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Home > Graduate Studies > Courses : Spring 2005

English Graduate Courses Spring 2005

EngL

ENGL 4041 Old Age in Film and Literature

(A-F only, unless otherwise noted)
62443 -001 LEC, 06:20 P.M. - 08:50 P.M., Tu (01/18/2005 - 05/06/2005), LindH 320, TCEASTBANK, Luke, David B, 3 credits, 8 seat(s) reserved for Graduate Student; 1 seat(s) reserved for non-PSEO, non-admitted student
The course is primarily a thematic study of how and why aging shapes the central focus of a selection of modern verbal and visual texts. Readings will consist of Hemingway's The Old Man and the Sea, Wallace Stegner’s The Spectator Bird, Margaret Laurence’s The Stone Angel, Gabriel Garcia Marquez’s Love in the Time of Cholera, Tracy Kidder’s Old Friends (a prize-winning non-fiction account of life in a nursing home), and Betty Friedan’s The Fountain of Age (a popular study of aging by the renowned feminist author). Films will include On Golden Pond, Traveling North, The Whales of August, Strangers in Good Company, and a Smithsonian documentary, A Certain Age. The course will explore the subject of aging from philosophical, sociological, and psychological perspectives, and will examine how contemporary narratives both presume and subvert stereotypes of aging. In addition to an increased appreciation of the varied representations of aging in modern culture, one goal of the course will be an enhanced understanding of how the experience of old age has as much to do with culture as with biology, and yet how it also has as much to do with the sometimes liberating possibilities of personal experience as with the often coercive expectancies of culture. In the words of one aged persona, we will hopefully learn about some of the ways in which old people "can be destroyed but not defeated."

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ENGL 4311 Asian American Literature and Drama

(A-F only, unless otherwise noted)
66167 -001 LEC, 03:00 P.M. - 05:30 P.M., M (01/18/2005 - 05/06/2005), Room TBA, TCEASTBANK, Lee, Josephine D, 3 credits
This course introduces students to the many and diverse literary and dramatic works by Asian American writers. It looks at the historical past of Asian America through the perspective of writers such as Sui Sin Far and Carlos Bulosan; it also includes contemporary artists such as Frank Chin, Maxine Hong Kingston, David Henry Hwang, and Han Ong. The course examines the political and historical background of Asian American artists as well as their aesthetic choices.

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ENGL 4722 History of Writing Technologies

(credit will not be granted if credit received for: 3633)
61790 -001 DIS, 11:15 A.M. - 12:30 P.M., Tu,Th (01/18/2005 - 05/06/2005), SmithH 111, TCEASTBANK, Hancher, Michael, 4 credits, 8 seat(s) reserved for Graduate Students
Technologies of writing—the alphabet, hand-writing, printing, and electronic text—and their cognitive and social consequences. Topics include writing and memory; literacy, power, and control; printing, language, and national identity; alphabetization and other ways of ordering the world; secrecy, privacy, and publicity; typography, legibility, and design; theories of technological determinism; the future of reading after the internet. Readings will range from Homer and Plato to the most recent issue of Wired magazine.

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ENGL 5002 Introduction to Literary and Cultural Theory

(prereq grad or instr consent)
65106 -001 LEC, 02:30 P.M. - 05:00 P.M., Th (01/18/2005 - 05/06/2005), LindH 203, TCEASTBANK, Craig, Siobhan S, 3 credits

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ENGL 5090 Readings in Special Subjects

(max crs 9; 3 repeats allowed; Credit will not be granted if credit has been received for: ENGL 5100; prereq grad student or instr consent)
67891-001 LEC, 04:15 P.M. - 06:45 P.M., M (01/18/2005 - 05/06/2005), LindH 302, TCEASTBANK, Miner,Valerie J, Spirit of Place, 4 credits
Meets with: ENGW 5130 section 001
"Spirit of Place" is a course designed to help people explore and develop their voices as fiction writers. People writing in various forms (short story, novel chapters, etc.) as well as in different styles are welcome. I want to offer more than the traditional critique group. The class will include manuscript critique, lectures, craft tutorials, discussion of new fiction from class members as well as of published fiction from which we can learn strategies. Since a number of people have talked to me about issues of locale and place, the course will pay particular attention to these issues. We will spend some special time discussing "setting" in our fiction, exploring the use of memory, imagination and metaphor to help us locate the "places" of our stories. The course is NOT ONLY about place, by any means. We'll just use this as a focus. We'll also consider issues of characterization, narrative shape, plot, dialogue, etc.—whatever you need to discuss.

67891-002 LEC, 04:15 P.M. - 06:45 P.M., Tu (01/18/2005 - 05/06/2005), LindH 302, TCEASTBANK, Minczeski, John, Reading as Writers: Poetry, 4 credits
Meets with: ENGW 5310 section 002

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ENGL 5121 Readings in Early Modern Literature and Culture

(max crs 9; 3 repeats allowed; credit will not be granted if credit received for: 5230; prereq Grad student or instr consent)
65095-001 LEC, 03:00 P.M. - 05:30 P.M., W (01/18/2005 - 05/06/2005), LindH 305, TCEASTBANK, Clayton, Tom, 3 credits
A critical survey of English literary works of the late-sixteenth and earlier-seventeenth centuries (the "Shakespearean Moment," as it has been called), including such poets as Donne, Jonson, George Herbert, Marvell, Lanyer, Wroth, and Philips; such prose writers as Andrewes, Bacon, Browne, and Burton; and a number of less well known writers. Secondary readings will include criticism and scholarship, and Margaret Edson's play, Wit (1999); but the emphasis will be on reading the literary texts for understanding and appreciation on their own account and as preparation for advanced studies including scholarly research and seminars.

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ENGL 5150 Readings in 19th-Century Literature and Culture

(max crs 9; 3 repeats allowed; credit will not be granted if credit received for: 5250; prereq Grad student or instr consent)
65096-001 LEC, 03:35 P.M. - 05:55 P.M., Tu (01/18/2005 - 05/06/2005), LindH 203, TCEASTBANK, Goldberg, Brian B, Romantic Literatures & Culture, 3 credits

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ENGL 5200 Readings in American Literature

(max crs 9; 3 repeats allowed; credit will not be granted if credit received for: 5120; prereq Grad student or instr consent)
65297 -001 LEC, 06:20 P.M. - 08:50 P.M., W (01/18/2005 - 05/06/2005), LindH 216, TCEASTBANK, Ross Jr, Donald, How American Writers Began, 3 credits
The reading course will explore how nineteenth-century American authors developed their trade. We will discuss a series of case studies which will focus on the first decade or so of authors' publishing careers. My main goals are to have class members get a better, general understanding of writers’ artistic development in the United States, as well as the literary scene in the last century. In addition, by selecting and studying the career of one author, each student will understand that person’s early works quite well. The basic methodology will be for each student to pick a favorite author to study in depth, with one stipulation that the author's private writings (journals, letters) must be available. In addition to his or her literary works, students will read "everything" their author wrote on such issues as the role of the artist, the creation of a voice and persona, literary predecessors and contemporaries, development of themes, finding subjects to write about, and discovering an audience in the magazine and book markets. As a "corrective," each student will also find a public figure of about the same age as the author who also has private writings available, so we can see what is going on, concurrently, in the real world.

I have a list of forty adequately-documented authors, i.e., men and women whose letters or journals (or both) are in Wilson library. There may be other good candidates out there, especially since I have not explored the collections of private writings at the University or the Minnesota History Center. "Authors" can be broadly construed to include writers of popular works such as Horatio Alger. Good candidates for public figures turn out to be politicians who kept diaries, although some big shots like J.J. Hill and P. T. Barnum may also work out if their adoring families collected their papers.

65298 -002 LEC, 09:45 A.M. - 11:00 A.M., Tu,Th (01/18/2005 - 05/06/2005), LindH 215, TCEASTBANK, Treuer, David Robert, Modern Native American Novel, 3 credits Meets with: ENGL 3222 section 001, AMIN 4990 section 001
Most courses that seek to examine "Native American Literature" do so without much of an understanding of what is meant by "Native American" or how that might affect the penultimate descriptor—"literature." How are we to judge what falls into the subject area of "Native American Literature"? Are we to read only "Native American Writers”? How are we to classify who is, and who is not, Native American? By blood or experience? Moreover, what is Indian literature? Literature about Indians, or by them, or both? This course seeks to investigate these difficult questions by reading seminal works that have contributed to a literature about Native Americans. We will explore the development of key images of Native Americans and look at how the sum of these imaginings help constitute an understanding of Indian identity on the page. Instead of being representative, this course will use literature, all of it American Literature, to explore the formation of "Indianness," in order to pull apart the very idea of what constitutes Native American Literature.

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ENGL 5597 Harlem Renaissance

(Credit will not be granted if credit has been received for: AFRO 5597)
67617-001 SEM, 01:25 P.M. - 03:30 P.M., W (01/18/2005 - 05/06/2005), Room TBA, TCWESTBANK, Wright, John Samuel, 3 credits
If, as popular memory would have it, the 1920s was the decade of flappers, cabarets, bathtub gin, and the writers of the Lost Generation, it was also the decade of the New Negro, the Jazz Age, Marcus Garvey's Black Legions, and an explosion of new urban black popular culture: blues and Broadway shows, painting and sculpture, the numbers rackets and religious cults, Josephine Baker and Bessie Smith and Duke Ellington and Paul Robeson and Florence Mills and Eubie Blake and A. Phillip Randolph and Louis Armstrong and Bill "Bojangles" Robinson—and the host of darktown poets and playwrights and novelists and essayists who celebrated and critiqued it all. While focusing on writers and their relationships with artists working in other media, this course will review the Harlem Renaissance from a variety of perspectives—literary, historical, cultural, political—and will explore the complex patterns of artistic interpenetration and interdependency between the worlds inside and outside of what W.E.B. DuBois called "the Veil of Color." The course is appropriate for graduate students and advanced undergraduates. It follows a lecture-discussion format, but is weighted toward discussion and student presentations. Films and audiovisual materials are included extensively—for both inside-class and outside-class scrutiny. A short, interpretive midterm paper is required along with a final research paper (15-20 pages for graduate students; 12-15 for undergraduates).
Class Time: 30% lecture, 50% discussion, 20% other
Work Load: 150 pages of reading per week, 25 pages of writing per semester, 0 exam(s), 2 paper(s), short abstracts (1-2 pages) of contextual readings or audiovisual artifacts
Grade: 70% written report(s)/paper(s), 20% in-class presentation(s), 10% class participation

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ENGL 5630 Theories of Writing and Writing Instruction

(credit will not be granted if credit received for: 5630; prereq Grad student or instr consent)
62717-001 DIS, 04:00 P.M. - 05:15 P.M., Tu,Th (01/18/2005 - 05/06/2005), LindH 305, TCEASTBANK, Flash, Pamela, 3 credits
For the past few decades, writing instruction, once the purview of English departments, has been making its way into courses in all disciplines. College instructors in all fields find themselves developing writing assignments and response strategies often without much background in writing or writing pedagogy. This seminar addresses this need by focusing on writing instruction as it is (and can be) practiced in any academic discipline. Students investigate writing processes (invention, drafting, revision) and major theories of writing pedagogy (from ancient Greece to current trends) in order to extrapolate ideas and strategies that are relevant to their specific teaching contexts and disciplinary discourses. Classroom-ready writing assignments, commenting strategies, and grading schemes will grow out of our theoretical discussions. Other course activities include conducting classroom observations, micro-teaching, responding to and grading samples of student writing, leading discussions on selected topics of interest, and developing a philosophy of teaching statements.

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ENGL 5711 Introduction to Editing

(credit will not be granted if credit received for: 5401)
61821-001 WKS, 04:15 P.M. - 06:45 P.M., Tu (01/18/2005 - 05/06/2005), LindH 216, TCEASTBANK, Zuckerman, Jeffrey Jay, 4 credits
This course is an introduction to the editing process—specifically, learning about the editor-author-publisher relationship, with an emphasis on building skills in basic copyediting, style, grammar, and mechanics. We focus primarily on nonfiction editing; assignments vary from newspaper and magazine articles to academic editing and, briefly, fiction editing. Professional editors from the community visit on several occasions. The course texts include The Chicago Manual of Style and several copyediting textbooks. Weekly practice homework assignments are given. There are two midcourse exams and one final. Each has two parts: a take-home portion, in which students have one week to edit an article and query the author, and an in-class portion, in which students show their knowledge of mechanics, grammar, and style in a deadline-driven (and open-book) publishing environment. Email access is required.
Class Time: 25% lecture, 75% discussion
Work Load: 75 pages of reading per week, 3 exam(s)
Grade: 45% mid-semester exam(s), 35% final exam(s), 20% class participation
Exam format: 2 midcourse exams worth approx. 45% total. Participation grade includes attendance and homework.

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ENGL 5712 Advanced Editing

(credit will not be granted if credit received for: 5402; prereq 5401 or 5711, dept consent)
66519-001 WKS, 03:45 P.M. - 06:15 P.M., Th (01/18/2005 - 05/06/2005), Room TBA, TCEASTBANK, Burnham, Laurie, 4 credits, 8 seat(s) reserved for Graduate Student; 2 seat(s) reserved for non-PSEO, non-admitted student
This course is designed for those who are considering an editorial career, or are simply curious (as many writers are) about the publishing process. We will spend the semester dissecting the job of book editor: looking at acquisitions (finding good books, striking deals with agents, drafting contracts); manuscript development (turning straw into gold, catering to both author and reader); the author-editor relationship; production (cover design, typeface, trim size); and marketing (writing jacket copy, seeking blurbs, getting reviews). Emphasis will be placed on current trends in tradebook publishing, and students are expected to actively participate in classroom discussions. By semester's end, students should be comfortable with a range of editorial tasks and be able to think critically and strategically about prospective book projects. Assignments include a significant editing project as well as the presentation of an original editorial plan to the class.
Class Time: 50% lecture, 50% discussion
Work Load: 50-100 pages of reading per week, 2 paper(s), 2-3 short writing projects less than 3 pages each
Grade: 25% mid-semester exam(s), 25% written report(s)/paper(s), 30% in-class presentation(s), 20% class participation
Exam format: Final project; no final exam

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ENGL 5992 Directed Readings, Study, or Research

(max crs 15; 15 repeats allowed; prereq instr consent, college consent)
67400-001 DRD, TCEASTBANK, 1 - 15 credits

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ENGL 8110 Seminar: Medieval Literature and Culture

(max crs 12; 4 repeats allowed; prereq Grad major or instr consent)
65073-001 SEM, 12:45 P.M. - 03:15 P.M., Tu (01/18/2005 - 05/06/2005), Room TBA, TCEASTBANK, Farber, Lianna, Law & Literature, 3 credits
Those who work in the field of law and literature tend to construe their subject in three broad ways: some examine literary representations of the law (the law in literature); some examine the textual and narrative nature of the law (the law as literature); and some examine literature and law as artifacts of a common culture. This seminar is designed to familiarize participants with all three approaches to the field, as well as to the theoretical work underpinning these approaches. It is also designed to introduce course members to basic methods of legal research. Common readings will include writing about English and American law and literature over a wide-range of historical periods, from the Middle Ages to the present, and key theoretical works in the field of law and literature. Each course member will also spend time researching a question in law and literature to be drawn from his or her own historical / literary / theoretical interests.

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ENGL 8120 Seminar in Early Modern Literature and Culture

(max crs 12; 4 repeats allowed; A-F only, unless otherwise noted; prereq Grad major or instr consent)
61044-001 SEM, 12:20 P.M. - 02:50 P.M., M (01/18/2005 - 05/06/2005), Room TBA, TCEASTBANK, Watkins, John, Renaissance Lyric, 3 credits
This course serves as an introduction to the ethos and aesthetics of lyric poetry written during the European Renaissance, and more generally to the question of lyric itself as a primary idiom of poetic expression. We will consider such topics as the relationship of lyric to other kinds of writing, such as the epic and the drama; the emergence of what we might now call lyric subjectivity; the poet's relationship to such institutions as the university, the Church, the urban magistracy, and the monarchy; and the competition between print and manuscript culture that so changes the social valence of lyric and analogous poetic practices. The course will focus especially on the dynamics of literary influence and imitation, with considerable attention to the lyric as a site of emergent national literary languages. The first section of the course will focus on the appearance of a "modern" lyric sensibility in the Italian Middle Ages (Dante and Petrarch). We will then examine its Renaissance adaptations by the Venetian courtesan poet Gaspara Stampa, the English diplomat Thomas Wyatt, the disaffected courtier Sir Philip Sidney, the Anglican clerics John Donne and George Herbert, and finally that most elusive of all English politicians, Andrew Marvell. A reading knowledge of Italian would be helpful, but is not a requirement for the course. This course is open to all graduate students, regardless of specialization. I would particularly welcome creative writers and those with an interest in lyric poetry of later periods.

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ENGL 8200 Seminar in American Literature

(max crs 12; 4 repeats allowed; prereq Grad major or instr consent)
57019-001 SEM, 12:20 P.M. - 02:50 P.M., W (01/18/2005 - 05/06/2005), Room TBA, TCEASTBANK, Crain, Patricia A., Whitman & Dickinson, 3 credits

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ENGL 8400 Seminar in Post-Colonial Literature, Culture, and Theory

(max crs 12; 4 repeats allowed; prereq Grad major or instr consent)
57478-001 SEM, 06:20 P.M. - 08:50 P.M., Tu (01/18/2005 - 05/06/2005), LindH 325, TCEASTBANK, Sugnet, Charles J, After Apartheid, 3 credits

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ENGL 8444 FTE: Doctoral

(No Grade Associated, unless otherwise noted; prereq Doctoral student, adviser and DGS consent)
63149 -001 THE, TCEASTBANK, 1 credit

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ENGL 8510 Studies in Criticism and Theory

(max crs 12; 4 repeats allowed; prereq Engl grad major or or instr consent)
66557-001 SEM, 03:00 P.M. - 05:30 P.M., W (01/18/2005 - 05/06/2005), LindH 216, TCEASTBANK, Scandura, Jani, Motion and Modernity, 3 credits

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ENGL 8625 Dissertation Seminar

(prereq Engl PhD student, passed prelim exams or instr consent)
60583-001 SEM, 06:20 P.M. - 08:50 P.M., Tu (01/18/2005 - 05/06/2005), LindH 203, TCEASTBANK, Messer-Davidow, Ellen, 3 credits
The dissertation seminar is open to students who are at any and all stages of the dissertation process including conceptualizing a prospectus, doing the research, drafting or revising chapters, and polishing the whole. Our work will be organized around your needs. For each student, the rest of us will read your work and short pieces of literature important to it; discuss the work or, if in the planning stage, brainstorm how it might proceed; and give you written feedback. In addition since the dissertation is usually an anxiety-producing process, we will supply the requisite hot chocolate and hand-holding.

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ENGL 8666 Doctoral Pre-Thesis Credits

(max crs 60; 4 repeats allowed; No Grade Associated, unless otherwise noted; prereq Max 18 cr per semester or summer; doctoral student who has not passed prelim oral) 55542-001 THE, TCEASTBANK, 1 - 18 credits

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ENGL 8888 Thesis Credit: Doctoral

(max crs 100; 10 repeats allowed; No Grade Associated, unless otherwise noted)
55893 -001 THE, TCEASTBANK, 1 - 24 credits

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ENGL 8992 Directed Reading in Language, Literature, Culture, Rhetoric, Composition, or Creative Writing

(max crs 15; 15 repeats allowed; prereq instr consent, dept consent)
54274 -001 DRD (01/18/2005 - 05/06/2005), TCEASTBANK, 1 - 9 credits
57986 -002 DRD (01/18/2005 - 05/06/2005), TCEASTBANK, 1 - 9 credits

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EngW

ENGW 5130 Topics in Advanced Creative Writing

(max crs 16; 4 repeats allowed; prereq instr consent)
58906 -001 WKS, 04:15 P.M. - 06:45 P.M., M (01/18/2005 - 05/06/2005), LindH 302, TCEASTBANK, Miner, Valerie J, Spirit of Place, A-F only, 4 credits
Meets with: ENGL 5090 section 001
"Spirit of Place" is a course designed to help people explore and develop their voices as fiction writers. People writing in various forms (short story, novel chapters, etc.) as well as in different styles are welcome. I want to offer more than the traditional critique group. The class will include manuscript critique, lectures, craft tutorials, discussion of new fiction from class members as well as of published fiction from which we can learn strategies. Since a number of people have talked to me about issues of locale and place, the course will pay particular attention to these issues. We will spend some special time discussing "setting" in our fiction, exploring the use of memory, imagination and metaphor to help us locate the "places" of our stories. The course is NOT ONLY about place, by any means. We'll just use this as a focus. We'll also consider issues of characterization, narrative shape, plot, dialogue, etc.—whatever you need to discuss.

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ENGW 5205 Screenwriting

(prereq Jr or sr, one EngW 3xxx course, dept consent permission number available in creative writing office)
53137 -001 WKS, 06:20 P.M. - 08:50 P.M., W (01/18/2005 - 05/06/2005), LindH 302, TCEASTBANK, Levi, James B, 4 credits
A hands-on advanced workshop for students with experience in creative writing and/or a working knowledge of basic screenplay format. Students' scripts-in-progress may be either a complete short film or an excerpt from a feature-length film. Class critiques will emphasize issues of imagery, characterization, plot and structure, as well as creative process within screenwriting. Also expect in-class screenings, guests, and nuts and bolts discussion about story pitches, synopses and other vagaries of the professional industry. For advanced undergraduates, graduate students, and writers from the community interested in continuing education. Ask for a permission number in 209 Lind Hall.

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ENGW 5310 Reading as Writers

(max crs 8; 2 repeats allowed; prereq grad student, dept consent)
55571 -002 WKS, 04:15 P.M. - 06:45 P.M., Tu (01/18/2005 - 05/06/2005), LindH 302, TCEASTBANK, Minczeski, John, Reading as Writers: Poetry, A-F only , 4 credits

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ENGW 5993 Directed Study in Writing

50887 -001 DST (01/18/2005 - 05/06/2005), TCEASTBANK, 1 - 4 credits
55085 -002 DST (01/18/2005 - 05/06/2005), TCEASTBANK, 1 - 4 credits

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ENGW 8110 Seminar: Writing of Fiction

(max crs 16; 4 repeats allowed; prereq dept consent)
65129 -001 SEM, 04:15 P.M. - 06:45 P.M., Th (01/18/2005 - 05/06/2005), LindH 202, TCEASTBANK, Baxter, Charles Roger, 4 credits

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ENGW 8130 Seminar: Writing of Literary Nonfiction

56988-001 SEM, 04:15 P.M. - 06:45 P.M., Th (01/18/2005 - 05/06/2005), LindH 302, TCEASTBANK, Sugnet, Charles J, 4 credits

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ENGW 8150 Poetry: Manuscript Preparation

(max crs 8; 2 repeats allowed; prereq Creative writing MFA student, instr consent)
67890 -001 SEM, 04:15 P.M. - 06:45 P.M., W (01/18/2005 - 05/06/2005), FordH 170, TCEASTBANK, Browne, M D, 4 credits

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ENGW 8160 Manuscript Preparation: Fiction and Nonfiction

(max crs 8; 2 repeats allowed; prereq Creative writing MFA student, instr consent)
67889 -001 SEM, 04:15 P.M. - 06:45 P.M., Tu (01/18/2005 - 05/06/2005), FordH B60, TCEASTBANK, Schumacher, Julie, 4 credits

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ENGW 8333 FTE: Master's

(No Grade Associated, unless otherwise noted; prereq Master's student, adviser and DGS consent)
55293 -001 THE, TCEASTBANK, 1 credit

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ENGW 8990 MFA Creative Thesis

(max crs 18; 18 repeats allowed; prereq instr consent, dept consent, college consent)
(max crs 48; 24 repeats allowed; prereq 8140, 8150, 8160, creative writing MFA student, instr consent)
52878 -001 THE (01/18/2005 - 05/06/2005), TCEASTBANK, 2 - 8 credits
55086 -002 THE (01/18/2005 - 05/06/2005), TCEASTBANK, 2 - 8 credits

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EngC

ENGC 5051 Graduate Research Writing Practice for Non-native Speakers of English

(prereq Grad student) 
54561 -001 WKS, 12:45 P.M. - 02:00 P.M., Tu,Th (01/18/2005 - 05/06/2005), LindH 217, TCEASTBANK, Koffolt, Kimberly, 3 credits

56847 -002 WKS, 02:30 P.M. - 03:45 P.M., Tu,Th (01/18/2005 - 05/06/2005), LindH 340, TCEASTBANK, Strain, Kimberley Ann, 3 credits

54560 -003 WKS, 04:00 P.M. - 05:15 P.M., Tu,Th (01/18/2005 - 05/06/2005), LindH 325, TCEASTBANK, Koffolt, Kimberly, 3 credits

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ENGC 5052 Graduate Research Presentations and Conference Writing for Non-Native Speakers of English

(prereq Grad student, non-native speaker of English or instr consent) 
60098 -001 LEC, 12:45 P.M. - 02:00 P.M., Tu,Th (01/18/2005 - 05/06/2005), LindH 215, TCEASTBANK, Holt, Sheryl Lynn, 3 credits

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Professor Jani Scandura leads graduate seminar

Professor Jani Scandura leads graduate seminar