Courses

Course Description

The role of the editor in technical and professional communication is complex. Historically, “editing” has focused on instrumental work: “correcting” grammar and “fixing” language. And while those elements are still important in the world of editing, we’re now increasingly aware of problems embedded in that traditional model: Is language ever really broken? How might our work as editors shift when we truly consider audience, purpose, and context?

In this course we examine what it means to be an “editor” and to “edit” another’s work. Over the course of the semester, we will consider the many roles of editors in document creation and production. Along the way, we’ll consider types of editing and levels of edit, editing conventions, writing styles and style guides, and the burdens (and challenges) of doing editing.

During the semester, the class will form two unique publication organizations. Assignments will be based on the work you do for those organizations, including writing submission guidelines, style guides, mission statements, and process documents for editing and review. As we create these publications, we will study existing organizations and processes. Finally, we will submit work to each other’s publications or solicit work from outside authors. Ultimately, our organizations will publish a finished, complex product. The class will culminate with a final paper on the process of editing shaped by your professional intent (industry, academia, or something else entirely).

Course Description

The field of Writing and Rhetoric Studies has long held a fascination with genre. It is a distinctive term of art that encapsulates broad categories of text “type” as well as the social action that texts perform. It is also a multidisciplinary object of study, incorporating insights from rhetoric and composition, literary theory, applied linguistics, and professional writing, among others. In this course, we will explore genre as an evolving concept and practice, with specific focus on the discipline of Rhetorical Genre Studies. We will read widely, examining theoretical, methodological, and pedagogical approaches to the subject; building on that work, students will formulate research and writing projects that reflect their academic interests and take part in field- and community-specific conversations. Our shared commitment will be to defining the boundaries of genre, and in that spirit, we will seek both to expand our knowledge and refine our craft as writers, researchers, and teachers. The course welcomes all graduate students from across English Studies.

Anyone who would like to learn more about the course should feel free to email the instructor, Dr. Chad Wickman, for additional details: cwickman@auburn.edu.

Requirements

Reading for the course will include single-authored books, edited collections, and scholarly articles. Writing will emphasize rhetorical themes, focusing on different areas of research and application. Each student will have the opportunity to collaborate with their colleagues to lead discussion at different points throughout the semester.

Course Description

You’ll have an edge in many fields if you learn how good, ethically designed, original, accessible websites (and web content) come together, as well as how to maintain a site. The ability to be a vital part of the website creation process will open doors to a variety of writing and design jobs. So will being able to conduct user research—to work with real users to find out how to improve a design. You’ll learn all of that and more in this course. 

Most students will enter the course not knowing any coding; everyone will leave being able to use a web editor and HTML and CSS to develop, troubleshoot, and maintain sites. (“Many will enter; all will win.”) Once you know what’s going on “under the hood”—underneath the pretty display—you’ll complete a client project, most likely by using a site builder.  

In short, you'll learn how theory informs practice and how to apply best practices. These best practices will include how to create and edit ethical, web-appropriate content and work with content management systems. They’ll also include how to locate and use available resources, adopt a professional workflow for web development, adapt a site for diverse and global audiences, and create websites and web content accessible to users with disabilities.

Requirements

Students will work on web development projects and give short presentations to the class. Students also will complete a user research project and several short writing assignments. 

Readings

TBD

Course Description

In this class we’ll cover the basics of grant and proposal writing including the following: analyzing funding opportunities, responding to a request for proposal (RFP), writing the different sections of a proposal and constructing your overall argument, persuading your readers to accept (and fund) your ideas, and using effective document design.

At the beginning of the semester, students will propose non-profit clients that we might work for during the semester. We’ll then narrow our pool of clients and students will work in small groups on a full proposal for one of our clients and give a final presentation on the last day of class about their work. During the second half of the semester students should be prepared to hold regular meetings with their client as needed outside of class as well as be prepared to conduct research and work independently under the supervision of the professor.

Course Description

This course aims to familiarize students with the intricacies of the genre, with a primary focus on work that falls under the broad label of Narrative Nonfiction.  The course will look both at early practitioners of the genre and contemporary innovators to help establish a useful lineage for one’s own creative work. Narrative Nonfiction is commonly defined as fact-based writing that uses the techniques of fiction to bring its stories to life—including such craft elements as description, dialogue, character development and scene.  Our workshop will center on three sub-genres of Creative Nonfiction: literary journalism, creative criticism, and writing about place.  While writers in these forms often incorporate personal elements into their work, all strive to also transcend them, consistently turning to outside research and cultural meditations that extend far beyond the self.  Students will study a wide range of such professional work and attempt to emulate it in their own creative essays.  Craft-based discussion of readings will occupy about half of our class time, with the other half being devoted to workshop.  End-of-the-semester portfolios will consist of substantially revised essays for each sub-genre.  

Course Description

This graduate seminar explores the vibrant and evolving field of Early American Studies, foregrounding new methodologies, expanded geographic and temporal scopes, and emerging thematic concerns. We will consider texts and archives from the fifteenth through the nineteenth centuries, spanning regions from the Caribbean and West Africa to New France, Spanish America, and the U.S. South. Topics include settler colonialism and resistance, forced migration and diaspora, empire and ecology, print and performance cultures, and the politics of memory and historiography.

In addition to working closely with primary sources, students will engage with scholarship that redefines the contours of Early American Studies through oceanic, hemispheric, Indigenous, and diasporic frameworks. The course also integrates critical perspectives from the environmental humanities, medical humanities, and disability studies and explores how digital tools and platforms are transforming archival access, textual analysis, and the production of public-facing scholarship.

Requirements

Students will lead and participate in seminar discussions, give a presentation, and develop a final research project that may take the form of a traditional paper or a digital humanities prototype. The course is designed to support graduate students in producing original scholarship that engages with the most current debates and tools in the field.

Course Description

In their introduction to Rhetoric Through Everyday Things, Scot Barnett and Casey Boyle write that in
“disciplines across the humanities and social sciences, the first decade of the twenty-first century has
been characterized by a return to things.” It does seem like “things” have been rather popular lately,
and Rhetoric and Composition has certainly been no exception to this larger (re)turn.

In scholarship under headings like “new materialisms,” “material culture,” “object-oriented
ontology” and others, scholars of writing and rhetoric have highlighted the active role that things—
broadly defined—play in our cultural and rhetorical lives. Things, this work argues, are more than
static, lifeless material objects. Rather, they are persuasive and active rhetorical agents producing,
and produced by, our social experiences.

In this seminar, we will consider a slice of rhetorical history through the lens of things, as well as
engage with contemporary scholarship specifically on the subject. Students will identify things of
professional, scholarly, or personal interest and engage in a sustained research project on their
rhetorical dimensions and histories.

Students can expect to leave this seminar with a robust understanding of key texts in rhetorical
history, as well as a particular understanding of this return to things in contemporary scholarship,
teaching, and work. Together, we will examine the major theories, debates, and pedagogies in the
field and extracurriculum, identify gaps or absences, and project a path forward through unique
research projects.

Course Description

An affect centered reading practice is as central of an analytic to the study of African American literature as the historical. According to Margo Crawford in What is African American Literature, reading African American literature through affect has the capacity to reinvigorate understanding of the African American literary tradition. In this vein, we will re-feel the tradition “as the sensuous, atmospheric experience of texts.”  Here African American literature is better understood as “the circulation of affective energy against and within the structures of history.” With Crawford's work in mind, this seminar will read the contemporary African American novel for its affective resonances across a mirid of texts. To lay the groundwork for this examination, we will engage the theories of the African American literary tradition and the novel from scholars such as Cheryl Wall, Henry Louis Gates, Truider Harris, and others before engaging the novels of writers like Percival Everett, James McBride, Jesmyn Ward, Leila Mottley, Colson Whitehead, and Akwaeke Emezi. Collectively we will pose and answer the question: What is happening in contemporary African American literature? Students will participate in weekly presentations and reflections which will culminate in a final research paper and presentation.

Course Description

The course will focus on novels and secondary readings about gender and especially masculinity. Many of these readings will be critical and historical, rather than theoretical in the strict sense, and so you should be prepared to do extra reading on your own. However, the class discussion will be tailored to (and by) the class members, so you if need to know more about something, please ask. I would also like to emphasize that, although the course will focus on the construction of masculinity in the period, that topic cannot be discussed without reference to female identity, class, and sexuality, among other issues. The use of the plural in the course title is not simply a convention; it reflects the imbrication of gender with other identity categories, despite the increasing sense of a widely shared masculine “essence” which marks the period and which it left as a legacy. In short, I expect seminar conversation to be rather wide-ranging.

Requirements

Requirements include regular attendance and participation, five short (1–2 page) responses to the reading, posted to the class email list, substantial contributions to discussion of response papers over email, one full length paper (21–25 pages), and possibly one formal oral presentation (based on outside reading).

Response papers are due each week 48 hours before class. You may choose which weeks you will turn something in, but please do not turn them in late. Response papers will be circulated and shared; that is why you must post them electronically at least 48 hours before class. (I will create an email list for the class, to which you may post papers, responses, questions, etc.) Response papers should be short (one to two pages), focused essays which engage the reading (primary, secondary or both) directly. You don’t have to have completed, say, the full novel to write about an aspect of it in the short paper.

You are also expected to contribute substantively to discussion on the list, as well as, of course, in class. The class will be conducted as a seminar; each member will be expected to speak during each class meeting and to discuss collegially with other class members. I will contribute as a discussion facilitator and resource person, but not, generally, as a lecturer. You should plan to use the class to explore and expand your own research interests wherever possible. If you would like to tailor your final project for a particular purpose (dissertation chapter, for example), please let me know.

Readings

Probable Primary Texts:

Carlyle, Heroes and Hero Worship

Gaskell, North and South

Hughes, Tom Brown’s Schooldays

Meredith, Ordeal of Richard Feverel

Ouida, Under Two Flags

Collins, Man and Wife

Kingsley, Westward Ho

Pater, “Diapheneite” (1864) and “Winckelmann” (1867) [two short essays-handout]

Darwin, From Selection in Relation to Sex (VII, Part II, Chapters XIX–XXI: “Secondary Sexual Characters of Man” (two chapters) and “General Summary and Conclusion” 1871

Haggard, She 1886

*There will also be critical and theoretical and historical texts, tbd.*

Course Description

English 7940 is designed to prepare graduate students to teach core composition at Auburn University and the college-level more broadly. In this course, we will read and engage scholarship from Writing, Rhetoric, and Composition Studies; explore the sociocultural and institutional dimensions of teaching at a land-grant university in the U.S. South; learn and apply strategies for designing syllabi, creating assignments, assessing student writing, and composing in different media; generate course materials within a framework provided by the Composition Program; observe experienced teachers in the classroom; and develop a philosophy of teaching that combines personal experience with field-specific knowledge. We will also spend time discussing and, generally, puzzling through old, new, and emerging issues relevant to the teaching of writing. By the end of the course, students should be (and feel) well-equipped to teach within the curriculum and deliver quality writing instruction across the first-year composition sequence.

Course Description

In this course, we will be reading fiction through the lens of the coming-of-age narrative. We will read a variety of short stories told from the perspective of young characters who are having an awakening, whether it relates to realizing their own parents are just people, discovering love for the first time, facing death head on, and more. We will use this subject to discuss the elements of the craft of fiction that include plot, character, setting, and dialogue, and will discuss how to believably write from the point of view of a young character, how to make the stakes of young life feel vital, and how to make your story feel original even if it is part of a long tradition of fictional characters coming into their own. Students will participate in workshops where they will share their work, which will include full-length stories and shorter pieces. Not all writing for the course will have to fall under the umbrella of a coming-of-age narrative. We will also discuss autobiographical fiction, as much of coming-of-age fiction falls under this umbrella. 

Course Description

This intensive six-week course will provide an in-depth introduction to the genres, forms, and modes of academic writing. We will discuss how to situate our work in an academic field and to contribute to a scholarly conversation. The course will seek to demystify the publication process. How does peer review work? How does a seminar paper differ from a peer-reviewed article? How might we expand a conference paper into an article? A dissertation chapter? A book chapter? What makes for an effective scholarly argument? How do we identify a scholarly problem, articulate a claim, and marshal sources and supporting evidence? While all are welcome, this course is aimed primarily at students who are interested in pursuing an academic career. Projects might include a scholarly article, dissertation prospectus, or statement of purpose and writing sample. Using Wayne Booth et al.’s The Craft of Research (5th ed.) as our guide, this course will include workshops, critical engagement with sample materials, and visits and contributions from guests from the world of academic publishing.

Course Description

English 7010 introduces you to the theory and practice of professional and technical communication (TPC). We’ll begin with key formative theoretical frameworks and conclude with an eye toward the future of the field. We’ll interrogate how TPC is defined within the content of culture, community, and technology with a particular focus on the following concepts: user centered design (UCD), user experience design (UX), and usability testing (UT). Students will complete one major individual project and a usability study with a group.

Course Description

“Worlds end. And worlds begin.”
– Richard E. Miller, Writing at the End of the World (2005)

The composition issues animating this course, while not new, have taken on increased
urgency as collapse continues and the polycrisis* intensifies: What does it mean to write,
study writing, and teach writing as the world as we know it comes to an end? How do we
invent and compose next worlds that are better than the worst from the ruins of this world?
How do we balance hospicing this world with doualing the next—for instance, witnessing
loss and caring for each other and our more-than-human kin? This class takes rhetoric and
composition’s most expansive capacities as two-fold: making worlds and cultivating the
relationships that comprise such worlds. Hence, twin approaches of worldmaking and
relationality underpin the work we will undertake. Students should expect to play a
significant role in shaping this course and know that an ethic of care and concern for
wellbeing will guide our time together dwelling with these dark, diRicult questions.

*The polycrisis refers to multiple, separate crises in diRerent areas—environmental,
political, economic, technological, etc.—overlapping and amplifying each other.

Readings

Readings may include contemporary texts by Richard Miller, Ira Allen, Debra Hawhee,
Joshua Trey Barnett, and Timothy Oleksiak, among others, and classics by Jaqueline Jones
Royster, Krista RatcliRe, Jim Corder, and others. Please feel free to contact Dr. Wilkes with
questions.

Course Description

A document conveys meaning in many ways. In most cases, the extra-textual components are as important, or even more important, than the written words. Picture a round, green sign with the word STOP on it, for example. Would you be confused? Design matters, particularly when there are cultural associations attached to shapes, colors, and more.

This course will approach document design as a rhetorical practice with the understanding that a document is any place where one agent may mark information for later use. This situates a document broadly as a container for meaning in a variety of media. Here, we will focus on physical and non-web-page design. We will consider a variety of material and cultural artifacts over our studies, and engage with scholarship on ethics, visual and cultural rhetorics, perception, and accessibility, among others. You will study real-world scenarios and users and produce documents under a variety of use constraints. You will work with a client.

This course will entail both hands-on and analytic work. By the end of the course, you should be able to apply and discuss principles of design; apply and discuss theories of design; discuss how differences in design shape your message; and use tools in document design to create rhetorically savvy documents.

Course Description

Not only is a novel-in-stories a tricky art form in its own right, but it can also be an excellent proving ground for future novels. In this course, we will read several classic examples of the novel-in-stories and will discuss how stories that are linked through aspects including the same narrator, the same small town, or the same family, can create a narrative arc in the same way a novel can, while often creating a unique, kaleidoscopic, or fragmented (in a good way) reading experience. Students will write two of their own linked stories or chapters in a novel-in-stories, and will contemplate what a longer project featuring the work they’ve submitted might look like. We will read and study a range of contemporary and classic novels-in-stories for inspiration.  

Course Description

Poetry of witness is generally understood to be poetry that comments on social issues. Yet any observing is arguably a form of witnessing and there are as many different artistic angles a poet can take on a subject as there are opinions about it. We will see through other points of view as we study persona poems in the voices of an African American girl in the 1930s and Bangladeshi women in the 1970s experiencing injustices in MACNOLIA by A. Van Jordan and Seam by Tarfia Faizullah. We will reflect on the perspectives in poetry collections based in research on abolitionist printing presses and Confederate sites in Printer’s Fist and What Though the Field by Lost by  Melissa Range and Christoper Kempf. And we will consider the quiet cultural critiques in the nature-oriented collections Shade is a place by MaKshya Tolbert and The Seeds by Cecily Parks. The course will, of course, teach techniques for writing about historical concerns and current events. But students interested in any topics will have the opportunity to develop the skills of crafting compelling images and effectively placing the “I” in poems, as well as learning about other essential elements of poetry such as structure and musicality.

Requirements

Class periods will divided be between workshopping student writings and discussing published poetry. Students will extensively revise their own poems for a final portfolio, as well as improving their critical abilities as they apply them to exemplary texts. Additional required assignments include attending poetry events on Thursday evenings.

Course Description

Karen Harvey defines material culture as a term that “encapsulates not just the physical attributes of an object, but the myriad and shifting contexts through which it acquires meaning.” These contexts comprise a history of the object as a type, but also the particular story of the object at hand, charging any given material thing with a multitude of emotions and memories, along with a sense of its realized or potential value. In this course, we will use literary works, paintings and portraiture, clothing and textiles, ink and writing instruments, letters and other manuscripts, jewelry, and other works of art, personal possessions, household items, devotional objects and material trappings of power. You will have an opportunity to examine various categories of objects as well as some things that are very specific and unique. We will trace these objects’ histories and interpret the stories they tell us, stories that, in literary texts, are sometimes heard as suppressed murmurs and sometimes become the central points of an almost pathological fixation. We will also pay attention to the ways meaning is made non-verbally in the early modern culture and ponder how the arguments are made through visual and material media.

This course is cross-listed with Women’s and Gender Studies.

This course fulfills the requirement for Pre-1800 Literature. 

Requirements

Lively and consistent participation, leading one discussion, material object presentation, research project, research presentation.

Readings

Provisional primary reading list includes Shakespeare's The Taming of the Shrew, The Merchant of Venice, Cymbeline, John Webster’s The Duchess of Malfi, Thomas Heywood and Thomas Dekker’s Arden of Faversham, Ben Jonson’s Bartholomew Fair, poetry and prose by John Donne, Philip Sidney, and Mary Wroth.

Course Description

As literacy rates expanded in nineteenth-century Great Britain, so did the availability of a range of reading material, to the point that many at the time felt overwhelmed by the sheer amount of texts circulating amongst them.  Charles Dickens’s Bleak House (1852-53), for instance, published at the mid-point of his career, is a book obsessed in many ways with documents, information literacy, and the question of what gives texts meaning and influence. Fittingly, the books for sale in the Advertiser that accompanied the serial edition of the novel featured everything from other novels, to poetry, sermons, travel guides, maps, and books on gardening and home-making.  In this course, we will examine both the promise and anxieties associated with literacy in the Victorian period. What value did Victorian culture place on the ability to read and to own and possess books and other documents?  We will explore how literacy became associated with travel, mobility, emigration, and the ability to ‘know’ the world in a closer and more comprehensive way. Relatedly, the course introduces students to recent critical work examining the sorts of documents and texts that defined cultural and social identity in British settler colonies and other imperial contexts.  We will also consider the ways texts literally traveled and circulated at the time in the thriving periodical press, where again Dickens found himself at the center as an editor and frequent contributor to his own periodicals. In addition to Dickens, other major authors studied in the course include Robert and Elizabeth Barrett Browning, Mary Prince, Elizabeth Gaskell, Mary Seacole, George Eliot, Thomas Hardy, Arthur Conan Doyle, and Ella Hepworth Dixon. 

Requirements

oral presentation; short critical essay; research essay; weekly response papers

Course Description

How did modernist writers think about popular culture? How did the popular press respond to modernism? In this class, we will pay attention to the forms of exchange between “high” and “low” culture in early twentieth-century writing, art, and performance. Inspired by Andreas Huyssen, scholars of used to understand the experimental Anglophone writing of the early twentieth century as operating on one side of “The Great Divide,” with mass culture situated definitively on the other. But more recently, the New Modernist Studies has broadened the field and opened up new avenues for considering the interplay between the popular and the avant-garde. We will consider the ways that canonical, mostly American authors of the early twentieth century were inspired by popular icons of the era such as Charlie Chaplin and Josephine Baker. We will also consider the way that newspapers, magazines, and lesser-known cultural critics processed the work of transatlantic writers and framed their reception in the United States. This course should be useful to students with interests in poetry, fiction, modern women’s writing, transatlantic studies, and celebrity culture.

By the time you conclude this course you should be able to:

• Define modernism as a literary period
• Find useful primary sources from the period and secondary sources discussing the period through research
• Summarize the critical conversation surrounding modernism's relation to popular culture
• Contribute to that conversation through academic writing
• Reflect on your research interests, professional goals, and skills as a writer

Requirements

Assignments will include reflections on the readings, leading class discussion, a conference paper, a literature review, and a seminar paper.

Readings

We are likely to read texts from the era by George Gershwin and DuBose Heyward, Zora Neale Hurston, Nella Larsen, Anita Loos, Gilbert Seldes, Gertrude Stein, Sophie Treadwell, and Nathanael West.

We will also read contemporary critical essays by authors such as Jayna Brown, David Chinitz, Anne Enlin Cheng, Leonard Diepeveen, Jonathan Goldman, Faye Hammill, Brooks Hefner, and Karen Leick.

Course Description

One hallmark of literary fiction in the twenty-first century is what scholars have called “the genre turn.” The term identifies a phenomenon whereby “literary” writers (that is, writers identified with serious literary fiction) adopt the forms and modes of so-called “genre” fiction (science fiction, romance, horror, etc.). What is at stake in this promiscuous commingling of generic modes? What becomes of “the literary” when it encounters popular generic forms? What effects does popular culture have on “high” (or perhaps “unpopular”) art? What does literary fiction have to offer genre fiction, and vice versa? Does the literary exist apart from popular generic forms, or has it simply become one genre among many? What aesthetic qualities or social orientations distinguish literary engagements with popular genres from their (literally) generic counterparts? In this course we will read books by contemporary North American writers with an eye to thinking through the promises and perils of the genre turn in literary fiction.

Course Description

This course explores the theory and practice of teaching literature in a college setting. Designed for new graduate students and GTAs, it provides an in-depth examination of pedagogical strategies while also helping you to develop practical skills for effective classroom management, assessment, and student engagement. You will learn all about lesson planning, tools and activities that facilitate literature instruction, the art of giving and receiving feedback, time management, grading, and navigating difficult student interactions.

As a “practicum,” this course is designed to provide hands-on training, guidance, support, and, most of all, a space to figure things out, ask questions, look for answers, and share your insights. The course will be conducted through a combination of group discussions, workshops, and peer teaching/observation exercises. You will also have opportunities to design and present your own lesson plans, receive feedback, and engage in reflective practice as you understand and develop your emerging teaching persona.

  Student Learning Outcomes:

• You will become knowledgeable about lesson planning, active learning, and scaffolding, and you will implement them in your teaching of small discussion sections in core literature courses.
• You will acquire a set of class activities and skills directed at teaching literature and you will experiment with them in our class space and in the classes you teach.
• You will develop strategies for effective time and classroom management, including navigating interactions with (challenging) students.
• You will learn about the art of giving meaningful feedback, including through assigning grades.
• You will reflect on your emerging identity as a teacher and build upon those reflections and your experiences throughout the semester as you get ready for teaching composition classes next semester.

Requirements

Assignments

• Lesson plan: You will craft one lesson plan for a lesson of your choice in one of your discussion sections (1-2 pages) and review one lesson plan by one of your peers (0.5-1 page).
• Teaching observation (peer): You will observe one of your peers teaching one of their discussion sections. Please make sure you arrange this class visit yourself and take notes on the following details:
• Was there a discernable structure to the class? If so, please outline this structure.
• What went well?
• What could be improved?
• Teaching observation (faculty member): You will observe one faculty member teaching a section of Core literature. Please make sure you arrange this class visit yourself and take notes on the following details: Was there a discernable structure to the class? If so, please outline this structure.
• What went well?
• What could be improved?
• Teaching reflection: You will compose a teaching reflection on one of the classes in which you were observed by your lead teacher ORon how you have grown as a teacher throughout the semester. Please make sure to incorporate/ respond to the feedback you received from your lead teacher (1-2 pages).

Readings

Books

• Curzan, Ann and Lisa Damour. First Day to Final Grade: A Graduate Student’s Guide to Teaching. 3rd edition. University of Michigan Press, 2011. [Ordered through AU Bookstore]
• Additional readings on Canvas.

Additional Resources

• Auburn E-Portfolio Project: https://auburn.edu/academic/provost/university-writing/resources/#ePortfolios__Examples [also consider all other entries surrounding the e-portfolio]
• Teaching in Higher Ed Podcast: https://teachinginhighered.com/episodes/
• Fuss, Diana and William A. Gleason, eds. The Pocket Instructor: Literature: 101 Exercises for the College Classroom. Princeton University Press, 2015.
• Svinicki, Mariella and Wilbert J. McKeachie, eds. McKeachie’s Teaching Tips: Strategies, Research, and Theory for College and University Teachers. 14th edition. Cengage Learning, 2013.
• Zakrajsek, Todd D. and Linda B. Nilson, Teaching at Its Best: A Research-Based Resource for College Instructors. 5th edition. Jossey-Bass, 2023.