Sunaina Ajit Kumar

A survey of human origins covering hominid evolution, the fossil record, non-human primates, and modern human biological variation. The course traces how evolutionary forces — natural selection, genetics, and environmental pressures — have shaped human bodies and behaviour over millions of years, situating Darwin's theories within contemporary evolutionary synthesis.

• Weeks 1–5: Geological time, Darwin & evolutionary synthesis, DNA, genetics, population genetics, natural selection
• Weeks 7–9: Primate origins, classification, evolution, and behaviour; non-human primate survey
• Weeks 10–11: Early hominins — Sahelanthropus, Orrorin, Ardipithecus; Australopithecines
• Weeks 12–13: Paranthropines; Genus Homo from H. habilis through H. neanderthalensis and H. sapiens

An introduction to social psychology — the science of how people's thoughts, feelings, and behaviours are influenced by others. Topics include research methods, social perception, social cognition, the self, attitudes, persuasion, group dynamics, and social influence, with applications to work, health, law, and the environment.

• Weeks 1–4: Introduction, methodology, the self — Test 1 (Ch. 1–3)
• Weeks 5–8: Social perception, social cognition, attitudes formation & change — Test 2 (Ch. 4–6)
• Weeks 9–12: Persuasion, social influence, group processes — Test 3 (Ch. 7–9)

An exploration of the science of perception across all senses — how the brain transforms raw sensory data into experience. The course investigates visual illusions, perceptual disorders, signal detection theory, synesthesia, virtual and augmented reality, auditory perception, and the chemical senses, encouraging critical thinking about what our senses can and cannot tell us about reality.

• May 11–Jun 1: Intro to perception, the perceptual process, perceiving objects & scenes, optical illusions, depth & Gestalt principles — Exam 1 (Ch. 1, 2, 5)
• Jun 8–29: Visual attention, signal detection theory, the art of perception, virtual & augmented realities — Exam 2 (Lectures 4–7)
• Jul 6–13: Student Perception Demonstrations
• Jul 20–Aug 3: The auditory system, the chemical senses (smell & taste) — Exam 3 (Ch. 11, 15 & demos)

A focused study of two foundational African American writers — Richard Wright and James Baldwin — who used strikingly different styles to articulate the causes and effects of racism and its impact on Black Americans. The course explores the roles of religion, geography, exile in Europe, and literary influence in shaping their art and activism, with primary texts including Black Boy, Go Tell It on the Mountain, and Notes of a Native Son.

• Weeks 3–5: Wright's "Blueprint for Negro Writing," "Big Boy Leaves Home," "Between the World and Me"; Baldwin's early essays and "Previous Condition"
• Weeks 5–7: Black Boy — Jim Crow South, religion, education, and the Bildungsroman; Baldwin's "Notes of a Native Son"
• Weeks 8–10: Go Tell It on the Mountain — fathers, sons, religion, women's experiences; "Sonny's Blues"; comparative style analysis
• Weeks 11–14: Wright's "The Man Who Was Almost a Man"; comparative essay writing; Baldwin's "Encounter on the Seine" and Wright's "I Choose Exile"; final exam

An introduction to statistical tools used in the behavioural sciences for describing and interpreting research results. Topics include probability theory, significance testing, correlational and regression methods, and the application of these techniques to psychological data. Delivered asynchronously via weekly video lectures and MindTap activities.

• Weeks 2–5: Introduction to statistics, frequency distributions, central tendency, variability — Quiz 1 (Ch. 1–4)
• Weeks 5–8: z-scores, probability, distribution of sample means — Test 1 (Ch. 1–7, Oct 24)
• Weeks 9–13: Hypothesis testing, the t statistic — Quiz 2 (Ch. 8–9); independent samples t test — Test 2 (Ch. 8–10, Nov 28)

A bridge between psychology and neuroscience, linking behavioural knowledge to its neurobiological foundations. Starting from the neuron as the fundamental unit of the nervous system, the course builds outward through neural communication, neuroanatomy, sensory and motor systems, the endocrine system, and neuroscience research methods — exploring how small biological changes can radically alter behaviour and experience.

• Weeks 1–5: Brain basics, research methods, neuroanatomy, neuroanatomy lab
• Weeks 6–8: Neural communication I & II — Exam 1 (Oct 19–20)
• Weeks 9–13: Neuroscience research tools, the endocrine system, sensation & touch, vision, the motor system — Exam 2 (Dec 7–8)

An introduction to the scientific method as applied to psychological research. Students examine quantitative methods including descriptive research, experimental design, and correlations, alongside qualitative approaches. Delivered in a Team-Based Learning (TBL) format, the course moves through three phases — preparation, readiness assurance tests, and application — culminating in a collaborative experimental research project designed, conducted, analyzed, and presented by student teams.

• Weeks 1–6: Intro to research methods, ethical research, literature searches, APA style, research questions & designs, surveys & interviews — Exam I (Ch. 1–6, Oct 12)
• Weeks 7–11: Experimental designs, threats to internal validity, developmental & longitudinal research, data analysis I & II, writing up results — Exam II (Ch. 7–13, Nov 16)
• Weeks 12–13: Data analysis workshop, team presentations — Final project due Dec 5

An examination of post-war Japanese cinema as a lens into Japanese culture, covering family, gender, sexuality, technology, religion, capitalism, and modernity. Each week pairs a film with academic readings to generate critical reflection and discussion. All readings are provided free through Moodle (Zero Textbook Cost).

• A. Postwar Cinema & WWII Legacy (Wks 1–5): Rashomon (war & memory); Late Spring (tradition & modernity); Godzilla (atomic age anxieties); The Emperor's Naked Army Marches On (war ethics)
• B. New Wave & Subcultures (Wks 6–8): Crazed Fruit (Sun Tribe & youth culture); Funeral Parade of Roses (LGBTQ & avant-garde); Tetsuo, the Iron Man (cyberpunk)
• C. Post-1980 Cinema & Culture (Wks 9–13): Tampopo (consumption & class); Perfect Blue (fan culture & media); Sweet Bean (work & stigma); Shoplifters (family & precarity); Departures (life, death & ritual)

An introduction to modern standard Japanese for students with little or no prior knowledge of the language. The course covers the two syllabaries (hiragana and katakana) and approximately 50 kanji, alongside basic grammar, vocabulary, and conversational skills appropriate to the Japanese cultural context, with an emphasis on all four skills: speaking, listening, reading, and writing.

• Classes 1–3 (Jan, Lesson 1): Greetings, self-introduction, hiragana (all lines), numbers, time, particle は/の, noun sentences
• Classes 4–6 (Jan–Feb, Lessons 2–3): Katakana (all lines), prices, こ/そ/あ/ど, particles も/ね/よ, verb conjugation, particles で/へ/に, time references — Oral Exam 1
• Classes 7–8 (Feb–Mar, Lesson 3): Word order, frequency adverbs, L3 kanji — Midterm Exam (Lessons 1–3)
• Classes 9–12 (Mar–Apr, Lessons 4–6): あります/います, past tense, adjectives (present & past), likes & dislikes, counters, past trips — Oral Exam 2; Final Exam (Apr 17)

An in-depth examination of memory as a central area of cognitive psychology. The course traces memory theory from early associative models and forgetting research through to modern structural and processing frameworks, working memory, dual-process models, false memory, and episodic remembering. Students also examine memory impairment and age-related changes across the lifespan. No textbook — all material drawn from lectures and occasional assigned readings.

• Jan 11–Feb 1: History of memory, associative models, learning & forgetting, multi-store model, attention — Exam 1 (Feb 1)
• Feb 8–Mar 15: Deconstructing the multi-store model, levels of processing, encoding specificity, working memory, dual-process models, misattribution, false memory — Exam 2 (Mar 15)
• Mar 22–Apr 19: Separate memory systems, categorisation & prototypes, episodic remembering — Papers due Apr 5; Final Exam (Apr 19)

An advanced examination of how normal and abnormal behaviour in humans and animals can be understood through the structure and function of the brain and nervous system. Topics include learning, memory, psychopathology, and recovery from brain damage, approached through both textbook readings (Kandel et al., Principles of Neural Science) and audio-embedded lecture slides.

• Jan 2–30: Brain and behaviour, nerve cells & circuitry, ion channels, membrane potential, action potential — Midterm 1 (Jan 30, Ch. 1, 2, 5–7)
• Feb 6–Mar 13: Synaptic transmission, neuromuscular junction, signal integration, modulation & second messengers — Midterm 2 (Mar 13, Ch. 8–11)
• Mar 20–Apr 3: Student seminar presentations on self-selected neuroscience topics — Paper due Mar 31

Cultural anthropology as the study of humanity in all its diversity — exploring the diversity of human thought and behaviour in cross-cultural perspective. Topics include culture, language, family, gender and ethnicity, economics, politics, colonialism, and globalization. Students are introduced to ethnographic research methods and practice evaluating knowledge critically, examining the tension between the unique qualities of people and places and the universal experience of being human. The course culminates in a self-designed mini-ethnography conducted either as participant observation or an in-depth interview.

• Session 1 (May 8–14): Introduction to Anthropology — Brown et al., Ch. 1
• Session 2 (May 15–21): The Culture Concept — Ch. 2; Culture Shock lesson
• Session 3 (May 22–28): Methods in Anthropology — Ch. 3; Principles of Professional Responsibility
• Session 4 (May 29–Jun 4): Language and Communication — Ch. 4; "Face Tattoos" film  ·  Quiz 1 (Ch. 1–3)
• Session 5 (Jun 5–11): Subsistence — Ch. 5  ·  Research Plan due Jun 11
• Session 6 (Jun 12–18): Economics — Ch. 6; "Real Value" film  ·  Peer Review due Jun 18
• Session 7 (Jun 19–25): Politics I — Ch. 7  ·  Quiz 2 (Ch. 4–6)
• Session 8 (Jun 26–Jul 2): Politics II — "Searching for Winnetou" film
• Session 9 (Jul 3–9): Family and Marriage — Ch. 8; "Marriage in Mauritania" film  ·  Fieldnotes due Jul 9
• Session 10 (Jul 10–16): Race and Ethnicity — Ch. 9; "Race Card" podcast  ·  Quiz 3 (Ch. 7–8)
• Session 11 (Jul 17–23): Gender and Sexuality — Ch. 10; "The Sambia of Papua New Guinea"
• Session 12 (Jul 24–30): Religion — Ch. 11; "The Notion of Witchcraft"
• Session 13 (Jul 31–Aug 6): Applied Anthropology & the Future — Ch. 12  ·  Ethnographic Project due Jul 30
• Session 14 (TBD): Final Exam — open-book, online asynchronous (Aug 9–17)

A neuropsychopharmacology course examining how drugs affect the brain and how those changes produce shifts in cognition, motivation, and behaviour. Structured as a seminar course: the first half is instructor-led, covering psychopharmacology fundamentals and addiction neuroscience; the second half is student-led, with small groups delivering 60–90 minute seminar lectures on specific drug categories including psychostimulants, caffeine, nicotine, alcohol, opioids, cannabinoids, and psychedelics.

• Weeks 1–6 (May 8–Jun 18): Psychopharmacology basics, neural communication, caffeine lab, properties of drugs, addiction & reward — Exam 1 (Jun 20–21)
• Weeks 8–13 (Jun 26–Aug 6): Student seminars — psychostimulants, caffeine & nicotine, alcohol, opioids, cannabinoids, psychedelics
• Exam period: Exam 2 (Aug 15–16, mildly cumulative)

A study of brain dysfunction and recovery — examining what happens when the brain is damaged through injury, disease, or atypical development, and the extent to which it can repair or compensate. Structured as a seminar course: the first half is instructor-led, covering neuroanatomy, neuroimaging, clinical assessment, causes of brain dysfunction, recovery, and epilepsy; the second half is student-led, with groups delivering 60–90 minute seminar lectures on specific neuropsychological conditions.

• Weeks 1–6 (May 8–Jun 18): Neuroanatomy, neuroimaging, neurological exam & assessment, causes of brain dysfunction, recovery, epilepsy — Exam 1 (Jun 20–21)
• Weeks 8–13 (Jun 26–Aug 6): Six student seminar lectures on selected brain dysfunction topics (e.g. traumatic brain injury, stroke, dementia, developmental disorders)
• Exam period: Exam 2 (Aug 15–16, mildly cumulative)

An examination of psychological processes from mid-life onward, exploring how aging affects sensation and perception, the sense of self, social relationships, and attitudes toward work. Topics include ageism, mental health, dementia, dying and bereavement, and healthy aging strategies. Delivered fully online with weekly MindTap readings, two online labs, and three exams.

• May 7–Jun 18: Studying adult development, neuroscience of aging, physical changes, longevity & health, person-environment interactions, attention & memory, social cognition — Online Lab (May 28); Exam 1 (Jun 20, Ch. 1–6)
• Jun 25–Jul 2: Dementia lab; clinical assessment, mental health & disorders; work, leisure & retirement — Online quiz (Jul 4)
• Jul 9–Jul 31: Dying & bereavement, healthy aging — Exam 2 (Jul 25, cumulative); Exam 3 (Jul 31, retirement chapter)

An overview of modern astronomy focused on the Solar System — covering the appearance of the sky, planets, moons, asteroids, and comets, as well as the tools and techniques astronomers use to study them. The course grounds astronomical observations in physical principles including orbital mechanics, radiation and spectra, and the origin of the Solar System. Textbook (Fraknoi et al., Astronomy) available free via OpenStax.

• Sessions 1–6 (Sep–Oct): Scale of the universe, early observations, celestial sphere, retrograde motion, earthly cycles (seasons, lunar phases, eclipses), radiation & spectra, telescopes
• Sessions 7–9 (Oct): Origin of the Solar System, the Sun & Earth — Midterm (Nov 7)
• Sessions 10–12 (Nov): Moon & Mercury, Venus & Mars, Jovian planets, their moons & rings — Gnomon Report due Nov 25
• Session 13 (Dec): Review

An introduction to the field of psychopathology — covering the history of mental disorders, diagnostic frameworks (DSM-5), and a survey of major psychological conditions. The course draws heavily on lecture material beyond the textbook, with an emphasis on discussion. A case study assessment project requires students to apply DSM diagnostic knowledge to a real-world scenario.

• Sep 6–13: Introduction, history of mental disorders, causal factors & viewpoints — Test 1 (Sep 20, 20%)
• Sep 27–Oct 18: Mood disorders, mental health lab week, anxiety disorders, dissociative & somatoform disorders — Test 2 (Oct 25, 20%)
• Nov 1–15: Personality disorders, eating disorders, group work — Test 3 (Nov 15, 20%)
• Nov 22–Dec 6: Sexual & gender identity disorders, schizophrenia — Assessment project due & Final test (Dec 6, 10%)

An applied course at the intersection of psychology, technology, and design. Cognitive ergonomics examines how perception, attention, memory, emotion, decision-making, and sensorimotor responses affect how users interact with systems and environments. The course uses real-world accidents and usability studies to explore how better design improves human performance, enjoyment, and safety. No textbook — all materials provided free online.

• Modules 1–4 (Sep 11–Oct 16): Intro to cognitive ergonomics, mental models & mapping, displays & controls, accident analysis & aviation safety — Exam 1 (Oct 23, Modules 1–4)
• Modules 5–6 (Oct 30): Signal detection theory, attention & distracted driving
• Nov 6–27: Student accident analysis presentations (groups of 3)
• Dec 4: Website usability project or video screencast tutorial due

An introduction to the major theoretical frameworks underlying counselling psychology, examined through lecture videos, case demonstrations, and readings. The course covers psychodynamic, behavioural, cognitive, humanistic, emotion-focused, existential, and narrative therapies, with attention to their historical foundations, key concepts, and clinical application. Assessment centres on a Learning Journey Portfolio in which students analyse and apply each theoretical perspective to a client issue.

• Weeks 1–2 (Jan 1–14): Overview, the helping professions, what makes a good theory, foundations of Freudian thought — Quiz 1: History & Foundations (Jan 21)
• Weeks 3–4 (Jan 15–28): Freudian psychoanalysis (with video session), Adlerian individual psychology — Quiz 2: Freud & Adler (Feb 4)
• Weeks 5–6 (Jan 29–Feb 11): Behaviourism, CBT, REBT — Quiz 3: Behaviourism & CBT (Feb 18); Unit A due Feb 9
• Weeks 7 & 9 (Feb 12–Mar 3): Carl Rogers & humanistic therapy, Gestalt & Emotion-Focused Therapy (EFT), AEDP — Quiz 4: Humanistic & EFT (Mar 10)
• Weeks 10–11 (Mar 4–17): Existential approaches (Yalom), narrative therapy as social justice — Units B&D or C&D due Mar 24
• Weeks 13–14 (Mar 25–Apr 7): Jerome Frank & persuasion in healing, graduate school & working as a counsellor — Final Statement due Mar 31; Quiz 5: Existential & Narrative (Apr 7)

An introduction to the theoretical frameworks underlying career counselling and career education, with a focus on practical application. Students engage with major career development theories — from Holland's person-environment fit model to narrative and happenstance approaches — through hands-on in-class activities including Holland's SDS, values card sorts, life-span assessments, and cultural value analyses. Students apply theory to their own career development through reflection paragraphs and a final paper or group video project.

• Jan 15–Feb 12: Introduction to career development, Holland's theory of vocational choice (SDS), values-based theory, Super's developmental theory, life design & narrative theories — Quiz 1 (Feb 15–25)
• Feb 26–Mar 11: Planned happenstance theory, sociocultural & economic factors (Psychology of Working Theory), cultural considerations in career counselling
• Mar 18–25: Career counselling practice, career education curriculum (K–12), Gottfredson's theory — Quiz 2 (Mar 28–Apr 7)
• Apr 8: Final assignment due (individual paper or group video)

An introduction to diversity and cultural competence in the helping professions. Students examine the situated nature of identity, the relationship between cultural assumptions and the counselling process, and Western versus non-Western conceptions of psychological health. Topics include privilege and marginalization, intersectionality, microaggressions, social justice, and culturally responsive practice. Students develop critical self-awareness of their own assumptions through a self-awareness paper and group case study presentations.

• Weeks 1–4 (Jan 8–29): Introduction, problems in psychology & counselling (WEIRD bias), multicultural competencies & social justice, counsellor self-awareness & values
• Weeks 5–6 (Feb 5–12): Social justice impacts, intersectionality — Self-Awareness Paper due Feb 12
• Weeks 8–9 (Feb 26–Mar 4): Professional identity, decolonizing practice, relational practices & case conceptualization
• Weeks 10–12 (Mar 11–25): Race & ethnicity, racial trauma, BIPOC mental health (guest speaker), gender & sexuality, disability, age, class & poverty
• Week 14 (Apr 3): Indigenous historical trauma & intergenerational trauma — Colonization assignment due

A survey of Hollywood cinema from the silent era to the present, examining film as a narrative art form within its social, historical, and cultural contexts. The course traces the emergence of motion picture technology, the transition to sound, the rise and fall of the studio system, the American Renaissance of the 1960s–70s, representations of race, gender, and class, and Hollywood's place in contemporary screen culture. Textbook: Jon Lewis, American Film: A History (2nd ed., Norton, 2019).

• Weeks 1–4 (Jan 10–31): Early cinema (1893–1914), the silent era (1915–28), the talkies transition (1928–38), Hollywood in transition (1939–45) — films include The Great Train Robbery, Birth of a Nation, Little Caesar, Citizen Kane, Casablanca
• Weeks 5–6 (Feb 7–14): Postwar America (1945–55), moving toward New Hollywood (1955–67) — Essay 1 due Feb 7; films include The Big Sleep, The Searchers, Vertigo
• Week 8 (Feb 28): Bonnie and Clyde, The Graduate — Midterm Exam
• Weeks 9–12 (Mar 6–27): Hollywood Renaissance (1968–80) and New Hollywood (1981–99) — films include Easy Rider, The Godfather, Taxi Driver, Pulp Fiction — Term Paper due Mar 27
• Weeks 13–14 (Apr 3–10): Movies for the new millennium (1999–2017); review — Final Exam Apr 17

A seminar-format exploration of advanced and underrepresented topics in psychopathology, building on PSYC 2350. The first half is instructor-led — covering a review of foundational psychopathology, a diagnostic group exercise, and psychopharmacology — followed by student-led group presentations on specific disorders and topics. Participation and attendance are weighted heavily at 20% of the final grade, reflecting the course's experiential design.

• Jan 10–31: Course intro, review of PSYC 2350 — Test 1 (Jan 31, 20%)
• Feb 7–28: Diagnostic group exercise (10%), psychopharmacology — Test 2 (Feb 28, 15%)
• Mar 6–Apr 3: Student seminar presentations — Transgender, OCD, Schizophrenia, Bipolar disorder, Borderline Personality Disorder (25%)
• Apr 10: Test 3 (10%)

A practical, experiential course in foundational counselling skills. Students develop active listening, attending, paraphrasing, empathy, questioning, challenging, confrontation, self-disclosure, and termination skills through weekly in-class practice and out-of-class peer counselling dyads. Each student completes a minimum of 9 sessions as a student-counsellor and 9 as a student-client, submitting three progressively longer video-recorded sessions with written self-evaluations and transcripts.

• Weeks 1–4 (May 7–28): Attending, paraphrase, active listening, clarifying, summarising, questions, reflecting feeling & basic empathy — Quiz 1 (May 25–26, Ch. 1–4); A1 video due Jun 4
• Weeks 6–9 (Jun 11–Jul 2): Core conditions, silence, self-awareness, probes & challenging, empowerment & change, self-disclosure, confrontation — A2 video due Jul 2
• Weeks 10–12 (Jul 9–23): Information giving & rolling with resistance, ethics in helping relationships, mental health & cultural diversity, endings — Quiz 2 (Jul 21–22, Ch. 5–9); A3 video due Jul 30

A thematically focused introduction to literature organized around the question of selfhood — Who am I? Where do I come from? Who made me? What can I become? A diverse range of narratives and genres are placed in critical conversation to analyze how literature represents the self as both stable and dynamic. The course's primary goal is to develop skills as readers, writers, and critical thinkers, with attention to both the historical moment of each text and its relevance to contemporary issues.

• Ernest Hemingway, In Our Time
• Margaret Laurence, A Bird in the House
• Mohsin Hamid, The Reluctant Fundamentalist
• Shakespeare, Hamlet

• May 8: Introduction and expectations
• May 15 & 22: Hemingway, In Our Time — "Indian Camp," "The End of Something," "Soldier's Home," "Big Two-Hearted River"  ·  Passage Analysis due May 22
• May 29 & Jun 5: Laurence, A Bird in the House — "The Mask of the Bear," "The Loons," "Horses of the Night," "Jericho's Brick Battlements"  ·  Essay #1 due Jun 12
• Jun 12 & 19: Hamid, The Reluctant Fundamentalist  ·  In-Class Essay Jun 26
• Jul 3, 10 & 24: Shakespeare, Hamlet  ·  Peer editing workshop Jul 17  ·  Essay #2 due Jul 24
• Jul 31: Last class — Passage Identification Quiz

• Week 1 (May 8): Introducing the genres — Cox, Fearsome Creatures of the Lumberwoods [selections]
• Week 2 (May 15): First Contact: Formative Sci-Fi — H. G. Wells, The War of the Worlds  ·  Quiz #1
• Week 3 (May 22): High Fantasy: An Origin Story — Tolkien, "Mythopoeia" & "The Tale of Aragorn and Arwen"
• Week 4 (May 29): "Pulp" Fiction & the Golden Age of Sci-Fi — Harris, Simak, Bradbury (The Martian Chronicles)  ·  Quiz #2
• Week 5 (Jun 5): POV & the Other in Science Fantasy — Le Guin, "Semley's Necklace"; Martin, "Dark, Dark, Were the Tunnels"  ·  Worldbuilding Entries #1 & #2 due
• Week 6 (Jun 12): In-Class Midterm Essay
• Week 7 (Jun 19): "New Wave" Sci-Fi — Russ, "When It Changed"; Delany, "Aye, and Gomorrah"  ·  Quiz #3
• Week 8 (Jun 26): Sci-Fi & Power Relations — Butler, "Bloodchild"  ·  Worldbuilding Entries #3 & #4 due
• Week 9 (Jul 3): Sci-Fi & Environment — Bacigalupi, "The People of Sand and Slag"  ·  Quiz #4
• Week 10 (Jul 10): Aliens & Migration — Children of Men (dir. Cuarón) [in-class screening]
• Week 11 (Jul 17): Indigenous Speculations — jaye simpson, "The Ark of the Turtle's Back"; Storm & Charles, "Future World"  ·  Quiz #5
• Week 12 (Jul 24): Updating Fantasy — Le Guin, "The Ones Who Walk Away from Omelas"; Jemisin, "The Ones Who Stay and Fight"
• Week 13 (Jul 31): First Contact: Revisited — Ted Chiang, "Story of Your Life"  ·  Quiz #6 & Take-Home Essay #2 due
• Final Exam (Aug 14, 12:00–3:00pm): Fir 328

Themed around American Postmodernism and the Question of Political Engagement, this course interrogates the common critique that postmodernism is apolitical and amoral. Reading postmodern literature from the 1950s to the 1990s alongside the critical theory that defines the movement, students examine the political dimensions of works by Paul Auster, Octavia Butler, Ursula K. Le Guin, Toni Morrison, Thomas Pynchon, Ishmael Reed, Kurt Vonnegut, and others. At its core, the course is an intensive practicum in literary analysis and critical thinking — treating analytical reading as an essential life skill rather than a purely academic exercise.

• Paul Auster, The New York Trilogy
• Thomas Pynchon, The Crying of Lot 49
• Kurt Vonnegut, Slaughterhouse-Five
• Dr. Steven Weber (ed.), ENGL 3309: An Anthology

• Week 1 (May 7): Introduction
• Week 2 (May 14): Thompson and Morrison
• Week 3 (May 21): Butler and Dick
• Week 4 (May 28): Vonnegut, 1st half
• Week 5 (Jun 4): Vonnegut, 2nd half
• Week 6 (Jun 11): Midterm Exam 1
• Week 7 (Jun 18): Pynchon, 1st half
• Week 8 (Jun 25): Pynchon, 2nd half
• Week 9 (Jul 2): Heller and Spiegelman  ·  Essay 1 due Jul 6
• Week 10 (Jul 9): Reed, Silko, and Anzaldúa
• Week 11 (Jul 16): Midterm Exam 2
• Week 12 (Jul 23): Auster, 1st half
• Week 13 (Jul 30): Auster, 2nd half  ·  Essay 2 due Aug 7  ·  Final Exam Aug 13

A community-based field placement in which students work part-time in a psychology-related workplace for a minimum of 180 hours under the dual supervision of an employer representative and the faculty practicum instructor. Students integrate knowledge and skills from the psychology degree curriculum into their practical field experience, set personal learning goals, write monthly reflective reports, and conclude with a digital poster and an in-person oral presentation to faculty, peers, and invited guests.

• May (online via BBB): Introductory seminar — expectations, assignments, reflective process, peer support, Q & A
• June (online via BBB): Practicum issues, peer support, posters & presentations, career development, Q & A
• July (online via BBB): Practicum issues, peer support, presentation preparations, Q & A
• July 31st — Presentation Day (Cedar Conference Centre 1205A, 10am–6pm): In-person oral presentations; faculty, future practicum students, and guests invited

• Secure an appropriate practicum placement in a psychology-related setting
• Complete a minimum of 180 hours of contribution to the host organization
• Apply and integrate degree-level psychology knowledge and skills in a real-world context
• Set learning goals and maintain regular written reflection on work experiences
• Report on workplace learning, curriculum links, and future career development (oral & written)
• Demonstrate professional, ethical, and collegial conduct throughout the placement

A highly experiential course surveying a range of helping services and their philosophical underpinnings. Students examine their own expectations, assumptions, and developmental issues in becoming a helping professional through journaling, reflection, discussion, writing, and oral presentation. Topics include models of reflective practice, self-supervision, professional ethics, transference and countertransference, challenging clients, boundaries, over-functioning, vicarious trauma, compassion fatigue, and self-care. The course uses Schön, Gibbs, Johns, Rolfe/Driscoll, Kolb, and Honey & Mumford models of reflection as key frameworks.

• Week 1 (Sep 6): Introductions, course overview, confidentiality, introduction to reflective practice & staying "wide-awake"
• Week 2 (Sep 13): What is reflective practice? Personal ethic of helping; Schön Model of Reflection; group formation
• Week 3 (Sep 20): No class
• Week 4 (Sep 27): Why reflective practice? Gibbs Model; professional ethics & guidelines  ·  Special Topics Presentations due
• Week 5 (Oct 4): Assumptions & bias; Johns Model; non-judgemental stance; Action Learning Project intro  ·  Special Topics Presentations due
• Week 6 (Oct 11): Metacognition & self-awareness; Honey & Mumford Learning Styles; frame of reference  ·  Special Topics Presentations due
• Week 7 (Oct 18): Transference & countertransference; managing change; past experiences reflection  ·  Professional Ethics Assignment due
• Week 8 (Oct 25): Models review — Schön, Gibbs, Johns, Rolfe/Driscoll, Kolb; application
• Week 9 (Nov 1): Critical reflection; reflecting on critical incidents; appreciative inquiry  ·  Reflective Practice at Work due
• Week 10 (Nov 8): Self-care & resilience; vicarious trauma, compassion fatigue & burnout  ·  Reflective Practice at Work due
• Week 11 (Nov 15): Giving feedback; Action Learning Project prep  ·  Interview/Presentation due
• Week 12 (Nov 22): Action Learning Project presentations  ·  Interview/Presentation & Feedback due
• Week 13 (Nov 29): Action Learning Project presentations; course reflection  ·  Personal Reflection Assignment due

A study of humorous and ironic works of U.S. literature that comment on politics — tracing a lineage of political irony from nineteenth-century anti-slavery literature to modern meme culture. The course explores whether sincere speech is always the best means of political influence, whether humour and irony can be serious or sincere, and whether comic strategies breed cynical apathy or encourage action. Primary texts include works by Douglass, Brown, Melville, Twain, Parker, Hughes, Loos, and David Foster Wallace, alongside films by Howard Hawks and John Waters.

• Session 1 (Sep 3): Course overview — Humour, Irony, and Politics
• Session 2 (Sep 10): American Hypocrisy: Founding Ironies — Oskison, "Tookh Steh's Mistake"; Declaration of Independence; Douglass, "What to the Slave is the Fourth of July?"
• Session 3 (Sep 17): Anti-Slavery: Irony and Sentimentalism — Brown, Clotel; selections from Stowe and Childs  ·  In-Class Close Reading
• Session 4 (Sep 24): Honest Liars: American Tricksters — Brown, Clotel; P.T. Barnum; Twain, "The Celebrated Jumping Frog" & "The Decay of the Art of Lying"
• Session 5 (Oct 1): The Ironies of Race — Brown, Clotel
• Session 6 (Oct 8): Seeing Through Ideology — Melville, Benito Cereno  ·  In-Class Essay on Clotel
• Session 7 (Oct 15): Irony Overload: The Threat of Cynicism — Hawthorne, "Young Goodman Brown"; Bierce, The Devil's Dictionary; Twain, "The Man that Corrupted Hadleyburg"
• Session 8 (Oct 22): Who's Allowed to Laugh? — Parker, "Arrangement in Black and White"; Hughes, "Come to the Waldorf Astoria"; Chappelle clips  ·  Symposium Pre-Reflection due
• Session 9 (Oct 29): Funny Feminism: Satirizing Patriarchy — Parker, "Mr. Durant"; Loos, Gentlemen Prefer Blondes; Hawks, Gentlemen Prefer Blondes (1953)  ·  Contemporary Cultural Analysis due
• Session 10 (Nov 5): The Politics of Postmodernism — Coover, The Cat in the Hat Runs for President  ·  Symposium Week 1
• Session 11 (Nov 12): Defamiliarizing Family: Queer Irony and Camp — Waters, Serial Mom (1994)  ·  Symposium Week 2  ·  Term Paper Proposal due
• Session 12 (Nov 19): Sketchy Politics: TV and Topical Humour — Wallace, "E Unibus Pluram"; sketch comedy clips  ·  Symposium Week 3
• Session 13 (Nov 26): Online Humour: The Politics of Memes — Samanani et al., "Animating Irony"  ·  Symposium Week 4
• Term Paper due Dec 2 (with feedback) or Dec 6 (no feedback)  ·  Final Exam Dec 10

A dive into the mid-to-late nineteenth century and the unsettled underworld of British Gothic fiction — haunted by vampires, monsters, evil scientists, madwomen, and dangerously sexual women. The course examines how late-Victorian Gothic fiction embodies the fears of a society poised between the end of an era and a new century, interrogating sexuality, domestic ideology, and the Woman Question; Britain's imperialist project and its race and class conflicts; and the intersection of criminality, mental illness, and emerging psychology. Gothic tropes — the monstrous Other, the haunted home as prison, the living dead, the skeleton in the closet — are read through Freud's concepts of the uncanny and the return of the repressed, alongside psychoanalytic, feminist, and postcolonial critical frameworks.

• R. L. Stevenson, The Strange Case of Dr. Jekyll and Mr. Hyde
• Charlotte Brontë, Jane Eyre
• Sheridan Le Fanu, "Carmilla"
• Bram Stoker, Dracula
• Margaret Oliphant, "The Library Window"
• Richard Marsh, The Beetle (if time permits)

• Week 1 (Sep 3): Introductions; Introduction to the Gothic
• Weeks 2–3 (Sep 9–22): Monstrous Science: Darwin, Degeneration & Uncanny Doppelgängers — Stevenson, Jekyll and Hyde  ·  Academic Integrity Tutorial due Sep 15  ·  In-class passage analysis Sep 19
• Weeks 4–5 (Sep 23–Oct 6): The Female Gothic & the Terrors of Domesticity — Brontë, Jane Eyre
• Weeks 6–7 (Oct 7–20): Gothic Frame Narrative & Female Vampires — Le Fanu, "Carmilla"  ·  Midterm peer review & Midterm project due Oct 17
• Weeks 8–9 (Oct 21–Nov 3): The New Woman, Female Sexuality & Reverse Colonization — Stoker, Dracula
• Weeks 10–11 (Nov 4–17): Ghosts and the Dangers of Domesticity — Oliphant, "The Library Window"  ·  Research Essay Proposal & Annotated Bibliography due Nov 14
• Weeks 12–13 (Nov 18–Dec 1): Marsh, The Beetle (if time allows); catch up & exam prep  ·  Final project peer review
• Week 14 (Dec 2–8): Final Research Project due Thu Dec 5 at 1pm
• Week 15 — Final Exam (Dec 12, 12:00–3:00pm): Fir 328

A study of the hero figure in graphic novels of the late 20th and early 21st centuries, examining variations including the memoirist confronting personal and collective trauma, the autobiographical self as heroic subject, the anti-hero in historical fiction, and the conflation of remembered and fantasized selves. The course develops a skill set for reading graphic novels as formal, historical, and cultural objects — attending to the interpretive challenges particular to the medium and its increasingly sophisticated representations of history, subjectivity, and memory.

• Art Spiegelman, Maus I and II
• Alison Bechdel, The Secret to Superhuman Strength
• Alan Moore & Eddie Campbell, From Hell
• Chris Ware, Rusty Brown

• Week 1 (Sep 5): Introduction and expectations
• Week 2 (Sep 12): Why Comics? — Maus
• Week 3 (Sep 19): Why The Holocaust? — Maus  ·  Response paper on Maus due (optional)
• Week 4 (Sep 26): Why Mice? — Maus
• Week 5 (Oct 3): Class cancelled — watch "The Art of Spiegelman" documentary; begin The Secret to Superhuman Strength
• Week 6 (Oct 10): Bechdel: Mind and Body — The Secret to Superhuman Strength
• Week 7 (Oct 17): "This is it." — The Secret to Superhuman Strength  ·  Response paper due (optional)
• Week 8 (Oct 24): Fact v Fiction — From Hell  ·  Annotation Assignment due (date 1 of 2)
• Week 9 (Oct 31): History as Heroic Subject — From Hell  ·  Term Paper Proposal & Annotated Bibliography due
• Week 10 (Nov 7): Radial Reading — From Hell & begin Rusty Brown  ·  Response paper on From Hell due (optional)
• Week 11 (Nov 14): Snowflakes and Stopping Time — Rusty Brown  ·  Annotation Assignment due (date 2 of 2)
• Week 12 (Nov 21): "I am." The Life and Death of Jordan Lint — Rusty Brown  ·  Response paper on Rusty Brown due (optional)
• Week 13 (Nov 28): "…but so is life." — Rusty Brown  ·  Term Paper due & Final Quiz

A study of film noir as a cycle of Hollywood films (1941–1958) exploring the dark underside of the American Dream — wealth, success, and the promise of happiness — through jarring narrative and visual techniques. The course examines class, gender, sexuality, and psychology via liminal characters living double lives, then extends outward to neo-noir films of the 1970s–1990s to consider how later filmmakers both use and challenge classic noir themes and technique. Primary text: Raymond Chandler's The Big Sleep.

• Classic Noir: Double Indemnity (1944), Mildred Pierce (1945), Scarlet Street (1945), The Big Sleep (1946), Born to Kill (1947), The Third Man (1949), The Asphalt Jungle (1950), Sunset Boulevard (1950), Kiss Me Deadly (1955)
• Neo-Noir: Point Blank (1967), Shaft (1971), Klute (1971), Chinatown (1974), Taxi Driver (1976), Apocalypse Now (1979), Strange Days (1995), The Usual Suspects (1995), Fargo (1996), Bound (1996), Dark City (1998), Fight Club (1999)

• Week 1 (Sep 3): Introduction; analyzing visual & narrative elements — Double Indemnity, Scarlet Street
• Week 2 (Sep 10): What is Film Noir? — Mildred Pierce, Scarlet Street, Sunset Boulevard  ·  Self-Reflection #1 due Sep 9
• Week 3 (Sep 17): Noir & Hard-Boiled Fiction — Chandler's The Big Sleep; The Big Sleep (1946 & 1978)
• Week 4 (Sep 24): Noir & Hard-Boiled Fiction cont.
• Week 5 (Oct 1): Psychopaths — Born to Kill, The Third Man  ·  Take-Home Midterm due Oct 5
• Week 6 (Oct 8): The Criminal Underworld — The Asphalt Jungle, Somewhere in the Night
• Week 7 (Oct 15): Late Noir & Neo-Noir — Kiss Me Deadly, Point Blank  ·  Revised Midterm due Oct 19
• Week 8 (Oct 22): Civil Rights & Women's Rights — Shaft, Klute
• Week 9 (Oct 29): Protests & Paranoia: Watergate & Vietnam — Chinatown, Taxi Driver, Apocalypse Now
• Week 10 (Nov 5): Reversing Gender Roles — Bound, Fargo, Strange Days  ·  Essay Proposal due Nov 7
• Week 11 (Nov 12): Anxious Masculinity — Fight Club, The Usual Suspects, Dark City  ·  Comparative Essay due Nov 17
• Week 12 (Nov 19): Film Noir Parodies
• Week 13 (Nov 26): Last class — discuss Comparative Research Essay  ·  Self-Reflection #2 due Dec 3  ·  Optional Revised Essay due Dec 10

An exploration of the relationship between the modern city and the fictional form. Drawing on theories of narrative and urban space, the course considers representations of cities across a range of fictional texts and genres — examining how the city informs the text and how the text imagines and constructs the city. Topics include narrative representations of nature vs. urban space, the city as character, racial and gendered divisions within the city, and the city as metaphor and state of mind.

• E.M. Forster, Howards End
• Michael Ondaatje, In the Skin of a Lion
• Michelle Good, Five Little Indians
• Short stories posted on Moodle (Goto, Jemisin, Chekhov, Oates, King, Calvino, Le Guin, and others)

• Jan 6–12: Introduction; diagnostic exercise (in class)
• Jan 13–19: Introduction to Fiction & the City; Speculative Fiction — Goto, "Notes from Liminal Spaces"; Jemisin, "The City Born Great"
• Jan 20–26: Realism — Chekhov & Oates, "The Lady With the Pet Dog"
• Jan 27–Feb 2: Formula Fiction — Godwin, "A Secret Sorrow"
• Feb 3–9: Satire & the Canadian City — King, "A Short History of Indians in Canada"  ·  Essay #1 due Feb 5
• Feb 10–16: Magic Realism & Science Fiction — Calvino, Invisible Cities (excerpt); Le Guin, "The Ones Who Walk Away from Omelas"
• Feb 17–23: Reading Week — No class
• Feb 24–Mar 2: Modernity & the Novel — Forster, Howards End
• Mar 3–9: Midterm Test — Forster, Howards End
• Mar 10–16: The Postmodern Novel & the Canadian City — Ondaatje, In the Skin of a Lion
• Mar 17–23: Ondaatje, In the Skin of a Lion cont.
• Mar 24–30: Indigenous Fiction & Resurgence — Good, Five Little Indians  ·  Final Essay Proposal due Mar 26
• Mar 31–Apr 6: Good, Five Little Indians cont.
• Apr 7–11: Review  ·  Final Essay due Apr 9
• Final Exam (Apr 23, 12:00–3:00pm): Surrey Maple 2820

Critical Theory as a mode of enquiry that resonates in everyday life and works towards practical goals for societal transformation. Drawing on Horkheimer's conception of theory as seeking human emancipation and liberation, the course explores frameworks including Feminist Theory, Postcolonial Theory, Marxism, Foucauldian biopolitics, Queer Theory, Disability Studies, Critical Animal Studies, and Posthumanism — using them to reveal, critique, and challenge dominant ideologies and power structures in culture and society. Primary text: The Norton Anthology of Theory and Criticism, 3rd ed. (2018).

• Week 1 (Jan 7): Introduction; Representation & Realism — Plato, "Allegory of the Cave" & Book X  ·  Critical Response due Jan 13
• Week 2 (Jan 14): Marxism — Marx & Engels, "Bourgeois and Proletarians" & "The Working Day"
• Week 3 (Jan 21): Marxism, Ideology & Structuralism — Althusser, "Ideological State Apparatuses"
• Week 4 (Jan 28): Controlling the Body I — Foucault, "Panopticism" & "Biopower"
• Week 5 (Feb 4): Postcolonialism & Globalization — Said, "From Orientalism"  ·  Critical Analysis Essay due
• Week 6 (Feb 11): Controlling the Body II — Agamben, "Homo Sacer"; Kristeva, "Powers of Horror"
• Week 7 (Feb 18): Family Day — No class
• Week 8 (Feb 25): Postcolonialism, Race & Environmentalism — Fanon, "The Wretched of the Earth"; Nixon, "Slow Violence"
• Week 9 (Mar 4): Feminist Theory & Performativity — Butler, Gender Trouble  ·  Critical Reflection due
• Week 10 (Mar 11): Feminist, Queer & Horror Theory — Halberstam, "Bodies that Splatter: Queers and Chainsaws"
• Week 11 (Mar 18): Disability Studies — Davis, "Enforcing Normalcy"; Freud, "The Uncanny"
• Week 12 (Mar 25): Critical Animal Studies & Deconstructionism — Wolfe, "Old Orders for New"  ·  Peer Review Session
• Week 13 (Apr 1): Aesthetics, Globalization & Ecology — Morton, "The Ecological Thought"  ·  Research Project due
• Week 14 (Apr 8): Feminism, Deconstructionism & The 'Human' — Braidotti, "The Posthuman"  ·  Final Exam review
• Final Exam (Apr 22, 12:00–3:00pm)

Organized around the word "shadow" — which in early modern theatre could mean darkness, image, illusion, stage player, or ghost — this course pursues close, historically-informed readings of Shakespeare's plays with attention to the multivalence of actors' bodies and the nuances of performance. A focus on performance potentialities illuminates Shakespeare's experiments in dramaturgy, characterization, and the production of affect, while the darker aspects of his work — extreme violence, the threat of the marginalized, the savagery of political ambition — are examined to gain a fuller picture of his place in the development of early modern drama.

• Titus Andronicus (Arden, revised ed.)
• Twelfth Night (Arden)
• Henry IV, Part One (Broadview)
• Troilus and Cressida (Arden)
• Cymbeline (Arden)

• Week 1 (Jan 9): Introduction — Shakespeare and his Shadows
• Week 2 (Jan 16): Blood, Guts, Poetry — Titus Andronicus
• Week 3 (Jan 23): Re-membering Lavinia — Titus Andronicus  ·  Titus Trading Card due (optional)
• Week 4 (Jan 30): Veils and Disguises, Love and Mourning — Twelfth Night
• Week 5 (Feb 6): No More Cakes and Ale — Twelfth Night  ·  Passage Analysis due
• Week 6 (Feb 13): Taverns, Beer, Politics, Rebellion — Henry IV, Part One  ·  Twelfth Night Trading Card due (optional)
• Feb 20: Reading Break — No class
• Week 8 (Feb 27): Hal and the "shadow of succession" — Henry IV, Part One  ·  Henry IV Trading Card due (optional)
• Week 9 (Mar 6): Welcome to the Trojan War — Troilus and Cressida
• Week 10 (Mar 13): "This is and is not Cressid" — Troilus and Cressida  ·  Play in Performance Assignment due
• Week 11 (Mar 20): Peer Editing Exercise  ·  Troilus and Cressida Trading Card due (optional)
• Week 12 (Mar 27): Mapping the World — Cymbeline
• Week 13 (Apr 3): The Possibilities and Impossibilities of Shakespearean Romance — Cymbeline  ·  Cymbeline Trading Card due (optional)  ·  Research Paper due
• Week 14 (Apr 10): In-Class Passage Identification Quiz

An investigation of themes of alienation, rebellion, and exile across five films and their literary origins. The course examines competing aims of escape and return, defiance and compliance, in the relationship between film adaptations and their source texts — tracing how literary works are transformed, challenged, or illuminated when translated to the screen.

• Mary Shelley, Frankenstein (Broadview, 2012) → dir. James Whale (1931)
• Joseph Conrad, Heart of Darkness → Apocalypse Now, dir. Francis Ford Coppola (1979)
• Daniel Woodrell, Winter's Bone → dir. Debra Granik (2010)
• The Spirit of the Beehive, dir. Victor Erice (1973)
• Wings of Desire, dir. Wim Wenders (1987) — with Rilke, Handke, and Benjamin selections

• Jan 8: Introduction; Whale, Frankenstein
• Jan 15: Shelley, Frankenstein; Whale, Frankenstein cont.
• Jan 22: Erice, The Spirit of the Beehive  ·  Essay 1 instructions distributed
• Jan 29: Conrad, Heart of Darkness
• Feb 5: Coppola, Apocalypse Now  ·  Essay 1 due
• Feb 12: Apocalypse Now cont.
• Feb 19: No class — Reading Week
• Feb 26: Woodrell, Winter's Bone
• Mar 5: Granik, Winter's Bone  ·  Reading/Viewing Quiz  ·  Proposal & Research Summary due Mar 7 (late deadline Mar 12)
• Mar 12: Wenders, Wings of Desire
• Mar 19: Wings of Desire cont.; Rilke, Handke selections; Benjamin, "On the Concept of History" & "The Work of Art"
• Mar 26: TBA
• Apr 2: Review for Final Exam
• Apr 9: Research Paper due
• Final Exam (Apr 23, 8:30–11:30am): Fir 328

An exploration of the archival turn in American experimental writing from the latter half of the 20th century. Writers like Bernadette Mayer, Jack Spicer, Joe Brainard, and Claudia Rankine develop a poetics of record-keeping and documentary as a way of capturing the personal and political through writing. The course traces strategies like collage and intertextuality through primary texts, asking how archival and documentary practices shape our understanding of history, literary communities, and lived experience — and how writers might, in turn, shape the archives themselves.

• Bernadette Mayer, Midwinter Day
• Claudia Rankine, Citizen: An American Lyric
• Jack Spicer, Admonitions and After Lorca
• Joe Brainard, I Remember and The Gay Way
• Dodie Bellamy / Sam D'Allesandro, Real: The Letters of Mina Harker and Sam D'Allesandro
• Plus selections from literary magazines, chapbooks, and Pennsound audio archives

• Session 1 (Jan 9): Introduction: The Archive and Experimental Writing — Epstein, "The Raw and The Cooked"
• Session 2 (Jan 16): Theories of the Archive & Documentary Poetics — Manoff; Nowak, Coal Mountain Elementary
• Session 3 (Jan 23): Visit to the KPU Archives (Surrey Library, Room 2070, 11:00am)  ·  Archive Scavenger Hunt due Jan 29
• Session 4 (Jan 30): Circulation: The Poetry Reading & Close Listening — Bernstein; Sanchez; Pennsound  ·  Close Listening Assignment due Feb 5
• Session 5 (Feb 6): Circulation: Literary Magazines, Chapbooks & Small Press — Kane; Chain Issue 2; Jacket 2
• Session 6 (Feb 13): Jack Spicer Archive Case Study — Admonitions, After Lorca  ·  Midterm Paper due Feb 16
• Session 7 (Feb 20): Reading Week — No class
• Session 8 (Feb 27): Coterie Poetics & The New York School — O'Hara, Brainard, Schuyler
• Session 9 (Mar 6): New York School & the Poetics of Everyday Life — Brainard, I Remember; Weiner, Clairvoyant Journal
• Session 10 (Mar 13): Everyday Life cont. — Mayer, Midwinter Day; Eichorn, "Introduction," The Archival Turn in Feminism
• Session 11 (Mar 20): New Narrative & the Disappearing Archive — Bellamy/D'Allesandro; Shurin; ACT UP Oral History Project
• Session 12 (Mar 27): The Affective Archive — Rankine, Citizen: An American Lyric  ·  Paper Proposal & Annotated Bibliography due Mar 31
• Session 13 (Apr 3): Poets Theater: Performing the Archive — Killian & Brazil; Helen Adam  ·  Creative Project due Apr 6
• Session 14 (Apr 10): Final Paper Symposium  ·  Final Paper due Apr 17  ·  No final exam