Comp 2, Hybrid

Welcome to your Fall 2020 Composition 2 course with Robert Allen!

Throughout this course, we’ll work toward understanding and applying a select variety of literary theories—all built on one foundational concept of critical analysis: theories do not reside in the text; they reside outside the text as a set or various lenses through which a reader can construct a broader or deeper understand of a text’s meaning.

This course will include two optional on-campus class meetings, the first for the purpose of discussing the final paper and answering related questions—and the second for the purpose of correctly citing sources and formatting the final.

These meetings will occur during Week 8 (October 5-8) and Week 14 (November 16-19) at the scheduled time, day, and place of the writer’s selected class. In order to evenly split the class into two smaller halves, each individual student will receive a notice from me regarding which of the two possible days they should attend during each of those weeks.

Each week by 10 AM on Tuesday, after this paragraph, you will find new information, reminders, or links leading to short YouTube videos in which I discuss concepts that will generally help students improve their writing and specifically help students complete this course.

I will also facilitate live group discussions (through the chat function found in my website’s lower right corner) during the first 30 minutes of each section’s scheduled class period—an optional opportunity for all students who want to engage in another element of synchronous and immediate interaction beyond the on-campus class meetings.

Week Fourteen:

Hello Class!

I know you all have the meeting dates in the course syllabus, but I still want to give you all an extra reminder about our second set of on-campus class meetings this week. These meetings will follow the same system of times and places that we used for our first set of meetings. Please consider attending the meeting if you’d like an opportunity to discuss the development and/or revision of your extended analysis paper.

Hoping to see you all!

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Week Twelve:

Hello Class!

As planned and previously discussed during our first on-campus class meeting, I want to invite and encourage you all to share your rough drafts with me at this point in the semester. I can then more thoroughly understand your particular projects and offer you advice, specifically fit according to your compositions. With this purpose in mind, you might consider acting on this valuable opportunity to receive a preliminary response from me, weeks before I actually grade these extended analysis papers.

Hoping you’re all well!

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Week Eleven:

Hello Class! As each of you progress further along the development of the thesis statement and/or the rough draft for your extended analysis paper, you may find a sample paper useful. You’ll find my thesis, a light philosophical claim, in the most conventional spot: the end of the first paragraph. Notice how the rest of the paper, constructed through the consideration of one music video from three literary perspectives, relates the results of each analysis to support for the thesis statement.

Sample Composition 2 Finale:

To Get Me—or To Get Me Not: A Closer Look at the Paradox of Desire

A confluence of artistic factors often creates a more complex meaning than any one individual element of a literary text might suggest. The music video for Dinosaur Jr.’s song “Get Me,” from their 1993 album Where You Been, demonstrates this idea. The lyrical elements of the video, delivered with a type of deadpan despair, focuses on internal conflict and estrangement. The concurrent visual elements of the video, however, revolve around symbols of vision, communication, and knowledge. Through this pairing of visual and lyrical texts, Dinosaur Jr.’s “Get Me” works as an artistic whole to communicate a timeless paradox: people can willfully push away what they actually want most truly.

Mascis mournfully sings, “You’re not going to get me through this, are you?” This repeated lyric seems to assume the form of both a rhetorical question and a self-fulfilling prophecy. As with any rhetorical question, the asker has already formed an understanding of the answer—and the video’s visual elements suggest that the central character actively creates the reality upon which he predicates the projected answer to his own question. In the first verse/last verse, Mascis rather explicitly acknowledges this paradoxical matter of circular causation when he sings, “Is it me, or is it all you?”

The critic can better understand the text’s core paradox through a consideration of the peculiar way that the central character experiences an atypical formation of a panoptical system. In the 1700s, philosopher and architect Jeremy Bentham articulated the meaningful connections between visions, knowledge, and power—especially concerning how the assurance of surveillance gives the surveyor a power inside the surveyed subjects’ minds. Mascis’ text, however, twice subverts the expected direction and spatial orientation of Bentham’s original understanding of panoptical power: the character subjected to surveillance appears in a central location, surrounded by observation points, rather than on the edge of a centralized source of vision and power, and then the would-be subject of surveillance resists and reclaims a certain measure of panoptical power by hiding from view, turning the observed into the observer, and avoiding whatever direction his observers might wish to apply. While in the house, surrounded by fields of vision, the central character—in two senses of the phrase—hides from sight and communication. He even takes the phone off the hook and smashes the television. To resist the influence of the unconventional panopticon in which the central character finds himself, he leverages his own power by obstructing his surveyor’s view, a view he desperately wants—but a view he seems to suspect will ultimately not “get him through this.” The central character appears to recognize the futility when facing and fighting the deepest causal foundation for his sadness.

Analyzing the Lacanian reality of the above situation further supports an understanding of the video as a concerted expression of paradox by allowing the reader a possible rationale behind the central character’s self-defeating behaviors. Lacan’s theories of psychoanalysis suggest that people first experience life without understanding their existence as discrete individuals—or as lone beings unattached in mind and matter to any living entity. When infants realize the truth of their isolation, Lacan theorizes that they will experience a psychological wound that they will then spend the rest of their lives trying to heal—an exercise that Lacan argues will always fall short of full satisfaction. Rather than pursuing a way to compensate for this lingering sense of sadness, the central character in the video seems to recognize the futility of such efforts and accordingly behaves in a way that embraces the inevitability of Lacan’s prognosis: whatever we think will fill the void created by the revelation of singularity will ultimately fall short of assuaging this sadness. So the central character pushes away what he wants most. Disgusted and infuriated with the inevitability of never truly bridging the void around his singularity, he resists even trying to reach for his ultimate aim.

A consideration of the music video’s gender dynamics further supports the presence of the central paradox in “Get Me.” The concept of Gender Performance argues that people learn to act their genders through a pervasive and persistent network of socializing forces—and if they don’t comply with performing the gender associated with their biological sex, they may experience any number of sociological or psychological difficulties. In “Get Me,” the central figures occupies a traditional feminine situation and within the video’s short narrative. He appears in need of emotional or even physical rescue—perhaps in terms of an implied addiction. And he is cloistered, alone, in a house that feels gently evocative of Snow White’s glass coffin or Rapunzel’s tower in the forest. Accepting the woman’s rescue—being got—would then only extend and clarify this analogy, and thus cognitively pull on the male character’s sense of gender performance: he should not need rescued, she should need rescued, and he should rescue her. This potential could cause any male character, deeply subscribed to his gender identity, to actively resist excepting the help he most earnestly wants and even outwardly solicits.

The lyrics also imply a shade of indifference, sexual or otherwise, rarely associated with feminine behavior and masculine experience. Mascis sings, “Anytime I’m there to show you / But if it takes too long I know you / Out the door just leavin’ me screwed.” These lines suggest that the central character has deeply invested his emotions in this relationship, while his other half has maintained a more detached and opportunistic emotional state—a condition not traditionally attributed to feminine gender performance and, conversely, often expected from masculine gender performance. Occupying this non-conventional emotional space places the central character in vulnerable territory. He can, however, restore a more expected masculine dynamic and more comfortably perform his gender if he reacts to this imbalance of emotional investment by retracting even further than the women in an a reactionary attempt to underbid her level of attachment—and to do this, he needs to push away the attachment he actually wants. He needs to care less then her. He needs to push her away. Then he will feel comfortable with his gender performance.

Perhaps some measure of a more essential paradox resides in all art, an inevitable condition caught in the mental space of inspired representations—representations that provoke a feeling of a sensory experiences without being that experience. The art is and it is not what the consumer associates with the experience it provokes. Dinosaur Jr’s “Get Me,” however, proposes a less sweeping and a more specific paradox, a concept less concerned with the link between substance and experience and more interested in the peculiarities of human behavior. When viewed through the focusing framework of three different theoretical lenses, the text’s visual and lyrical elements suggest and support the idea that the lyric’s first-person protagonist and the video’s central character, one-in-the-same, actively resist what they want most—rescue.

a link to the video “Get Me,” by Dinosaur Jr.

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Week Ten:

Hello Class! If you have not yet sent me a thesis statement, you can still do that this week. I look forward to reading them.

And even if you have not yet developed a thesis statement, you can continue progressing by determining which theory/ies you’ll use to consider what material culture.

As discussed in class during Week Eight, many of us might develop our thesis statements in reverse, by writing arguments inspired by the material we know we want to consider and/or the theories we know we want to use.

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Week Nine:

Hello class! Continue considering, composing, and revising your thesis statements this week—and send me a draft of that statement if you haven’t already. To help optimize your likelihood of success, I want to make sure you’ve all determined a clear and viable central argument before we progress too much further with this paper!

And remember that your thesis statements may address any topic you like. You may craft an argument relating to philosophy, psychology, sociology, theology, geography, politics, history, economics, art—or any other area of academic discourse that you find compelling. You have a world of options!

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Week Eight:

Hello Class! Please watch this week’s video, and then read the text below it to understand all the different options you have for the balance of theories and artistic material you can use to compose your extended paper.

As discussed in the video, mentioned in my mass email, and listed on this semester’s rubric, I’ve instructed everyone to use two of the three theories to consider two artistic works, using just one theory for each work; for example you might use New Historicism to analyze a pop song and transactional reader response to analyze a feature film. As discussed (and outlined) in class on Monday, October 5, you also have the options of using three theories to consider one artistic work OR one theory to consider three artistic works. This means you can select from three different possible arrangements of content:

2 theories/2 works — or —3 theories/1 work — or — 1 theory/3 works

***Special note to students who attend the Week Eight on-campus class meeting: You can use the fourth theory that we discuss to pursue any of the above three arrangements, not just the one (3 theories/1 work) that I outline on the marker board.

Week Seven:

Hello Class! To review, remember that the English philosopher Jeremy Bentham based panopticism on a prison design he developed in the 1700s .The original idea builds on the proposition that knowledge equals power. In Bentham’s design, knowledge depends on the persistent possibility of observation. This idea, however, can evolve into a less literal and a more conceptual understanding of the relationship between knowledge and power. By the mid 1900s, the French philosopher Michel Foucault encouraged this conceptual step by suggesting that observation lacks meaning without language. Accordingly, language and the authoritative discourses it facilitates carry power—potentially regardless of truth.

For example, in the 2008 video for Vampire Weekend’s hit song, “Oxford Comma,” the viewer encounters a continuous shot that repeatedly calls attention to its own creation—a type of visual meta-discourse, playing with concept of what the audience can see/know, that can potentially prime the critic to note aspects of the lyrical content. The lyrics seem to describe Koenig’s interactions with another person who repeatedly approaches him from a position of implied verbal authority.

Take a look (and listen):

Notice that Koenig suggests confrontation with authority through language when he sings, “Why would you speak to me that way, especially when I always said that I haven’t got the words for you—all your diction dripping with disdain; through the pain, I always tell the truth.” Later, Koenig underscores that this authority need not depend on truth when he sings, “why would you lie about something dumb like that? Why would you lie about anything at all?” Panopticism provides a simple answer to this question: if power depends on language, than sometimes a lie works as well as the truth to establish authority.

Here’s another music video that I generally share in class with students, just to start open/casual discussion about different ways they might use the panoptical theory. A literary critic can understand a wide variety interactions in this video through the simple application of panopticism’s more direct and physical dynamics. After the video, I’ll type a few impromptu thoughts, just as I might have discussed them in class.

Notice, for example, how the central character lacks confidence (power) because he lacks awareness (knowledge) on a number of levels—because, in part, he lacks vision, especially as he considers an action (making a phone call) that will render him completely blind (and thus without knowledge and its associated power) to respond to any potentially important cues/clues communicated through body language or facial expressions on the other end of the line.

Notice how the central character then attempts to supplement that lack of confidence (power) through several purposeful exchanges of language (with sources he perceives as authorities), so that he can first translate that language into his own knowledge and then into confidence/empowerment.

Week Six:

due before the end of Friday, October 2

Week Five:

Hello Class! Remember that New Historicism proposes that literary critics may analyze a text’s meaning as a reality shaped by the social, political, economic, and technological forces present at the time of its creation. This theory acknowledges the inability for artists to shape meaning in a vacuum of contemporary influences. A new historical perspective approaches the text as an inevitable product of these pervasive forces, regardless of the artist’s intended meaning.

Let’s consider, for example, the video for Alvvay’s 2017 song “Dreams Tonight.” It incorporates a careful conflation of midcentury archival footage and current shots of the band that carefully mimic the appearance of the archival footage from Expo 67 in Montreal. The visual editing makes all the footage appear taken from the same time and place; as a result, the band appears as part of the midcentury scene. The song’s lyrics reference Eisenhower’s creation of the interstate highway system. The lyrics also twice refer to living life on a merry-go-round, a seemingly overt metaphor for the recursive nature of human experience.

This is a deliberately difficult example to consider. While the video is filled with midcentury imagery, remember that we, as New Historical critics, want to consider how that imagery relates to 2017, the art’s context of creation.

Take a look (and a listen):

When considered through a New Historical filter, the visual and lyrical elements serve as a statement of revitalized aesthetics and, more specifically, cultural wish-fulfillment. The art suggests a contemporary society’s yearning for a time they perceive as artistically favorable to their own, a period that the art projects as comparatively sunny, simple, and dreamy. This reading of the text reflects a current revitalization of midcentury art, architecture, sound, and style—an ongoing cycle that allows the passé to eventually ascend into the privileged context of vintage panache.

Week Four:

New Historical Analysis Papers are due before the end of Friday, September 18.

Week Three:

Hello Class! I’ve written you a sample paper (with accompanying notes) to consider as you continue working on your own analysis papers, due before the end of this Friday, September 4.

Begin your paper with an MLA heading, and maintain MLA format throughout the composition, including the use of double-spaced size 12 Times New Roman font and a header with your last name and page number in the upper right corner of the page.

Your Name

My Name

Class Name

4 September 2020

Centered Title

Transactional reader response theory proposes a method for creating a text and discerning its meaning through the mutual influence of A) the reader’s personal perspective and B) the artist’s creative choices. The artist’s choices serve as a conceptual map, full of figurative roads, signs, and intersections that help lead the reader—and the reader’s experiences influence how s/he understands and navigates a route across that provided map. The reader’s identity interacts with the artist’s direction, creating the text and its meaning—an individual analysis that still fits firmly within the borders of the artist’s creation.

Notice how the above paragraph focuses on explaining the theory. I don’t even mention the art or my analysis of it. I just want the reader to understand my method of interpretation.

The song “Impossible to Place” by Antarctigo Vespucci offers few lyrics over two short back-to-back verses, a choice that makes the available words even more important. Chris Farren sings, “I rest my head on to your legs with a thousand things to say, but silence shoots up all around, and it sends me on my way.” The song’s atypical form reinforces the feeling expressed in these lines by following them with a repeated chorus and never shifting back for a third verse—as if Farren can’t find any combination of words capable of convey his feelings.

Notice how the above paragraph makes no attempt to explain every (or even many) aspects of the art. I only mention the artistic choices relevant to preparing my analysis.

When considered through a transactional reader response lens, the form and lyrics of Antarctica Vespucci’s song “Impossible to Place” suggest a refutation of linguistic determinism—the idea that language provides the root of thought. Farren experiences and recognizes a feeling which he can’t articulate. Any writer, lyrical or otherwise, can keenly identify with this struggle—and the following shadow of doubt: does the feeling truly transcend all existing language, or does it only exceed the writers ability to express it.

Notice how the above paragraph includes a strong statement of analysis. Do not shut away from doing this. It’s essential here. I tell the reader what I think the art means, and then I support that statement by using the theory, which, in this case, means drawing connection between elements of the art and my own perspective as a reader.

Also note the paper’s limited word count, and make sure you focus your analysis in a similar fashion. We’re not interested in length here; instead, we’re interested in a clearly articulated original analysis. Follow your one-page paper with a Works Cited page, per MLA style, as noted in the rubric. The Works Cited page will only include one source: the art you analyzed.

Week Two:

Due before the end of Friday, September 4.

Helpful Tip: I’ve found that the simplest and clearest way to complete these 1-page analysis papers, while also satisfying the assigned objective, involves writing three short paragraphs, each with just two or three sentences:

The first paragraph succinctly explains your understanding of the assigned theory, the second paragraph briefly outlines relevant aspects of the art the writer will analyze, and the third paragraph offers the writer’s analysis of the art (explained in paragraph two) using the assigned theory (explained in paragraph one).

More specifically, within that third paragraph, I strongly recommend starting with a sentence such as, “ When considered within the conceptual framework of [insert name of assigned theory] analysis, the [insert genre of art] [insert title] suggest that [insert statement of analysis].

Now let’s look at how a literary critic might fill in those blanks.

When considered within the conceptual framework of a structuralist analysis, Joseph Conrad’s novel Heart of Darkness tracks along an easily charted narrative course; the author’s stroke of supreme brilliance, instead, appears in the eroding sense of clarity and confidence he offers readers as they ironically chug further and farther along a comfortably predictable progression—the route, in almost all other voyages, toward clear resolution.

When considered through the lens of gender performance theory, F. Scott Fitzgerald’s early short story “The Offshore Pirate” suggests the presence of a curious element in 1920s femininity: a simultaneous responsibility to play a part as the master impetus behind a plot while also serving as the beguiled victim of the same plot she helps create.

This type of sentence will insure that the writer connects the art and theory and that the writer uses that theory to support a particular understanding of the text—not just an acknowledgement of how the text may internally reflect elements of the theory.

Week One:

Please note that while I introduced many of these videos during the Summer 2020 semester, I recorded, uploaded, (minimally) edited, and tested them with the Fall 2020 course fully in mind. Considering this intention, understand that these videos include the exact ideas I want us to discuss this fall. Just disregard any mention of an 8-week format. We’re now in a standard 16-week course!

On this page writers will also find the simple syllabus and schedule that this course will follow over the next 16 weeks:

To successfully complete this course, each writer must complete three 1-page papers and one 3-page final. Each of the three 1-page papers, graded according the 20-point rubric at the bottom of this page, should demonstrate your understanding and application of the corresponding week’s theory. The 3-page final paper will require writers to develop a thesis statement and then use two of the three theories to find meaning in two texts that supports that thesis.

Here’s our schedule, with each of the four papers completed and sent as attached Microsoft Word documents or PDFs to allenrob@easternflorida.edu before the end of Friday on the week listed:

Week One: Introduction to the Concept of Literary Theories

Week Three: Transactional Reader Response Theory, 1-page Paper #1

Week Five: New Historical Theory, 1-page Paper #2

Week Seven: Panoptical Theory, 1-page Paper #3

Week Eight: On-Campus Thesis Development Discussion

Week Twelve: Rough Draft for Final Paper Due (Pace yourselves!)

Week Fourteen: On-Campus Formatting Session

Week Sixteen: Final 3-page Paper

Office Hours and Attendance:

Please note that while students can, of course, email me at any time and on any day, I tend to review and respond to these messages during my office hours, 8:45 AM to 12:15 PM, Monday through Friday. I will also be happy to meet with any of my students, by appointment, at my office (Building 1, 124B) on the Titusville Campus.

Please also note that I will withdraw any students who falls out of correspondence with me for more than 28 days.

I will use the following rubric to grade all four papers, with point values simply doubled for the final:

Does the paper address the assigned objective (correctly explain the theory and demonstrate its use)?

No (0 points) – – In some ways (2 point) – – Yes (4 points)

Does the paper include fewer than five major mechanical errors? Major mechanical errors include sentence fragments, comma splices, subject/verb disagreements, and antecedent/pronoun disagreements.

No (0 points) – – Yes (4 points)

Is the paper free of unclear and/or ambiguous language? Ambiguous language includes misplace modifiers, unidentifiable pronouns, and inconsistent tense or perspective.

No (0 points) – – In all but one or two sections (2 points) – – Yes (4 point)

Does the paper employ a discernible and systematic structure?

No (0 points) – – Yes—but an ineffective one (1 point) – – Yes (2 points)

Does the paper follow the assigned formatting (MLA Style)?

No (0 points) – – In some ways (1 point) – – Yes (2 points)

Was the assignment submitted to allenrob@easternflorida.edu as a Microsoft Word document or PDF before the designated deadline?

No (0 points) – – Yes (4 point)

Additional College-wide Information (required in every course syllabus)

Religious Observations:

When the observance of a student’s religious holiday(s) interferes with attendance in class, class work assignments, examinations, or class activities, the student must notify the instructor in writing within the first week of class. Students are held responsible for material covered during their absence. The instructor should provide alternative arrangements for students to complete the work for the missed session. Students excused for religious observances will be expected to meet the class requirements for those days without undue delay. Students who believe they have been unreasonably denied educational benefits due to their religious beliefs or practices may seek redress through the student appeal procedure. [FS 1001.64, 1002.21, 1006.53] Nationally recognized religious holidays shall be acknowledged plus any significant day of religious observance as recognized by the highest governing body of that particular religious faith. Students may be required to provide information or proof the religious holiday if such holiday is not generally known.

Academic Dishonesty:

EFSC Policy: Any form of academic dishonesty is subject to the disciplinary actions set forth in the Student Code of Conduct. Cheating, plagiarism and any other misrepresentation of work are prohibited. Students who are found to be in violation of this standard may receive severe sanctions, including a failing grade in their respective course and depending on the circumstances, possible expulsion from Eastern Florida State College.

In general terms, plagiarism is the adoption or incorporation of another’s ideas without proper attribution of the source. It is more simply defined as taking the writings of another person or people and representing them to be one’s own. Please note that access to or obtaining information/copying assignments provided from sources like CHEGG, Course Hero, Accounting Tutor, or any other online applications that purport to offer the answers to exercises or instructor materials for courses, may be considered CHEATING, and any instances that can be substantiated will be treated as such.

To avoid plagiarism, you should always credit the sources used when writing as essay, research paper, or other assignment in accordance with the appropriate style manual or format required in your course. Confirm with your instructor the appropriate format to use.

Types of actions defined as plagiarism include but may not be limited to:

Cutting and pasting to create a written document from a single or various sources.
Citing a source with false or inaccurate information. (Bibliographical or URL).
Quoting less than all the words copied or paraphrasing a source without proper citation or notation the document has been altered.
Submitting papers, assignments, exams, or forums that were completed by someone other than yourself.
Working in a group or otherwise colluding with other students to prepare and submit work without prior acknowledgment and approval from the instructor.
Receiving or giving outside help without prior written faculty consent, this includes assistance from tutors, websites, or other online resources.
Sharing assignments, exams, or discussions with other students.
Selling or purchasing (or copying) papers, assignments, or exams from any website that buys or sells them and submitting them as your work in whole or in part.
Using a quotation without proper quotation marks and citation.
Preparing a draft for final paper for another student.
Submitting a paper, assignment, quiz or exam that you submitted in a previous and/or concurrent class without requesting and receiving in writing prior permission from your instructor(s). This could also apply to “revising” papers, assignments, quizzes or exams that were previously submitted in any course.
Copying a non-text material such as: image, audio, video, spreadsheet, PowerPoint presentation, etc., without proper citation and reference.
Altering any information on forms, electronic attachments or emails after the original has been submitted.
Presenting statistics, facts, or ideas that are not your own, or is not common factual knowledge either by the general population, or commonly known within the particular discipline, without citation, even if you view them as common knowledge in your own educational background.

If you have any questions or concerns regarding plagiarism, ask your instructor or Associate Provost for assistance before a plagiarism problem arises. For more information about plagiarism and proper citations please visit the campus learning lab and/or writing center.

Sexual Misconduct:

Eastern Florida State College is committed to providing a safe and productive learning environment. Title IX and our school policy prohibits discrimination on the basis of sex. Sexual Misconduct—in any form, including sexual harassment, sexual assault, dating violence, domestic violence, and stalking—is prohibited at EFSC. Our school encourages anyone experiencing Sexual Misconduct to talk to someone about what happened, so they can get the support they need and our school can respond appropriately. For more information about your options, please visit easternflorida.edu/our-campuses/campus-security/titleix-sexual-misconduct. Our school is legally obligated to investigate reports of Sexual Misconduct, and therefore it cannot guarantee the confidentiality of a report, but it will consider a request for confidentiality and respect it to the extent possible. As an instructor, I am also required by our school to report incidents of Sexual Misconduct and thus cannot guarantee confidentiality. I must provide other EFSC officials with any relevant information reported to me.

Sail:

Faculty at EFSC are innovative and may utilize additional resources and technology (including recording devices) above and beyond the required course materials to enhance the instructional experience. EFSC strives to provide equitable access at the same academic and instructional level for all students and is committed to ensuring access for students with documented disabilities. A person with a disability may qualify for reasonable accommodations. SAIL (Student Access for Improved Learning) ensures that reasonable accommodations are provided for students with documented disabilities that significantly impact major life functions While personal services and personal aides cannot be provided, reasonable accommodations will be arranged to assist a student with a disability based on documentation provided by the student. For more information about accommodations and the resources available to students with disabilities, students are encouraged to go to the website or visit a SAIL office on any campus

Additional Information:

• Academic and Administrative Appeal Process

• Americans with Disabilities Act (ADA) and Section 504 (Subpart E)

• Computer Lab Usage

• COVID–19 Syllabus Statement

• EFSCares Student Counseling

• EFSC Grading/Incomplete Policy

• EFSC Proctored Exam Process

• EFSC Rules on Class Participation and Religious Observances

• FERPA

• Financial Aid and Scholarships

• Green Dot Initiative (EFSC Bystander Training Program to prevent power-based personal violence)

• Health, Safety, and Security

• Sexual Misconduct and Title IX

• Standards of Academic Progress

• Student Access for Improved Learning