Fall 2015 ▪MWF 2-2:50 ▪Irby Hall 313
ENGL2390: Introduction to Drama
18627 First Year Seminar
Course Focus:
In this class, we will read, watch, discuss, and write about plays in a way that considers
their formal elements (plot, characterization, setting, dialogue, music, movement) as well
as their contexts and value (social, historical, aesthetic). We will build our base of
knowledge collectively, through discussion, in both large and small groups. As a First
Year Seminar, this class will also include orientation to the UCA Core mission, purpose,
and general learning outcomes.
Because our discussion will sometimes address complex and
potentially sensitive subjects that may be personal to some of
us, it’s important to come to the conversation with an open
mind, a willingness to listen and consider alternative points of
view, and respect for one another, the playwrights, and the
people represented in the plays.
Class meetings will consist of brief lecture, full-class and smallgroup discussion, and various other activities (presentations,
in-class writings, slide shows, and video and audio recordings).
Catalog Entry:
Plays
Oedipus Rex
Everyman
Much Ado About
Nothing
Tartuffe
A Doll’s House
The Importance of
Being Earnest
Cat on a Hot Tin
Roof
Angels in America
“Satisfies the humanities requirement in the general education
program. Students will learn to read plays carefully and
analytically and be encouraged to see the ways drama both
reflects and enhances our understanding of life. Lecture, discussion, writing. Prerequisite:
None. Fall, spring.”
Required Text:
The Compact Bedford Introduction to Drama, 7th ed., by Lee A. Jacobus (2013). ISBN
9781457606335.
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FALL 2015
Readings:
Class discussion is an important part of this course. Please read and be prepared to
discuss the material on the day that it is due. Bring the text of that day’s reading with you
to each class. Supplemental readings may be provided by the instructor via Engrade. You
must be able to access Engrade to receive these and other important course materials.
Students will receive a paper copy of the syllabus and the course outline, but all other
handouts will be posted on Engrade. The syllabus and course outline may change. The
version appearing online supersedes all others.
Please make yourself familiar with the syllabus, which contains everything you need to
know to be successful in this class:
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It details what you will be learning and when it will be covered.
It makes clear what is expected of you as a student.
It allows you to know what to expect of your instructor.
It outlines the organization of the course and when assignments are due.
It explains how grading will be accomplished.
It states the attendance requirements.
Coursework:
Coursework consists of daily work as assigned, a critical review, a director’s notebook
assignment, two tests, and a final exam.
Daily Work (combined)
Critical Review
Director’s Notebook
Test One
Test Two
Final Exam
25%
15%
15%
15%
15%
15%
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FALL 2015
DAILY WORK may or may not be graded. Each graded assignment will be worth
100 points. Combined, daily work is worth 25% of the total grade and consists of
the following:
Reader Responses: For each play you read, please write a one-page
response to the text focusing on a specific element (a character, scene,
image, theatrical device, etc.). See Appendix A for specific instructions.
100 points each.
Quizzes: Quizzes are administered at the beginning of class and cannot be
made up if you are tardy or absent. Point values will vary.
In-Class or Exploratory Writing and Activities: Writing or working alone
or in a group in response to a prompt about the reading assignment. This
work cannot be made up if you are tardy or absent. Point values will vary.
CRITICAL REVIEW: Attend a live theatre performance of your choice of the
following plays. Write a critical review of the production and turn it in (along with a
ticket stub or selfie that proves your attendance at the play) no later than 7 days
after the performance you attended. See Appendix B for specific instructions. This
100-point assignment is worth 15% of the total grade.
Dying City by Christopher Shinn. The Black Box Theatre, Snow Fine Arts
Center, UCA. September 1, 2, 3, & 4, at 7:30 pm and September 5, at 2:00
pm. Tickets are available through UCA Ticket Central located in the box
office at Reynolds Performance Hall. Admission is free, but tickets are
required.
Radium Girls by D. W. Gregory. Bridges/Larson Theatre, Snow Fine Arts
Center, UCA. October 29, 30, November 5, & 6, at 7:30 pm and October
31, at 2:00 pm. Tickets are available through UCA Ticket Central located in
the box office at Reynolds Performance Hall. Admission is free, but tickets
are required.
Moonlight & Magnolias by Ron Hutchinson. The Lantern Theatre, Conway.
September 11, 12, 17, 18, 29 @ 7:30 pm and September 13 and 20 @ 2:30
pm. Visit conwayarts.org for ticket information.
Macbeth by William Shakespeare. Arkansas Repertory Theatre, Little Rock.
September 11, 2015 - September 27, 2015. Visit tickets.therep.org for ticket
information.
Two Trains Running by August Wilson. The Weekend Theater, Little Rock.
August 21, 22, 28, 29, September 4, 5, 2015. Visit weekendtheater.org for
ticket information.
The Shape of Things by Neil LaBute. The Weekend Theater, Little Rock.
September 25, 26, October 2, 3, 9, 10, 2015. Visit weekendtheater.org for
ticket information.
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God’s Man in Texas by David Rambo. The Weekend Theater, Little Rock.
November 6, 7, 8, 13, 14, 15, 20, 21, 22, 2015. Visit weekendtheater.org for
ticket information.
The Foreigner by Larry Shue. The Weekend Theater, Little Rock. December
4, 5, 6, 11, 12, 13, 18, 19, 20, 2014. Visit weekendtheater.org for ticket
information.
DIRECTORS NOTEBOOK ASSIGNMENT: Choose a scene from one of the plays
we are studying this semester and prepare a director’s notebook with play analysis
that details how you would approach set design, casting, music and movement,
and costumes. Your purpose in assembling the director’s notebook is to
communicate as clearly and in as much detail as you can your vision for how the
scene should be staged and performed. See Appendix C for specific instructions.
This 100-point assignment is worth 15% of the total grade for the class and is
designed to be worked on throughout the semester and turned in for grading during
the final week of class.
EXAMS: There will be two exams and a comprehensive final (15% each). These
exams will cover readings, discussions, films, and lectures. On each exam, you
may be asked to identify and write substantially about quotations from the works
and respond briefly to short answer questions. Missed exams cannot be
rescheduled; students who present proper documentation for missed exams may
take a comprehensive makeup exam during the final week of the course.
Workload:
It is generally accepted that students will need at least 2 hours of course preparation
outside of class for every credit hour taken. For a three-hour course such as this one, you
should plan to spend a minimum of six additional hours each week outside of class
reading, thinking, and writing.
Assessment:
Grades are posted on (and calculated by) Engrade so you may
know your grade at any time. You must meet with me in person
to discuss a graded assignment. To do so, please wait 48 hours
after the grade has been posted, but before 14 days have
passed. Let us not discuss grades via email.
The student’s objective in this course is to master the material.
Although grades are meant to represent the student’s level of
achievement in that goal, the grade itself is not the objective.
Therefore, there are no extra credit opportunities.
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90-100 = A
80-89 = B
70-79 = C
60-69 = D
59 and below = F
FALL 2015
Attendance:
Punctual class attendance is mandatory. In addition to contributing to understanding, inclass discussion, quizzes, and other activities constitute a portion of your grade and
cannot be made up if missed.
If it is absolutely necessary to miss class in order to keep an outside appointment, please
schedule that appointment during someone else’s class. In the event of unavoidable
absence, please check with another class member to find out what you missed before
returning to class.
There are no “excused” or “unexcused” absences in this class. Students who miss more
than two weeks' worth of classes—i.e., six class meetings in a MWF course—and/or miss
a week's worth of classes consecutively without contacting the instructor may be dropped
for non-attendance and assigned a WF, WP, or W grade as appropriate. Any combination
of three late arrivals or early departures will count as one absence. Arriving more than 15
minutes late or leaving more than 15 minutes early will constitute an absence.
I call roll every day. If you arrive to class late, I may have already counted you as absent.
You should get with me immediately after class is over to make sure that you get credit
for having been in class. Do not do this via email. The roll book is the official record of
attendance.
EASTER EGG: Write down a question about this syllabus and bring it with you
to the second class meeting and you will earn 100 daily work points. (Not valid
after the second class meeting.)
If you expect to miss class for university-sponsored events (choir, band, orchestra,
debate, sports), please speak with me about it at the beginning of the semester. In
addition, I ask that you:
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Be sure I receive written official notification from your coach, director, or sponsor;
Submit an email reminder to me immediately before each absence;
Turn in assignments that come due during your absence on or before the due date;
Check with another student to see what you’ve missed before returning;
Recognize the importance of being in class when you aren't traveling.
Late Work:
Assignments are due at the beginning of class. Late assignments receive a whole letter
grade reduction per calendar day and are accepted only with my prior approval. Be aware
that I sometimes also request that such assignments be accompanied by a 500-word
explanation, which will be graded for grammar and punctuation.
Conduct:
Research shows that students who text and hang out on social media during class are
less likely to remember details about lectures and more likely to earn a lower grade than
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students who pay attention. Please do not use your phones during class; silence your
phone and put it away. I may ask you to leave if you are unable to comply with this request.
Students who exhibit behavior that interferes with my ability to conduct the class and
foster student learning, or who exhibit behavior so outrageous as to severely impede the
conduct of the class may be dropped with a WF grade.
If you are asked for any reason to leave class, you must meet with me in my office before
you will be allowed to return.
Laptops/Tablets:
Students who take notes during lectures score higher than those who don’t, but recent
studies have shown that taking notes by laptop results in shallower processing and
decreased ability to answer questions about ideas, thoughts, and concepts. Therefore, I
ask that you please take notes in longhand for this class. If you feel that your learning will
be hampered by not having access to your laptop for note-taking or other legitimate
purposes, please speak to me outside of class.
UCA Policies:
Please take the time to familiarize yourself with all the academic policies in the Student
Handbook. If you are a new student, you can pick up a copy at 210 Student Health Center.
A PDF version is available at http://uca.edu/student/files/2014/09/Student-Handbook2014-2015.pdf
ACADEMIC INTEGRITY STATEMENT: The University of Central Arkansas
affirms its commitment to academic integrity and expects all members of the
university community to accept shared responsibility for maintaining academic
integrity. Students in this course are subject to the provisions of the university's
Academic Integrity Policy, approved by the Board of Trustees as Board Policy No.
709 on February 10, 2010, and published in the Student Handbook. Penalties for
academic misconduct in this course may include a failing grade on an assignment,
a failing grade in the course, or any other course-related sanction the instructor
determines to be appropriate. Continued enrollment in this course affirms a
student's acceptance of this university policy.
In this class, any student who turns in an assignment that includes a passage that
has been either written for him or her by someone else for pay or as a favor or
passages copied from a print or electronic source written by another author (even
if some of the words have been changed), will immediately be dropped from the
course and will receive a WF grade.
Any student who turns in a paper that has borrowed from other sources and fails
to give complete and unambiguous credit to every source (e.g. quotation marks,
in-text citations, or missing or incomplete bibliography), will receive a grade of 0
(zero) on that paper.
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COUNSELING: All students are entitled to free, confidential, professional
counseling. Please contact the University Counseling Center at 450-3138. They
are located in the Student Health Center, suite 327.
DISABILITY POLICY: The University of Central Arkansas adheres to the
requirements of the Americans with Disabilities Act. If you need an accommodation
under this act due to a disability, contact the UCA Office of Disability Services at
450-3613.
EMERGENCY PROCEDURES: An Emergency Procedures Summary (EPS) for
the building in which this class is held will be discussed during the first week of this
course. EPS documents for most buildings on campus are available at
http://uca.edu.mysafety/bep. Every student should be familiar with emergency
procedures for any campus building in which he or she spends time for classes or
other purposes.
EVALUATIONS: Student evaluations of a course and its professor are a crucial
element in helping faculty achieve excellence in the classroom and the institution
in demonstrating that students are gaining knowledge. Students may evaluate
courses they are taking starting on the Monday of the twelfth week of instruction
through the end of finals week by logging in to myUCA and clicking on the Evals
button on the top right.
HARASSMENT POLICY: Harassment by any faculty member, staff member, or
student is a violation of both law and University policy and will not be tolerated.
Please read the appropriate pages of your Student Handbook for the policies,
definition, and procedures concerning harassment. If you have questions or
concerns, please contact me or the chair of the department. Individuals who
believe they have been subjected to harassment should report the incident
promptly to their academic dean or to a departmental chair or directly to the
university’s Affirmative Action officer, legal counsel or assistant vice president for
human resources
Title IX Disclosure: If a student discloses an act of sexual harassment,
discrimination, assault, or other sexual misconduct to a faculty member (as
it relates to “student-on-student” or “employee-on-student”), the faculty
member cannot maintain complete confidentiality and is required to report
the act and may be required to reveal the names of the parties involved.
Any allegations made by a student may or may not trigger an investigation.
Each situation differs and the obligation to conduct an investigation will
depend on those specific set of circumstances. The determination to
conduct an investigation will be made by the Title IX Coordinator. For further
information, please visit: https://uca.edu/titleix. *Disclosure of sexual
misconduct by a third party who is not a student and/or employee is also
required if the misconduct occurs when the third party is a participant in a
university-sponsored program, event, or activity.
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Appendix A: Course Outline
Date
Day
Discussion
Aug 21
F
Class Overview:
Introduction to the Course
Thinking about Drama
Aug 24
M
Q&A: The Syllabus
Writing Expectations for This Class
Reader Responses
The Critical Review
The Director’s Notebook
The Writing Center
Aug 26
W
Aristotle on Tragedy
What’s Due (at the beginning of class)
Read the syllabus.
Dramatic Elements
Dramatic Conventions
Greek Drama
Read pp. 1-29 of the textbook.
Read textbook, pp. 30-39
Oedipus Rex
Watch Sir Tyrone Guthrie’s 1957 film:
https://www.youtube.com/watch?v=ZZU
Cgq8LfhY
(1:27)
Read textbook, pp. 41-66
Aug 28
Aug 31
F
M
Sept 2
W
Sept 4
Sept 7
F
M
Sept 9
W
Roman Drama
Medieval Drama
Read textbook, pp.104-121
Sept 11
F
Everyman
Read textbook, pp. 122-132
Read Everyman, pp.133-145
Sept 14
M
Test 1
Sept 16
W
The Summoning of Everyman
https://www.youtube.com/watch?v=ktJd
mv97yY8
(57:22)
Sept 18
F
Renaissance Drama
Read pp. 146-158
Sept 21
M
Much Ado About Nothing
Joss Whedon Adaptation
(109 mins)
Read Shakespeare, Much Ado About
Nothing (Engrade)
Sept 23
W
Read Commentaries, pp. 67-79
Labor Day
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F
Sept 28
M
FALL 2015
Sept 25
Late-Seventeenth- and EighteenthCentury Drama
Tartuffe
Read pp. 300-311
Read Moliere, Tartuffe, pp. 317-341
Watch RSC version:
https://www.youtube.com/watch?v=zzA
Kreb4DI&list=PL9GGOMDkACVTmA_ycg
C2Bv19hYhuVYm8E
(107 mins)
Sept 30
Oct 2
W
F
Oct 5
M
Commentaries, pp. 341-342
Nineteenth-Century Drama through the
Turn of the Twentieth Century
A Doll’s House
Read p. 361-374
Henrik Ibsen, A Doll’s House, p. 375-408
BBC version with Juliet Stevenson:
https://www.youtube.com/watch?v=m81
oiq5yvCc&index=1&list=PL-fTn7WfJbNWVOQx0zC8Hp1QfWdWvZ
rq
(140 mins)
Oct 7
W
Oct 9
Oct 12
F
M
Oct 14
W
Oct 16
F
Oct 19
M
Oct 21
Oct 23
W
F
Oct 26
M
ins)
Commentaries, pp. 409-413
The Importance of Being Earnest
2002 Oliver Parker Film
(97 mins)
Oscar Wilde, The Importance of Being
Earnest, pp. 434-461
Commentary, pp. 462
Drama in the Early and Mid-Twentieth
Century
Read pp. 494-510
Fall Break
Cat on a Hot Tin Roof
1958 Richard Brooks Film
(108 mins)
Tennessee Williams, Cat on a Hot Tin Roof
pp. 620
(Note: the play and the film contain
significant differences. Don’t rely on the film
for your understanding of the play.)
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FALL 2015
Oct 28
W
Commentaries pp. 661 and 663
Oct 30
F
Last date to drop with a W grade
Nov 2
M
Test Two
Nov 4
W
Contemporary Drama
Nov 6
F
Nov 9
M
Commentary p. 961
Nov 11
W
Director’s Notebook Assignment Due.
Nov 13
F
Nov 16
M
Nov 18
W
Nov 20
F
Nov 23
M
Nov 25
Nov 27
W
F
Nov 30
M
Angels in America: Millennium
Approaches
HBO Mike Nichols Film and
Angels in America: Perestroika
HBO Mike Nichols Film
(352 mins)
W
F
Dec 7
Dec 9
M
W
Dec11
F
Tony Kusner, Angels in America: Millenium
Approaches p. 926
Thanksgiving Break
Thanksgiving Break
TBA
Dec 2
Dec 4
Read 812-833
Last date to drop with a WP or WF grade
TBA
Study Day
10 am: Final Exam
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FALL 2015
Appendix B: Reader Responses
For each play assigned, please write a one-page response to the text focusing on a
specific element (characterization, plot, setting, etc.). Each Reader Response is worth
100 points and is due at the beginning of class on the day the reading is due. Because
the objective of this assignment is to prepare you to participate in class discussion, late
submissions will not be graded.
All responses should be in MLA Format:
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



Typed in Times New Roman 12-point font
Be double-spaced, on an 8.5 x 11 inch sheet, with margins of one inch or less
Be free of errors (use spell and grammar check; proofread and edit carefully)
Measure one full page, minimum
Have a proper heading (your name, course, my name, date, and a title)
Begin each reader response with a one-line synopsis of the material: “Oedipus Rex tells
the story of Oedipus, a man who becomes the king of Thebes, whilst in the process
unwittingly fulfilling a prophecy that he would kill his father Laius and marry his mother
Jocasta.” Don’t further summarize the material.
Pick a particular aspect of the work that interests you, think about why it interests you,
and articulate your thoughts in writing.
Reader Responses are meant to deepen your understanding, encourage you to make
connections, and enable you to discuss the text in class. You will receive credit only if the
response meets the above technical requirements, fulfills the given assignment, and if
you are in class on the day the assignment is discussed. Late submissions, those that
consist solely of plot summary, or those that are inadequate in length will not be graded.
I recommend the following for assistance with MLA Formatting:

The UCA Writing Center
o Thompson 109
o Summer Hours: Monday-Friday: 11:00 AM - 3:00 PM

The OWL at Purdue: https://owl.english.purdue.edu/owl/resource/747/01/
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Appendix C: Critical Review
Attend a live theatre performance of your choice of the following plays. Write a critical
review of the production and turn it in (along with a ticket stub or selfie that proves your
attendance at the play) no later than 7 days after the performance you attend. This 100point assignment is worth 15% of the total grade.
 Dying City by Christopher Shinn. The Black Box Theatre, Snow Fine Arts Center,
UCA. September 1, 2, 3, & 4, at 7:30 pm and September 5, at 2:00 pm. Tickets
are available through UCA Ticket Central located in the box office at Reynolds
Performance Hall. Admission is free, but tickets are required.
 Radium Girls by D. W. Gregory. Bridges/Larson Theatre, Snow Fine Arts Center,
UCA. October 29, 30, November 5, & 6, at 7:30 pm and October 31, at 2:00 pm.
Tickets are available through UCA Ticket Central located in the box office at
Reynolds Performance Hall. Admission is free, but tickets are required.
 Moonlight & Magnolias by Ron Hutchinson. The Lantern Theatre, Conway.
September 11, 12, 17, 18, 29 @ 7:30 pm and September 13 and 20 @ 2:30 pm.
Visit conwayarts.org for ticket information.
 Macbeth by William Shakespeare. Arkansas Repertory Theatre, Little Rock.
September 11, 2015 - September 27, 2015. Visit tickets.therep.org for ticket
information.
 Two Trains Running by August Wilson. The Weekend Theater, Little Rock. August
21, 22, 28, 29, September 4, 5, 2015. Visit weekendtheater.org for ticket
information.
 The Shape of Things by Neil LaBute. The Weekend Theater, Little Rock.
September 25, 26, October 2, 3, 9, 10, 2015. Visit weekendtheater.org for ticket
information.
 God’s Man in Texas by David Rambo. The Weekend Theater, Little Rock.
November 6, 7, 8, 13, 14, 15, 20, 21, 22, 2015. Visit weekendtheater.org for ticket
information.
 The Foreigner by Larry Shue. The Weekend Theater, Little Rock. December 4, 5,
6, 11, 12, 13, 18, 19, 20, 2014. Visit weekendtheater.org for ticket information.
All reviews should be in MLA Format:





Typed in Times New Roman 12-point font
Be double-spaced, on an 8.5 x 11 inch sheet, with margins of one inch or less
Be free of errors (use spell and grammar check; proofread and edit carefully)
Measure one full page, minimum
Have a proper heading (your name, course, my name, date, and a title)
Provide a very brief summary of the play, a close objective analysis of the performance,
and an interpretation and evaluation of the entire ensemble of staging, acting, and
directing. Your objective analysis will focus on the relative success or failure of the
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performance—not the text—of the play. Consider the actors’ performances, the overall
direction of the production, and individual elements of staging.
Your review should include information about the time and place of the performance, a
short summary of the plot, and remark on the play’s stage history. It should evaluate the
actors and the production, and comment on both the strong and weak parts of the
production. Please support general statements with specific examples from the
performance. Model your review on those we have studied this semester.
You will receive credit only if the review meets the above technical requirements, fulfills
the given assignment, and is properly submitted by the due date. Late submissions, those
that consist solely of plot summary, or those that are inadequate in length will not be
graded. You must see one of the plays listed; there are no alternative plays for which you
can receive credit.
A UCA Writing Center tutoring session (Thompson 109) is required for this assignment.
To make an appointment, submit a paper for online tutoring, or to find out about drop-in
hours, visit http://uca.edu/writingcenter/home. The Academic Success Center is also
available to help you with all aspects of college work: http://uca.edu/success.
For help with MLA formatting I also recommend the OWL at Purdue:
https://owl.english.purdue.edu/owl/resource/747/01/
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Appendix D: Director’s Notebook Assignment
This is a collaborative assignment to be completed by teams of 5 people. Everyone who
works on the team will receive the same grade. We will discuss strategies for successful
collaboration in class.
Choose a scene from one of the plays we study this semester and prepare a director’s
notebook with play analysis that details how you would approach set design,
characterization, music, and costumes. Your purpose in assembling the director’s
notebook is to communicate as clearly and in as much detail as you can your vision for
how the scene should be staged and performed. This 100-point assignment is worth 15%
of the total grade for the class.
Notebook Check sheet
Please assemble your notebook in the following order:
1. Analysis of the play through the lens of Aristotle’s 6 elements. (3 pages, minimum)
2. Freytag’s Triangle exploring and detailing the plot structure of the play and utilizing
vocabulary found in Aristotle’s Poetics (catharsis, peripeteia, anagnorisis,
hamartia).
3. A vision statement of your concept as director.
The Vision Statement describes that nebulous quality that defines your work as
the director and separates it from someone else’s. What does the play mean
to you? What sort of choices are prompted by your understanding of that
meaning? In other words, what prompted the decisions you made about how
you would stage the play? (2-to-3 pages)
4. Music.
Prepare a mix-tape to accompany your production. A mix-tape is a conceptual
mix of songs linked by theme. Craft your playlist with titles and lyrics that
reflect characters’ inner and outer conflicts, motivations, and actions. Song
lists should include titles, relevant lyrics, and explanations that justify the
choice of selections and connect them to your vision for the production.
5. Set Design.
Set Design Sketch: This should be a rendering of what the set for the play is to
look like. This is a global “artist’s conception” of the finished product, and does
not need measurements or description.
Set Ground Plan: This should be a stage “blueprint” as seen from above. It
needs to include the placement of scenery and furniture.
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FALL 2015
Front Elevation of Set: The front elevation shows the set as it looks head on,
and contains notes about the colors, materials, and placement of scenery
furniture, etc.
6. Description of set, props, and costumes as they pertain to the director’s
concept.
Costume Plot: The costume plot is a detailed list of costumes needed for the
scene. This includes details about what the overall look is the director is trying
to achieve, as well as specific requirements for the individual costumes.
Include description and pictures or sketches of what the director is looking for
in individual costumes.
Makeup Sketches/plans: This is the guide for the makeup designer. It
includes “artist’s conception” sketches of the character’s makeup, as well as
detailed plans of how that is to be achieved for each character.
Prop Plot: This is a detailed list of props needed for the scene. This includes
details about what the overall look is the director is trying to achieve, as well
as specific requirements for the individual props. Include description and
pictures or sketches of what the director is looking for in individual props
Please use MLA format (font, point size, spacing, etc.). Your notebook may take any form
(but no 3 ring binders, please). All elements must be labeled and in the above order. Put
the names of everyone on your team in the first page header.
A UCA Writing Center tutoring session (Thompson 109) is required for this assignment.
To make an appointment, submit a paper for online tutoring, or to find out about drop-in
hours, visit http://uca.edu/writingcenter/home. The Academic Success Center is also
available to help you with all aspects of college work: http://uca.edu/success.
For help with MLA formatting I also recommend the OWL at Purdue:
https://owl.english.purdue.edu/owl/resource/747/01/
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This syllabus subject to change.