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Please note: the following list is subject to change and may not be comprehensive. Please check the online course listing for the full roster along with information on class days/times and room numbers. The course location is at UHD Main Campus unless otherwise noted.
Hybrid (at Downtown campus)
M 10:00 - 11:15 a.m., room S-1099 (CRN: 21526)
Hybrid (at UHD Northwest)
R 9:30 - 10:45 a.m. (CRN: 21976)
Three credit hours of English literature.
Students will study and practice writing the types of documents frequently used in the workplace, including cover letters and resumes, proposals, progress reports, formal reports, and PowerPoint presentations.
Research, design, create and prepare informal and formal documents suitable for the workplace
Balance visual and verbal elements of communication in documents and oral presentations
Use current technology to search for and report information
Edit documents for correctness
Respond usefully to others' writing
Major assignments include writing
Cover letters and resumes in response to job announcements
A proposal for a recommendation/feasibility report
A progress report
A recommendation/feasibility report
Recent examples of reports include
Recommending implementation of JROTC programs at HISD junior high schools
Evaluating whether it is better for a student to remodel her existing home or build a new home
Recommending enhancements to security for UHD students, staff, and faculty
Recommending expansion of recycling in Houston
Anderson, Miller-Cochran, Rodrigo, Ogle, and Stokes. Business and Technical Report Writing. Boston: Cengage Learning, 2010. ISBN-10: 1-111-63294-4. ISBN-13: 978-1-111-63294-6.
MW 10:00 - 11:15 a.m. (CRN: 21507)
MW 1:00 - 2:15 p.m. (CRN: 21508)
In English 3302 you will learn the theories, principles, and processes of effective written communication in business and technical disciplines. Particular attention is given to the major strategies for composing business and technical discourse, techniques of analyzing audiences and writing situations, and methods for organizing data and information.
TR 10:00 - 11:15 a.m. (CRN: 21586)
MW 5:30 - 6:45 p.m. (CRN: 21589)
MW 7:00 - 8:15 p.m. (CRN: 21606)
This class will explore the theories and practice of writing effective technical and business communication that shape the design of communication in today’s world. Consequently, we will explore the processes for managing information, conducting and reporting research, and situating oneself in professional contexts. It will be the goal of this class to challenge you not only to read texts, but also to help you interrogate the main rhetorical demands and choices/decisions concerning writing and about such texts. By the end of the semester, I will have guided you to:
Textbook: Mike Markel. Technical Communication. 9th ed. Bedford. ISBN: 13: 978-0-312-69216-2.
TR 2:30 - 3:45 p.m.
This course is designed for students in all departments who would like further training in expository writing. It is not an "extension" of freshman English, but a course on style. In addition to writing and revising seven to eight papers, we will be doing substantial reading and rhetorical analysis of expository prose, as well as written exercises on style and rhetoric. The course will culminate in an extended "Survey Analysis of Professional Journals" in each student's academic field. Because this is a workshop-style course, class attendance is expected.
We will read nonfiction essays by authors such as E.B. White, William Golding, Joan Didion, George Orwell, Margaret Atwood, Toni Morrison, J.S. Mill, James Baldwin, Jessica Mitford, Vladimir Nabokov, Lewis Thomas, John Locke, Susanne K. Langer, Paul Fussell, Kathleen Norris, Jonathan Swift, Annie Dillard, Maya Angelou, John Donne, Plato, Eudora Welty, Martin Luther King, and Michel de Montaigne.
Guide, 2nd ed. Upper Saddle River, NJ: Prentice-Hall, 1991.
Nonfiction, 12th ed. New York: W.W. Norton, 2008.
Three hours of literature (one ENG sophomore literature survey).
MW 4:00 - 5:15 p.m.
This course introduces students to the major theoretical approaches employed in contemporary literary studies. Students not only learn how to recognize and critically evaluate distinct theoretical approaches, but also how to utilize these approaches in their own original analyses of texts. The course includes formalist, structuralist, poststructuralist, psychoanalytic, feminist, queer, new historicist, Marxist, and postcolonial theories. It provides students with a broad range of sophisticated analytical tools and a heightened critical acumen that prepares them for advanced literary and cultural studies.
The course is organized around a case study, using vampire tales as the central object of analysis, particularly as represented in Bram Stoker's Dracula, a novel that has produced a large body of criticism drawing on different theoretical schools. Studying psychoanalytic, feminist, Marxist and other approaches to Dracula illustrates the way in which various methodologies produce distinct readings of the same story. The course thus follows a tripartite structure: first, students analyze an influential theoretical text; second, they examine a work of criticism on Dracula inspired by this theoretical text; third, they apply a chosen methodology to their own interpretation of a vampire narrative. Requirements include attentive reading, four short interpretive essays, and two quizzes. No previous exposure to literary theory or special interest in vampires is expected. This course is highly recommended for English majors and students interested in graduate study in literature or humanities.
Dr. Robin Davidson
M 5:30 - 6:45 p.m.
English 3309, Introduction to Creative Writing, is intended to distinguish literary discourse from the ordinary commerce of our daily lives (e-mail, voicemail, cell phone text messages). We will devote each of our weekly sessions to: (1) lectures on particular topics related to literary craft, an examination of exemplar texts, and class discussion; (2) in class writing exercises and occasional sharing of students’ journal musings; and (3) workshops in which students experiment in a variety of genres and share their own creative work in response to writing assignments in poetry, short fiction, memoir, and travel writing. We will also consider the impact of the visual arts on the writing process, and we will explore the habits of mind which support a writer’s sustained work.
This section of English 3309 is part of the UHD Study Abroad program sponsored by the College of Humanities and Social Sciences. We will meet one evening per week for the spring semester and will complete our course work as part of our travel to London and Dublin, May 18-30, 2011. Travel prompts us to step out of our lives, even momentarily, and see the world at some distance from ourselves—as strange, new—full of possibilities. As travelers, we are forced to suspend deeply familiar responses to our world. Journeying is an act of imagination. In this course we will take full advantage of the ways in which the poetic imagination thrills to new sensory and cognitive experiences. The museums, castles, churches, shops, cafés, the stone streets and rivers, the people moving among them—all offer possibilities for the imagination to harvest images, build stories.
Consult http://www.uhd.edu/academic/colleges/humanities/chsssummerabroad/courses.html or Dr. Sandra Dahlberg, program coordinator, (firstname.lastname@example.org) for more information. For a sample syllabus, contact Dr. Davidson (email@example.com).
TR 8:30 - 9:45 a.m.
Two goals of this course are to study the history of fiction as a genre and to develop an understanding of various narrative techniques, such as, for example, stream-of-consciousness. In addition, we will examine basic elements of fiction, including setting, plot, character, theme, and point of view. In order to do this, we will analyze a geographic range of short stories and novels in English and in translation, reading fiction by such authors as Anton Chekhov, Nathaniel Hawthorne, James Joyce, James Baldwin, Kate Chopin, Jorge Luis Borges, William Faulkner, Alice Munro, Ralph Ellison, Isak Dinesen, Toni Cade Bambara, Franz Kafka, Charlotte Brontë, Eudora Welty, Chinua Achebe, Katherine Mansfield, Edgar Allan Poe, Katherine Anne Porter, Don DeLillo, Amy Tan, Gabriel García Márquez, and Albert Camus.
Coursework will include papers, tests, research, and presentations.
Three hours of literature (one ENG sophomore literature survey).
Dr. Sandra Dahlberg
TR 11:30 a.m. - 12:45 p.m.
This course will examine the origins and characteristics of drama, as a genre. While the course will cover the breadth of dramatic literature in Western culture, the course will focus on the themes of alienation and colonization. We will begin with classical Greek drama (Euripides’ Medea), move through medieval European plays such as Everyman and The Second Shepherds’ Pageant, and then Shakepeare’s The Tempest (early modern) and Moliere’s Tartuffe. More recent works include Brecht’s Mother Courage and her Children, Churchill’s Cloud Nine, Césaire’s A Tempest (a rebuttal to Shakepeare’s Tempest), and Park’s In the Blood.
Papers will address dramatic issues such as dramaturgy and performance, as well as critical analysis.
TR 8:30 - 9:45 p.m. at UHD Northwest
In this course, we will investigate the forms and conventions of writing for the theater from ancient Greece to the present. Not only will we pay special attention to the fundamentals of drama (character, plot, scene, dialogue, action, staging), but we will also consider how plays both respond to and shape events in the world outside the theater. Keeping in mind that plays are meant to be experienced and not only read, we will include one Houston-area production in the course as well as watch some excerpts of our chosen plays on video. Requirements: occasional quizzes, several short response papers, and three essays.
1. Sophocles, The Oedipus Cycle (Harvest). ISBN: 015602764X.
2. Shakespeare, Julius Caesar (Pelican). ISBN: 9780140714685.
3. Shakespeare, Twelfth Night (Pelican). ISBN: 0140714898.
4. Chekhov, Five Plays (Oxford World's Classics). ISBN-10: 0199536694.
5. Ibsen, Four Major Plays (Oxford World's Classics). ISBN-10: 0199536198.
6. Beckett, Waiting for Godot (Grove). ISBN-10: 0802130348.
7. Harrington, ed. Modern and Contemporary Irish Drama (Norton). ISBN-10: 0393932435.
8. Albee, Who's Afraid of Virginia Woolf? (Penguin-NAL Trade). ISBN-10: 0451218590.
9. Hansberry, A Raisin in the Sun (Vintage). ISBN-10: 0679755330.
10. Yasmina Reza, 'Art' (Dramatists Play Service). ISBN-10: 0822216582.
Dr. Karina Stokes
MW 11:30 a.m. - 12:45 p.m.
Ever wonder why essays follow a specific style of introduction, body paragraphs, and concluding paragraph? Ever wonder why letters follow a specific formal style? Ever wonder why communication follows certain standard forms in Western countries and why other forms are used in Eastern countries? This course will answer these questions and more. Learn how to persuade others that your ideas are worthwhile by understanding the most effective strategies for communicating which have been developed over the centuries and are still employed today.
This course will provide a lively and interactive way to achieve two main goals:
This class will help students write cogent answers to essay questions on tests as well as persuasive professional communications on the job.
A student completing ENG 3316 successfully will be able to:
• Identify, assess, and articulate the theoretical principles used throughout history that underlie rhetorical choices in writing.
• Demonstrate an understanding of the scope and relevance of rhetoric and criticism for writing.
• Show an appreciation of how rhetoric integrally affects the way our society / culture functions.
• Know how to apply rhetorical criticism to one’s own writing in college and in the kinds of writing typically found in the workplace.
• Understand how to uphold ethical and legal standards in persuasive communication.
Assignments will include: class discussions, 4 short essays, and one major writing assignment designed to guide students, in a step-by step fashion, through the process of learning how to analyze situations, develop ideas, find supporting evidence for ideas, and express thoughts clearly. Upon completion of this course, students will be better listeners, more critical thinkers, and more effective communicators.
This course is a historical survey of rhetoric with emphasis upon its development as a discipline from Plato and Aristotle to the present day. It introduces major theories and historical trends in rhetoric. The course provides practice in applying theory to historical and contemporary texts. Prerequisite: three hours of literature. Students should be familiar with MS Word for formatting documents.
TR 11:30 a.m. - 12:45 p.m. (CRN: 21698), rm. A-427
Hybrid (at Kingwood College)
Sunday 1:00 - 3:45 p.m. (CRN: 21881)
Martha Kolln (2006) points out that many speakers of English equate grammar with morality. The purpose of this course is to help students achieve a clearer perception of what the grammar of English is in actuality: a set of rule-governed behaviors similar in nature to other social sciences. This 3-credit-hour course in an intensive survey of the principles and problems of English Grammar. We begin by developing fluency in the vocabulary that is specific to a discussion of grammar and syntax. In addition, focus is placed on how to apply these principles to teaching as well as to studies in bilingualism. Error analysis is addressed from a structural point of view.
Learning grammar is not about learning to understand what sentences mean. Rather, grammar study is about learning how meaning is conveyed through a range of sentence structures and patterns. Our bodies obey the laws of physics and chemistry without our conscious knowledge. Likewise, our minds understand the rules of syntax perfectly. If grammar seems difficult to you, it is because you are applying new terminology to concepts you learned so long ago that you no longer remember the steps in the acquisition process.
Upon completion of this course, students should demonstrate
a) ability to articulate the goals of prescriptive as well descriptive grammar,
b) knowledge of the terminology of grammar and writing,
c) fluency in this terminology,
d) ability to find, correct, and explain common errors in language use,
e) application of basic language analysis skills to words and sentences,
f) ability to generate sentence trees using basic principles of phrase structure theories,
g) proficiency in exploiting corpus-external and corpus-internal evidence to explain how meaning emerges from structure.
Text: A Course Packet available from the Copy Center is the only required material set. Outside readings will be assigned, but no purchase of outside materials is required.
TR 8:30 - 9:45 a.m.
In this course, students will learn how to analyze and present various forms of medical material to various audiences located in different workplace, cultural, and linguistic settings. Through research projects and analysis of (professional) medical texts, students will learn how to write/design clear, ethical, and scientifically publishable medical essays and articles. Topics will include, among others, word choice, style, ethics, formatting and citation, and intercultural medical writing. By the end of this class I will have guided you to:
Thomas A. Lang . How to Write, Publish, and Present in the Health Sciences: A Guide for Clinicians and Laboratory Researchers. American College of Physicians.ISBN-13: 978-1934465141.
Deborah Blum, Mary Knudson, and Robin Marantz Henig. A Field guide for science writers: the official guide of the National Association of Science Writers. 3rd. ed. Oxford University Press. ISBN-13: 978-0195174984.
W 5:30 - 6:45 p.m.
ENG 3302, current enrollment in ENG 3302, or permission of department
An introduction to desktop publishing, covering specific applications of typography, graphics, layout and presentation, and using desktop publishing software.
Students will be required to complete exercises in InDesignCS5 from a textbook. At the completion of the seven exercises, students will be assigned design projects: letterheads, information sheets, advertisements, brochures to be produced independently.
One quiz on design/fonts. One final exam.
Illustrated Series Adobe InDesignCS5. ISBN: 978-0538477871 (required).
The NonDesigners Design Book, Robin Williams. ISBN: 978-0321534040 (recommended).
Visual Quickstart Guide InDesignCS5, Sandee Cohen. ISBN: 978-0321705204 (recommended).
W 2:30 – 3:45 p.m.
ENG 3330 or permission of department.
A continuation of desktop publishing techniques using additional software for more complex projects.
Students will be required to complete exercises in InDesignCS5 as assigned, including: brochures, fliers, newsletters, catalogues, and corporate ID package to be produced independently.
The NonDesigners Design Book, Robin Williams. ISBN: 978-0321534040 (recommended).
Visual Quickstart Guide InDesignCS5, Sandee Cohen. ISBN: 978-0321705204 (recommended).
Dr. Karina Stokes
MW 1:00 - 2:15 p.m.
In this course, you’ll learn how to write informative, professional-level presentations for various audiences and purposes. You’ll develop visuals and other supporting materials for presentations. The class will also involve the use of current technology to search for and report information (including the Internet, databases, PowerPoint, and Photo Story 3). On one project, students will work collaboratively on various aspects of producing clear writing, using technologies, and the engaging in the creating and reviewing processes (from generating ideas and providing critical feedback to acknowledging multiple viewpoints). Approximately 5 assignments will be completed, from writing a brief speech to introducing someone to creating a professional stand-alone presentation with images, sounds, and voice-over. Hands-on tutorials will be provided in class for all software used. The emphasis will be on creating a useful and cogent message; no public speaking is involved.
Dr. Nicole LaRose
T 5:30 - 6:45 p.m.
In “Mr. Bennett and Mrs. Brown,” a critique of Edwardian writing, Virginia Woolf reveals that “on or about December, 1910, human character changed. . . .All human relations have shifted—those between masters and servants, husbands and wives, parents and children. And when human relations change there is at the same time a change in religion, conduct, politics, and literature. Let us agree to place one of these changes about the year 1910.” This course will explore the change Woolf astutely identifies in her 1924 essay. We will analyze how the changes in the human condition had a noticeable effect on ideological practices and aesthetic creations. In this class, we will use Woolf’s argument as a springboard into the arts, culture, and spaces of modernism.
This course will trace the historical convergences that influenced this artistic and cultural change Woolf identifies. In his essay, "Modernity and Revolution," Perry Anderson argues that the literary and cultural experimentation that we now know as modernism was historically determined by "the imaginative proximity of social revolution." Given the German revolutions of 1918-19, the Hungarian Revolution of 1919, the Russian Revolution of 1917, and most importantly for this class, the struggle for Irish independence (1916-22) and the “Great War” of 1914-1918, these political revolutions were numerous. This class will explore how the political and historical events led to and influenced experimentation and innovations in a variety of art forms: painting, poetry, fiction, theater, film, and manifestos. These changes led to a cultural shift that we now call modernism. By studying the history, politics, and aesthetics of modernism before visiting London and Dublin, this class will lead students to an understanding of the political and cultural legacy of modernism into the twenty-first century, the alienation and uncertainty experienced by those living in a metropolis, and the need to find new modes of expression in a world of uncertainty.
Dr. Chuck Jackson
MW 10:00 - 11:15 a.m.
The focus of this class will be on the kind of criticism known in film studies as “film theory.”
The Oxford English Dictionary traces the etymology of the word “theory” to its Greek and Latin roots – theōria, which means, interestingly enough, “a looking at, viewing, contemplation, speculation; also a sight, a spectacle.” It is from this understanding of “theory” that we will approach our criticism of film: we will look at how we look at films. While I have not drawn up our final list of required screenings, I am considering films directed by Alfred Hitchcock, Orson Welles, Maya Deren, Douglas Sirk, Barbara Loden, Jennie Livingston, John Singleton, and Robert Rodriguez, among others.
Students can expect that we will cover the aesthetic and formal properties of cinema, as well as its narrative characteristics, but we will more fully explore how film has been theorized in the academy from a variety of perspectives. This means we will theorize the relationship between spectator and spectacle, the cinematic apparatus, and scopophilia. We will study foundational texts in film semiotics and make inquiries into the elasticity of cinematic space and time. We will debate the role that ideology plays in cinema: whose interests are served in classic Hollywood film and whose are served in avant-garde cinematic practices? We will consider how identity politics changed the way that critics theorize film, drawing from feminist theory, critical race theory, postcolonial theory, and queer theory.
Required readings will be uploaded onto Blackboard VISTA. Students must have access to a good movie rental store or have a Netflix account. Final grades will be calculated based on participation, tests, a take home essay mid-term exam, group work or response papers, and a final term paper.
A caveat: while watching movies is “fun,” the goal of the course is to theorize how and what we see, which means students must be rigorous in their studies to do well in the course. Readings will often be lengthy and complex. Students must keep an open mind to what film theory has to offer.
Dr. Jane Creighton
TR 1:00 - 2:15 p.m.
In this course we will study works from two different periods of the twentieth century, early and late (with one step into the twenty-first). We will begin with high modernism–the literary experimentation and social turbulence of the late 1920s and 1930s in the works of Nella Larsen, William Faulkner, and Henry Roth, all of whom engage radical, groundbreaking aesthetics to take up the problem of identity pitched into a world teeming with catalogues of assumptions about class, race, ethnicity, and gender. We will look at how this problem evolves, reading Adrienne Rich’s lyric inquiry into the transformation of consciousness as a bridge to John Edgar Wideman, Gerald Vizenor, and Louise Erdrich. We will explore how these writers variously use postmodern aesthetics and their respective African American and Native American cultural traditions to think back across the difficult history of the United States. Expect sobering subjects and passionate prose. Expect, also, wild humor and the pleasures of turning history upside down.
Texts will likely include:
Nella Larsen, Passing (1929)
William Faulkner, Light in August (1932)
Henry Roth, Call It Sleep (1934)
Selected poems and prose by Adrienne Rich (1960s-80s)
John Edgar Wideman, Fever (1989)
Gerald Vizenor, The Heirs of Columbus (1991)
Louise Erdrich, The Last Report on the Miracles at Little No Horse (2001)
This class will focus on the Romantic period as a historical, literary, and cultural jumping-off point for the birth of our modern world. Located roughly during the years 1780-1830, the Romantic period is noteworthy for revolutions in several areas that helped to create the modern world as we know it: the American and French Revolutions, the Industrial Revolution, the rise of the working class, early advocacy for women’s equality, the beginnings of the Abolitionist movement, and rapid advances in science and technology. With these changes also came new developments in literary taste: poetry written to be accessible to everyone, not just the upper classes; gothic novels, the precursor to modern horror; sentimental fiction and the “marriage plot,” the forerunner to today’s “chicklit”; and the first examples of science fiction. Over the course of the semester we will explore key texts in the Romantic timeline (including essays, poems, and novels), cultural artifacts from the period, and modern responses to the era in film and other media with the goal of tracing the continued relevance of such works in our twenty-first-century lives. Classwork will include: in-class discussion, occasional quizzes, and brief homework assignments, along with oral presentations, close reading papers, and semester-length research projects.
TR 1:00 - 2:15 p.m.
The course is designed to introduce students to advertising foundations and environments. We will discuss how advertising began and where it fits in today’s marketing mix. We will, however, move away from the explicitly professional, industry-oriented paradigm into an institutional, analytic, and critical one. “Critical” here means a thoughtful, reflective, and considered evaluation of marketing philosophies, practices, processes and outcomes within their social/cultural contexts. Special attention will be given to producing various kinds of print and broadcast advertising texts. As time permits, we will also delve into integrated marketing communications – promotions, public relations, retail business-to-business advertising, and integrated marketing campaigning.
MW 8:30 - 9:45 a.m.
The term diaspora evolved from a Greek verb that means “to scatter” or “disperse” and has come to indicate displaced communities that have relocated to territories remote from their country of origin. The reasons for this dislocation are various: voluntary or forced migration, exile, disruptive occurrences such as war, natural disaster or ethnic strife. No matter what the reason for scattering is, the diasporic subject is consistently haunted by the image of the lost homeland. This nostalgia radically alters the meaning of maps for the diaspora, deconstructing borders and boundaries of nations and redefining identities. The desire for “imaginary homelands,” as the eminent diasporic writer Salman Rushdie points out, becomes a determining influence in the creative expressions of the diaspora, in which the implications of “home,” “nation” and “world” are rescaled and re-imagined.
In this course, we will examine this reoriented cartography through the cultural texts of the South Asian diaspora. We will consider how extant ties with the country of origin determine identity and belonging for the diasporic subject, and how “home” becomes a contested term in the diaspora’s effort to straddle multiple cultures. We will also understand how the diasporic experience is perceived through the lenses of gender, sexuality and class. Our focus will be on narrative fiction and cinematic texts by well-known names as Amitav Ghosh, Jhumpa Lahiri and Mira Nair and also by powerful new voices such as Monica Ali and Kamila Shamsie. We will frame our readings of the primary texts with a selection of theoretical readings, and thereby arrive at an in-depth understanding of how the diasporic self-definition intersects with the discourses of colonialism, globalization, nationalism and multiculturalism.
Coursework includes in-class discussion, maintaining a reading journal, a midterm exam, a close-reading paper and a research project. Possible texts include Amitav Ghosh’s The Shadow Lines (1988), Kamila Shamsie’s Kartography (2002), Monica Ali’s Brick Lane (2003), Jhumpa Lahiri’s Unaccustomed Earth (2008) and V.V.Ganesananthan’s Love Marriage (2008).
Prof. A. Chiaviello
MW 4:00 - 5:15 p.m.
This course covers the process of researching, writing, and the freelance marketing of a feature story, including audience analysis, selection of topics, querying editors, approaches to researching a story, drafting and revising, editing and proofing, and sending out manuscripts to editors. We pay particular attention to writing the kinds of stories that explain and promote products and services of business or industry, but instruction is tailored to the individual student's needs and interests, and much of the instruction is based on personal conferences with the professor.
The inexpensive textbook is a slim volume oriented to producing marketable feature stories. The course also takes advantage of the professor's extensive experience in marketing freelance magazine and newspaper stories. Substantial individual advising and critique is available from the professor.
Brooks, Terri and Mary Quigley. Words’ Worth. 2nd ed. Long Grove, IL: Waveland Press, 2011. ISBN: 978-1-57766-677-6.
Wayne Schmadeka, Ph.D.
T 5:30 - 8:15 p.m., rm. S-1099
Graduate standing or permission of the Department.
English 5340 (3 credit hours) involves the study and understanding of project management, with primary emphasis on understanding the fundamental principles that apply to any project. Secondary emphasis is on understanding the principles and practices that are unique to managing documentation projects.
• Understand the principles of project management
• Understand how the principles of project management apply to documentation projects
• Understand some of the skills and practices documentation managers use to manage their projects, including:
- Resource management skills
- Leadership skills and practices
Students select a project leader and work individually and in teams to
• Consider ethical issues of project management
• Identify and explain key points of various readings
• Develop a project proposal
• Develop a work breakdown structure
• Develop a project schedule and plan
• Complete and present the class project
• Consider the lessons learned
Belker, L. and Topchick, G. First-Time Manager. 5th ed. New York: American Management Association, 2005. ISBN: 0814408214.
Dicks, S., Management Principles and Practices for Technical Communicators. New York: Pearson Education, 2004. ISBN: 0321165233.
Jackall, R. Moral Mazes: The World of Corporate Managers. New York: Oxford University Press, 1988. ISBN: 0195060806.
Lewis, J., Fundamentals of Project Management. 3rd ed. New York: American Management Association, 2007. ISBN: 0814408796.
Last updated or reviewed on 12/10/10