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Effective: Late Spring 8-Week, 2017/2018

ENGL 361: Readings In Poetry

Course Description

Study of poetry within a period or from a special perspective.

Prerequisite: ENGL 112 and a previous 200-level or higher English literature course.

Proctored Exams: Midterm



Syllabus Contents

Textbooks

Required

  • Dove, Rita, ed. The Penguin Anthology of Twentieth-Century American Poetry. . New York: Penguin, 2013.
    • ISBN-978-0-14-312148-0
  • Ginsberg, Allen. Howl and other Poems. San Francisco: City Lights, 2001.
    • ISBN-978-0-87-286017-9

Film

Howl (2010). Film, directed by Rob Epstein & Jeffrey Friedman and starring James Franco, Jon Hamm. DVD, Blu-ray, or streaming. Currently available on Hulu (streaming), Amazon Prime (streaming), and Netflix (DVD).

MBS Information

Textbooks for the course may be ordered from MBS Direct. You can order

For additional information about the bookstore, visit http://www.mbsbooks.com.


Course Overview

While this course will examine many of the great works of Twentieth-Century American Poetry, this is not a survey course. Rather, this is a topics course that centers on the analysis of poetry in an effort to better understand the historical, cultural, and authorial contexts of these works. Utilizing Romantic poet William Wordsworth’s concept of the “spots of time” as a basis, or a lens, from which to view poetry, the course content will explore thematic elements that deal with revelatory moments in life that help shape one’s current state. In doing so, this course will use the idea of “memory” as a means of accessing the selected works, ultimately forming a lasting personal connection with the poems studied. This course will focus on close readings of the texts, ultimately developing the students’ ability to analyze, discuss, and write critically about poetry. Replace this text with your 'Course Overview' text.


Technology Requirements

Participation in this course will require the basic technology for all online classes at Columbia College:
  • A computer with reliable Internet access
  • A web browser
  • Acrobat Reader
  • Microsoft Office or another word processor such as Open Office

You can find more details about standard technical requirements for our courses on our site.


Course Learning Outcomes

  1. Analyze a range of poems.
  2. Explain the characteristics of the genre of poetry, as those characteristics appear in selected poetry.
  3. Identify the historical, cultural, and authorial contexts of selected poetry.
  4. Describe the critical reception of selected poetry.
  5. Write argumentatively about poetry.
  6. Demonstrate revision of argumentative writing about poetry.

Grading

Grading Scale
Grade Points Percent
A 900-1000 90-100%
B 800-899 80-89%
C 700-799 70-79%
D 600-699 60-69%
F 0-599 0-59%
Grade Weights
Assignment Category Points Percent
Discussions 300 30%
Critical Essays 300 30%
Quizzes 100 10%
Midterm Exam 150 15%
Final Exam 150 15%
Total 1000 100%


Schedule of Due Dates

Week 1
Assignment Points Due
Discussion 1 30 Wednesday/Sunday
Discussion 2 30
Quiz 1 25 Sunday
Week 2
Assignment Points Due
Discussion 3 30 Wednesday/Sunday
Quiz 2 25 Sunday
Proctor Information N/A
Week 3
Assignment Points Due
Discussion 4 30 Wednesday/Sunday
Critical Essay 1 100 Sunday
Quiz 3 25
Week 4
Assignment Points Due
Discussion 5 30 Wednesday/Sunday
Midterm Exam 150 Sunday
Week 5
Assignment Points Due
Discussion 6 30 Wednesday/Sunday
Critical Essay 2 100 Sunday
Quiz 4 25
Week 6
Assignment Points Due
Discussion 7 30 Wednesday/Sunday
Week 7
Assignment Points Due
Discussion 8 30 Wednesday/Sunday
Critical Essay 3 100 Sunday
Week 8
Assignment Points Due
Discussion 9 30 Wednesday/Saturday
Discussion 10 30
Final Exam 150 Saturday
Total Points 1000

Assignment Overview

Discussions

There will be one 30-point discussion per week (with the exception of Weeks 1 & 8, where we will have two discussions). Each discussion will address your knowledge of the week’s topics and your understanding of the week’s readings. Your initial post is due each Wednesday and will carry a minimum word count of approximately 300 words. You will need to substantively reply to at least two posts submitted by your classmates in each discussion by Sunday (Saturday during Week 8). These reply posts will carry a minimum word count of approximately 150 words. This is a discussion-heavy course and requires your active participation on a weekly basis. To encourage original thought and enhance your critical voice, you must post your initial response before you will be able to see the work of others.

Critical Essays

You will write 3 critical essays over the course of this session. These essays will require explication, definition, analysis, comparison, discussion, and imagination. The first essay is an explication of a poem of your choosing; the second asks you to examine Allen Ginsberg’s “Howl”; the third is a research-driven analysis of a poem. Each essay will have a detailed assignment sheet with specific requirements and will be submitted via the assignment dropbox by Sunday of the week due.

The critical essays should be formatted as follows:

  • 12 pt. double-spaced (no extra space: Format paragraph spacing set at 0 pt. – before and after) Times New Roman font
  • 1-inch margins
  • Pages numbered, no number on first page with no title page.
  • Put your name, instructor, class, and date on the first page at the top, flush left (double-spaced).

Submit as a Word .doc to the appropriate assignment dropbox in the online classroom.


Quizzes

Four multiple choice quizzes will cover the weekly readings and assess your understanding of the terminology and subject matter from the texts, lecture notes, and course content.

Midterm Exam

The midterm exam and final exams will be comprised of short essay questions that require the analysis of a range of poetic works. The midterm will cover the readings from Weeks 1-4; the final will cover the readings from Weeks 5-8. You will have 2 hours to complete each exam. The midterm exam must be taken with a proctor.



Course Outline

Click on each week to view details about the activities scheduled for that week.

Week 1: Introduction/Engaging Memory
Readings
  • Zachary Schomburg’s Scary, No Scary
  • Rita Dove’s “Introduction: My Twentieth Century of American Poetry,” pp. xxix-lii in The Penguin Anthology of Twentieth-Century American Poetry
  • Robert Duncan, pp. 193-196 in The Penguin Anthology of Twentieth-Century American Poetry
  • Zachary Schomburg’s “The Monster Hour” (available in course content)
  • Matthew Rohrer’s “The Amaranth” (available in course content)
  • Kate Greenstreet’s “56 Days” (available in course content)
  • David Berman’s “Snow” (available in course content)
Discussion 1

First, introduce yourself to the class, giving us enough about you that you become a real person to us. Tell us what kind of poetry you have read and what kind you like to read. Tell us why you prefer this kind. What else do you like to read? We need to be able to connect with one another and this discussion is one way we can. Second, in thinking about your approach to this class, consider Rita Dove’s “Introduction: My Twentieth Century of American Poetry.” Find a section or two that stands out to you and explain your feelings towards her approach. Based on your review of this text and the course in general, what are your expectations for this session?

Discussion 2
Think back on the houses or apartments you have lived in, from your childhood to the present. Make a timeline if it helps. Select one of these homes and spend a few minutes thinking about this house. Consider the color, the smell, the shape, and how it felt inside. Think about your room. Give us a brief description of this house.

Now, review Zachary Schomburg’s poem “Scary, No Scary” from his book Scary, No Scary. Identify what Schomburg is saying about the past. How do you personally relate to this poem? Which would you choose: “scary” or “no scary?” Schomburg suggests choosing “no scary,” but what happens when you choose “scary.” What does this mean? More importantly, how does Schomburg address the idea of “memory” in this poem? What other poems from Schomburg’s Scary, No Scary stand out to you?
Quiz 1
This multiple choice quiz will cover the terms and ideas presented in this week’s reading and will require an understanding of this week’s course content and lecture notes.
Week 2: Locating the Image
Readings
  • Paul Laurence Dunbar, p. 10-11; Robert Frost, p. 12-22; Amy Lowell, p. 23-25; Gertrude Stein, p. 26-27; Wallace Stevens, p. 31-37; William Carlos Williams, p. 39-50; Ezra Pound, p. 53-64; Hilda Doolittle (H.D.), 65-69; Marianne Moore, p. 73-75; T.S. Eliot, p. 76-92; Claude McKay, p. 93-94; E.E. Cummings, p. 98-101; Louise Bogan, p. 104-105; & Hart Crane, p. 120-125 in The Penguin Anthology of Twentieth-Century American Poetry
  • Craig Morgan Teicher’s essay “William Carlos Williams: The Red Wheelbarrow” (available in course content)
  • William Carlos Williams’ “This is Just to Say” (available in course content)
  • Lorine Niedecker’s “My Life by Water” and “Fall” (available in course content)
  • Joe Wenderoth’s “Yellow Jacket Devouring Live Cicada” (available in course content)
Discussion 3
Sometimes a poem like William Carlos Williams’ “The Red Wheelbarrow” can be frustrating because of its simplicity. Take a closer look at “The Red Wheelbarrow” and examine how Williams utilizes image as a means of communicating something deeper. What “depends upon” the things mentioned in the poem? What is the effect of these images? What other poems from this week give you a similar reaction? How does Williams use his images to convey a sense of the past? How does “The Red Wheelbarrow” communicate “memory”?
Quiz 2

This multiple choice quiz will cover the terms and ideas presented in this week’s reading and will require an understanding of this week’s course content and lecture notes.

Proctor Information
Submit your proctor form to the appropriate Dropbox folder by the end of the week. Remember to “Save” the form before placing it in Dropbox. See the Content area for more information.
Week 3: Poetry as an Awakening
Readings
  • Melvin B. Tolson, p. 106-119; Langston Hughes, p. 127-129; Countee Cullen, p. 130-132; Theodore Roethke, p. 138-140; Charles Olson’s “The Distances,” p. 145-146; Elizabeth Bishop, p. 147-154; Robert Hayden, p. 155-161; Muriel Rukeyser, p. 162-164; Randall Jarrell, p. 170- 173; William Stafford, p. 176-177; Gwendolyn Brooks, p. 181-187; Hayden Carruth, p. 204-206; Richard Wilbur, p. 207-210; James Dickey, p. 211-212; Alan Dugan, p. 213-214; Richard Hugo, p. 217-218; Carolyn Kizer, p. 222-224; & Ethridge Knight, p. 314-315 in The Penguin Anthology of Twentieth-Century American Poetry
  • Langston Hughes’ “Theme for English B” (available in course content)
  • Thomas Sayers Ellis’ “All Their Stanzas Look Alike” (available in course content)
  • Claudia Rankine’s selections from Citizen (available in course content)
  • Matthew Zapruder’s essay “Don’t Paraphrase” (available in course content)
Discussion 4
Read and review Matthew Zapruder’s article “Don’t Paraphrase.” First, gain an understanding of what is being said and identify Zapruder’s main points. What are the essentials to Zapruder’s ideas? How do you interpret what he is saying in this article? How do these ideas relate to your own understanding of poetry? How does Zapruder’s suggested approach fit in with our chosen lens of “memory”? Apply Zapruder’s ideas to a poem of your choice from this week’s reading.
Critical Essay 1

Critical Essay 1 is a 3-4 page explication of a poem of your choosing. A poetry explication is an analysis that examines the possible meanings and relationships found in the words and images that make up the poem. It is an unpacking and unfolding, or revealing of the poem’s meaning as the poem develops this meaning from beginning to end. Writing an explication is an excellent way for you to connect with a poem and gain a better understanding of how the poem functions.

For this essay you will write an explication of a poem of your choice from our weekly readings up to this point in the course. You will not need to research or go to other sources to examine this poem. This explication essay will require your thoughtful consideration of the poem’s main elements and your personal inference of the poem’s meaning with an eye towards uncovering the poem’s tendency towards utilizing memory and past experience.

This essay will have a detailed assignment sheet with specific requirements and explication examples to help guide your writing process. This essay should follow the formatting guidelines set for this course.

Quiz 3
This multiple choice quiz will cover the terms and ideas presented in this week’s reading and will require an understanding of this week’s course content and lecture notes.
Week 4: “Howl” and the Liberated “I”
Readings
  • Allen Ginsberg’s Howl and Other Poems
  • Allen Ginsberg’s “Over Kansas” (available in course content)
  • Lawrence Ferlinghetti, p. 197-20; Gregory Corso, p. 298-301; Gary Snyder, p. 302-303, & Amiri Baraka (LeRoi Jones), p. 316-319 in The Penguin Anthology of Twentieth-Century American Poetry
  • Diane di Prima’s “An Exercise in Love” (available in course content)
Screenings
Rob Esptein & Jeffrey Friedman’s Howl (2010).
Discussion 5
Reread a poem from this week’s reading and make note of any lines or phrases in the poem that feel important, significant, or simply stand out in any way. In your response, consider how the title works within the poem. What does the title suggest? How does the title interact with the rest of the poem? Put the poem into your own words and describe what is happening in the poem. Who is the speaker? Describe the kind of person who appears to speak in the poem? Consider the formal elements of the poem as well: diction, syntax, tone. More importantly, what kind of response does this poem illicit?
Midterm Exam
Replace this text with your 'Section' text.
Week 5: Poetry as Confession
Readings
  • Delmore Schwartz, p. 165-166; John Berryman, p. 167-169; Robert Lowell, p. 188-192; Denise Levertov, p. 219-220; Kenneth Koch, p. 225-231; Maxine Kumin, p. 232-233; A.R. Ammons, p. 237-241; Robert Bly, p. 242-243; Robert Creeley, p. 244-247; Frank O’Hara, p. 250-252; John Ashbery, p. 253-267; W.S. Merwin, p. 273-276; James Wright, p. 277-279; Philip Levine, p. 282-286; Anne Sexton, p. 287-292; Adrienne Rich, p. 293-297; Ted Berrigan, p. 320-321; Audre Lorde, p. 322-323; & Sonia Sachez, p. 324-325 in The Penguin Anthology of Twentieth-Century American Poetry
  • Sylvia Plath’s “The Moon and the Yew Tree” & “Daddy” (available in course content)
  • Anne Sexton’s “Letter Written on a Ferry While Crossing Long Island Sound” (available in course content)
  • Frank O’Hara’s “To the Film Industry in Crisis,” “Ave Maria,” & “Having a Coke with You” (available in course content)
  • Robert Creeley’s “Sitting Here” (available in course content)
  • Robyn Schiff’s “Dear Ralph Lauren” (available in course content)
Discussion 6
Consider Anne Sexton’s “Her Kind.” How does the poem address feelings of isolation, alienation, and oppression? Examine the “I” of the poem, reaching out for a connection, repeating: “I have been her kind.” What does this phrase, “I have been her kind” mean to you? How would this phrase be applied outside of the poem? Are there times in your life where you could look at another person and claim, “I have been her kind”? How does Sexton communicate this notion to the reader?
Critical Essay 2

Critical Essay 2 is a 4-5 page examination of Allen Ginsberg’s “Howl” and will require analysis, detail, and organization. “Howl” is considered to be one of the greatest works of American literature. What does “Howl” accomplish? As detailed in the film Howl, the publishers of “Howl” were arrested and charged with disseminating obscene literature. Is this poem obscene?

In crafting your response consider Rita Dove’s discussion of “Howl” in the anthology in which she claims that, “until ‘Howl’, poets were generally well behaved.” What do you think of her discussion of Ginsberg liberating the “I” in poetry? Dove claims “‘Howl” set off “sparks in all directions” with its “keenly personal style, its unabashed antiestablishment stance and confessional rawness.” With this in mind, how has Ginsberg liberated the “I” in poetry? What other poems have you read that have a liberated “I” as a result? Consider Ginsberg’s account of the writing of “Howl,” its reception, and subsequent obscenity trial as highlighted in the film Howl. Feel free to search the film for evidence to support your claims.

As you move forward with this assignment, pay close attention to prior feedback and the graded response you received on your first essay assignment. Your approach to this essay should incorporate what you have learned from writing your first critical essay and showcase your development as a critical writer. This essay will have a detailed assignment sheet with specific requirements designed to guide your writing process. This essay should follow the formatting guidelines set for this course.

Quiz 4
This multiple choice quiz will cover the terms and ideas presented in this week’s reading and will require an understanding of this week’s course content and lecture notes.
Week 6: A New Way of Thinking
Readings
  • Mark Strand, p. 326-327; Mary Oliver, p. 329-330; Charles Wright, p. 331-334; Lucille Clifton, p. 335-336; C.K. Williams, p. 342-345; Charles Simic, p. 353-354; Frank Bidart, p. 356-366; Stephen Dunn, p. 369-370; Robert Pinsky, p. 371-379; Billy Collins, p. 381-382; Toi Derricotte, p. 383-385; Robert Haas, p. 390-393; Lyn Hejinian, p. 394-395; Sharon Olds, p. 405-407; Tess Gallagher, p. 409-410; Michael Palmer, p. 411-413; James Tate, p. 414-415; Kay Ryan, p. 421-422; Larry Levis, p. 423-426; Marilyn Nelson, p. 429-432; Ron Silliman, p. 433-434; Ai, p. 435-438; & Yusef Komunyakaa, p. 439-442 in The Penguin Anthology of Twentieth-Century American Poetry
  • Thomas Sayers Ellis’ “Sticks” (available in course content)
  • Denis Johnson’s “Now” (available in course content)
  • David Berman’s “New York, New York” (available in course content)
  • Frank Bidart’s “Golden State” (available in course content)
Discussion 7
Analyze Thomas Sayers Ellis’ poem “Sticks” and how it compares to Theodore Roethke’s “My Papa’s Waltz.” How are the poems similar? What distinguishes one from the other? How does each poem deal with the past?
Course Evaluation
Please evaluate the course. You will have an opportunity to evaluate the course near the end of the session. A link sent to your CougarMail will allow you to access the evaluation. Please note that these evaluations are provided so that I can improve the course, find out what students perceive to be its strengths and weaknesses, and in general assess the success of the course. Please do take the time to fill this out.
Week 7: Poetry as Survival
Readings
  • Gregory Orr, p. 445-448; Albert Goldbarth, p. 452-453; Heather McHugh, p. 454-456; David St. John, p. 463-464; C.D. Wright, p. 465-466; Carolyn Forché, p. 467; Jorie Graham, p. 468-469; Joy Harjo, p. 472-474; Andrew Hudgins, p. 477-478; Paul Muldoon, p. 482-484; Rita Dove, p. 486-491; Mark Jarman, p. 497; & Naomi Shihab Nye, p. 498-501 in The Penguin Anthology of Twentieth-Century American Poetry
  • Gregory Orr’s essay “The Making of Poems” (available in course content)
  • Gregory Orr’s “The Teachers” and “To My Father, Dying,” (available in course content)
  • Thomas Heise’s selections from Horror Vacui (available in course content)
Discussion 8
When poet Gregory Orr was 12, he accidentally killed his brother in a hunting accident, an event his family was never able to talk about. In an NPR story discussing his work, Orr stated, “I believe in poetry as a way of surviving the emotional chaos, spiritual confusions, and traumatic events that come with being alive.” With this in mind, reread Orr’s poem “Gathering the Bones Together” and in your response consider how Orr explores his past experiences in the poem. How does Orr hold a mirror up to the reader? How does Orr use this horrific event as a transformative experience, not just for himself, but for the reader as well?
Critical Essay 3

Essay 3 is a 5-6 page research-driven analysis of a poem of your choosing from our readings in this course. You have already written an explication of a poem and explored the significance of a major American poem. Building upon these ideas, this essay will be a more formal analysis in which you will perform a “close reading” of a poem. With this close reading, you will establish a thoughtful and focused claim, one that is well-supported with evidence from the poem itself.

In this essay you will argue for your interpretation of the selected poem and show the reader one way to better understand and appreciate the poem, guiding the reader through an examination of the poem’s form, tone, point-of-view, and meaning. This essay will require research into prior criticism, with a minimum 2-3 sources, as the focus of this essay is to find your voice in reference to the poem and the poem’s place in the literary canon. You are encouraged to inform yourself about the poem’s historical and social context, as well as its cultural significance and incorporate these elements as you see fit.

This essay will have a detailed assignment sheet with specific requirements and examples designed to guide your writing process.

Week 8: Looking Back and Moving Forward
Readings
  • Gary Soto, p. 506-508; Susan Stewart, p. 509-511; Mark Doty, p. 512-517; Harryette Mullen, p. 518; Franz Wright, p. 519-520; Lorna Dee Cervantes, p. 521-522; Cornelius Eady, p. 525-527; Marilyn Chin, p. 534-537; Cathy Song, p. 538-539; Annie Finch, p. 540-541; Li-Young Lee, p. 542-543; Carl Phillips, p. 544-546; Nick Flynn, p. 547-548; Elizabeth Alexander, p. 549-554; Sherman Alexie, p. 556-557; Natasha Trethewey, p. 558-560; A.E. Stallings, p. 561; Brenda Shaughnessy, p. 563-567; Kevin Young, p. 565-567; & Terrance Hayes, p. 568-569 in The Penguin Anthology of Twentieth-Century American Poetry
  • David Trinidad’s “Classic Layer Cakes” & “A Poet’s Death” (available in course content)
  • Brandi Homan’s “Passing a Federal Building, My Mother Asks Whether There’ll Be a Parade” (available in course content)
  • Lisa Fishman’s “Of Unknowing” (available in course content)
  • Kate Greenstreet’s “Dusting for Prints” (available in course content)
  • Eileen Myles’ “Movie,” “An American Poem,” & “Rotting Symbols” (available in course content)
  • Aimee Nezhukumatathil’s “Twelve Twelve Twelve” (available in course content)
Discussion 9
Consider the poem “Classic Layer Cakes,” in which poet David Trinidad builds and constructs his narrative on a foundation of images. His images carry with them a sense of history and nostalgia that advance the narrative. These images juxtapose themselves next to the speaker’s voice and create a haunting tone, as each image relates back to his dead mother. The poem begins with the Denise Levertov epigraph “Mother is gone / only Things remain.” Levertov’s quote frames what follows, as the speaker is dealing with the loss of his mother and does so with the “things” that remain. Restate what happens in this poem and explain how the theme shifts from beginning to end. In doing so, consider how Trinidad engages his past and how he utilizes his memories. Think back on Zachary Schomburg’s “Scary, No Scary,” do you think Trinidad chose “scary” or “no scary”?
Discussion 10
Review all of the readings we have had during this session. First, do you have a favorite poem or poet? Consider our “memory lens” for this course. How do these poems or poets you were particularly drawn to utilize past experiences to connect with the reader? Explain and identify the elements that have drawn you to this work.
Final Exam
The final exam will be comprised of several short essay questions that require the analysis of a range of poetic works. The final exam will cover the readings from Weeks 5-8. You will have 2 hours to complete this exam. The final exam is not proctored.


Course Policies

Student Conduct

All Columbia College students, whether enrolled in a land-based or online course, are responsible for behaving in a manner consistent with Columbia College's Student Conduct Code and Acceptable Use Policy. Students violating these policies will be referred to the office of Student Affairs and/or the office of Academic Affairs for possible disciplinary action. The Student Code of Conduct and the Computer Use Policy for students can be found in the Columbia College Student Handbook. The Handbook is available online; you can also obtain a copy by calling the Student Affairs office (Campus Life) at 573-875-7400. The teacher maintains the right to manage a positive learning environment, and all students must adhere to the conventions of online etiquette.

Plagiarism

Your grade will be based in large part on the originality of your ideas and your written presentation of these ideas. Presenting the words, ideas, or expression of another in any form as your own is plagiarism. Students who fail to properly give credit for information contained in their written work (papers, journals, exams, etc.) are violating the intellectual property rights of the original author. For proper citation of the original authors, you should reference the appropriate publication manual for your degree program or course (APA, MLA, etc.). Violations are taken seriously in higher education and may result in a failing grade on the assignment, a grade of "F" for the course, or dismissal from the College.

Collaboration conducted between students without prior permission from the instructor is considered plagiarism and will be treated as such. Spouses and roommates taking the same course should be particularly careful.

All required papers may be submitted for textual similarity review to Turnitin.com for the detection of plagiarism. All submitted papers may be included in the Turnitin.com reference database for the purpose of detecting plagiarism. This service is subject to the Terms and Conditions of Use posted on the Turnitin.com site.

Non-Discrimination

There will be no discrimination on the basis of sex, race, color, national origin, sexual orientation, religion, ideology, political affiliation, veteran status, age, physical handicap, or marital status.

Student Accessibility Resources

Students with documented disabilities who may need academic services for this course are required to register with the office of Student Accessibility Resources. Until the student has been cleared through this office, accommodations do not have to be granted. If you are a student who has a documented disability, it is important for you to read the entire syllabus as soon as possible. The structure or the content of the course may make an accommodation not feasible. Student Accessibility Resources is located in Student Affairs in AHSC 215 and can be reached by phone at (573) 875-7626 or email at sar@ccis.edu.

Online Participation

You are expected to read the assigned texts and participate in the discussions and other course activities each week. Assignments should be posted by the due dates stated on the grading schedule in your syllabus. If an emergency arises that prevents you from participating in class, please let your instructor know as soon as possible.

Attendance Policy

Attendance for a week will be counted as having submitted any assigned activity for which points are earned. Attendance for the week is based upon the date work is submitted. A class week is defined as the period of time between Monday and Sunday (except for week 8, when the work and the course will end on Saturday at midnight.) The course and system deadlines are based on the Central Time Zone.

Cougar Email

All students are provided a CougarMail account when they enroll in classes at Columbia College. You are responsible for monitoring email from that account for important messages from the College and from your instructor. You may forward your Cougar email account to another account; however, the College cannot be held responsible for breaches in security or service interruptions with other email providers.

Students should use email for private messages to the instructor and other students. The class discussions are for public messages so the class members can each see what others have to say about any given topic and respond.

Late Assignment Policy

An online class requires regular participation and a commitment to your instructor and your classmates to regularly engage in the reading, discussion and writing assignments. Although most of the online communication for this course is asynchronous, you must be able to commit to the schedule of work for the class for the next eight weeks. You must keep up with the schedule of reading and writing to successfully complete the class.

No late discussion posts will be accepted.

The grades for critical essays submitted late will be reduced by 5% of the total points possible for the essay each day it is late. After 5 days, a late essay can no longer be submitted.

Quizzes and exams must be taken during the week they are assigned, unless special permission is granted.

Course Evaluation

You will have an opportunity to evaluate the course near the end of the session. A link will be sent to your CougarMail that will allow you to access the evaluation. Be assured that the evaluations are anonymous and that your instructor will not be able to see them until after final grades are submitted.

Proctor Policy

Students taking courses that require proctored exams must submit their completed proctor request forms to their instructors by the end of the second week of the session. Proctors located at Columbia College campuses are automatically approved. The use of ProctorU services is also automatically approved. The instructor of each course will consider any other choice of proctor for approval or denial. Additional proctor choices the instructor will consider include: public librarians, high school or college instructors, high school or college counseling services, commanding officers, education service officers, and other proctoring services. Personal friends, family members, athletic coaches and direct supervisors are not acceptable.


Additional Resources

Orientation for New Students

This course is offered online, using course management software provided by Desire2Learn and Columbia College. The course user guide provides details about taking an online course at Columbia College. You may also want to visit the course demonstration to view a sample course before this one opens.

Technical Support

If you have problems accessing the course or posting your assignments, contact your instructor, the Columbia College Helpdesk, or the D2L Helpdesk for assistance. Contact information is also available within the online course environment.

Online Tutoring

Smarthinking is a free online tutoring service available to all Columbia College students. Smarthinking provides real-time online tutoring and homework help for Math, English, and Writing. Smarthinking also provides access to live tutorials in writing and math, as well as a full range of study resources, including writing manuals, sample problems, and study skills manuals. You can access the service from wherever you have a connection to the Internet. I encourage you to take advantage of this free service provided by the college.

Access Smarthinking through CougarTrack under Students -> Academics -> Academic Resources.


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