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12.50-3.50 MW State Hall
Professor Kirsten Thompson : (313) 577-3358 (office)
Office Hours or at other times by appointment, Room 5057 Woodward, 9th
Floor English, Rm. 9313
E: mail: kirsten_thompson@wayne.edu,
Professor’s Web Page:
http://www.english.wayne.edu/fac_pages/thompsonk/index2.html
Animation web links:
http://www.english.wayne.edu/fac_pages/thompsonk/animationlinks.html
Animation Database: http://www.bcdb.com/cartoons/ (Many cartoons
available for watching here)
This undergraduate seminar surveys the history, institutional
context and aesthetics of classical Hollywood cel animation, from
its beginnings, until 1960. We’ll look at animated shorts and
some features (Snow White and the Seven Dwarfs, Pinocchio), by Walt
Disney, the Fleischer Bros, UPA, Columbia, Warner Bros, and MGM. From
Betty Boop to Popeye, and from Felix the Cat to Donald Duck and Gerald
McBoing Boing, we’ll study the emergence of personality
animation, learn about the technological and formal development of the
medium and introduce theoretical approaches that will enable you to
analyze animation in a critical and historical framework. Coursework:
exams, research essay.
Required Texts;
1) Maureen Furniss, Art in Motion: Animation Aesthetics (John Libbey:
NY) 1998, Rev. edition
2) Leonard Maltin, Of Mice and Magic; A History of American Animated
Cartoons, (Plume: NY) 1987, Rev. edition
Recommended Texts:
1) readings on E-reserve identified as ERES in syllabus (readings
not yet available)
Coursework: class participation 20 %, final paper 20 %,
midterm 20 %, aural presentation 20 %, journal 20 %.
1) Participation (20%:) Regular attendance (no more than 2 sessions
missed without proper excuse), active verbal participation in class
2) Journal (20 %) Your journal is to document your learning
process, and to foster your engagement with the content of the
lectures. Your weekly journal entries should outline your understanding
of the main points of the lecture, and apply these points to relevant
audiovisual material. You should discuss the screenings presented in
the lectures, as well as other resources that you have obtained from
the library, internet, television, or elsewhere. Journals should
be handed in for interim grades every four weeks ( Feb 2, March
2, April 1, and April 20) and should include material for week
immediately preceding those dates and should have weekly entries of at
least one page. (You do not need to make journal entries after April
20) You should watch and discuss at least TWO extra cartoons by a
director or Studio or topic related to that week’s lecture.
See library for DVD’s (Loony Toons and Disney) and also online
sources such as Cartoon Database.
3) Oral Presentation of cartoon(s)/director any topic ( 20
%) rolling throughout semester starting Feb 2. No more than 20
minutes—may be a presentation of one or several cartoons
organized around a theme of your choice. Student should prepare
handouts for class on subject, and show a short clip or visual samples
of material
4) Midterm March 9 (20%): Test will include animation terms, readings
and key animation studios, personnel and historical and technical
innovations.
5) Final Paper (20%) Due April 27 (10-15 pages maximum) will
require an extended examination of a particular animator (or) team (or)
studio, in relation to questions of form, thematics and ideological
implications. This may develop out of your journal entries or verbal
presentation or may be a different topic. There will be a handout of
suggested questions or you can design your own topic. You should
attempt to engage with the different discursive issues that the class
has been discussing, and will be expected to connect a range of
issues between several cartoons by the same or different studios.
Plagiarism will result in an automatic fail for the class. Failure to
hand in assignments on time, without an appropriate explanation will
also result in grade penalization. NO LATE OR EXTRA CREDIT ASSIGNMENTS;
failure to complete all assignments will result in an F.
1 ORIGINS OF ANIMATION & ANIMATION FORM / Jan 12 & 14
Screenings
• Enchanted Drawings (1900) J. Stuart Blackton
∑ Humorous Phases of Funny Faces (1906) J Stuart Blackton
• Duck Amuck (1953) Chuck Jones (Loony Toons
vol 1)
∑ Feline Follies (1919) Otto Messmer (Paramount)
• How A Mosquito Operates (1912) Winsor McCay
• Gertie The Dinosaur (1914) Winsor McCay
• Alice’s Egg Plant (1925) Ub Iwerks/Walt Disney
• Steamboat Willie (1928) Disney
• In a Cartoon Studio/ (aka) Making Them
Move (1931) Van Beuren Studios (Complete Weird Cartoons/Cartoon Crazys;
Banned and Censored)
Comparative Screenings: European Animation
∑ Lotte Reiniger --selections of fairy tales & silhouette
animation (Austria)
∑ The Cameraman’s Revenge (1912) Lareslas Starewich/Khanzhonkov (Russia)
Readings; chap 1 Maltin & chaps 1 Furniss. Have read
for Wednesday and discussion. Please print out and bring to class
all readings/ textbooks)
Monday Jan 19 President’s Day. NO CLASSES
II TWENTIES AND THIRTIES ANIMATION I THE FLEISCHER BROS.
STUDIO
Jan 21, 26, 28
∑ Minnie the Moocher (1932)
∑ Selections from Koko the Clown and Out of the Inkwell
∑ Boop-Oop-A-Doo (1932)
∑ Snow White (1933)
∑ Betty Boop's Bamboo Isle (1932)
∑ Selections from Superman, e.g. Japoteurs (1942)
∑ Comparison Viewing
∑ Felix Saves the Day (1922) Otto Messmer (Sullivan Studios)
∑ Mickey’s Gala Premiere (1933) Disney
Readings: Maltin chap 3; . Furniss c 2; Mark Langer “Max and Dave
Fleischer” (Photocopy)
III WALT DISNEY; DISCOURSES OF THE PERVERSE & MONSTROUS/ Feb
2 & 4
Screenings
Excerpts
from:
• Skeleton Dance (1929) Ub Iwerks
Snow White & the Seven Dwarfs
• The Mad Doctor (1933) Dave
Hand/Disney (1937)
• Pluto’s Judgment Day (1935) Dave
Hand Sleeping Beauty (1959
∑ The Old Mill (1934),Disney
∑ Flowers and Trees (1932) Disney
Other Silly Symphonies and Laugh O-Grams TBA
Reading: Furniss chap 4 & 6
IV WALT DISNEY AND THE FEATURE FILM Feb 9 & 11
Screening: Snow White and the Seven Dwarfs (1937)
Reading: Robin Allen (E RES)” I Believe in Fairy Tales: Snow
White and the Seven Dwarfs”
V THE WARNER BROTHERS STUDIO; SELF REFLEXIVITY &
INTERTEXTUALITY/ Feb 16 & 18
Cartoon Stars As Star Personas & The Origins Of Daffy Duck,
Bugs Bunny & Donald Duck. Oral Presentations begin
Screenings
Firsts:
Intertextuality
∑ Sinkin’ in the Bathtub (1930)
Harman/Ising Coo-Coo Nut Grove (1936)
Friz Freleng
∑ The Daffy Doc (1938) Bob Clampett
Hollywood Steps
Out (1941) Tex Avery
• A Wild Hare (1940) Tex Avery
• Porky’s Hare Hunt (1938) Ben Hardaway
• The Wise Little Hen Dave Hand (1934)
• Book Revue (1946) Bob Clampett
Readings: Maltin c. 9; Donald Crafton "The View from
Termite Terrace; Caricature and parody in Warner Bros. Animation " E RES
VI COLOR: SOUND AND MUSIC Feb 23 & 25
Screenings
• Miss Glory (1936) Tex Avery
• Corny Concerto (1943) Bob
Clampett Three Little Bops (1957)
Friz Freleng
• Long Haired Hare (1949) Chuck
Jones Funny Little Bunnies (Disney) SS
∑ Bottles Harman/Ising (1941), MGM
Three Little Pigs (Disney, SS)
Comparison viewings;
• The Band Concert (1933) Disney
Readings: Maltin c. 4; Furniss c. 5
VII DISNEY FEATURES / March 2 & 4
Screening: Pinocchio (Walt Disney, 1940)
Readings: Robin Allen “The Dark World of Pinocchio” E RES
VIII WAR CARTOONS AND PROPAGANDA/ March 9 & 11
Screenings:
• Daffy the Commando (1943) F.
Freleng The Weakley
Reporter (1944) Chuck Jones
• Plane Daffy (1944) Frank
Tashlin Draftee Daffy
(1945) Bob Clampett
• Herr Meets Hare (1945) F.
Freleng
Any Bonds Today? (1942, WB)
Comparative viewings:
• Der Führer’s Face (Jack
Kinney, 1943) & Education for Death (Clyde Geronimi, 1943)
& Spirit of 43 Disney
• Excerpts Victory Through Air Power (Dave
Hand, 1943, Disney) & Documentary on Wartime Animation
Readings:TBA
SPRING BREAK Mon MARCH 16- Sat March 21
IX GENRE PARODY/ March 23 & 25
Screenings:
• The Great Piggy Bank Robbery (1943)Bob
Clampett
∑ Scarlet Pumpernickel (1950) Chuck Jones
• Dripalong Daffy (1951) Chuck Jones
• Duck Dodgers in the 24 &1/2 century
(1953)Chuck Jones
• Sahara hare (1955) Friz Freleng
Readings: Maltin c. 11; Furniss c. 11
Recommended Reading: Kirsten Thompson “Ah Love Zee
grand Illusion!; Pepe Le Pew and Cats in the Casbah”
Blackboard under course docs
X DISCOURSES OF RACE AND ETHNICITY/March 30 and April 1
Screenings: Bugs Bunny Nips the Nips (1943 F. Freleng)
• Tokio Jokio (1943 Norman McCabe)
Comparison viewing;
∑ excerpts Jungle Book (Disney, 1967)
• Scrub Me Mamma with a Boogie Beat (1941)
Walter Lantz Studios
∑ Coal Black and De Sebben Dwarfs (1943)Bob Clampett
• I’ll be glad when you’re dead, you rascal you
(1932) Fleischer Bros.
• Popeye the Sailor Meets Ali Baba and the 40
thieves (1937) Fleischer Bros
∑ Red Hot Mama (1934) Fleischer Bros.
Readings; Maltin c. 6 , Furniss chap 12; Lindvall/Fraser
“Darker Shades of Animation: African-American Images in Warner
Bros. Cartoons” ERES
XI QUESTIONS OF THE AUTEUR; TEX AVERY AT MGM /April 6 & 8
∑ Big Heelawatha (1944) Tex Avery, MGM
• Little Red Walking Hood (1937)Tex Avery, MGM
• Cinderella meets Fella (1938)Tex Avery, MGM
• Swing Shift Cinderella (1943) Tex Avery, MGM
• Uncle Tom’s Cabana (1947) Tex Avery, MGM
Readings; Maltin c. 10; Furniss chap 10
XII UPA April 11 & 13
Screenings: The Aristo-cat (1943) Chuck Jones
Broomstick Bunny (1956) Chuck Jones
Gerald McBoing Boing (1950)
The Telltale Heart (1953)
Readings; Maltin chap 12; Furniss chap 7
XIII BUGS BUNNY AND TRANSVESTISM April 20 & 22
Screening: What’s Opera Doc? (1957) Chuck Jones
The Rabbit of Seville (1950) Chuck Jones
• Mississippi Hare (1949) Chuck Jones
Hare Raising Hare (1946) Chuck Jones
• Hare Ribbin' (1944) Bob Clampett
The Big Snooze (1946) Bob Clampett
The Unruly Hare (1945) Frank Tashlin
• Bunny Hugged (1951) Chuck
Jones
Hare Trimmed (1953) Friz Freleng
• Hillbilly hare (1950) Bob McKimson
Readings: 10 Kevin Sandler “Bugs Bunny in Drag” ERES
Bibliography
Allan, R. (1999).Walt Disney and Europe: European influences on
the animated feature films of Walt Disney. Bloomington and
Indianapolis. Indiana University Press.
Barrier, M. (2003). Hollywood Cartoons: American animation in Its
golden age. New York: Oxford University Press.
Beck, J. (2004). Animation art: from pencil to pixel, the history of
cartoon, anime and CGI. New York; Harper Design.
Bendazzi, G. (1995). Cartoons: one hundred years of cinema
animation. New York: John Libbey.
Canemaker, J. (2001). Walt Disney’s nine old men and the art of
animation. New York: Disney Edition.
_________, (1990). Felix the cat. New York: Abbeville Press.
Cabarga, L. (1988). The Fleischer story. New York: Da Capo Press.
Cohen, K. F. (2004). Forbidden animation: censored cartoons
and blacklisted animators in America. Jefferson, NC: McFarland.
Rev. edition.
Crafton, D (1982) . Before Mickey. London: MIT Press; 1982
---------------- (1993) . “The View from Termite Terrace:
caricature and parody in Warner Bros. animation” Film
History 5. 2, XX-XX.
Furniss, M. (2008). Art in motion: animation aesthetics. New York: John
Libbey. Rev. edition.
Goldmark, D. (2005). Tunes for ‘toons: music and the Hollywood
cartoon. Los Angeles: University of California Press.
Hannoosh, M. (1992) Baudelaire and Caricature From the Comic to an Art
of Modernity. University Park, PA: Penn State Press.
Lenburg, J. (Ed). (2008) The Encyclopedia Of animated cartoons.
New York: Checkmark. 3rd edition.
Leslie, E. (2002). Hollywood flatlands: animation, critical
theory and the avant-garde. New York: Verso.
Leyda, J . (Ed). (1988). Eisenstein on Disney. New York: Heinemann.
Maltin, L. & Beck, J. (1987). Of Mice and magic; A history of
American animated cartoons. Revised edition. New York: Plume
Merritt, R. & Kaufmann, J..B. (2000) Walt in wonderland; the silent
films of Walt Disney. Baltimore: Johns Hopkins.
Peary, D. & Peary G. (Eds) (1980). The American
animated cartoon . Los Angeles: AFI.
Pilling, J. (Ed). (1998). A reader in animation studies. New
York: John Libbey.
Sampson, H. T. That’s enough Folks! black images in animated cartoons,
1900-1960. Lanham, MD: Scarecrow.
Sandler, K. (1998). Reading the rabbit: explorations in Warner Bros.
animation. New Brunswick: Rutgers University Press.
Schneider, S. (Ed). (1988). That's all folks!: the art of Warner Bros
animation. New York: Henry Holt
Smoodin, E. (1993). Animating culture: Hollywood cartoons from
the sound era. New Brunswick: Rutgers University Press.
Shale, R. (1982) Donald Duck joins up; The Walt Disney studio during
world war II. Ann Arbor: UMI.
Shull, M. S. & Wilt, D. (1987). Doing their bit:
wartime American animated short films,1939-1945. Jefferson, North
Carolina: McFarland.
Sito, T. ( 2006). Drawing the line: the untold story of the animation
unions from Bosko to Bart Simpson. Lexington: University Press of
Kentucky.
Solomon, C. (1994). The history of animation: enchanted drawings.
New York: Random. Rev. edition.
Thomas, F. & Johnston, O. (1995). The Illusion Of life:
Disney animation. New York: Disney Editions. Rev edition
Thompson, K. "Implications of the Cel animation technique" in Lauretis,
T & Heath, S. (Eds). The Cinematic apparatus. (pp) New York: St
Martin's Press.
Articles in Periodicals
See Animation Journal (any issue) online at
http://www.animationjournal.com/ and also the following available in
some cases in digital form through JSTOR, Project Muse etc at the
Library
Robin Allan “Before Snow White; European Influences on early Disney”
Animatrix #6 (1992)
Giselle Boras “The Psychological Beast of Disney’s Beauty and the
Beast”Animatrix #7 (1993)
Bhabha, Homi “The Other Question; on the Stereotype and Colonial
Discourse” Screen 24:6 (1983)
John Canemaker “The Fantasia That Never Was " (On Disney's Proposed
Fantasia II) Print Jan /Feb 1988
----------------------"Tex Avery" AFI The Art of the Animated
Image vol. 2 (ed.) Canemaker
----------------------- “Vlad Tytla; Animation’s Michelangelo”
Cinéfantastique Winter 1976
---------------------- “Grim Natwick” Film Comment 11.1 (Jan/Feb 1975)
---------------------- “Chuck Jones” Cartoonist Profiles March 1980
---------------------- “Winsor McCay’s Little Nemo and How a
Mosquito Operates
------------------ “ Beginnings of ‘Personality’ Animation” Art of
Animated Film vol. 1(ed.)
Ross Care “Cinesymphony; Music and Animation at The Disney Studio”
Sight & Sound vol. 46 # 1 (1976/77)
Donald Crafton “Walt Disney’s Peter Pan; Women Trouble on
the Island in Art of the Animated Image (ed.)John Canemaker
(AFI, vol. II,1988)
---------------- “The View from Termite Terrace: Caricature and
Parody in Warner Bros. Animation” Film History vol. 5 #2
(1993)
Scott Curtis “The Sound of The Early Warner Bros. Cartoons”
in Sound Theory/Sound Practice (ed.) Rick Altman (Routledge; NY) 1992
Susan Dalton “Bugs and Daffy Go To War” in The American Animated
Cartoon (eds) Daniel & Gerald Peary
Richard Dyer “White” Screen vol. 29 #4 (1988)
Greg Ford & Richard Thompson "Chuck Jones " Film Comment 11.1
(Jan/Feb 1975)
Atom Klein “La Verne Harding: Hollywood’s First Animator” Animation
Journal vol. 2 # 2 (Spring 1994)
Jim Korkis & John Cawley “Prime-time Animation B.C. (before
Simpsons)” in Cartoon Confidential Korkis et. al; (Malibu
Graphics; Calif.) 1991
Mark Langer “Designing Dumbo; an annotated Interview with
Kendall O’Connor” Animation Journal vol. 2 #1 (1993)
------------------ “ Max and Dave Fleischer “ Film Comment 11.1
(Jan/Feb 1975)
------------------ “Animatophilia, Cultural Production and
Corporate Interests: The Case of Ren and Stimpy” Film
History vol. 5 #2 (1993)
Leonard Maltin “TV Animation” Film Comment 11.1 (Jan/Feb) 1975
Karin Merritt “The Little Girl/Little Mother Transformation; the
American evolution of Snow White” in Art of the
Animated Image (ed.) Canemaker; AFI, vol. II (1988)
Judith O’Sullivan “In Search of Winsor McCay” American Film Institute
vol. 5 #2 (Summer 1974)
Susan Ohmer “Who Framed Roger Rabbit?; the Presence of the
Past” in The Art of the Animated Image (ed.) Canemaker (AFI, vol
II, 1988)
-------------------- “That Rags to Riches Stuff: Disney’s
Cinderella and the Cultural Space of Animation” Film History vol.
5 #2 (1993)
Gerald and Daniel Peary (eds) “Testimony of Walter E.
Disney before House Committee on un-American Activities” in The
American Animated Cartoon (Dutton; NY) 1980
William Paul "Art , Music, Nature And Walt Disney " Movie # 24
(Spring 1977)
Lauren Rabinowitz “Animation, Postmodernism and MTV” Velvet Light Trap
#24 (Fall 1989)
Jonathan Rosenblaum “Tex Avery " Film Comment 11.1 Jan/Feb
1975
Richard Shale “Donald Duck Joins Up” Funnyworld # 17
Michael Shull & David Wilt “Meet John Doughboy: 1939-1941);
chaps 4, 5 & 6 from Doing Their Bit; Wartime American Animated
Short Films, 1939-1945 (McFarland, North Carolina) 1987
Robert Sklar “The Making of Cultural Myths-Walt Disney” in American
Animated Cartoon (Peary) op. cit
Jennifer Tabbush “ Disney’s Animated Shorts and Features
during World War II years; 1940-45” Animatrix #6 (1992)
Richard Thompson Duck Amuck" Film Comment 11.1 (Jan /Feb 1975)
Kristen Thompson "Implications of the Cel animation Technique" in The
Cinematic Apparatus (eds) Teresa de Lauretis & Stephen Heath (St
Martin's Press; New York) 1980
Kirsten Moana Thompson “Ah Love! Zee Grand Illusion! Pepé
Le Pew, Narcissism and Cats in the Casbah”, in Reading the
Rabbit; Explorations in Warner Bros. Animation, ed Kevin Sandler
(Rutgers University Press, 1998)
Timothy White "From Disney to Warner Bros.; The Critical Shift" Film
Criticism vol 16 # 3 (Spr 1992)
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CLASS POLICIES/THE FINE PRINT
CLASS GRADING SCALE: All class tests will have these letter grade
equivalents to the following points out of 100
A= 93-100
A- 90-92
B+ 87-89
B 83-86
B- 80-82
C+ 77-79
C 73-76
C- 70-72
D+ 67-69
D 63-66
D-60-62
F 59 and below
Note on Grading: All assignments MUST be submitted for successful
completion of the course.
Failure to submit one or more assignments or sit the exams will result
in a final grade of F.
The English Department attendance policy is as follows
Students enrolled in any English course must attend at least one of the
first two class sessions of the term in order to maintain a place in
the class. If a student does not show up for the first 2 classes
he/she is not permitted to register for this class.
Other Policies:
1.There are no makeup screenings of films, so if you must miss a
screening, rent the DVD (with correct ASPECT RATIO—i.e.
widescreen letterboxed) from UGL Ademany which has most of the class
titles. You must watch all of the films screened in class and it is
recommended that you watch them one more time on your own.
2. In previous courses, I have received some complaints about
talking and noise during film screenings, so please use common sense
and be courteous to others during screenings. Please don’t
talk during the films (or during class discussion, for that
matter). I don’t object to food and drink in the screening
room, as long as you eat quietly. PLEASE take all trash out with
you when you leave the room. Also, please keep in mind that the
end of a film is just as important as the beginning.
3. All written assignments for the course are due in class.
Please do not leave papers for me at the English Department, unless you
have first secured my permission. (This is to prevent papers from
getting lost, and please do not slide papers under my office door!) NO
papers by email or fax.
4. Please photocopy your papers prior to submitting them, or keep
a backup copy on computer. If your paper gets lost, I will ask
you for the backup copy. Computers or printers crashing are not
acceptable excuses
5. GRADING SCHEDULE: I will try to return assignments as soon as
possible, but it will usually take me at one week to grade a given
paper or test.
6. Handing in an assignment late will result in a deduction of
your grade, unless a valid excuse is provided. For every two days
the assignment is late, the score drops by half a letter grade.
Except for dire emergencies, I will not accept papers that are more
than 1 week late.
7 . Makeups for missed tests or quizzes require a valid excuse,
and under most circumstances I will ask for written documentation about
the reason for absence (doctor’s receipt, auto repair bill,
etc.). If for some reason you miss a test, PLEASE notify me as
soon as possible—generally within 1 or 2 days.
8. If you cannot make it to a scheduled office meeting with me,
please call to cancel as soon as possible.
9. PLAGIARISM. Plagiarism (unacknowledged use of another
person’s work) and cheating are both serious offenses. Like
most American universities, Wayne State Univ. has a fairly severe
policy about penalties for both. Evidence of plagiarism (or
fabrication of sources) or cheating will result in a zero for the
assignment and an F for the class. Prior to submission of the
final paper, students will be given the opportunity to discuss what
constitutes plagiarism. PLAGIARISM INCLUDES ALL UNACKNOWLEDGED USE OF
SOURCES, INCLUDING THE INTERNET. IF YOU CUT AND PASTE FROM
ANOTHER’S WORK, THIS CONSTITUTES PLAGIARISM. WHENEVER YOU QUOTE
FROM ANOTHER PERSON’S WORK, YOU MUST USE QUOTATION MARKS, AND
FOOTNOTES/OR ENDNOTES. IF YOU DO NOT, THIS IS PLAGIARISM, AND YOU WILL
FAIL THE CLASS. YOU MUST DO THE SECOND ELIZABETH ASSIGNMENT ON YOUR
OWN. ANY EVIDENCE OF COPYING FROM ANOTHER STUDENT WILL RESULT IN AN F
FOR THE CLASS AND YOU WILL BE REPORTED TO THE DEAN FOR PLAGIARISM.
DON’T DO IT!
An instructor, on discovering such an instance WILL give a failing
grade on the assignment or for the course. The instructor has the
responsibility of notifying the student of the alleged violation and
the action being taken. Both the student and the instructor are
entitled to academic due process in all such cases. Acts of
dishonesty may lead to suspension or exclusion.
10. Students must put away ALL papers, notebooks, clipboards, and books
during tests. You will be given paper for the test. I will
circulate around the classroom during exams. CHEATING WILL RESULT
IN AN F FOR THE TEST AND CLASS
11. Writing Standards. Although I can provide some writing tips,
this class is too large for extensive individual tutoring in basic
writing techniques. Students who have difficulties with
English grammar or spelling should contact the Writing Center for
assistance: 313/577-2544; 337 State Hall. Hours of operation vary
from semester to semester. You will be penalized if your writing
standards are insufficient for university work in your assignments.
12. Personal Problems/ Physical or Mental Health Issues or
disabilities
If you feel overwhelmed or stressed out, there is always help available
at the WSU Counseling Services at 1001 Faculty Administration
Building --call (313)577-3398. Alternatively there is the
Detroit-Wayne Community Mental Health Emergency Telephone Service
(313)224-7000 (24 hour service). Don't drop your classes--talk to
someone first! If you are feeling overwhelmed, depressed or
seriously stressed, TELL your professors in your classes so they can
help you if you are having difficulties. If you have a physical
or mental impairment that may interfere with your ability to complete
successfully the requirements for this course, please contact
Educational Accessibility Services to discuss appropriate
accommodations on a confidential basis, in Room 1600 of the David
Ademany Undergraduate Library. Telephone: (313) 577-1851. Please notify
me once you have registered with EAS so that I can schedule exams or
other coursework with EAS.
13. Course Evaluations: . If you have found me a good teacher in this
class, please remember to fill out an evaluation form at the end of
term. You can also nominate me for the President’s Award in
Teaching (forms can be downloaded at
http://provost.wayne.edu/awards.php)
14. If you are a member of a sports team, please give me your
grade worksheets ONE WEEK in advance of when they are due, or drop them
off to the Eng dept so that I get them before class I cannot sign these
on the day they are due, as I need to consult my gradebook. Please
notify me EARLY if you know that your sports schedule will conflict
with a class exam.
