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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 and instructional method is in person unless otherwise noted.
TR 1:00 - 2:15 p.m. (CRN: 21532)
TR 2:30 - 3:45 p.m. (CRN: 21533)
This class will explore the theories and practice of writing and designing effective technical and business communications/reports in today’s world. Consequently, we will explore the processes for managing information, conducting and reporting research, and situating oneself in professional contexts. The class will not only challenge students to read texts, but also will help students interrogate the main rhetorical demands and the writing/design choices concerning such texts. By the end of the semester, I will have guided you to:
• Research, design, create, and prepare informal and formal documents suitable for the workplace. (These include the design of documents such as memos, reports, etc.)
• Balance visual and verbal elements of communication in documents and oral presentations
• Design information for a variety of culturally-situated audiences
• Use current technology to search for and report information
• Edit documents for correctness
• Respond meaningfully to others' writing through giving informed feedback to their work.
Textbook: Mike Markel. Technical Communication. 10th Ed. Bedford. ISBN: 13: 978-0-312-69216-2.
Wayne Schmadeka, Ph.D.
Online (CRN: 21555)
Online (CRN: 21556)
Hybrid (UHD Northwest) Thursday, 1:00 - 2:15 p.m. UHD-NW, rm. B12.337 (CRN: 22096)
Prerequisite: 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, a proposal, a progress report, a recommendation report, and a PowerPoint presentation.
• 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
• Cover letter and resume in response to a job announcement
• Proposal for a recommendation/feasibility report
• Progress report
• Recommendation 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
Business Communication for Success
Available online for free and as a downloadable e-book from http://students.flatworldknowledge.com/course/679987
Section 21810 (MW 11:30 a.m. - 12:45 p.m.)
Section 21825 (TR 5:30 - 6:45 p.m.)
English 3305 is both a writing workshop and a study of the form of the essay. Through the reading of essays on topics that are relevant to education, students will produce their own essays on a number of topics of their choosing. The course emphasizes critical reading skills, rhetoric and argumentation, and the development of a writing process.
Wednesday 5:30 - 8:15 p.m.
UHD-Northwest, rm. B12.333
English 3305 is based on the model of a workshop environment in which you will refine your writing skills. Writing will form the majority of the work we will have, but we will also have intensive reading and re-reading of a few key essays that address topics relevant to the ones you will compose in the course.
This class 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.
We will read nonfiction essays by authors such as Joan Didion, George Orwell, Toni Morrison, James Baldwin, Vladimir Nabokov, Jonathan Swift, Maya Angelou, John Donne, Plato, Eudora Welty, Martin Luther King, and Michel de Montaigne (among others).
This course is unique in that we will focus on acquiring the vocabulary that is commonly used in discussing various techniques of writing; further, a good amount of time will be spent experimenting with those techniques. In addition, some of the essays assigned will include writing about writing—a sort of meta-strategy.
Three hours of literature (one ENG sophomore literature survey).
Wednesdays, 5:30 - 7:30 p.m.
Experiment with marvelous challenge of writing fiction, poetry, and creative non-fiction while traveling to two of Europe’s most remarkable cities. We will work with Janet Burroway’s Imaginative Writing to develop a sense of the practice of writing—employing and debating approaches and techniques in the three genres. Alongside Burroway, we will read a mosaic of works across genres geared toward the European segment of the course. Travel outside of the country is a remarkably good way for both beginning and advanced creative writers to step away from known worlds and observe themselves--and their sense of nationality and place--in fresh ways. Venice and Paris provide rich sites--and richly diverse aesthetic histories--for students working toward the outcomes we have designed for the course. Readings across genres will include American expatriate literature, French fiction, experimentation in late 19th- and early 20th-century French poetry linked to Cubism and Surrealism, and the poetry and literature of travel.
As writers, we will begin with fiction, move into poetry, and, in the final third of the course, creative non-fiction--the personal essay, journal writing, and travel writing. Having focused readings on French and American-in-France literary culture, and thus having given at least a foothold in some of the cultural and aesthetic history of the Parisian segment, we will use the possibilities of this genre to engage not only what you have been learning across the course, but what you will experience on the ground, in museums, on the streets, in markets, in cemeteries, and in the storied geographical and architectural spaces of both Venice and Paris. We will, in short, exhaust ourselves with the pleasure of seeing the world anew.
Janet Burroway, Imaginative Writing, 3e, Longman/Pearson, 2011
Guillaume Apolinnaire, Alcools, trans. Donald Revell, Wesleyan UP, 1995
Simon Lee, ed., Parallel Text: French Short Stories 2, Penguin, 1972
Shay Youngblood, Black Girl in Paris, Riverhead Books, 2000
Plus selected works online
TR 1:00 - 2:15 p.m.
This course will explore the history of poetic forms and genres from the late sixteenth century to the present. We will attend not only to the fundamentals of poetic craftsmanship (meter, rhyme, figurative language, wordplay, tone, and imagery), but also to the ways in which poets, like quivering seismographs, record the sensibilities of their particular times. In our reading, we will consider both the unique personal vision of each poet as well as the way poetry contributes to an ongoing and wide-ranging cultural discourse. Poets may include: Shakespeare, Donne, Milton, Pope, Blake, Coleridge, Keats, Tennyson, Whitman, Dickinson, Yeats, Eliot, Stevens, Pound, Hughes, Plath, Walcott, Heaney, and others. Requirements: three essays and a final exam.
Ferguson, Margaret, Mary Jo Salter, and Jon Stallworthy, eds. The Norton Anthology of Poetry. 5th ed. New York: Norton, 2004. ISBN: 0-393-97920-2.
MW 5:30 - 6:45 p.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, Daphne Du Maurier, 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.
1. Charters, Ann. The Story and Its Writer. 8th ed. New York: Bedford/St. Martin's, 2010. ISBN: 978-0312596231.
2. Faulkner, William. The Sound and the Fury. New York: Vintage, 1991. ISBN: 978-0679732242.
3. Du Maurier, Daphne. Rebecca. New York: Harper, 2006. ISBN: 978-0380730407.
4. DeLillo, Don. White Noise. New York: Penguin, 1986. ISBN: 978-0140077025.
Course Prerequisite: Three hours of literature (one ENG sophomore literature survey)
MW 1:00 - 2:15 p.m.
This survey of prominent dramatic works covers the sweep of western literature from early Greek plays to samples from our own times. Having read assigned plays, some of the most significant and engaging works of the past two and one-half millennia, students will react to and analyze them in class discussions and in formal essays. We will concentrate on the language and structure of the plays, trying to imagine and articulate how textual clues guide staged productions and how the scripts reflect their cultural sources. Whenever possible, we will see inexpensive (or, better yet, free) productions being presented in Houston, about which students will write trip reports. The course culminates in a comprehensive written exam.
Tuesdays 11:30 a.m. - 12:45 p.m., rm. N-613
The object of this course is to give you many ways to think about rhetoric – the art of persuasion – by exposing you to a broad range of ideas about rhetoric that range from ancient Greeks such as Isocrates, Plato, and Aristotle to more contemporary theorists of the 20th and 21st century such as Burke and Perelman. This extended exposure to the history of rhetoric will give you a command of rhetorical theory, which will allow you to write and understand rhetorical criticism – an analysis of a text with special attention to how it attempts to persuade its audience. The ability to perform rhetorical criticism through a knowledge of the history of rhetoric is invaluable for any professional occupation that involves writing persuasive texts. Make no mistake – this is a difficult course, and much will be expected of you; however, the rewards are great.
• Learn and appreciate the different definitions of rhetoric available
• Gain familiarity with contemporary conceptions of rhetoric and be able to describe how they differ or build upon previous conceptions
• Be able to perform basic rhetorical criticism on a chosen text
• Apply the insights of rhetorical theory and criticism to your own writing
The Rhetorical Tradition: Readings from Classical Times to the Present, 2nd edition. Eds.
Patricia Bizzell and Bruce Herzberg. Boston: Bedford-St. Martin’s, 2001.
T 5:30- 8:15 p.m., Kingwood Campus
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 those studied by 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,
h) competence in grammatical description, including understanding of morphology and an understanding of English phrase and sentence syntax, and
i) the ability to evaluate and critique claims about grammatical “correctness.”
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 10:00 - 11:15 a.m.
In this course, students will learn how to write, 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 and 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, students will be able to:
• Learn how to design clear, sound, and ethical medical information for a variety of audiences
• Appreciate the relevance of rhetorical situations in the creation of medical information
• Design medical information for a variety of culturally situated audiences
• Use various research methodological approaches to analyze, manage, and report scientific information
• Value the relevance of revision and feedback in writing and reporting medical information
• Construct sophisticated types of prose suitable for publication
• Write for presentation
Mark C. Stuart, Ed. The Complete Guide to Medical Writing. 1st Ed. London: Pharmaceutical Press, 2007. ISBN: 978-0-85369-667-4.
MW 10:00- 11:15 a.m.
This course takes an in-depth look at critical environmental issues and how they are communicated and understood through the mass media. In addition to world population hitting 7 billion in 2011, the world seems to be approaching a peak crisis point in economic growth, carbon emissions, and continuing sharp increases in the amount of energy consumed. Our ability to support our consumer-based lifestyles in the future has come into question, as increasing energy production carries serious environmental risks. In this course, we will examine the role of media in forming various environmental perspectives, and the avenues for citizens to participate in environmental policy decision-making. We will use the 2nd edition of Robert Cox's Environmental Communication and the Public Sphere. Students will have the opportunity to respond to environmental issues in class and improve their skills at formulating and articulating their own perspectives.
Dr. Sandra Dahlberg
MW 11:30 a.m. - 12:45 p.m.
►Why was Joan [the] Whore (above) supported by her neighbors?
►Why was 12 year-old Richard Frethorne sent to his death in Virginia?
►Why was Hannah Dustin considered a “war heroine” in 1675?
►Why was Opechancanough labeled as a traitor?
Whose narratives are privileged today? Whose are ignored? Why and how do we make these distinctions, and what do these narratives say about our lives in 2012?
In this course you will conduct hands-on research using primary documents from colonial cultures of the United States. The course emphasizes cross-cultural depictions of contact, conquest, and colonization in the writings of Indians and Europeans. You will explore such concepts as race, sovereignty, gender, class, and the role of mythmaking in acts of self-representation—and you will have opportunities to work with unpublished, original documents. These texts invite a lively investigation into our national past and encourage assessment of current constructions of U.S. culture.
Readings include works by Powhatan, John Smith, Mary Rowlandson, Samson Occom (Mohegan), John Killbuck (Delaware), Mary Jemison (Seneca), Benjamin Franklin and John Adams, as well as a selection of historical and theoretical texts. Major assignments: a short analytical paper, a literary research paper.
Prerequisite: 3 hours of literature.
MW 2:30- 3:45 p.m.
If you are thinking about becoming a peer tutor, a Writing Associate, or a high school English teacher, this is the course for you. During the first half of the semester, we will cover the major theories of composition studies. During the second half of the semester, we will meet once per week in the classroom as we continue our study of collaborative theories. For our other class meetings, we will be putting theory to practice with hands-on experiences in the Writing and Reading Center. The course emphasis is placed on learning about the composing and reading process, strategies for invention, organization, development, revision, and editing.
Dr. Sucheta Choudhuri
TR 4:00 - 5:15 p.m.
London. Lahore. Mumbai. While these cities are far-flung on the world map, their borders and boundaries have become fluid due to the colonial relationship that connected the imperial metropolis to these subcontinental urban loci in the not-so-distant past. In this course, we will come to understand this spatial connection as an ongoing one, investigating how the shadow of the metropole “haunts” the postcolony, while the erstwhile imperial center continues to be transformed through history, memory and transculturation. Our journey will take us from the immigrant neighborhoods of London, to a Lahore ravaged by the partition of the Indian subcontinent, and finally to the seedy underbelly of a global-yet-insistently-local Mumbai. Our examination of this imaginative cartography will help us understand how the colonial binaries of “center” and “periphery” are reconfigured.
We will unpack the specificities of postcolonial urbanity through our reading of Zadie Smith’s White Teeth, Bapsi Sidhwa’s Cracking India, Mohsin Hamid’s Moth Smoke and Vikram Chandra’s Love and Longing in Bombay, and selected theoretical works by Frantz Fanon, Edward Said, Henri Lefebvre, Michel de Certeau and Edward Soja. Although our primary focus will be on fiction, we will examine the visual dynamics of the postcolonial city through a series of films, including Stephen Frears’s Dirty Pretty Things, Deepa Mehta’s Earth and Kiran Rao’s Dhobi Ghat: Mumbai Diaries. Coursework includes in-class discussion, maintaining a reading journal, a midterm exam, a close-reading paper and a research project
MW 10:00 - 11:15 a.m.
Freud begins his famous essay on “The Uncanny” by pointing out an ambivalence in the German word heimlich, which in its primary sense means “friendly, agreeable, comfortable,” but which in its secondary senses shades into the altogether different meaning of “concealed, kept from sight” and thus approaches the meaning of “uncanny,” unheimlich, which means “eerie, weird, arousing gruesome fear.” Thus Freud argues unheimlich is etymologically and psychologically a subset of heimlich, as becomes evident in Schiller’s observation that “everything is unheimlich that ought to have remained secret and hidden but has come to light.” This course will focus on moments when the “canny” turns into its uncanny other in literature. We will draw upon Freudian and Lacanian theories including those of the primal father, the repetition compulsion, the death instinct, object a, the gaze, the voice, and jouissance—and on their literary and filmic representations in such figures as the double, the ghost, the Gothic home, the vampire, and the zombie. You should be prepared for an excursion into the forbidden, the deviant, the creepy, and everything we’d like to forget about ourselves but can’t—what Joseph Conrad calls “the fascination of the abomination.” You will write two relatively short analytic essays and a research paper; there will also be a midterm. Readings for the course will come largely from stories and articles placed on Blackboard Vista, but if I do decide to require any books, you can e-mail me at firstname.lastname@example.org and I will let you know what they will be by the first week in January.
TR 4:00 - 5:15 p.m.
Professional editors are responsible for representing the organization in which they work in terms of legal, ethical, and financial interests, as well as ensuring that documentation conforms to corporate policies. They have responsibilities that include basic copy editing, publication management, serving as liaisons between client areas within the organization, overseeing print production, and coordinating work done by contracted writers and in-house writing teams. This course will introduce students to the fundamental principles, conventions, skills, and practices in editing, particularly as they relate to workplace settings. In doing this, the course will focus on both basic copyediting practices and comprehensive editing strategies for revising documents. Along these lines, students will benefit from four broad learning opportunities: (1) practical knowledge of skills and tools needed by technical editors, (2) reflective knowledge in three areas important to editorial practice: rhetorical aspects of technical editing with particular emphasis upon theories of style and genre; ethical and legal aspects of technical editing; and social and organizational factors in technical editing, and (3) “real” world experience, through working with a specific client.
Upon successful completion of this course, students will:
• Gain an understanding of important theoretical and rhetorical principles in editing
• Be able to edit, copyedit, and proofread print and online documents, using standard editing marks
• Be able to revise for clarity, concision, accuracy, as well as grammar and style conventions
• Learn project management and collaboration techniques for comprehensive editing
• Be able to apply editing skills in workplace settings
• Gain familiarity with the editing profession
Rude Carolyn & Angela Eaton. Technical Editing. 5th ed. Longman, 2010. ISBN: 978-0205786718
Mary Stoughton. Substance & Style: Instruction and Practice in Copyediting. 2nd ed. Editorial Experts, 1996. ISBN: 978-0935012187
The Chicago Manual of Style. 15th Ed. University of Chicago Press, 2010. ISBN: 978-0226104201
Dr. JoAnn Pavletich
Tuesday/Thursday: 11:30 a.m. - 12:45 p.m.
This course will focus on texts by African Americans in the Nineteenth Century, primarily in the post-Civil War era. We will ground our work early in the semester with a few pre-Civil War texts, including the very first novels written by African Americans, The Bondwoman’s Narrative by Hannah Crafts and William Wells Brown’s Clotel; or, the President’s Daughter. This grounding will lead us to the post-emancipation era. The years of Reconstruction were years of promise and hope for Black Americans that saw many astounding achievements. When Reconstruction ended, so did much progress, but not in the arena of literary production. We have Francis Ellen Harper’s, Iola Leroy; or Shadows Uplifted, about a mixed race woman who refuses to pass as white. We will read Pauline Hopkins’ thrilling text, Of One Blood, a story that critiques the sexual immorality of slavery, but does so on top of an adventure to Ethiopia and the discovery of a lost civilization. We will engage biographies such as Woman of Color, Daughter of Privilege, which examines the life of Amanda America Dickson who was born into slavery, but who inherited much of her father’s half-million-dollar estate, thus making her the wealthiest black woman in the post-Civil War South.
The development of the black press will necessarily be a part of our conversation, as will be the debates between Booker T. Washington and W.E.B. DuBois on questions of racial progress and the role of education. We will tackle the complex sexual politics of the period. Finally, we will attempt to look at nineteenth-century African American culture in Houston and southeast Texas.
MW 4:00 - 5:15 p.m.
In this course, students will analyze the narrative structure of the American horror film in conjunction with its affective registers, its cultural and historical contexts, and its ideological underpinnings. While the final list of required screenings is not yet determined, most likely the course will draw from classic, Hollywood monster films from the 1930s, mid-century cold war science fiction hybrids, and avant-garde, slasher, or stalker films of the 1970s and early 1980s.
We will begin by asking broad questions about the function of the horror film in twentieth-century American culture, thinking deeply about what constitutes the genre as well as the peculiar spectatorial pleasures of horror: covering and uncovering our eyes, flinching, shouting, pleading with the screen, screaming, shuddering, being disgusted and nauseated, feeling ambivalence or confusion, and sometimes even laughing. Students will identify and interpret how horror film frames its monsters and humans, considering cinematic techniques such as camera placement and movement, editing, lighting technologies, costume, make-up, hair, special effects, mise-en-scene, the actors' star or non-star status, and performance. In addition, students will theorize the temporality of horror, including the historical context in which horror films are produced, distributed, and screened, as well as the temporal structure of shots, scenes, and sequences. Students will read and discuss film theorists who approach the horror genre by analyzing how it represents violence or the threat of violence in relation to monstrous forms of gender, sexuality and sexual identity, foreignness, and class and racial differences.
This is not a course where students simply “watch movies.” Students must read what can often be lengthy and challenging theoretical work in interdisciplinary film studies. English 3354: Introduction to Film Studies or the equivalent is a recommended prerequisite. Students will produce about twenty pages of critical writing by the end of the course, including a final research paper. There may or may not be in-class, collective student presentations.
Dick, Bernard K. Anatomy of Film. 6th ed. New York: Bedford/St. Martin’s, 2010.
Grant, Barry Keith, ed. The Dread of Difference: Gender and the Horror Film. Austin: UT Press, 1996.
Other readings uploaded to Blackboard Vista may include scholarly essays by:
Roland Barthes, Harry Benshoff, Lauren Berlant, Noel Carroll, Vera Dika, Gilles Deleuze, Sigmund Freud, Judith Halberstam, Julia Kristeva, Christian Metz, Andrew Tudor, and Robin Wood.
Dr. Johanna Schmertz
Movie star Marlene Dietrich and film director Josef Sternberg engaged in a creative collaboration that was so symbiotic that Sternberg professed, “I am Marlene, Marlene is me.” Sternberg’s statement suggests that the boundaries between masculinity and femininity are fluid and dialectical. The same may be said about the boundaries between artist and subject. In this course, we will examine some of the Dietrich-Sternberg films. These films privileged style over realism, and they revealed both gender and identity to be constructions: matters of style, masquerade, and performance. With performance as our watchword, we will focus on such traps and trappings of gender as costume, props, mannerisms, and how they create the whole mise en scene of sexuality and desire. We will frame our readings of the primary texts (the Dietrich-Sternberg films) with a selection of both introductory and more theoretical readings on feminist theory, queer theory, and psychoanalysis.
Materials you’ll need to buy before the course starts are Marlene Dietrich: The Glamour Collection (DVD)--especially Blond Venus and Morocco, contained on the DVD--and Feminine Sexuality: Jacques Lacan and the Ecole Freudienne, edited and with introductions by Juliet Mitchell and Jacqueline Rose. You will also need to have access to Scarlet Empress and Blue Angel. Additional required readings will be made available on Blackboard Vista. Coursework includes a test the first week to make sure you have access to all the materials needed for the course, regular contributions to questions posted on the Blackboard Vista discussion board, an essay midterm exam, an annotated bibliography, and a final paper based on the annotated bibliography.
The course counts toward both the film studies and gender studies minors.
Wayne Schmadeka, Ph.D.
M 5:30 - 6:45 p.m., rm. N-637
Graduate standing or permission of the Department.
English 5340 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 principals and practices that are unique to managing documentation projects.
Understand the following:
• Principles of project management
• Understand how the principles of project management apply to documentation projects
• Important skills and practices documentation managers use to manage their projects, including resource management skills, and 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
Darnall and Preston, Project Management from Simple to Complex. Flat World Knowledge, 2011. Available online for free and as a downloadable e-book from http://students.flatworldknowledge.com/course/687005
Last updated or reviewed on 1/17/12