Course Information: HUSL6308: Epic of Judgment 2, Pound. Spring 2010. Tim Redman.

Professor Tim Redman Contact Information

Office hours
My office is JO 5.102. My extension is 2775; the full phone number is 972 883-2775 (I do not recommend that you
leave messages on my office phone. E-mail is much more reliable). My office hours are Wednesdays from 3:30-
4:00pm, Fridays from noon to 12:30pm and by appointment. I am usually available after class as well. My e-mail
address is redman@utdallas.edu. The University has instituted a policy (see below) stating that instructors are not
required to respond to e-mail coming from outside the University’s own e-mail system. I do not fully agree with that
policy (though I see its wisdom and its caution) and will strive to answer questions from any e-mail source. However,
be sure that your subject line contains HUSL 6308 at the start.

Email Use
The University of Texas at Dallas recognizes the value and efficiency of communication between faculty/staff and
students through electronic mail. At the same time, email raises some issues concerning security and the identity of
each individual in an email exchange. The university encourages all official student email correspondence be sent only
to a student’s U.T. Dallas email address and that faculty and staff consider email from students official only if it
originates from a UTD student account. This allows the university to maintain a high degree of confidence in the
identity of all individual corresponding and the security of the transmitted information. UTD furnishes each student
with a free email account that is to be used in all communication with university personnel. The Department of
Information Resources at U.T. Dallas provides a method for students to have their U.T. Dallas mail forwarded to other
accounts.

Course Pre-requisites, Co-requisites, and/or Other Restrictions

This course is a graduate seminar in the School of Arts and Humanities. It is open to students in any track within the
School in keeping with our interdisciplinary tradition, respecting different learning styles following Gardner’s work on
multiple intelligences. Students should have already taken or be taking concurrently HUMA 5300. Prior courses in
literature, either at the graduate level or the upper-division undergraduate level, are desirable.

Course Description
“Great poets,” Hugh Kenner once said, “are poets who have changed the art of poetry.” Using that criterion, Ezra
Pound (1885-1972) must be considered the greatest of all twentieth-century poets. But his importance goes beyond his
poetry. “Pound’s critical writings . . . form the least dispensable body of critical writing in our time,” wrote T.S. Eliot.
Pound brought to public attention the works of then-unknown writers such as Robert Frost, Hilda Doolittle (H.D.),
Marianne Moore, William Carlos Williams, T.S. Eliot, Ernest Hemingway, and James Joyce. As Robert DiYanni stated
in 1987: Pound “is the single most important influence on the history of poetry in our century.” To write and
understand poetry, you must read Pound.

It follows, therefore, that this seminar will be of interest to graduate students in Literary Studies and to poets. But there
are other dimensions to Pound’s work as well. He was a lifelong advocate of the vital need of translation for literature’s
development and he had an equally great impact on the practice of translation in the twentieth century. He himself
translated works from French, German, Italian, Provencal, Latin, Greek, and Chinese. For those working in Translation
Studies, Pound is important.

Pound is of direct interest to students in Aesthetic Studies as well. As an active art critic writing in London, he was an
early champion of the works of Henri Gaudier-Brzeska (whose “Hieratic Head of Ezra Pound” is in the Nasher) and
Constantin Brancusi. And Pound composed music, most notably operas based on the lives of Francois Villon and
Guido Cavalcanti, which have been recorded and are still performed. With his lifelong companion, the concert violinist

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Olga Rudge, Pound played a key role in the Risorgimento Vivaldiano, the rediscovery and publication of the music of
Vivaldi in the 1930s.

Finally, Pound was a supporter of Benito Mussolini and Italian fascism. He gave radio broadcasts from Rome during
the Second World War and was indicted for treason. He was also an advocate of economic reform starting after the
First World War and continuing through the Second. For those reasons, the seminar will be of interest to students in
Historical Studies.

We will do a close reading of Pound’s most important works, in chronological order. The principal focus of the seminar
will be on professional development, how to choose a topic for a conference presentation, prepare a proposal for a
conference presentation, and prepare the presentation itself (2500 words). Students will thus gain valuable professional
insight from this seminar in not only submitting proposals for conference presentations but also in understanding how
panels are organized. Two Pound panels are held each year at both the MLA Conference and the ALA Conference. In
addition, the 24th International Pound Conference will be held in London in July 2011. That Conference has
traditionally been very welcoming to young scholars. There are many other academic conferences held each year for
which a Pound paper would be suitable.

However, you do not have to do a conference presentation. I would welcome a teaching unit on Pound with lesson
plans for a specific target audience, middle school, high school, or community college. I would also welcome a creative
project with a short explanatory paper. You should decide on your semester’s work in consultation with me.

Student Learning Objectives/Outcomes

Students will learn careful and close reading of highly concentrated poetic texts within a lyric and epic tradition along
with critical and social essays relevant to the works. You will do careful reading, and selected outside research, take
weekly quizzes, and participate in discussions actively responding to the readings, presentations, and occasional
lectures.

Students will also learn how to construct an academic argument leading to a conference presentation (for other options
see below) in your field in four steps: a venue proposal with preliminary bibliography, a formal proposal in which, after
sufficient reading and thought, the student will be able to express the presentation in terms of a problem to be solved or
a question to be answered (in one sentence), generate a sufficiently finished draft of the presentation or paper for a
preliminary critique, and finish the final presentation as a step towards domain mastery. All tasks for the course are pre-
professional: the careful analysis, synthesis, and criticism (evaluation) of works of literature, the ability to focus one’s
work on a narrowly defined problem or question, the production of the work with feedback from the professor and
one’s seminar colleagues, and the ability to present one’s work in a twenty-minute time frame. The same steps pertain
to a teaching unit or creative project.

Research in the field of learning indicates that it takes ten years for an individual to achieve domain mastery – the
ability to make notable contributions in a field. The seminar process prepares the student for domain mastery, but it is
not expected at this stage of your career. On rare occasions, I will suggest that a paper or presentation be submitted for
publication, indicating that it is a potentially noteworthy contribution to the field. I am available to guide students in
selecting a dissertation topic that is appropriate to their interests and to the various areas of faculty expertise in the
School of Arts and Humanities.

Required Textbooks and Materials

Ezra Pound, The Cantos of Ezra Pound, New Directions paperback.
Poems and Translations, edited by Richard Sieburth, Library of America paperback.
Literary Essays, edited by T.S. Eliot, New Directions paperback.
Selected Prose, edited by William Cookson, New Directions paperback.

Student Responsibility for Texts

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The Campus Bookstore, Off-Campus Books, and Stanza have all been given book orders. Regrettably though
understandably they frequently order too few books for the class size. The situation has come about because students
use other sources to order their books, often going to the internet or Half-Price Books. “The bookstore was out” is not
an excuse for not being prepared for class. Students are required to have access to required textbooks prior to the
second day of class and bring them to class.

Suggested Course Materials

The McDermott Library has many resources for the study of Ezra Pound. There will be a reserve list.

Assignments & Academic Calendar

Course requirements
The semester project or paper will be broken down into four steps. A venue paper of about 250 words (where you will
give your conference paper, teach your unit, or display your work) plus a preliminary bibliography (10% of your final
grade). The project proposal of about 500 words plus bibliography, by far the most difficult assignment of the semester
(10%). If I accept it, you will receive an “A” for content. If I reject it, you will have to redo it. If I accept the second
attempt, you will receive a “B” for content, and so forth. I use the same grading method for the venue paper and the
preliminary bibliography. The most common problem in these first steps is lack of focus. Most often a proposal is
returned because the question or problem submitted is suitable for a book, but not for a semester-length project. The
proposal must contain, underlined, one sentence in which you state the problem to be solved or the question to be
answered. Consult with the instructor before and during your work on the proposal! The third step in this process
is turning in a draft of your project for critique (20%). The fourth step is the final version of your project (20%). There
will also be a weekly short-answer quiz, consisting of five questions each worth up to two points each and two
additional required questions which will be the same each week. I will drop the lowest five quiz grades and curve the
remaining ten which will count 20% towards your final grade. Finally, you and one or two other students will give a
presentation on a group of Cantos to be assigned (20%). This series of assignments is meant to lead to the ability to
work professionally in your field.

Robert Sylwester (1995) has classified knowledge as declarative (what you know) and procedural (what you can do
with what you know). The quizzes and bibliography largely test the former, the four-stage project and your group
presentation the latter. Another way to think of this division is that the quizzes largely require remembering and
understanding, the projects in the professional development sequence and the presentation require applying, analyzing,
and evaluating. Intelligent participation in class discussion may raise your final grade by up to one full letter at the
discretion of the instructor. There is no final exam in this course. However, we may use the time the final is scheduled
to hold class. For further details on paper grading policies and quiz misses see below. Note particularly that in order
to pass the course, you must score above 50% (more than 50 points) on the aggregate score of your best ten quiz
grades. No makeup quizzes are given for any reason – that is why I drop the lowest five grades.

Academic calendar
January 13. Course introduction. Quiz #1.

January 20. 1909-1912. In Poems & Translations (PT): “Chronology” 1207, “Note on the Texts” 1235, “Notes” 1255,
“The Tree” 14, “Cino” 24, Na Audiart” 26, “A Villonaud. Ballad of the Gibbet” 29, “Planh for the Young English
King” 119. Selected Prose (SP): “I Gather the Limbs of Osiris” 19, “What I Feel About Walt Whitman” 145, “The
Wisdom of Poetry” 359, “The Approach to Paris” 363. In Literary Essays (LE) read the “Introduction” by T.S. Eliot.
Quiz #2.

January 27. 1912-1915. PT: “Introduction” 187, “Ballate” IX, 221, XI, 223, “Portrait d’une Femme” 233, “The
Seafarer” 236, “Doria” 241, “The Return” 244, from Cathay, all 249-259. SP: Patria Mia 99, “The Divine Mystery”
403. LE: “A Retrospect,” “The Serious Artist,” “The Tradition,” “Troubadours – Their Sorts and Conditions,” “Robert
Frost (Two Reviews),” and “D.H. Lawrence.” Quiz. #3.

February 3, 1914-1915. PT: “The Garden” 264, “A Pact” 269, “’Dompna Pois de Me No’us Cal’” 283, “The Coming
of War: Acteon” 285, “Liu Ch’e” 286, “Fan Piece for Her Imperial Lord” 286, “In a Station of the Metro” 287, “Alba”
287, “Ancient Music” 293, “The Lake Isle” 294, “Epitaphs” 294, “Our Contemporaries” 295, “Three Cantos of a Poem

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of Some Length” 318. SP: “Affirmations – As for Imagisme” 374, “Beddoes and Chronology” 378, “Landor” 384,
“Allen Upward Serious” 407, “Remy de Gourmont” 41. LE: “The Renaissance,” “Lionel Johnson,” “The Prose
Tradition in Verse,” “The Later Yeats,” and “Dubliners and Mr. James Joyce.” Venue paper and preliminary
bibliography due. Quiz #4.

February 10. 1916-1917. PT: from “Noh” or Accomplishment: “Part I, Note, “Introduction” 335, “Technical Terms in
Noh” 348, “Kayoi Komachi” 349, “Suma Genji” 355, “Notes” 359,“ Part II” 368 (only), “Part III Fenollosa on the
Noh” 388, “Appendices II” 471. SP: “Provincialism the Enemy” 189. SE: “The Constant Preaching to the Mob,”
“Notes on Elizabethan Classicists,” “The Rev. G. Crabbe, LL.B.” “Irony, Laforgue, and Some Satire,” and “T.W.
Eliot.” Quiz #5.

February 17. 1918-1919. PT: “L’Aura Amara” 489, “Moeurs Contemporaine” 522, “Homage to Sextus Propertius”
526-545. SP: “Religio, or, The Child’s Guide to Knowledge” 47, “Marianne Moore and Mina Loy” 424, “Wyndham
Lewis at the Goupil” 426, “Hudson: Poet Strayed into Science” 429. LE: “Translators of Greek: Early Translators of
Homer,” “The Hard and Soft in French Poetry,” “Swinburne versus his Biographers,” “Henry James,” “Joyce,”
“Arnold Dolmetsch,” and “Vers Libre and Arnold Dolmetsch.” Project proposal and bibliography due. Quiz #6.

February 24. 1920-1924. PT: “Hugh Selwyn Mauberley” 549-562, “Frates Minores” 572, “Cantico del Sole” 572. SP:
“Axiomata” 49, “Kubla Khan and his Currency” 204, “’Probari Ratio’” 207, “Economic Democracy” 210. LE: “Arnaut
Daniel,” “Remy de Gourmont,” “Ulysses,” “Wyndham Lewis,” and “Brancusi.” Quiz #7.

March 3. 1925-1929. Cantos (C) I-XVI. SP: “Definitions” 213, “The State” 214, “Prolegomena” 216, “Bureaucracy the
Flail of Jehovah” 217, “Peace” 222, “The City” 224. LE: “How to Read,” and “Dr. Williams’ Position.” Quiz #8.

March 10. 1930-1934. C: XVII-XXX. PT: “Donna mi Prega” 578, “The Canzone” 581. SP: “Credo” 53, “Terra Italica”
54, “Ecclesiastical History” 61, “Murder by Capital” 227, “ABC of Economics” 233, “”Prefatio Aut Cimicium
Tumulus” 389. LE: “The Teacher’s Mission,” “Date Line,” and “Hell.” Quiz #9.

March 17. Spring break.

March 24. 1935-1936. C:XXXI-XLI. PT: “Donna mi Prega” 578, “The Canzone” 581. SP: “Credo” 53, “Terra Italica”
54, “Ecclesiastical History” 61, “Murder by Capital” 227, “ABC of Economics” 233, “”Prefatio Aut Cimicium
Tumulus” 389. LE: “The Teacher’s Mission,” “Date Line,” and “Hell.” Draft project due. Quiz #10.

March 31. 1937-1938. C: XLII-LI. PT: Alfred Venison’s Poems, all 589-604. SP: “John Buchan’s ‘Cromwell’ – A
Note” 265, “History and Ignorance” 267, “Banks” 270, “The Individual in his Milieu” 272, “Jean Cocteau Sociologist”
433, “Obituary: A.R. Orage” 437, “In the Wounds – (Memoriam A.R. Orage)” 440, “D’Artagnan Twenty Years After”
452. Quiz #11.

April 7. 1939-1941. C: LII-LXXI. SP: “Immediate Need of Confucius” 75, “Mang Tsze” 81, “The Jefferson-Adams
Letters as a Shrine and a Monument” 147, “Introductory Textbook” 159, “National Culture – A Manifesto 1938” 161,
“Values” 283, “For a New Paideuma” 284. Quiz #12. Double group presentation on these Cantos.

April 14. 1942-1950. C: LXXII, LXXIII, LXXIV-LXXXIV. SP: “On the Degrees of Honesty in Various Occidental
Religions” 64, “Religio” 70, “Deus est Amor” 70, “What is Money for?” 290, “Freedom de Facto” 303, “Ford Madox
(Hueffer) Ford: Obit” 461. Quiz. #13. Double group presentation on the Pisan Cantos (not the Italian Cantos).

April 21. 1944-1972. C: LXXXV-XCV. SP: “An Introduction to the Economic Nature of the United States” 167, “A
Visiting Card” 306, “Gold and Work 1944” 336. Final projects due. Quiz #14. Group presentation on these Cantos.

April 28. 1951-1972. C: XCVI-CIX, CX-CXVII. Fragment. PT: Confucius, 615-620. SP: “Foreword” 3, “Quotations
from Richard of St. Victor” 71, “Sovereignty” 352, “Del Mar” 352, “Feasible Justice” 353, “”Gists” 354, “For T.S.E.”
464.. Quiz #15. Group presentation on these Cantos.

May 12. Final. There is no final for this course but I reserve the right to use this time for a final seminar session.

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_____________________________________________________________________________

Grading Policy for Papers

Grading guidelines for form
Grades for form will be evaluated according to the following point scale.

Points Abbreviation Error

1 ab abbreviation error

3 ad adverb or adjective error

3 agr agreement error (subject-verb, pronoun-

antecedent)

2 awk awkward, needs rewording

1 _ capitalization (letter underlined)

3 ca error in case

5 cs comma splice

2 dan dangling or misplaced modifier

2 d informal language, inappropriate diction

5 frag sentence fragment

3 l? logic not clear

10 mf major form: ribbon, spacing, margins, etc.

3 new paragraph

3 <---- no new paragraph

3 // faulty parallelism

1 p punctuation

2 ref? reference unclear

2 rep repetitious, too wordy, redundant

5 run run-on sentence

3 shift in person or tense

1 ____ spelling (word underlined)

3 v verb error

2 word(s) missing, insert

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 1 ww wrong word

Other marks for form

[...] concerning this passage

invert order

link together

? unclear

! very nice, funny, exceptionally good point

eliminate this

Grading scale for form

92-100 A 83-91 B 73-82 C 65-72 D 0-64 F

Note: It is all right to have a friend proofread your paper for typos or errors in form, but ultimately only you are
responsible for what you write.

Form
You are expected to have mastered, by now, the conventions of English usage, spelling, and grammar. If you do not
already own them, I suggest you purchase a handbook of grammar and usage, and a dictionary. Points are taken off of
your papers for errors in form. In particular, papers are heavily penalized for errors in sentence structure and
punctuation.

The Sentence
Style begins at the sentence level.

There are four correct types of English sentences: simple, compound, complex, and compound-complex. You need to
master these types and how they are punctuated. The rules are not difficult.

You need to be able to differentiate between a phrase (a related group of words) and a clause (a related group of words
with a subject-verb core). You need to be able to distinguish between a main (or independent) clause and a subordinate
(or dependent) clause.

There are three major sentence errors: fragment, comma splice, and run-on. A fragment is punctuated as a sentence,
but lacks a subject-verb core, or it is a subordinate clause standing alone as a sentence. Although fragments are
sometimes used for emphasis in English prose, it is not suggested that you not do so. A comma splice is the incorrect
attempt to hook together two main clauses with only a comma. A run-on is a sentence that has gone beyond its
boundaries, too many clauses trying to make up one sentence instead of being broken up into two or more sentences.

The Paragraph
Rhetoric begins at the paragraph level.

A paragraph is used to develop one idea. It normally contains a thesis sentence that gives the idea. The thesis sentence
is normally either the first or last sentence of the paragraph.

Grading guidelines for content (from Garrison, How a Writer Works, and CCCC)
The "A" Paper
 Conveys immediately a sense of person behind the words; an individual voice speaks firmly and clearly from the
page.
 Contains a significant and central idea clearly defined and supported with concrete, substantial, and consistently

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relevant detail. The essay is packed with information, and detail has a "just right" feel to it.
 Displays freshness and originality of perception; moves through its ideas with an inevitability organic to its
central idea.
 Engages attention and interest at the beginning, progresses by ordered and necessary stages, and ends with a
conclusion that summarizes the essay without being repetitive. Development is economical, original, well proportioned,
and emphatic.

The "B" Paper

 Possesses many of the same features of the "A" paper, but the style, originality, and level of excellence is less
exceptional.
 Information may be thin. Examples or illustrations may feel slightly forced or exaggerated.
 Organization is clear; the reader does not confuse the sequence of information or ideas. However, transitions may
be somewhat awkward, abrupt, mechanical, or monotonous.

The "C" Paper

 Characterized by awkwardness throughout. It does not read smoothly aloud.
 The central idea is apparent but too general, too familiar, or too limited. It is supported with concrete detail,
though that detail may be occasionally repetitious, irrelevant, or sketchy.
 The essay gives the reader an impression of fuzziness and lack of assurance on the part of the writer.
 Organization is sometimes confused, especially between sentences. The reader sometimes has to stop and reread
material to be sure of its meaning.

The "D" Paper

 The main impression is one of haste, carelessness, lack of attention or simply an inability to draft even direct or
simple statements.
 The central idea is missing, confused, superficial, or unsupported by concrete or relevant detail. Content is
obvious, contradictory, or aimless.
 The essay has no clear and orderly stages and fails to emphasize and support the central ideal. Paragraphs are
typographical rather than structural; transitions between paragraphs are missing, unclear, ineffective or rudimentary.
 The essay may make some sense, but only if the reader struggles to find it. The writer has scanty control of the
material.

Course & Instructor Policies

Paper submission policy and late papers
Papers are due at the beginning of class on the dates indicated in the course calendar. Late papers are penalized by one
grade. Papers must be turned in both in a printed form, double-spaced, and in an electronic form, as a Word
attachment sent with an e-mail to redman@utdallas.edu with husl6308 on the subject line.

Paper Grading Policy

Your final grade for a paper will be based on the average of the grade for form and the grade for content, e.g., a "C" for
form and an "A" for content will result in a paper grade of a "B," except that when the grade is an intermediary grade
the grade for content will carry slightly greater weight, e.g., an "A" for form and a "B" for content will result in a paper
grade of "B+," while a "B" for form and an "A" for content will result in a paper grade of "A-."

Quiz and Bibliography Grading Policy

There will be weekly short quizzes on the reading and class discussions and lectures worth ten points each. The four
lowest of your quiz grades, including missed quizzes, will be dropped, and the remaining quiz grades added and placed
on a curve for your final quiz grade. However, you must score above 50% on your final quiz grade in order to
pass the course. Bibliographies will be judged on relevance and completeness. The four other pre-professional
components will be judged on form and content.

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Attendance Policy
Attendance is required. You may miss up to three classes without incurring any penalty, but more frequent absences
jeopardize your final quiz grade. Further, these absences may, at the discretion of the instructor, result in a lowering of
your final grade. Tardiness disrupts the learning environment. Frequent tardiness will be penalized by the lowering of
your grade entirely at the discretion of the instructor.

Writing Tutoring
Free writing tutoring is available from the Learning Center. You must make an appointment by calling (972) 883-
6707. The Center is located in McDermott. It is perfectly legitimate to have a writing tutor work with you on papers
for this course, though the final responsibility is yours.

Student Conduct & Discipline

The University of Texas System and The University of Texas at Dallas have rules and regulations for the orderly and
efficient conduct of their business. It is the responsibility of each student and each student organization to be
knowledgeable about the rules and regulations which govern student conduct and activities. General information on
student conduct and discipline is contained in the UTD publication, A to Z Guide, which is provided to all registered
students each academic year.

The University of Texas at Dallas administers student discipline within the procedures of recognized and established
due process. Procedures are defined and described in the Rules and Regulations, Board of Regents, The University of
Texas System, Part 1, Chapter VI, Section 3, and in Title V, Rules on Student Services and Activities of the university’s
Handbook of Operating Procedures. Copies of these rules and regulations are available to students in the Office of the
Dean of Students, where staff members are available to assist students in interpreting the rules and regulations (SU
1.602, 972/883-6391).

A student at the university neither loses the rights nor escapes the responsibilities of citizenship. He or she is expected
to obey federal, state, and local laws as well as the Regents’ Rules, university regulations, and administrative rules.
Students are subject to discipline for violating the standards of conduct whether such conduct takes place on or off
campus, or whether civil or criminal penalties are also imposed for such conduct.

Academic Integrity
The faculty expects from its students a high level of responsibility and academic honesty. Because the value of an
academic degree depends upon the absolute integrity of the work done by the student for that degree, it is imperative
that a student demonstrate a high standard of individual honor in his or her scholastic work.

Scholastic dishonesty includes, but is not limited to, statements, acts or omissions related to applications for enrollment
or the award of a degree, and/or the submission as one’s own work or material that is not one’s own. As a general rule,
scholastic dishonesty involves one of the following acts: cheating, plagiarism, collusion and/or falsifying academic
records. Students suspected of academic dishonesty are subject to disciplinary proceedings.

Plagiarism, especially from the web, from portions of papers for other classes, and from any other source is
unacceptable and will be dealt with under the university’s policy on plagiarism (see general catalog for details). This
course will use the resources of turnitin.com, which searches the web for possible plagiarism and is over 90% effective.

Plagiarism
You may get help revising or proofreading your papers from friends or family, fellow students, or writing tutors.
However, the principal work on your paper must be yours. Plagiarism is the presentation of another person's work as
your own, whether you mean to or not. Copying or paraphrasing passages from another writer's work without
acknowledging what you've done is plagiarism. Allowing another writer to write any significant portion of your essay

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is plagiarism. Plagiarism is a serious offense in academia and can result in failure for the paper or failure for the course
or worse. MLA style is recommended.

Conduct
In the 18th century the French defined liberty as the freedom to do anything that doesn't hurt other people. Behavior
that distracts others or disrupts the learning environment, such as talking or tardiness, hurts other people and won't be
tolerated. Cell phones and pagers must be turned off. Penalties for infractions are entirely at the discretion of the
instructor.

Withdrawal from Class

The administration of this institution has set deadlines for withdrawal of any college-level courses. These dates and
times are published in that semester's course catalog. Administration procedures must be followed. It is the student's
responsibility to handle withdrawal requirements from any class. In other words, I cannot drop or withdraw any
student. You must do the proper paperwork to ensure that you will not receive a final grade of "F" in a course if you
choose not to attend the class once you are enrolled.

Student Grievance Procedures

Procedures for student grievances are found in Title V, Rules on Student Services and Activities, of the university’s
Handbook of Operating Procedures.

In attempting to resolve any student grievance regarding grades, evaluations, or other fulfillments of academic
responsibility, it is the obligation of the student first to make a serious effort to resolve the matter with the instructor,
supervisor, administrator, or committee with whom the grievance originates (hereafter called “the respondent”).
Individual faculty members retain primary responsibility for assigning grades and evaluations. If the matter cannot be
resolved at that level, the grievance must be submitted in writing to the respondent with a copy of the respondent’s
School Dean. If the matter is not resolved by the written response provided by the respondent, the student may submit
a written appeal to the School Dean. If the grievance is not resolved by the School Dean’s decision, the student may
make a written appeal to the Dean of Graduate or Undergraduate Education, and the deal will appoint and convene an
Academic Appeals Panel. The decision of the Academic Appeals Panel is final. The results of the academic appeals
process will be distributed to all involved parties.

Copies of these rules and regulations are available to students in the Office of the Dean of Students, where staff
members are available to assist students in interpreting the rules and regulations.

Incomplete Grade Policy

As per university policy, incomplete grades will be granted only for work unavoidably missed at the semester’s end and
only if 70% of the course work has been completed. An incomplete grade must be resolved within eight (8) weeks
from the first day of the subsequent long semester. If the required work to complete the course and to remove the
incomplete grade is not submitted by the specified deadline, the incomplete grade is changed automatically to a grade
of F.

Disability Services
The goal of Disability Services is to provide students with disabilities educational opportunities equal to those of their
non-disabled peers. Disability Services is located in room 1.610 in the Student Union. Office hours are Monday and
Thursday, 8:30 a.m. to 6:30 p.m.; Tuesday and Wednesday, 8:30 a.m. to 7:30 p.m.; and Friday, 8:30 a.m. to 5:30 p.m.

The contact information for the Office of Disability Services is:

The University of Texas at Dallas, SU 22
PO Box 830688
Richardson, Texas 75083-0688
(972) 883-2098 (voice or TTY)

Essentially, the law requires that colleges and universities make those reasonable adjustments necessary to eliminate
discrimination on the basis of disability. For example, it may be necessary to remove classroom prohibitions against

9
tape recorders or animals (in the case of dog guides) for students who are blind. Occasionally an assignment
requirement may be substituted (for example, a research paper versus an oral presentation for a student who is hearing
impaired). Classes enrolled students with mobility impairments may have to be rescheduled in accessible facilities.
The college or university may need to provide special services such as registration, note-taking, or mobility assistance.

It is the student’s responsibility to notify his or her professors of the need for such an accommodation. Disability
Services provides students with letters to present to faculty members to verify that the student has a disability and needs
accommodations. Individuals requiring special accommodation should contact the professor after class or during office
hours.

Religious Holy Days

The University of Texas at Dallas will excuse a student from class or other required activities for the travel to and
observance of a religious holy day for a religion whose places of worship are exempt from property tax under Section
11.20, Tax Code, Texas Code Annotated. The student is encouraged to notify the instructor or activity sponsor as soon
as possible regarding the absence, preferably in advance of the assignment. The student, so excused, will be allowed to
take the exam or complete the assignment within a reasonable time after the absence: a period equal to the length of the
absence, up to a maximum of one week. A student who notifies the instructor and completes any missed exam or
assignment may not be penalized for the absence. A student who fails to complete the exam or assignment within the
prescribed period may receive a failing grade for that exam or assignment. However, since five of the fifteen quiz
grades are dropped, no make-up quizzes are given.

If a student or an instructor disagrees about the nature of the absence [i.e., for the purpose of observing a religious holy
day] or if there is similar disagreement about whether the student has been given a reasonable time to complete any
missed assignments or examinations, either the student or the instructor may request a ruling from the chief executive
officer of the institution, or his or her designee. The chief executive officer or designee must take into account the
legislative intent of TEC 51.911(b), and the student and instructor will abide by the decision of the chief executive
officer or designee.

These descriptions and timelines are subject to change at the discretion of the Professor.
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