Seminar in Services to Children and Young Adults
Topic: The Value of Controversial Literature
Spring 2013 Greensheet
Dr. Joni Richards Bodart
Office Phone: 408-924-2728
Office location: 418H, Clark Hall
Office Hours: By appointment only, in Clark Hall, 418H. You may also ask questions via email or on the D2L discussion board. I will answer email on a daily basis or as quickly as I can. I will also be posting to the FAQs section of the discussion board when questions are asked that are of interest to the whole class.
If you need to speak to me by phone, I will do all I can to be available to you, but scheduling that call in advance to make it convenient for both of us, and ensure that I have enough time cleared to respond to your questions or problems.
Students will be automatically enrolled in the D2L site for this course. The course will be automatically available to students on January 23, 2013.
An analysis of novels that are considered ground-breaking or controversial because of their format, content, or treatment of difficult issues facing teens. Coursework will focus primarily on young adult novels by authors of frequently-challenged materials, and will feature information on the current trend on horror/monster books for teens, including vampires, werewolves, zombies, and other monsters, and why they are currently popular with teens. Also included will be information on helpful resources for libraries facing challenges, and the processes and procedures that should be in place before the challenge occurs, including, but not limited to, selection policies, reconsideration procedures, and strategies and techniques useful to the YA librarian under attack.
Because YA literature is, by definition, controversial, because that literature is a rapidly-expanding genre, extending the limits of subject, language, and format into areas previously considered taboo, it is frequently challenged, and young adult librarians need to be equipped to defend it, to protect the intellectual freedom of their customers, and the integrity of their collections.
The D2l Site
Please check the site regularly for announcements, discussion board questions, and so on. As soon as you sign up on D2L, go to the discussion board and introduce yourself, both professionally and personally. Explore the various forums for other information I think might be helpful to you. More will be added as we go along. Assignment due dates are also posted there, as well as below. You will be submitting all your assignments via Assignment Drop boxes.
Please let me know right away if you have problems with anything.
There will be seven Collaborate sessions to highlight parts of the course and for student presentations: 2/6; 2/20; 3/11; 3/18; 4/10; 4/24; 5/2; 5/8 (6:30-9:00 pm PT) Topics will include, but not be limited to: why books are controversial, why controversial books are valuable, how to deal with an unhappy customer, how to write a selection policy that supports the inclusion of controversial titles, programming centered around controversial materials, the components of an effective display, how to find props, how to keep it looking good, and so on.
These sessions are all required, meaning live synchronous attendance. Missing an Esession means you will not be able to ask to have points covered or clarified, or add to the discussion, and give the rest of the class a chance to hear your contributions to the topic at hand. If you don’t participate in a session, you are still required to watch/listen to the tape, since we will be covering information that will be important for all of your assignments. You must notify me ahead of time that you will not be in class, and explain why you will not be able to attend.
Topics for the Esessions will be:
- Housekeeping and class procedures, review of the greensheet and the class assignments, including class presentations.
What is censorship? What is intellectual freedom? Hot buttons—where do they come from and why? What makes a title controversial? Why are they valuable? Why do authors write them? Who reads them?
- Monsters and monstrous situations, real and fictional; appeal of monsters, their uses and their value; how to defend supernatural monster titles. Discussion of school shootings and bullying. Two presentations.
- Programming using controversial titles, displays of controversial titles, and other merchandising techniques. Discussion of dystopias and serial killers. Two presentations.
- Selection and reconsideration policies for controversial titles, reconsideration procedures and forms. Discussion of GLBTQ and toxic parents/teachers. Two presentations
- Writing a rationale for a controversial title, including public and school perspectives. Discussion of supernatural monsters. Two presentations.
- Discussion of your top five titles and why you consider them important. Predicting the next big trends, based on your reading over the semester. Two presentations.
- Discussion of how you have experienced this semester and your own thoughts about censorship, intellectual freedom, and controversial titles for teens. Two presentations.
The number of presentations is estimated, based on the number of students in the class and the number who decide to work with a partner or alone.
All assignments are designed to help you gain knowledge that will allow you to achieve competency in one or more of the competencies listed above. They are not busy work, and I have designed them carefully to give you both knowledge and skills that will help you promote the controversial and valuable titles written for teens. If you don’t understand how a particular assignment will help you do this, please ask me. I will be happy to explain.
Read texts, attend Collaborate meetings, participate in class discussions on discussion boards, and participate as committee members for challenge presentations as assigned. Participating on discussion boards is defined as posting 2-3 times weekly, both in response to the questions, topics, or titles that I post, and to others’ reactions to them. (This is an averaged figure—some weeks you will have more to say, some weeks less. DON’T stress out over doing 3 every week, so you stretch out your comments to get to 3. Don’t include “attaboy” posts to get you to 3. Be consistent in your postings, making sure you contribute something worth reading every week. That will get you a higher grade than 3 “attaboys” a week.) Comments should be thoughtful and insightful, adding to our mutual learning process. Questions will be posted approximately weekly, depending on how the discussion is going. Answering a discussion question that has been answered previously, and repeating the same information in your own words is not appropriate. Do not repeat information, be comment on it and elaborate on it, responding to the information rather than starting from scratch.
Class participation also involves being an active group member, and contributing to your groups’ class presentations. Group members will also be required to do a self and peer evaluation as part of their participation grade, discussing your performance and the performances of the other people in your groups. The peer evaluations will be about one page, describing how the group came together, who did what, and how well or how poorly your process worked. You will also evaluate yourself as a member of the group. (If you do two group presentations, you will need two separate group evaluations. If you do one individual presentation, you will need to submit a self evaluation for it.) Group evaluations are turned in within 24 hours of the presentation, as described under the presentation descriptions.
This assignment is due on May 17 (evaluation documents due as noted below; discussion board participation due on May 17).
In addition to the 15 required authors/titles (listed at the end of this document), read at least 35 titles by other controversial authors and prepare a database of all of the titles, both required and self-selected. This should be a searchable database, and created as a blog or a website. My rationale for this assignment is that doing the work now to create a searchable database will make it easier for you to add titles to it in the future. Please limit your selections to literature written for teens, rather than adult titles enjoyed by teens, such as those by Jodi Picoult. You can tell what’s written for teens by looking at Amazon, and under Product Details, you’ll find a reading level. If it is a YA title, it will say so. You can also look for where it was reviewed, and the reading level the review recommended.
YOU MUST SUBMIT ORIGINAL WORK ONLY. DO NOT DO CUT AND PASTE FROM REVIEWS OR OTHER RESOURCES. Using titles you have read for other classes will result in a less rich and educational experience for you, and is not recommended.
You may use any format you choose to, but you must include the following information in each entry:
- cover image or images
- complete bibliographic information, including price and number of pages
- summary of the plot and content of the title
- reading level and interest level—these may be two different levels (Cormier’s Tenderness is written at a fifth grade level, but is far too dark and complex for a reader that young)
- evaluation, how well-written, effective, valuable it is and why—this is your review of the title
- readers’ 1-2 sentence annotation (25 words or less) designed to intrigue the reader and make him/her want to read the book
- bibliotherapeutic usefulness (what issues or situations or problems does it include, and how could it be used to help a teen work through similar situations or problems?)
- issues present—why it might be challenged or controversial—and brief ideas on how they might be countered
- booktalk ideas—what character/scene/plot line would you focus on? List page numbers as appropriate
- genre or subject—the main theme/issue of the book
- readalikes—similar titles or authors
- link to author’s website, or group’s website if it is jointly authored
- awards won and lists appeared on
- links to reviews in professional review sources
- why you chose it—as in why you were intrigued enough to pick it up. (It looked interesting is NOT a sufficient reason, nor is that it was required or on a list—what hook did it have that made you want to read it?)
Do not combine elements, i.e., combine plot summary and evaluation. Each section should be distinct.
You may also want to include other information to help you remember the book for class discussion and for the future.
I have arranged for this class to have a free subscription to NoveList, and information on how to access it will be given during the first class. I have also set up 2 training sessions with NoveList that I strongly urge you to take advantage of, since they will help you make the best use of this unique and valuable tool.
IF YOU ARE UNSURE THAT YOU ARE INCLUDING THE RIGHT AMOUNT AND TYPE OF INFORMATION, YOU MAY SUBMIT ONE TYPICAL ENTRY TO ME FOR FEEDBACK.
THIS ASSIGNMENT IS DESIGNED TO BE WORKED ON DURING THE ENTIRE SEMESTER. PLEASE BEGIN WORKING ON IT IMMEDIATELY. I also recommend that you read the required titles sooner rather than later.
The first part of this assignment, at least 25 entries, is due on March 17. The second half of this assignment, all the other entries, is due on May 17. You will receive two separate grades, which will be averaged together to get your final grade on this assignment.
In order to submit this assignment, you will put a document with the link to your blog, and login/password if necessary, in the assignment dropbox. I will let you know if the link doesn’t work, but you would be wise to test it first.
Create a program for Banned Books Week, or for some other event highlighting controversial fiction, including:
- the rationale for the program
- who it is aimed at
- displays and handouts for them
- anything else that would allow someone else to set up and run this program, based only on your description of it.
This is to be a one-shot deal, not a series, such as a weekly program, or an SRP. Take a look at some of the BBW programs online to help you get started. You will be describing this program in an informal paper, illustrated with pictures of your display on it and promotional materials you create to promote and market it. If you are doing this program in conjunction with another community group or organization, include information about them, why you are working together, and how you got connected so you could do so. You need to be specific and detailed in your description, so another librarian could take your program plan and displays and and make them real with no other input.
You need to include at least one display. The information on each display should include:
- the titles and types of materials you would put in the display
- how it was created
- what props you used
- where in the library it would be located
- when it would be available
When planning the display, consider how it will be perceived by teens and by other library customers. For instance, a display that looks good, but no self respecting teen would go near, for fear someone would see them checking out that topic or subject, isn’t going to be effective. This paper probably won’t be more than 3-4 pages long, outside of the pictures and promotional information—flyers/signs/bookmarks, etc.
Please post your work on the appropriate discussion forum after you have put it in the appropriate assignment dropbox. Due March 10.
4. PRESENTATION ON CONTROVERSIAL TOPIC (SLOs 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 16)
This presentation may be done as part of a 2-3 person group or as an individual presentation. Choosing to work in a group or alone will have no impact on your grade for this assignment. There are a number of topics and characteristics that cause a book to be challenged. Select one of these and prepare a presentation on it, including why this topic/situation is controversial, who is likely to object to the material, authors and titles that include this material, why the titles are important and valuable, including reviews and other information that would be valuable in writing rationales on these titles. You need to prepare a slideshow and a handout to accompany your presentation. Your audience will be a group of public or school librarians (specify) who want material on this topic in their collections but are concerned about how to show its value and appropriateness when someone objects to it, whether formally or informally.
These presentations will be scheduled during the first month of the semester. You will post your handouts to the indicated discussion forum 24 hours before your presentation, so your audience will have access to them during the presentation. This allows you to refer to them as part of your presentation if you choose to do so. Due 24 hours after your presentation has been given.
THIS ASSIGNMENT MAY BE CHANGED TO ASYNCHRONOUS PRESENTATIONS THAT STUDENTS WILL WATCH INDEPENDENTLY AND DISCUSS ON THE DISCUSSION FORUM SET UP FOR EACH PRESENTATION. STUDENT FEEDBACK DURING THE FIRST ESESSION AND ON THE APPROPRIATE DISCUSSION FORUM WILL BE USED TO MAKE THIS DECISION. IF PRESENTATIONS ARE DONE ASYNCHRONOUSLY, THE COLLABORATE SCHEDULE WILL BE CHANGED TO REFLECT THIS.
You and a colleague are librarians in a medium sized community, either in middle &/or high schools, or in the public library. A group or individual in the community has submitted a formal challenge to a book (or other material) in your library. You have been asked as the librarians in charge of this collection to do an introductory presentation for the 5 person reconsideration committee, which includes:
- library administrators
- community members (may include youth workers, parents, or other adults)
- students from the school or teens and tweens who use the public library (have active library cards)
- local experts in YA literature or with the subject of the titles being challenged
- other members as needed or preferred
Please specify the makeup of your committee (number of members from each of the above groups). Once you have done so, I will appoint students to the various roles in each of the committees, who will be expected to respond to the presentation. Therefore, each presentation group will be made up of 2 librarians and 5 committee members. The librarians will make their presentation and the committee members will respond to it, either positively or negatively. (Yes, this is one of those hated roleplaying exercises, but the experience could be valuable to you in the future, when you are actually in this kind of a situation.)
You will need to create a slideshow and you will also need to have some handouts for the reconsideration committee, which should include in addition to a copy of the book/material being objected to (which the committee members should have already read/watched/listened to):
- A YA selection policy designed for your department, including specific statements about why controversial materials are important. (However, you don’t need to do anything for the rest of the library collection.) 1 page limit
- A reconsideration procedure which would be appropriate for challenges to materials for youth—children as well as YAs 1 page limit
- Documents and statements from ALA and other organizations that you support in your library policies
- A copy of the complaint, information on who filed it and if it involves a group, information on that group--2 page limit
- The report from the person who took the complaint and filed the reconsideration form, stating what happened during that interview--1 page limit
- Biographical data on the author, his/her importance and major titles (this is to be brief, you will expand on it in your presentation)--1 page limit
- Brief summary of title’s value and importance (expand in presentation)--1 page limit
- Excerpts from reviews on the title—from the most authoritative sources--1 page limit
- Brief summary of other challenges to title and how they were handled and resolved (expand in presentation)--2 pages limit
- Bibliography of articles on the title and articles on the author that are relevant to this title (include at least some of these in the presentation)--2 pages limit
- Other information you deem appropriate and important--2 pages limit
Remember you will be giving them this information in two ways: your presentation and your handouts. They should complement each other. Please note that you are talking to people who probably don’t know much if anything about the library, the YA collection, and the principles of intellectual freedom. In your presentation, you need to have a reason for each part of the handout, briefly explain why each is included, and refer to each of them with a slide. More handouts does not necessarily mean a better package or a better presentation. It is not a good idea to overwhelm your committee at this time.
You also have finite amount of time—15-20 minutes for your presentation and 15 for Q&A afterwards. Your presentation needs to be informative, but not dull—it’s supposed to show your point of view, and support the library’s policies. It should be polished and persuasive—you are talking to one of the most important and diverse committees your library has. (This means practice.) You are limited only by your own creativity.
You may divide the work in any way you choose, but all group members should participate in the presentation in some way. I must approve all titles that are challenged.
Handouts should be posted at least 24 hours before the presentation so other students can access them. In addition, handouts, slideshow, script for your presentation and your peer evaluations need to be submitted to the appropriate assignment Dropboxes within 24 hours after your presentation. Due as scheduled.
COMMITTEE MEMBERS: You should study the handouts ahead of time and be ready with questions based on them. Formulate other questions based on the presentation, just as a real committee would. When the presentation is over, play your role as assigned, asking questions and responding to the content of the presentation.
THIS ASSIGNMENT MAY BE CHANGED UPON REQUEST TO ASYNCHRONOUS PRESENTATIONS THAT STUDENTS WILL WATCH INDEPENDENTLY AND DISCUSS ON THE DISCUSSION FORUM SET UP FOR EACH PRESENTATION. STUDENT FEEDBACK DURING THE FIRST ESESSION AND ON THE APPROPRIATE DISCUSSION FORUM WILL BE USED TO MAKE THIS DECISION. IF PRESENTATIONS ARE DONE ASYNCHRONOUSLY, THE COLLABORATE SCHEDULE WILL BE CHANGED TO REFLECT THIS.
You will also do a separate summary/self-evaluation/reflection paper will be about two-four pages, and will include an overview and comparison of your thinking about controversial YA literature at the beginning and at the end of the class, showing how you have changed in your thinking—or how you haven’t, and why. How has your participation in this class affected your thinking and perceptions? What is your own philosophy of intellectual freedom and how you will exhibit it as a part of your career in librarianship? What do you think are the most important things you will take away from this class? How and why has this class been valuable? Due May 17.
- Database, topic presentation, challenge presentation (as a librarian): 25% EACH
- Participation (discussion boards, committee membership for challenge presentations), program/display, reflection paper: 25% COMBINED
REQUIRED AND RECOMMENDED TITLES
These titles are ones that are widely available, so you shouldn’t have to buy them unless you choose to do so.
FIFTEEN REQUIRED TITLES AND AUTHORS
TITLES IN BOLD ARE REQUIRED, other titles are recommended
- Laurie Halse Anderson—Speak OR Wintergirls--rape, anorexia
- Robert Cormier—The Chocolate War OR Rag and Bone Shop--manipulation
- Chris Crutcher—Whale Talk OR Ironman OR Staying Fat for Sarah Byrnes--bullies, anger; death
- Nancy Garden—Annie on my Mind OR Endgame--lesbian, school shooter
- John Green—Looking for Alaska OR The Fault in our Stars—drugs, language, sexuality, death
- Gail Giles—Shattering Glass OR What Happened to Cass McBride? OR Right Behind You--bullying, manipulation, revenge
- Elizabeth Scott—Living Dead Girl—sexual abuse
EACH OF THESE AUTHORS IS REQUIRED, BUT YOU CAN CHOOSE WHICH OF THE TITLES LISTED YOU WOULD LIKE TO READ
- Ellen Hopkins—Identical OR Tricks OR Crank--multiple family related problems, drugs
- David Levithan—Will Grayson, Will Grayson OR Nick and Nora's Infinite Playlist OR Boy Meets Boy--homosexuality, vulgar language
- Walter Dean Myers—Fallen Angels OR Sunrise over Fallujah OR Monster) vulgar language, realistic view of war, guilt and criminals
- Barry Lygas--Boy Toy OR I Hunt Killers—sexual abuse or serial killer
- Todd Strasser--Boot Camp OR Give a Boy a Gun--physical, psychological manipulation, school shootings
THESE SPECIFIC TITLES ARE REQUIRED
- Living Dead Girl—Elizabeth Scott
- Raider’s Night—Robert Lipsyte
- Leverage—Josh Cohen
THESE SPECIFIC TRENDS/ISSUES ARE REQUIRED—READ AT LEAST ONE TITLE FROM EACH
Feel free to go beyond these titles—these are major trends, and many books have been written about each.
Please note that the required authors/titles do fit into the following trends, but I would like you to read at least one additional title in each in addition to the required titles above.
- Dystopias—Hunger Games, Maze Runner, Shipbreaker, Rot and Ruin, Divergent, Quarantine, Unwind, Ashfall, Gone
- Serial killers—I Hunt Killers, Ripper, Name of the Star, Tenderness, Acceleration, I am not a Serial Killer, Wish You were Dead
- School shootings—Hate List, Endgame, Give a Boy a Gun, Quad, Shooter
- Bullying—Butter, Twisted, Whale Talk, Chronicles of Vlad Tod series, Geography Club, Cornered, Skinny, By the Time You Read This, I’ll be Dead, 13 Reasons Why, Send, Bait
- GLBTQ—Boy meets Boy, She Loves You, She Loves You Not, Rainbow Boys, Boyfriends with Girlfriends, I am J, Absolutely, Positively Not, Personal Effects, The Difference Between You and Me, Will Grayson, Will Grayson
- Toxic parents and teachers—Hope in Patience, Rules of Survival, Breathing Underwater, Wild Roses, Boy Toy, Crackback, Leverage, Chocolate , How to Save a Life, Sold, Tap Out, Lush, Staying Fat for Sarah Byrnes, The Compound
- Supernatural monsters—choose several titles from They Suck, They Bite, They Eat, They Kill…
Course Workload Expectations
Success in this course is based on the expectation that students will spend, for each unit of credit, a minimum of forty-five hours over the length of the course (normally 3 hours per unit per week with 1 of the hours used for lecture) for instruction or preparation/studying or course related activities including but not limited to internships, labs, clinical practica. Other course structures will have equivalent workload expectations as described in the syllabus.
Instructional time may include but is not limited to:
Working on posted modules or lessons prepared by the instructor; discussion forum interactions with the instructor and/or other students; making presentations and getting feedback from the instructor; attending office hours or other synchronous sessions with the instructor.
Student time outside of class:
In any seven-day period, a student is expected to be academically engaged through submitting an academic assignment; taking an exam or an interactive tutorial, or computer-assisted instruction; building websites, blogs, databases, social media presentations; attending a study group;contributing to an academic online discussion; writing papers; reading articles; conducting research; engaging in small group work.
LIBR 200, LIBR 204, LIBR 260A, or LIBR 261A.
Student Learning Outcomes
Upon successful completion of the course, students will be able to:
Core Competencies (Program Learning Outcomes)
LIBR 267 supports the following core competencies:
- LIBR 267 has no supported core competencies defined in the database.
- Aronson, M. (2001). Exploding the Myths. Lanham, MD: Scarecrow Press. Available through Amazon: 0810839040.
- Bodart, J. R. (2009). Radical Reads 2: Working with the Newest Edgy Titles for Teens. Lanham, MD: Scarecrow Press. Available through Amazon: 081086908X.
- LaRue, James (2007). The New Inquisition. Westport, CT: Libraries Unlimited. Available through Amazon: 1591582857.
- Bodart, J. R. (2012). They suck, they bite, they eat, they kill: The psychological meaning of supernatural monsters in young adult literature. Lanham, MD: Scarecrow Press. Available through Amazon: 0810882272
- Bodart, J. R. (2002). Radical Reads: 101 YA Novels on the Edge. Lanham, MD: Scarecrow Press. Available through Amazon: 0810842874.
- Dresang, E. (1999). Radical Change. New York: HW Wilson. Available through Amazon: 0824209532.
- Rubin, R. J. (2000). Defusing the angry patron. New York: Neal-Schuman. Available through Amazon: 1555703720.
The standard SJSU School of Information Grading Scale is utilized for all iSchool courses:
|97 to 100||A|
|94 to 96||A minus|
|91 to 93||B plus|
|88 to 90||B|
|85 to 87||B minus|
|82 to 84||C plus|
|79 to 81||C|
|76 to 78||C minus|
|73 to 75||D plus|
|70 to 72||D|
|67 to 69||D minus|
In order to provide consistent guidelines for assessment for graduate level work in the School, these terms are applied to letter grades:
- C represents Adequate work; a grade of "C" counts for credit for the course;
- B represents Good work; a grade of "B" clearly meets the standards for graduate level work;
For core courses in the MLIS program (not MARA) — INFO 200, INFO 202, INFO 204 — the iSchool requires that students earn a B in the course. If the grade is less than B (B- or lower) after the first attempt you will be placed on administrative probation. You must repeat the class the following semester. If -on the second attempt- you do not pass the class with a grade of B or better (not B- but B) you will be disqualified.
- A represents Exceptional work; a grade of "A" will be assigned for outstanding work only.
Students are advised that it is their responsibility to maintain a 3.0 Grade Point Average (GPA).
General Expectations, Rights and Responsibilities of the Student
As members of the academic community, students accept both the rights and responsibilities incumbent upon all members of the institution. Students are encouraged to familiarize themselves with SJSU's policies and practices pertaining to the procedures to follow if and when questions or concerns about a class arises. See University Policy S90-5 at http://www.sjsu.edu/senate/docs/S90-5.pdf. More detailed information on a variety of related topics is available in the SJSU catalog at http://info.sjsu.edu/web-dbgen/catalog/departments/LIS.html. In general, it is recommended that students begin by seeking clarification or discussing concerns with their instructor. If such conversation is not possible, or if it does not serve to address the issue, it is recommended that the student contact the Department Chair as a next step.
Dropping and Adding
Students are responsible for understanding the policies and procedures about add/drop, grade forgiveness, etc. Refer to the current semester's Catalog Policies section at http://info.sjsu.edu/static/catalog/policies.html. Add/drop deadlines can be found on the current academic year calendars document on the Academic Calendars webpage at http://www.sjsu.edu/provost/services/academic_calendars/. The Late Drop Policy is available at http://www.sjsu.edu/aars/policies/latedrops/policy/. Students should be aware of the current deadlines and penalties for dropping classes.
Information about the latest changes and news is available at the Advising Hub at http://www.sjsu.edu/advising/.
Consent for Recording of Class and Public Sharing of Instructor Material
University Policy S12-7, http://www.sjsu.edu/senate/docs/S12-7.pdf, requires students to obtain instructor's permission to record the course and the following items to be included in the syllabus:
- "Common courtesy and professional behavior dictate that you notify someone when you are recording him/her. You must obtain the instructor's permission to make audio or video recordings in this class. Such permission allows the recordings to be used for your private, study purposes only. The recordings are the intellectual property of the instructor; you have not been given any rights to reproduce or distribute the material."
- It is suggested that the syllabus include the instructor's process for granting permission, whether in writing or orally and whether for the whole semester or on a class by class basis.
- In classes where active participation of students or guests may be on the recording, permission of those students or guests should be obtained as well.
- "Course material developed by the instructor is the intellectual property of the instructor and cannot be shared publicly without his/her approval. You may not publicly share or upload instructor generated material for this course such as exam questions, lecture notes, or homework solutions without instructor consent."
Your commitment, as a student, to learning is evidenced by your enrollment at San Jose State University. The University Academic Integrity Policy F15-7 at http://www.sjsu.edu/senate/docs/F15-7.pdf requires you to be honest in all your academic course work. Faculty members are required to report all infractions to the office of Student Conduct and Ethical Development. The Student Conduct and Ethical Development website is available at http://www.sjsu.edu/studentconduct/.
Campus Policy in Compliance with the American Disabilities Act
If you need course adaptations or accommodations because of a disability, or if you need to make special arrangements in case the building must be evacuated, please make an appointment with me as soon as possible, or see me during office hours. Presidential Directive 97-03 at http://www.sjsu.edu/president/docs/directives/PD_1997-03.pdf requires that students with disabilities requesting accommodations must register with the Accessible Education Center (AEC) at http://www.sjsu.edu/aec to establish a record of their disability.
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