1500-29 Final Syllabus

1500-29 Levine TT 9:30-10:45
English 1500-29: Experiences in Literature
Theme: Dysfunctional Families
Spring 2016
Professor Levine

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1500-29
Spring Semester, 2016
TUES/THURS 9:30-10:45, RAUB 301
Instructor: Elizabeth Levine, M.A., M.P,H. M.F.A. Candidate
Email: levinee7@wpunj.edu
Office Hours: 12-2 pm Thursdays
English Department Office: Atrium 242
English Department Phone: 973-720-225
Required Texts:
1. Schilb, John and John Clifford. Making Literature Matter: An Anthology for Readers
and Writers. 5th ed. Boston: Bedford/St. Martin’s, 2014.
2. Various Authors Short stories and poems available on Blackboard or via handout
3. A notebook is required for journal entries and writing exercises. Students should bring
the notebook to class each day. A package of highlighters is also required (multiple
colors).
Websites: www.mapliterary.org
www.owlpurdue.edu
2. Course Overview:
William Paterson University ENG-1500 Expression in Literature will develop students’
appreciation and understanding of literature and challenge them to explore a variety of issues
(social, historical, geographical, ethnic, political) through reading, writing, and discussion of
literary texts. These texts may vary by genre, historical period, or country of origin, but the goal
of the course is to provide students with the skills necessary to understand how literary form
produces meaning. Genre: In 1500, poetry, short fiction, drama and essays (memoir)/creative
non-fiction will all be addressed. Literary theory and criticism will be included in your
Documented Essay.
Because it is a writing intensive course, one of the main ways that you will express, share, and
develop your responses to the course readings will be through different kinds of writing. At
times, you will be asked to do very rough exploratory writing—just to or begin thinking about a
reading. Some of this writing may grow into drafts of papers. Some of those will get extended
and revised. All along the way, you’ll share your writing, discuss it, and get feedback—both
from your fellow classmates and from your instructor..
Section 3: Requirements and Procedures
Saving Rough Drafts & Backing up Your Work: It is extremely important that you make
backup copies—not only copies of your final drafts, but also copies of your rough drafts. You
may not submit a revised draft to me unless you have at least one rough draft of that piece of
writing. For your final portfolio, you need at least two rough drafts for each paper and some
notes about what feedback you have received (or copies of that feedback itself). So when you're
working on a piece of writing, save the rough drafts as well as the revised drafts. Don't just
overwrite all of your earlier versions when you revise!
Attendance: Writing Program Attendance Policy: Because this is a workshop course requiring
regular attendance and participation, the policy of the William Paterson University Writing

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Program is that students may not have more than five absences in the case of classes that meet
twice a week,. If you have more absences than this, you will automatically receive an "F." No
distinction will be made between “excused” or “unexcused” absences. Students are strongly
advised to save absences in case of an emergency.
As this is a discussion/workshop course, attendance is required. Students must be on time for
class and stay for the entire period. Arriving late or leaving early twice will result in one absence.
Work is due on the day it is assigned whether or not the student is present. More than three
absences will result in a lower grade.
Late Work: Late papers and homework will be accepted, but with penalty. They will be
accepted late after the due date, for only one week . The penalty for a late paper is one half a
letter grade. (A to A-) Remember that you cannot pass the course if you fail to turn in any of
your essays. If you are absent the day a paper is due, your paper is still due electronically on Bb
the date it is due. Final portfolios may not be turned in late.
Portfolio (25%) Students will submit a portfolio of writing at the end of the semester. This will
include a selection of the exercises and essays written over the semester. Students will be given a
detailed description of how to assemble and organize the portfolio well in advance of the due
date. Important: save and carefully label each piece of work as a separate data file for the
Portfolio; do not “write over” any existing files when drafting, and be sure to BACK UP work
consistently.
The portfolio assignment is intended as an opportunity for students to re-revise two of their
papers. In addition, they will be required to write a two to three page reflective cover letter. The
portfolio will be due on the date of the final exam, and will serve in lieu of an in-class exam.
Final Portfolio: On the last day of class, students will submit a final portfolio containing 10-15
pages of writing that have been revised and edited. This portfolio will include a cover letter,
detailing the evolution of each essay and a consideration of feedback received. For this portfolio,
two aspects of writing will be evaluated. One is the quality of the writing itself, but another is the
progress and commitment to the writing process as demonstrated by the revision process.
At least one of the papers must be thesis-driven and not primarily a narrative. Each paper
included in the portfolio must be substantially revised and must include multiple drafts as well as
feedback and/or notes on feedback. For your portfolio to pass, it must be approved by me and by
one other reader in a portfolio group. The portfolio group readers are instructors who are
teaching English 1500 this semester. If two readers disagree about the portfolio, it is given to a
third reader. In order to get a passing grade for the class, your final portfolio must be approved
by two readers. To give you a sense of how the portfolio works and what readers’ standards are,
we’ll do a practice-run with one of your papers at mid-semester. The portfolio readers’ decisions
for this practice run will not affect your grade.
Living Writer Requirement: You are required to attend one Living Writers event held on
campus this semester. This is an opportunity to gain perspective on the writing process by
seeing and hearing published writers share their work. You will be asked to write a reflection
paper on this experience. Specific dates and times will be posted early on in the semester. I will
require validation of attendance through a stamp. Students have the choice of submitting a
creative writing response or use the Living Writers form, a sample of which will be emailed to

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instructors at the beginning of the semester so that they can post it on their Bb site for students to
print out before attending an event.
The Writing Center is available to all university students who are committed to developing and
improving as writers. Sessions with experienced writing consultants are designed to provide help
on every aspect of the writing process, with the goal of enabling writers to achieve long-term
improvement, confidence and independence. Conferences are generally a maximum of twenty-
five minutes and are available on a first-come, first-served basis. The Center also schedules
appointments in advance and also offers on line consultations. There is no charge for these
services.
Section 4: Assignments and Deadlines See the end of the syllabus section II
Section 5: Grading:
Essay grades See grading rubric as well as descriptions of A, B, C, D, and F essays.
Your course work will be evaluated as follows:
45% Essays (Two essays, including one that is a documented essay requiring research, 20%
essay 1 and 25% Documented Essay
5% Student Presentation
10% Class Participation, In-Class Writing/Activities, Living Writers Response and
Homework Assignments
15% In Class Midterm/essay
25% Final Portfolio
Essays will count for 65% of the grade and Reading/Response/Homework will count for 15%..
Therefore, these assignments will receive credit, and missing them will count against your grade
as follows: You must complete 95% or more of these assignments to get an A. You must
complete 90% or more of these assignments to get a B. You must complete 85% or more of these
assignments to get a C. You must complete 80% or more of these assignments to get a D. The
rest of your grade will be determined by a final portfolio of work—two or three essays that you
select as your best. Your final portfolio will count as 25% of your total grade. •
Assignments: Students will write two 4-6 page papers and an in-class essay, turning in rough
drafts and participating in peer review for each. Aside from the longer writing assignments, there
will be in-class writing assignments at least once a week; these assignments will allow students
to organize their thoughts on the readings and provide them with a base of ideas to mine for more
in-depth writing projects. There may be pop quizzes every so often to ensure students are
keeping up with the readings.
Class Participation: • Because this is a workshop course, it requires regular participation
on your part. This means that you are always prepared with drafts and copies, that you actively
engage in group work, and that you participate regularly in class discussions. I should expect to
hear from you at least once every class if not more often. Class participation counts for 10% of
your final grade for the course. If you are meeting my expectations for participation, you can
expect at least a “C” for this portion of your grade. If you are not meeting them, I will notify you
by the eighth week of the course, and we can discuss where you are falling short of my
expectations and how you can do better. Halfway through the course, I will give everyone a mid-
term participation grade and a brief explanation for that grade. If you have questions about your

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participation grade, we can discuss it at that time. Because English 1500 is a writing course, by
far the biggest portion of the grade should be determined by the writing itself—although this
grade can certainly account for revision, reflection, and general progress. At least 75% of the
final grade results from students’ revised work.
Course Expectations:
This semester we will continue to make use of the writing strategies that you became familiar
with in College Writing I (freewriting, brainstorming, reader response, peer review, revising
multiple drafts). As the semester progresses, you will read and incorporate critical sources into
your work and find ways to balance your writerly voice with those of literary critics. We will
also discuss theoretical approaches to literature and look at specific works through a theoretical
lens. You will not only develop your ability to read and interpret literary texts, but you will also
be asked to think and to write about the context in which literary texts are written and read. In
addition, you will learn to show how YOUR interpretation of any literary piece is a valid one by
using textual evidence and analysis to support your thinking. The overall goal of this course is to
make you an active reader as well as a writer, and, most importantly, to bring you to a place in
your writing (and reading) where you question and re-vision static literary interpretations and
“answers” by looking into the political and social contexts that inform them.
The course is organized into three units: Poetry, Short Stories, and Creative Non Fiction/Drama.
For each of our three units, you will do a series of short, informal writings and online exercises
that will help you develop your thoughts about a topic and situate your thinking in a wider
historical and cultural context. Your short writings for each unit will be based on the assigned
readings and online activities. Taken together, these writing assignments and online discussion
forums will provide you with a starting point for your essay for each unit. Assignments will
emphasize writing as a process. For each essay, you will write a first (exploratory) draft, a
second (mid-process) draft, and a third (final) draft. You will workshop your drafts in class and
online with your peers. I will provide you with essay questions for each unit, which you will use
as a starting point to develop your central claim. Two of your final papers will be a documented
essay -- that is, an essay in which you’ll have the chance to find and use additional (outside)
sources to support your analysis. A final writer’s portfolio will be submitted at the conclusion of
our course showcasing your strongest writing of the semester. The final portfolio will count as
25% of your final grade
Expanded Course Description: This course will introduce students to critical reading and
literary analysis. The theme for this course is “Dysfunctional Families”, which serves as a focus
for the literature we will explore this semester. By working through a range of literature from
various authors, time periods and genres, students will develop a base of knowledge regarding
literary terms, critical perspectives and intertextuality. Through close reading and critical
analysis, students will learn to write critically about literature and begin to place themselves
within academic discourse. English 1500 focuses largely on writing, and students are encourage
to visit the Writing Center in room Atrium 128 during the writing process for each paper. Be
prepared to do a lot of writing in this course. You will complete a final portfolio of at least ten to
fifteen pages of workshopped, reviewed, and revised writing. You will do at least three times
that amount of rough or unedited writing.
Course Objectives:
To enable students to:
a) Write interpretive essays that draw connections between literary form and meaning

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b) Make meaningful thematic connections between contemporary issues and literature from
historical, geographic, or ethnic origins
c) Cultivate an understanding of specific literary elements and techniques in a literary work
d) Practice reading and interpretation from a variety of critical standpoints
e) Use writing-to-learn strategies (such as journals, writing logs, and brainstorming) to develop
understanding of course content and to think critically about that content
f) Engage literature through the drafting, editing, and revising of student writing
g) Use research and documentation skills where they may be necessary and integrate them
through paraphrase, quotation and citation appropriately.
Section 6:Plagiarism: The William Paterson University Handbook defines plagiarism as, “the
copying from a book, article, notebook, video, internet or other source material, whether
published or unpublished, without proper credit through the use of quotation marks, footnotes
and other customary means of identifying sources, or passing off as one’s own the ideas, words,
writings, programs, and experiments of another, whether or not such actions are intentional or
unintentional. Plagiarism also includes submitting, without the consent of the professor, an
assignment already tendered for academic credit in another course.” In other words, plagiarism is
using someone else’s ideas (word for work or paraphrased) and passing it off as your own. All
instances of plagiarism will result in an F for the assignment, and possibly the course, and will be
reported to the Dean.
Accommodations: If students need accommodations in the classroom to fully participate in
this class, please visit the Disability Resource Center (DRC) which is located in
Syllabus Caveat:
Schedule of Reading & Writing Assignments/Cancelled Classes
This schedule is subject to minor change. Should classes be cancelled for any reason, I reserve
the right to assign virtual classes and online assignments.
This syllabus, particularly the Breakdown of Assignments addendum, is subject to change at my
discretion in the event of extenuating circumstances. You will be notified in advance of any
changes. Grading criteria or policy will not be affected by any changes. The syllabus is our
contract with each other. Please read it over very carefully.

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Tentative Schedule (some changes may occur throughout the semester):
Unit I: Poetry

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Week 1
January 21 , 2016
Unit 1: Working with Literature
In-Class: Introduction to course and its expectations. Overview of syllabus/breakdown of assignments. Ice breaker exercise and diagnostic
free writing exercise
Reading Response # 1 Prompt: The Five Senses
Homework (due prior to next class):
Readings: Chapter 2 in your textbook
Go to the WPU MFA on-line literary journal www.mapliterary.org
Choose one poem from any MAP Literary issue that you like. Come to class with two copies, one which you will read out loud and one for
the professor.. Upload/scan a copy of the poem you have chosen and submit via bb on discussion board labeled HW1. Answer the following
questions:
1. Why did you choose this particular poem?
2. What do you know about the author?
3. How would you describe the poem in one word- the theme (noun/subject) love, revenge)
4. and tone(adjective) of the poem (angry, nostalgic,
Week 2
January 26, 2016
Lecture: Intro to Poetry
In-Class Small Group Work: Sharon Olds, “Summer Solstice, New York City p. 26
Edward Hirsch, “Execution” p. 34; excerpt from “Gabriel”*

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Lynda Hull, “Night Waitress” p. 43*
X. J. Kennedy, “Death of a Window Washer” p.31
Discussion of X.J. Kennedy, Edward Hirsch, and Lynda Hull
Videos: X. J. Kennedey, Edward Hirsch, Lynda Hull,
Reading Response #2 Go back into the poem you chose from MAP Literary and one of these four poems that your group discussed, .
Identify the poetic techniques (similie, metaphor, rhyme, stanzas, meter, alliteration, personification, enjambment, assonance, consonance)
used in the two poems.
Homework (due prior to next class): Read Chapter 3 of your textbook p. 49-50, 57-70, p. 74
Write: Complete and submit HW2 assignment (Bb: posted in HW Assignments, Unit 1 folder) Answer questions 1-9 Thinking About the
Text pgs. 34-35, and submit electronically
January 28th, 2016
Small Group Work: Poems pages 149-151 “So Mexicans Are….,” Baca, “The Lady in the Pink Mustang”, “The Secretary Chant”
In-Class: Reading Response #3 Review page 42 and list topics of literary analysis for all 3 poems we reviewed in class. Identify all poetic
techniques used in the three poems, citing by line #
Reading: Chapter 6 , “How To Write Abut Poems”
Week 3
February 2, 2016
Lecture: How To Write A Thesis Statement for Literary Analysis
Small Group Work: Thesis Statement Development for Poems
Small Group Work: Sharon Olds Poems 437-441
Video: Sharon Olds, Ode To Composting Toilet
In-Class: Reading Response # 4 Thinking About the Text p. 442 questions 1-5

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Brainstorming/Pre-writing for Unit Essay1 assignment which will be distributed in class. Discussion of Unit 1 essay and peer review
guidelines for next class.
Homework (due at the start of next class): Read Chapter 4 in the textbook
Making Comparisons #2 and #3 p..442 Choose Writing About the Issues # 1 or 2 and write a one page essay. Post under HW3 Unit 1
Assignments
Feb. 4, 2016
Small Group Work: Grandparents and Legacies Elizabeth Cook Lynn, “Grandfather at the Indian Health Clinic” p. 425
Nikki Giovanni, “Legacies” * p. 427
Linda Hogan, “Heritage”p. 428
Gary Soto, “Behind Grandma’s House” p.430
Albert Rios, “Mi Abuelo” p.432
Lorna Dee Cervantes, “Refugee Ship” p. 434
Judith Ortiz, “Claims”
Reading Response #5 Each group completes Thinking About the Text for the poem analyzed in small groups
H.W. Write: First draft of Unit 1 essay. Post first draft on bb prior to the start of class under Unit 1 Essay folder. Post introductory
paragraph on Discussion Board. Group members will provide peer review critique electronically. Schedule visit to Writing Center for
second draft which is due Feb. 9th in class as a hard copy with documentation of Writing Center Visit.
Week 4
Feb. 9, 2016
Small Group Work: Reconciling with Fathers: Poems pgs 270-275
Lucill Clifton, “Forgiving My Father”, Robert Hayden, “Those Winter Sundays”, Theodore Roethke, “My Papa’s Waltz”, Li-Young Lee,
“My Father, in Heaven, Is Reading out Loud”, Molly Peacock, “Say You Love Me”
Videos of poets
Reading Response#6 Thinking about the Texts, each group responds to the poem analyzed in class
Homework (due at the start of next class): Homework (due prior to next class): Find three critical essays regarding your identified poet
and poems in preparation for your first essay. Post to discussion board with the title of the thread being the poets’ names. Read these three

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essays before beginning your first draft of Unit 1 essay. Summarize the literary analysis/thesis statement in all three essays and include on
discussion board.
Feb. 11, 2016
In Class: Sylvia Plath’s “Daddy” (poems begin on page 270 with Daddy, Read page 279
Video: Sylvia Plath
Reading Response# 7: Thinking About the Text p. 282 -283
Introduction to Poetry Criticism and Websites
Poetry.org
Pairs: Read and develop thesis statements for Essex Hemphill “Commitments” p. 578
Minnie Bruce Pratt, “Two Small-sized Girls” p. 581
Each group reads one critical essay from the section: LITERARY CRITICISM AND WORK ON SYLVIA PLATH Each group reads
one secondary text: Broe, Bundtzen, Axelord, Kendall 283- 293 FINDING AND INCORPORATING RESEARCH; READ
THROUGH SAMPLE
HW Reading: Chapter 4
Post second draft of Unit 1 Essay. Bring hard copy to class with Writing Center documentation and revisions in highlight. H.W Read through your peer
reviews carefully and from there develop a second draft of your essay. This second draft is due Tuesday, Feb. 16, 2016. Post on bb under
Unit 1, Essay 2 Be sure to follow the format guidelines that were distributed in class as a separate handout. Reminder: length 4-5 pages.

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Week 4
February 16, 2016
.
Small Group Work: Grandparents and Legacies: Poems
Elizabeth Cook-Lynn, “Grandfather at the Indian Health Clinic”, Nikki Giovanni, “Legacies”, Linda Hogan, “Heritage”, Gary
Soto, “Behind Grandma’s House” Albert Rios, “Mi Abuelo”, Lorna Dee Cervantes, “Refugee Ship:, Judith Ortiz Cofer, “Claims”
Reading Response# 7: Thinking About the Text following the poems
Second draft of Essay 1 due today in class as a hard copy. Revisions and proof of visit to the writing center should be in highlights
February 18, 2016
Monday Schedule NO CLASS!!!!!!!!!!!!!!!!!!!!!
HW Read Jamaica Kincaid’s Girl and Estrangement
Week 5
February 23, 2016
Lecture: Introduction to Unit 2: Short Stories
Discussion of “ Estrangement” (electronic copy on bb under Unit 2) and “Girl”, Jamaica Kincaid (pgs.56-57)
Video: Jamaica Kincaid
Reading Response # 8: Thinking About the Text p. 57
HW Readings: Chapter 5 How to Write About Stories
Homework (due at the start of next class):
Read Tillie Olsen, “I Stand Here Ironing” p. 298, Amy Tan, “Two Kinds”
ALICE WALKER “EVERYDAY USE” Page 314

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.
February 25, 2016
In Class Lecture: Writing About Short Stories
Small Group Work and Discussion: I Stand Here Ironing and Two Kinds and Alice Walker, Everyday Use p. 314
Videos: Amy Tan and Tillie Olsen and Alice Walker
Reading Response 9: Writing About Issues #2 p. 321
The final draft packet of Essay 1 are due as a hard copy at the beginning of class March 1 (NOTE: Include hard copy of my critique and
your final draft. Your revisions should be highlighted. Late essays will lose a half grade for each day they are late. Submit hard copy on bb
under Unit 1 Final Draft
Read: (Non Fiction)Maxine Hong Kingston: “No Name Woman” p. 1179*
Week 6
March 1 , 2016
Discussion of No Name Woman
Compare/Contrast Tan and Kingston
Reading Response # 10. Answer questions Thinking About the Text 1-5 p. 1188
H.W.
Readings: “Going Ashore,” Jhumpa Lahiri (622-46), “My Two Lives,” (646-648)
Post final draft of essay 1 to blackboard Unit 1 Folder, Essays (4-5pages.) .

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March 3, 2016
Video Jumpha Lahiri
Discussion of Lahiri’s, “Going Ashore”
Reading Response #11: Answer questions 1,2,4, and 5 Thinking about the Text p. 646
H.W. Watch the movie the NameSake
Week 7
March 8th, 2016
MID TERM EXAM
Reading Response Journals Are Due for Grading
HW: Readings: Chapter 9 How To Write a Research Paper
H.W. ReadErnest Hemingway, “Hills Like White Elephants” p. 551*
T. Coraghessan Boyle “The Love of My Life” p. 556; critical essay*
Find a newspaper article that you think would make a good short story and bring to class for discussion.
March 10th, 2016
Discussion of Hemingway and Boyle
Videos: Hemingway, Boyle
In Class Reading Response 12:. Thinking About the Text p. 569
Review and discussion of final draft of a student paper pgs. 184-186
. Week 10

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March 13-March 19: SPRING BREAK
Week 11
March 22, 2016
IN CLASS: INTRODUCTION TO MODERN DRAMA
IN CLASS: READ TERRANCE MCNALLY, ANDRE’S MOTHER P. 1601,
STUDENT CONFERENCES
Homework Read “My Son, The Fanatic,” Hanaif Kureishi 533-41
March 24, 2016
HYBRID CLASS
H.W. Watch the Movie: My Beautiful Launderette
Readings: “Killings,” Andre Dubus (1213-27)
March 25, 2016 Good Friday
Week 13

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March 27, Easter, University is closed
March 29
HYBRID CLASS
Watch the Movie: In the Bedroom
H.W. 4 upload to bb assignments Compare and contrast In the Bedroom with the Killings 1 page essay
ResearchPaper/ First Draft Unit 2 essay is due; length: 4-6 pages
March 31st, 2016
ON LINE-PEER REVIEW SESSION/Discussion Board
H.W. Read Sherman Alexie, “What You Pawn I Shall Redeem”; Capital Punishment
Final Draft of ResearchPaper is due April 14 at the beginning of class. Post electronic copy under Unit 2 final draft and bring a
hard copy to class with my critique, proof of writing center visit, revisions in highlight and hard copy of final draft.
Student conferences 9:30-10:45
Week 14
April 5, 2016.
In Class Discussion: Sherman Alexie, “What You Pawn I Shall Redeem”
Video: Sherman Alexie
Read in class: “ Capital Punishment”

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Reading Response: Thinking About the Text p1449
Homework (due prior to next class): Read Sonny’s Blues By James Baldwin and The Rich Brother by Tobias Wolff
In Class Compare/Contrast The Rich Brother and Sonnys Blues
Video: James Baldwin
In Class Reading Response 13: Compare and contrast the relationships between the two brothers
April 7, 2016
Lecture: Introduction to Essays
Read Chapter 8 How to Write about Essays. Focusing on June Jordan’s “Many Rivers to Cross”, and Alice Walker,”In Search of Our
Mother’s Gardens” pgs 189-204
Submit second draft of research paper as hard copy in class with revisions in highlight and proof of visit to Writing Center. Post Under
Unit 2 BB Second Draft
Week 15
April 12, 2016
In-Class: Student Presentations
Submit final draft of Research Paper by Thursday, April 14th. Post on blackboard, Unit 2 Final Draft
H.W. Read Bell Hooks, “From Bone Black, Memories of Girlhood” p. 38*
Richard Wright, “From Black Boy” p. 1455
,

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April 14, 2016
Student Presentations
Discussion of Essays
Videos: Bell Hooks, Richard Wright
HW: ReadCaroline Knapp, “Love” p. 342
Susan Cheever, “Drinking with Daddy, p.343
Final Draft of Research Paper due today in class as a hard copy. Documentation of the Writing Center visit must be attached. Post
electronically to bb under Unit 2
WEEK 16
April 19, 2016
Home work: Read Rick Moody, “Demonology,” p. 36*
Brent Staples, “The Runaway Son: p. 35; “Black Menin Public Spaces” (Uint 3 BB)*
April 21, 2016
Discussion of Demonology and The Runaway Sun
Video: Black Men in Public Spaces
Week 17
April 26, 2016
Preparing a portfolio; reflecting on your writing

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In- Portfolio requirements distributed and discussed (see also Bb: Final Portfolio Review we will meet in the computer lab and devote the
entire class period to portfolio
In class: Development of portfolio Reflective Letter
April 28, 2016
Make up work/ In Class Essay/Peer Review in Pairs
Alice Walker “The Flowers”
Jamaica Kincaid “Girl”
Week 18
May 3, 2016
I WILL RESERVE A COMPUTER LAB AND YOU WILL HAVE TO SIGN ATTENDANCE SHEET
Portfolio Computer Lab
IF YOUR FINAL PORTFOLIO IS COMPLETE (REVIEW CHECKLIST) THEN YOU MAY LEAVE IT IN MY MAILBOX; IF
NOT, YOU MUST COME TO CLASS ON Thursday MAY 5 TO SUBMIT YOUR PORTFOLIO
May 5, 2016
Portfolio due: Thursday, May 5, 2016 Last Day of Class. I will be present in the classroom to receive portfolios on the final day.
Final Portfolio Due: , LATE PORTFOLIOS WILL RECEIVE A LOWER GRADE; A HALF POINT EACH DAY. LAST DAY THAT I WILL
ACCEPT PORTFOLIOS: MAY 8 Journals are due for collection.
May 8: Spring semesterends.
May 6-May 13: Exam period; May 13 Spring SemesterEnds

1500-29 Final Syllabus

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