+1(978)310-4246 credencewriters@gmail.com
  

Description

News Write

Up.”

Find a recent news

st

ory (written in the last 12 months),

published by a major news

outlet, which you believe to be relevant to a specific literary work

from this course. Considering the news

story and literary work alongside one another, 1) discuss

their distinct

stylistic

ap

proaches to a shared topic/concept, and 2) how each text helps you re

evaluate the other (i.e. consider intentions, limitations, audience, effect upon you as a reader). The

paper should be at least 2 pages, double spaced, typed, with strong details via spe

cific examples

and direct quotes. Be sure to include the full bibliographic information for each work, and a link

to, or copy of, the news

story

.

I will attach my course syllabus in the file upload section as a reference to what the course is about and based on to know what to connect the news article to.

I will swell attach down below one announcement my Professor had for the class which was an article she came across which she find very relevant to the course, which you may possibly use yourself for this write up and connect it to the course. Up to you to choose though!

My Professor wrote:

Dear Students,

I just heard this Latino USA story this morning, and want to share it with you as it is very relevant to Their Dogs Came With Them while also connecting the consequences of the freeway construction to the present. I thought you might be interested!

Reclaiming Our Homes

(Links to an external site.)

Description below:

“On March 14, 2020, Martha Escudero and her two daughters became the first of a dozen unhoused families to occupy one of over a hundred vacant houses in El Sereno, Los Angeles. Some call them squatters, but they call themselves the Reclaimers.

The houses the Reclaimers occupied actually belong to a state agency that purchased the houses in the 1960’s in order to demolish them and build a freeway through this largely Latinx and immigrant neighborhood. This is the story of one of these houses, and its residents, past and present, who have fought to make it their home.””

CDS 301-01/ ENGL 201-01
Narratives of U.S. America
Fall 2021
Meeting Times: T/Th 2.40-4.25pm
Modality: In Person
Classroom: Lone Mountain Main 350
Number of units: 4
Attributes: Core C1 Literature
Instructor: Christina Garcia Lopez, Ph.D.
Virtual Office Hrs: M 12-1.30; W 11-12.30
Office: Kalmanovitz 486
Contact: 422-4749 / cglopez3@usfca.edu
TA: Natalie Longwell nllongwell@dons.usfca.edu
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Course Description
This course concentrates on how the literary arts have been utilized by communities of
color to creatively express their histories and geographies, as related to present realities in
the United States. We aim to achieve a complex understanding of the roots of U.S.
America through the literary expressions of its historically marginalized groups and their
dialogues with dominant cultural expressions. More specifically, we will focus on
contemporary fiction across African American, Native American, Latinx, and Asian
American communities, by reading four novels along with critical/analytical essays.
Through these readings, we will consider issues of slavery, colonization and westward
expansion, as well as migration, displacement, gentrification, and globalization.
How have power relations in the United States, and the institutional, structural, and social
forces constructed through those relations, related to the experiences of race, class,
ethnicity, and gender in this country? How can storytelling radically center the voices and
perspectives of historically marginalized groups, in a way that fosters a type of “narrative
resistance” or “counternarrative” to dominant national narratives and representations?
What kinds of storytelling techniques do authors use to lay the groundwork for a reimagination and new understanding of their communities’ experiences?
By considering narrative/literary devices and approaches alongside historical and cultural
contexts, we will consider these questions throughout the semester. In addition to a strong
emphasis on reading, we will utilize engaged class discussion and analysis, as well as
writing exercises and group activities, to formulate original ideas about the texts. In lieu
of exams, major assignments will primarily focus on written work and essays, with some
research included. Please note, while we will approach some challenging texts,
particularly in the second half of the semester, this course is for students of all majors and
levels of experience who are willing to apply themselves, participate, and ask questions!
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Note on “Expressions of Diversity” Courses & CDS
In addition to serving as a C1 core literature course, this course also meets the “Expressions of
Diversity” requirement of the Critical Diversity Studies (CDS) major at USF. If you are interested
in learning more about CDS, contact me at cglopez3@usfca.edu or Elonte Porter
edporter@usfca.edu. “Expressions of Diversity” courses focus on the articulation of CDS’
theories and concepts regarding relationships of power, in the realm of artistic production.
Through the study of literary or performative forms of artistic production, “Expressions of
Diversity” courses focus on creative inquiry in the context of critical diversity in the arts and
humanities. These courses examine texts and/or live performance produced around diversity and
social justice issues in a comparative, intersectional, and interdisciplinary manner.
Primary texts (required):
Octavia Butler, Kindred (Beacon Press c/o Random House)
Tommy Orange, There There (Penguin Random House)
Helena María Viramontes, Their Dogs Came With Them (Simon & Schuster)
Karen Tei Yamashita, Tropic of Orange (Coffee House Press)
-All books available at USF Bookstore. Selected critical essays on Canvas.
-Content Note: Due to the serious issues these novels address, each of them includes
depictions of and references to violence, including but not limited to gun violence as well
as sexual violence. Please let me know if you have any concerns or need support.
Core Learning Outcomes for Humanities (Literature, CORE C1):
By the end of the semester, you will be able to,
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Demonstrate a basic understanding of the literary, historical, social, and cultural
influences that inform literary works, including diversity of perspectives, experiences,
and traditions.
This will be achieved through the translation of concepts studied throughout the Cultural
Diversity Studies major and applied to an Expressions of Diversity context. In the field of
literature, students will be able to analyze the role of decolonizing narratives, as well as the
fashioning of alternate geographies/identities around the categories of gender, race, sexuality,
class and citizenship. We will do this through selected literary and critical readings related to the
narration of America and the narrative transformation of alternate identities and geographies.
This will be further achieved through the reading of culturally specific texts, class discussion on
themes and related social issues, as well as written assignments.
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Articulate in writing and discussion their responses to literary texts (75% of which must
be written texts) with a view to equipping them with the knowledge, values, and
sensitivity to succeed as persons and professionals.
This will be achieved through the use of Literary and Cultural Studies’ tools to analyze theme
and form in the different literary texts. This will be assessed through weekly discussions and
Canvas posts, a presentation, two short essays and a longer comparative paper.
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Demonstrate a basic critical ability to identify, interpret, and evaluate the ideas and
formal features of an integrated body of literary texts in the context of a socially
responsible learning community of high quality scholarship and academic rigor.
We will achieve this by comparing the diverse positionalities and dialogues between literary
works and their historical contexts to arrive at a more nuanced analysis of a US literary tradition
framed by the movement of people across land and space. This will be assessed through student
led discussion focused on historical context and literary form. This will be further accomplished
through student presentations, Canvas posts, two critical analyses, and a comparative analysis.
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Show a sensitivity to the plurality of meanings within a literary text, including the moral
implications of human choices
The class will compare different narratives around the theme of place and belonging in the US
across history. The study of the representation of spaces and people will lead us to a better
understanding of the multiplicity of gazes and positionalities that form part of the imagined
nation, as well as the role of power within them. This will be assessed through our close readings
and the study of literary forms and narrative strategies of marginalized communities, their
imaginative reconstruction of the past, and careful rendition of current social reality in the
United States. This will be accomplished through class discussion and student presentations
including student-formulated questions, Canvas posts, short essays, and a comparative analysis.
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Program Learning Outcomes (English Department):
Acquire a basic understanding of the literary, historical, social, or cultural influences that inform
literary works
Articulate in writing and discussion responses to literary texts, regardless of the language of the
texts or instruction
Develop a basic critical ability to identify, interpret, and evaluate ideas and formal features of an
integrated body of literary texts
Develop a sensitivity to the plurality of meanings within a literary text
Requirements
Breakdown of Course Assessment:
Student/Instructor Meeting (5%)
Participation (10%)
Canvas Discussion Posts (10%)
Group Presentation (10%)
Creative Interpretation (10%)
Paper 1—Character Analysis (15%)
Paper 2—Motif Analysis (15%)
Paper 3—Comparative Analysis (25%)
News Write-Up (Extra Credit)
TOTAL 100%
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Student-Instructor Meeting (5%): Each student must meet with the professor at least once prior
to the last class-day to discuss personal progress, challenges, and/or research interests. If you
cannot attend office hours (on a ‘first-come, first-serve’ basis), email me to arrange another time
to meet. Must be completed by or before Dec 7th.
Canvas Posts (10%): To facilitate engaged reading, student interaction, and classroom
discussion, students will participate in Canvas discussion board at least 10 times over the
semester; there will be an opportunity each day there is reading. Each discussion board you
participate in is worth 1 point, if you fulfill the below requirements.
1) Post a brief (~100-150 words) but thoughtful response to the day’s reading, giving your
original ideas/reactions. Do not submit a summary or copied/pasted material from the internet—
the objective is genuine reflection—your own thoughts. You might reflect on any of the
following, for example:
-Key concepts, themes, questions (your own questions or questions posed in the text)
-Stylistic aspects, writerly strategies (i.e. literary devices, the form/structure the author used)
-New information learned/looked up in process of reading (i.e. terms, historical references)
-Connections to your own life and/or contemporary issues (i.e. social, political, cultural)
-Feelings experienced during and after reading (i.e. tension, clarity, joy, discomfort)
2) Additionally, post a brief response (~50 words) to one of your fellow student’s posts—this
must be done in a *respectful* and productive manner. You might comment on, for example,
elements they noticed that you had not; a question they posed that you also share; what struck
you about their interpretation; context they introduced that you found helpful; etc.
Responses must be posted prior to class, by 12 noon, in the appropriate location under the
‘Discussions’ tab. This allows your instructor to read posts before class, in order to gauge
student understanding, and provides students low-stakes practice writing about literature and
generating ideas for discussion. You are free to post your response as far in advance as you
would like. Also, keep in mind that if you have not quite finished reading by the time
posts are due, your post might simply respond to the first part of the reading. Remember,
you do not need to spend a lot of time on this, though it should be substantive.
Group Presentation (10%): In groups of 5, students will develop a 15 min. oral presentation for
a selected class. The presentation must: 1) draw on an interview not already used in class to
introduce authorial contexts, 2) highlight at least one theme relevant to the selected novel, 3)
provide historical/cultural contexts that help us further understand that theme, 4) provide 2-3
discussion questions to guide our discussion of that day’s reading; additionally, the presentation
must include 5) a PowerPoint presentation. The PowerPoint must specify who was responsible for
each portion of the presentation. Feel free to visit office hours for assistance. Email me the
presentation by the evening prior to your assigned day.
Participation (10%): This course emphasizes active and engaged learning, including discussion
and student-centered activities, rather than passive learning. Students are required to push
themselves intellectually, demonstrating engagement via active and vocal classroom
participation. This means you must participate daily in class discussions, contributing
thoughtfully and substantively to the meaning-making process and demonstrating your
preparedness. Students who do not contribute in this way cannot make an A in this course. Your
TA will monitor your participation daily.
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Full participation consists of: daily, thoughtful, and alert contribution to discussion; attentiveness
and respect towards others and towards the classroom as a whole; full contribution to all
classroom activities (written and verbal); consistent demonstration of having completed the
readings in a substantive manner; and demonstration of serious/enthusiastic intellectual
commitment to course goals.
Students who participate on an active and daily basis will earn an A for participation; students
who participate daily, but only minimally, will earn a B for participation; students who participate
only occasionally (i.e. only when called on) will earn a C for participation; students who rarely
participate in a meaningful manner will earn a D for participation; and students who do not
participate will earn and F for participation.
Creative Interpretation (10%): Create a visual representation of a specific setting from any of
the first three novels from this course. For example, you can draw, paint, or digitally create it, or
even create a collage. The only stipulation is that it must be your original work. The medium of
representation is open to whatever you can imagine. Along with the 1-page visual representation,
submit a 2 page write up explaining: 1) the specific setting you were trying to represent, and the
novel it applies to, 2) why you chose this particular setting, 3) the aesthetic choices (i.e. form,
color, shape, size, texture, etc.) you made and why, and 4) how creating the image helped you to
think further about some aspect of that novel. The finished assignment should be 3 pages total.
Paper 1 Character Analysis (15%): 4-5 page paper that critically analyzes any single chosen
character from Octavia Butler’s novel Kindred, drawing on at least one of the secondary works.
Paper 2 Motif Analysis (15%): 4-5 page paper that critically analyzes any single motif from
Tommy Orange’s novel There, There, drawing on at least one of the secondary works.
Paper 3 Comparative Analysis (25%): A longer paper (8 pgs.) that compares elements (i.e.
characters, setting, narrative voice, stylistics, etc.) from Helena María Viramontes’ Their Dogs
Came With Them and Karen Tei Yamashita’s Tropic of Orange, drawing on at least 5 secondary
works (can be combination of those we have read and those of your own finding).
News Write-Up (Extra Credit): Find a recent news-story (written in the last 12 months),
published by a major news-outlet, which you believe to be relevant to a specific literary work
from this course. Considering the news-story and literary work alongside one another, 1) discuss
their distinct stylistic approaches to a shared topic/concept, and 2) how each text helps you reevaluate the other (i.e. consider intentions, limitations, audience, effect upon you as a reader). The
paper should be at least 2 pages, double spaced, typed, with strong details via specific examples
and direct quotes. Be sure to include the full bibliographic information for each work, and a link
to, or copy of, the news-story. Value: Up to + 3 points on semester avg. Due by Dec. 7th.
Grading Guidelines for Written Work
A range: This paper is outstanding in form and content. The thesis is clear and insightful; it
expands in a new way on ideas presented in the course. The evidence presented in support of the
argument is carefully chosen and deftly handled. The argument is not only unified and coherent,
but also complex and nuanced.
B range: This paper’s thesis is clear; the argument is coherent and presents evidence in support of
its points. The argument shows comprehension of the material and manifests critical thinking
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about the issues raised in the course. The paper is reasonably well written and proofread. The
argument, while coherent, does not have the complexity, the insight, or the integrated structure of
an A range paper.
C range: This paper has some but not all of the basic components of an argumentative essay (i.e.,
thesis, evidence, coherent structure): for example, it may offer a thesis of some kind, but it
presents no evidence to support this thesis; or it may present an incoherent thesis; or it may
simply repeat points made in class without an overall argument. Such a paper is usually poorly
organized, written and proofread. A paper will fall below a “C” if it lacks more than one of the
basic components of an argumentative essay.
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Course Schedule
*********************This syllabus is subject to change*************************
Readings are listed on dates they are to be discussed; come to class having already read them
T-8/24 Introduction to Course—Syllabus overview, expectations & reading strategies.
UNIT 1: From Slave Narratives to Neo-Slave Narratives
R-8/26—Introducing Concepts & Genres
– Saidiya Hartman, “The Time of Slavery.” The South Atlantic
Quarterly, vol. 101, no.4, Fall 2002.
Consider: What key ideas does Hartman offer about history and
memory?
-Selection from Frederick Douglass, An American Slave
Consider: What do you think Douglass’ aim was? What writing
strategies does he enact towards that aim?
-Listen: NPR Story, Feb 17, 2021 “Behind the Former Slave
Narratives Captured by a New Deal Program” (7 min)
https://www.npr.org/2021/02/17/968760745/behind-theformer-slave-narratives-captured-by-a-new-deal-program
*Sign-Up Sheet for Presentations will be available in class*
Mon., Aug. 30—Late registration ends/Last day to add a class
T 8/31- Begin Octavia Butler, Kindred, Prologue-65
R-9/2 Butler, Kindred, p.66-131
*Handout: Paper 1 Prompt—Character Analysis
T-9/7 Butler, Kindred, p.132-197
R-9/9 Conclude Butler, Kindred, p.198-264
DUE: Group 1 Presentation
Friday, September 10—Census Date
T-9/14 Critical Analysis of Kindred.
-Robert Crossley, “Critical Essay” in Reader’s
Guide, at end of Kindred.
-Nadine Flagel, “‘It’s Almost Like Being There’: Speculative Fiction, Slave Narrative, and
the Crisis of Representation in Octavia Butler’s Kindred.” Canadian Review of American
Studies 42 (2012).
-In-class writing time (drafting Paper 2)
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UNIT 2: Colonialism, Indigeneity & Narrative Resistance
R-9/16 Polyvocality, Perspective & Motif
-Begin There, There, Prologue-p. 44
T-9/21 There, There, p. 45-97
In-Class Peer Review (Paper 1): Upload draft in
Canvas prior to class
R-9/23 There, There, p. 98-146
T-9/28 There, There, p. 147-196
DUE Paper 1—Character Analysis
R-9/30 There, There, p. 197-247
*Handout: Prompt for Paper 2—Motif Analysis
T-10/5 Conclude There, There, p. 248-290
DUE: Group 2 Presentation
R-10/7 Critical Analysis of There, There
Juniper Ellis, “Convergence: Irony and Urban Indian
Epistemologies in Tommy Orange’s There There.”
Postcolonial Text, Vol. 15, No.2 (2020).
-In-class writing time (drafting Paper 2)
UNIT 3: Displacement, Memory & Narrative Fragmentation
T-10/12 Representing Spatial Injustice: Freeways & Fragmentation
-Begin Viramontes, Their Dogs Came with Them, ch.1-3 (Note: This novel requires closereading, time, and patience. If you feel confused, that is normal, just stick with it!)
-Listen: NPR Story, April 7, 2021, “A Brief History of How Racism Shaped Interstate
Highways” https://www.npr.org/2021/04/07/984784455/a-brief-history-of-how-racismshaped-interstate-highways (7 min)
R-10/14 Viramontes, Their Dogs Came With Them, ch.4-5.
In-Class Peer Review (Paper 2): Upload draft on Canvas prior to class.
10/18-19: No class, Fall Break
R-10/21 Viramontes, Their Dogs Came With Them, ch.6-7.
DUE F 10/22: Paper 2—Motif Analysis
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T-10/26 Viramontes, Their Dogs Came With Them, ch.8-9.
*Handout: Prompt for Creative Interpretation
R-10/28 Viramontes, Their Dogs Came With Them, ch.10-12.
T-11/2 Viramontes, Their Dogs Came With Them, ch.13-15.
R-11/4 Conclude Viramontes, Their Dogs Came With Them, ch.16-17.
DUE: Group 3 Presentation
Friday, November 5—Last day to drop courses or withdraw
T-11/9 Critical Analysis of Their Dogs Came with Them
-Alicia Muñoz, “Articulating a Geography of Pain: Metaphor,
Memory, and Movement in Helena María Viramontes’s Their Dogs Came with Them.”
MELUS. Summer, 2013, Vol. 38 Issue 2.
DUE: Creative Interpretation
*Handout: Prompt for Paper 3—Comparative Analysis
UNIT 4: Globalization, Borders & Narrative Mapping
R-11/11 Navigating Narrative Maps
-Begin Karen Tei Yamashita, Topic of Orange, Frontmatter-Ch.7.
(Be sure to spend time with the frontmatter, i.e. hyper-contexts)
T-11/16 Yamashita, Topic of Orange, Ch.8-15.
-In-class brainstorming for Paper 3.
R-11/18 Yamashita, Tropic of Orange, ch.16-25.
-Discuss how to find scholarly/literary sources
T-11/23 Yamashita, Tropic of Orange, ch.26-35.
-Secondary source workshopping
11/25-26 Thanksgiving Recess, No Class
T-11/30 Conclude Yamashita, Tropic of Orange, ch.36-end
DUE: Group 4 Presentation
R-12/2 Critical Analysis of Tropic of Orange and Their Dogs Came with Them.
-Sarah D. Wald, “‘Refusing to halt’: Mobility and the Quest for Spatial Justice in Helena
María Viramontes’ Their Dogs Came with Them and Karen Tei Yamashita’s Tropic of
Orange” in Western American Literature, 48 (1-2) Spring/Summer 2013.
-In-class writing time (Paper 3 drafting)
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T-12/7 Last day of class. Course evaluations & Peer Review.
In-class Peer Review (Paper 3): Upload draft prior to class
DUE: Student Instructor Meeting must be completed by or before this date.
No Final Exam. DUE: Paper 3: Comparative Analysis—Tues 12/14.
**************End of semester….You did it! Have a great summer! *************
Course-specific policies:
Attendance policy.
Please do NOT come to class if you have any symptoms of illness. While my usual policy is to
deduct points upon the 4th missed class, given the current situation with COVID-19, I will forgo
that policy this semester. However, students are responsible for all materials/information
disseminated, covered, or due on missed days. If you need to miss class, I suggest the following
strategies: 1) check Canvas for any PowerPoints, documents, or assignments given that day, 2)
check in with another student in the class regarding what you missed, 3) check in with the
professor with any specific questions you might have, 4) attend office hours, 5) increase your
participation upon return to class, in order to make up for lost participation points. Remember,
this is a discussion-oriented class, so attendance is key to our learning process and strongly
correlates to successful outcomes; however, I am very willing to help students who experience
necessary absences and request assistance.
Students representing the University of San Francisco in intercollegiate competition (e.g.,
athletics, debate) are responsible for advising their professors regarding anticipated absences and
for arranging to complete course work for classes missed.
Please note, chronic lateness/early departures are extremely distracting to the classroom, and will
result in deduction to your participation grade.
Policy on Late Work: Late work is NOT typically accepted in this course. All assignments are
due at the time/date as noted on the syllabus. In special cases, permission to submit work late may
be granted, but must be requested at least 24 hours in advance, and will receive a 5 point
deduction for every day late, including weekend days.
Note: If you have SDS accommodations specifying “deadline flexibility,” communicate with the
instructor in advance to set up an agreed-upon alternate due date (no deduction taken). Such
extensions are typically for no more than 1-3 days.
Length requirements: All written work must meet minimum page length requirements. For
example, a 5 page assignment means at least 5 full pages, not 4 ½ or 4 ¾. Papers not meeting
minimum length requirements will be penalized points, based on the percentage of pages missing.
Failing to meet minimum length is a quick way to lose points!
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Optional Revisions: You will have the opportunity to revise the first two papers. Revising
requires substantive attention to instructor feedback. If you choose to rewrite an assignment, it
must be turned in within 3 class periods after the original assignment has been returned to you,
and must include a brief “revision statement” on how you incorporated my written feedback from
your original paper. The final grade will be the average between your original grade and the grade
for your revised version.
Course-specific behavioral expectations and classroom rules.
As a student in this course, you are agreeing to the following expectations:
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Arrive to class punctually and fully present, prepared/willing to discuss the day’s texts in
depth, with attention to big ideas and small details.
Have the day’s reading(s) with you, easily accessible.
Participate meaningfully and respectfully in the classroom, by listening carefully to your
peers, responding thoughtfully, and asking questions.
Turn off/silence all technological devices (i.e. phones, laptops, etc), using them for
course-related purposes only, without distracting yourself or your classmates.
Complete all assignments and readings on time, with genuine effort and integrity.
Check your campus email and the class Canvas site daily.
Communicate with professor in a timely and responsible manner about any questions,
concerns, or problems that arise in relation to the course.
Uphold the university’s standards of personal and academic integrity, including abiding
by the university’s academic code of honesty for all assignments.
University-wide policies and legal declarations:
Students with Disabilities
The University of San Francisco is committed to providing equal access to students with
disabilities. If you are a student with a disability, or if you think you may have a disability, please
contact Student Disability Services (SDS) at sds@usfca.edu or 415 422-2613, to speak with a
disability specialist. (All communication with SDS is private and confidential.) If you are eligible
for accommodations, please request that your accommodation letter be sent to me as soon as
possible; students are encouraged to contact SDS at the beginning of the semester, as
accommodations are not retroactive. Once I have been notified by SDS of your accommodations
we can discuss your accommodations and ensure your access to this class or clinical setting. For
more information please visit the SDS website: https://www.usfca.edu/student-disability-services.
Behavioral Expectations
All students are expected to behave in accordance with the Student Conduct Code and other
University policies (see http://www.usfca.edu/fogcutter/). Students whose behavior is disruptive
or who fail to comply with the instructor may be dismissed from the class for the remainder of the
class period and may need to meet with the instructor or Dean prior to returning to the next class
period. If necessary, referrals may also be made to the Student Conduct process for violations of
the Student Conduct Code.
Academic Integrity
As a Jesuit institution committed to cura personalis — the care and education of the whole person
— USF has an obligation to embody and foster the values of honesty and integrity. USF upholds
the standards of honesty and integrity from all members of the academic community. All students
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are expected to know and adhere to the University’s Honor Code. You can find the full text of the
code online at http://myusf.usfca.edu/academic-integrity/. The policy covers:
 Plagiarism — intentionally or unintentionally representing the words or ideas of another
person as your own; failure to properly cite references; manufacturing references.
 Working with another person when independent work is required.
 Submission of the same paper in more than one course without the specific permission of
each instructor.
 Submitting a paper written by another person or obtained from the Internet.
Counseling and Psychological Services (CAPS)
Counseling and Psychological Services (CAPS) is a great source of support for issues of sadness,
anxiety, loneliness, college adjustment, relationship struggles, and others not requiring medical
intervention. CAPS offers online workshop series open to all students; consultations and referrals;
and extensive website resources. In addition, CAPS All Hours “warmline” can be contacted by
calling (855) 531-0761 or students can use the peer-led Crisis Textline by texting HOME to
741741. CAPS also offers remote individual and group teletherapy to students residing within
California. (State regulations prevent provision of therapy across state lines.) The student may
choose to talk either by video or telephone and can engage in Single Session Therapy (SST), brief
ongoing therapy, or group therapy. There are no fees for services. Please call 415.422.6352 to
make an appointment. Visit www.usfca.edu/caps for more details. Students seeking off campus
mental health services can also receive information and support from Case Management (part of
the Office of the Dean of Students); visit https://myusf.usfca.edu/dean-of-students/ocrs for further
information.
Confidentiality, Mandatory Reporting, and Sexual Assault
As instructors, one of our responsibilities is to help create a safe learning environment on our
campus. We also have a mandatory reporting responsibility related to our role as faculty. We are
required to share information regarding sexual misconduct or information about a crime that may
have occurred on USF’s campus with the University. Here are some useful resources related to
sexual misconduct:
 To report any sexual misconduct, students may visit the Title IX coordinator (UC 5th
floor) or see many other options by visiting https://myusf.usfca.edu/title-ix
 Students may speak to someone confidentially or report a sexual assault confidentially by
contacting Counseling and Psychological Services at (415) 422-6352.
 To find out more about reporting a sexual assault at USF, visit USFs Callisto website at:
https://usfca.callistocampus.org
 For an off-campus resource, contact San Francisco Women Against Rape (SFWAR)
(415) 647-7273 (http://sfwar.org/)
Communication
All course communications, like all other USF communications, will be sent to your USF official
email address. You are therefore strongly encouraged to monitor that email account.
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