or using part or all of an
essay or book chapter attained on-line or from another student), will result in the offending student being reported according to
the procedures outlined in the CU Honor Code, outright failure of the submitted essay, and, by extension, failure of the course.
Information about the University of Colorado (Boulder) Honor Code can be obtained from the following web address:
http://www.colorado.edu/academics/honorcode/index.htm
So that suspect submissions may be tested for plagiarism using Turnitin.com, students are required to be able to produce
electronic copies of all their essays upon request.
Accommodations for Disability and ESL
If you qualify for accommodations because of a disability, submit a letter from Disability Services to your instructor. Disability
Services determines accommodations based upon documented disabilities (303-492-8671, Willard 322,
www.colorado.edu/disabilityservices). If you are a non-native speaker/writer of English, you may want to alert the course
professor in order to receive more adequate accommodations.
THE WRITING CENTER
Web:
http://www.colorado.edu/pwr/writingcenter.html
Email:
wrtghelp@colorado.edu
Throughout the semester, any enrolled student is eligible to receive free tutorial assistance at The Writing Center – located on the
2nd floor in the Norlin Library (M-250). Appointments are required and can be made from the Writing Center website (see above
web address). All students are encouraged to take advantage of this service. For each essay, extra credit will be awarded to
students who attend Writing Center sessions to address grammar/syntax and/or structural issues. To obtain extra credit, students
are simply to fill out a Writing/Research Center response worksheet in order to document and reflect upon their experience.
Please do not ask WC tutors to sign anything!
Daily Schedule
The following Course Outline serves as a tentative schedule for the focus of each class meeting and lists readings and due dates
for assignments. This syllabus is, however, subject to change as circumstances warrant.
WEEK ONE
Jan. 17
Readings:
Introduction, Administration, and Organization
Course syllabus
Jan. 19
Readings:
Course syllabus
Bressler, Charles. “Feminism.” Literary Criticism. Boston: Longman, 2011. 143-164. (T)
Handout: Critical Thinking/Reading/Writing (R)
Learning Gender
WEEK TWO
Basic Critical Frameworks: Essentialism/Constructionism
Jan. 24
Readings:
Marinucci, Mimi. “The Social Construction of Sexuality.” Feminism is Queer. NY: Zed Books, 2010. 3-15. (T)
Fuss Diana. “The ‘Risk’ of Essence.” Essentially Speaking: Feminism, Nature & Difference. New York: Routledge, 1989. 2-7. (T)
Handout: Critical Thinking/Reading/Writing (R)
Handout: Reading & Writing About Short Fiction (R)
Handout: Reading & Writing About Poetry (R)
Handout: Quotations (R)
Reminder: Last day to add a course is January 25th
Jan. 26
Readings:
Marinucci, Mimi. “The Social Construction of Sexuality.” Feminism is Queer. NY: Zed Books, 2010. 3-15. (T)
Fuss Diana. “The ‘Risk’ of Essence.” Essentially Speaking: Feminism, Nature & Difference. New York: Routledge, 1989. 2-7. (T)
Handout: Critical Thinking/Reading/Writing (R)
Handout: Reading & Writing About Short Fiction (R)
Handout: Reading & Writing About Poetry (R)
Handout: Quotations (R)
WEEK THREE
Applying Theories of Essentialism/Constructionism
Jan. 31
Readings:
Piercy, Marge. “Barbie Doll.” Literature and Gender. Comps. Robyn Weigman and Elena Glasberg.NY: Longman, 1999. 22-23.
Gould, Lois. “X.” Literature and Gender. Comps. Robyn Weigman and Elena Glasberg. NY: Longman, 1999. 38-44.
Handout: Quotations (R)
Handout: Reading & Writing About Short Fiction (R)
Handout: Reading & Writing About Poetry (R)
ME Question Prompt
Reminder: Last day to drop a course is February 1st
Feb. 02
Readings:
Kincaid, Jamaica. “Girl.” Literature and Gender. Comps. Robyn Weigman and Elena Glasberg.NY: Longman, 1999. 18-19.
Shapiro, Gregg. “Call Me Barbie.” Literature and Gender. Comps. Robyn Weigman and Elena Glasberg. NY: Longman, 1999. 283.
Handout: Reading & Writing About Short Fiction (R)
Handout: Quotations (R)
ME Question Prompt
WEEK FOUR
Applying Theories of Essentialism/Constructionism
Feb. 07
Readings:
Bausch, Richard. “The Man Who Knew Beller Starr.” Scribner Anthology of Contemporary Short Fiction. Comps. Lex Williford and
Michael Martone. NY: Simon & Schuster, 1999. 112-130.
Roethke, Theodore. “My Papa’s Waltz.” Literature and Gender. Comps. Robyn Weigman and Elena Glasberg. NY: Longman, 1999.
25
Handout: Quotations (R)
Handout: CE Log I (R)
Handout: Thesis, Topic Sentence & Formal Outline (R)
Feb. 09
Readings:
Minor Essay Discussion & Outline Peer Review
Outline Peer Review Worksheet
WEEK FIVE
Feb. 14
Readings:
ME Peer Review Workshops
Minor Essay Peer Review I
Peer Review Handouts & Worksheets (R)
*Writing Portfolio A due Feb. 14
Feb. 16
Readings:
Minor Essay Peer Review II
Peer Review Handouts & Worksheets (R)
WEEK SIX
Feb. 21 and 23
Screening:
Bridesmaids. Dir. Paul Feig. Universal Pictures, 2011. (130 minutes)
Readings:
Reviews of Bridesmaids
*Minor Essay due Feb. 21
WEEK SEVEN
Objectification and Fetishism
Feb. 28
Readings:
Žižek, Slavoj. “Courtly Love, or, Woman as Thing.” The Critical Tradition. Ed. David Richter. Boston: Bedford/St. Martins, 2007.
1180-1185. (T)
cummings, e.e. “she being Brand.” Literature and Gender. Comps. Robyn Weigman and Elena Glasberg. NY: Longman,1999. 124125.
Olds, Sharon. “The Death of Marilyn Monroe.” Literature and Gender. Comps. Robyn Weigman and Elena Glasberg. NY:
Longman, 1999. 280-281.
Mar. 01
Readings:
Gamson, Joshua. “Popular Culture Constructs Sexuality.” Introducing the New Sexuality Studies. Comps. Steven Seidman, Nancy
Fischer, and Chet Meeks. London: Routledge, 2011. 27-31. (T)
Plath, Sylvia. “The Applicant.” Literature and Gender. Comps. Robyn Weigman and Elena Glasberg. NY: Longman, 1999. 135-136.
WEEK EIGHT
Negotiating Boundaries
Mar. 06
Readings:
Bressler, Charles. “Queer Theory: Gay and Lesbian Criticism.” Literary Criticism. Boston: Longman, 2011. 220-229. (T)
Sedgwick, Eve. “From Between Men.” The Critical Tradition. Ed. David Richter. Boston: Bedford/St. Martins, 2007. 1683-1687. (T)
Proulx, Annie. “Brokeback Mountain.” The Scribner Anthology of Contemporary Short Fiction. Comps. Lex Williford and Michael
Martone. NY: Simon & Schuster,1999. 521-541.
Komunyakaa, Yusef. “More Girl Than Boy,” Literature and Gender. Comps. Robyn Weigman and Elena Glasberg. NY: Longman,
1999. 133.
Mar. 08
Readings:
Riggs, Marlon. “Unleash the Queen.” Black Popular Culture. Ed. Gina Dent. Seattle: Bay Press. 1992. 99-105. (T)
Allison, Dorothy. “The Women Who Hate Me.” Literature and Gender. Comps. Robyn Weigman and Elena Glasberg. NY:
Longman,1999. 261-266.
Optional Readings:
Oates, Joyce. “Stalking.” Literature and Gender. Comps. Robyn Weigman and Elena Glasberg. NY: Longman, 1999. 174-179.
WEEK NINE
Abjection and Trauma
Mar. 13
Readings:
Kristeva, Julia. “Approaching Abjection.” Powers of Horror. NY: Columbia UP, 1982. 1-11. (T)
Lassell, Michael. “How to Watch Your Brother Die.” Literature and Gender. Eds, Robyn Weigman and Elena Glasberg. NY:
Longman, 1999. 271-273.
Handout: Rhetorical Issues in Kristeva (R)
Mar. 15
Readings:
Pascoe, C.J. “‘Guys are just homophobic’: Rethinking adolescent homophobia and heterosexuality.” Introducing the New Sexuality
Studies. Comps. Steven Seidman, Nancy Fischer, and Chet Meeks. London: Routledge, 2011. 175-182. (T)
Kaneko, Lonny. “The Shoyu Kid.” Literature and Gender. Comps. Robyn Weigman and Elena Glasberg. NY: Longman, 1999. 5562.
Optional Readings:
Hesford, Wendy. “Reading Rape Stories.” College English. 62.2 (1999): 192-221. (T – only read 192-196)
Coleman, Wanda. “Rape.” Literature and Gender. Comps. Robyn Weigman and Elena Glasberg. NY: Longman, 1999. 121-123.
WEEK TEN
MRE Discussion & Library Instruction
Mar. 20
Discussion of Major Research Essay
Readings:
Lester & Lester Jr., “Organizing Ideas and Setting Goals,” PWRP, 63-76 (R)
Handouts and/or other texts on CULearn (R)
Handout: Common Error Log II (R)
Mar. 22
Library Instruction Session
Readings:
Lester & Lester Jr., “Finding and Reading the Best Sources,” PWRP, 77-85 (R)
Handouts and/or other texts on CULearn
SPRING BREAK
March 26 - March 30
No Classes Scheduled
WEEK ELEVEN
Subversion and Alternate Ideals
Apr. 03
Readings:
Butler, Judith. “Imitation and Gender Insubordination.” The Critical Tradition. Ed. David Richter. Boston: Bedford/St. Martins,
2007. 1707-1718. (T)
Broumas, Olga. “Little Red Riding Hood.” Literature and Gender. Comps. Robyn Weigman and Elena Glasberg. NY: Longman,
1999. 267-268
Russ, Joanna. “When It Changed.” Literature and Gender. Comps. Robyn Weigman and Elena Glasberg. NY: Longman, 1999. 345350.
Reading Gender in Stone Butch Blues
Apr. 05 Readings:
Butler, Judith. “Imitation and Gender Insubordination.” The Critical Tradition. Ed. David Richter. Boston: Bedford/St. Martins,
2007. 1707-1718. (T)
Feinberg, Leslie. Stone Butch Blues. LA: Alyson Books, 2003. 5-63 (Chapters 1-5).
Handout: Scratch Outline (R)
WEEK TWELVE
Apr. 10
Readings:
Dean, Tim. “Transcending Gender.” Beyond Sexuality. Chicago: U Chicago P, 2000. 61-73. (T)
Feinberg, Leslie. Stone Butch Blues. LA: Alyson Books, 2003. 65-196 (Chapters 6-16).
Apr. 12
Readings:
Dean, Tim. “Transcending Gender.” Beyond Sexuality. Chicago: U Chicago P, 2000. 61-73. (T)
Feinberg, Leslie. Stone Butch Blues. LA: Alyson Books, 2003. 65-196 (Chapters 6-16).
*Writing Portfolio B due April 12th (include MRE Scratch Outline)
WEEK THIRTEEN
Apr. 17
Readings:
Marinucci, Mimi. “Welcome Transformations.” Feminism is Queer. NY: Zed Books, 2010. 53-63. (T)
Feinberg, Stone Butch Blues, 197-301 (Chapters 17-26)
Apr. 19 Readings:
Marinucci, Mimi. “Welcome Transformations.” Feminism is Queer. NY: Zed Books, 2010. 53-63. (T)
Feinberg, Stone Butch Blues, 197-301 (Chapters 17-26)
*MRE Formal Outline to be submitted via email by 1pm April 20th
WEEK FOURTEEN
Apr. 24
MRE Peer Review Session I
Readings:
Peer Review Handouts & Worksheets (R)
Apr. 26
MRE Peer Review Session II
Readings:
Peer Review Handouts & Worksheets (R)
*MRE due electronically (turnitin.com) 2 pm Friday, April 27th
WEEK FIFTEEN
May. 01 & 03
Conclusions/Reflections
No Readings Scheduled