ENG 101-29 SYLLABUS
T,
TH: 11-12:15
Room:
NMOR 226
Instructor:
Laura Savu
Office:
McIver 137D
Office
Hours: W: 1-3 pm; Th. 8-9 am
Office
Phone: 334-5867
E-mail:
lesavu@uncg.edu
Required
Texts:
Eschholz,
Paul, and Alfred Rosa. Subjects
& Strategies: A Writer's Reader. Boston/New York:
Bedford/St. Martin's. 1999.
Gaines,
Ernest J. A Lesson before Dying. New York: Vintage Books, 1993.
Writing Matters: A Guide to Freshman
English. 2001-2002. Greensboro: UNCG, 2001.
Reynolds,
Nedra. Portfolio Keeping. A Guide
for Students. Boston/New York: Bedford/St.
Martin’s, 2000.
Aaron, Jane E.
The Little, Brown Essential Handbook for
Writers. Third Edition. New York:
Longman, 1999
Required
Materials:
2
binders of your choice for your portfolios
3
two-pocket folders for your essays
1
loose-leaf notebook for your in-class writing assignments
General
Course Objectives:
Course
Description:
“The real voyage of discovery consists not in seeking new landscapes but in having new eyes” (Marcel Proust).
“This is the way in which I feel writing matters. It
clarifies and intensifies, it deepens and connects me to others” (Julia
Alvarez).
English 101 is as much about learning to write
as it is about writing to learn. Its
primary objective is to foster both self-awareness and critical
consciousness. My hope is that by the end of this semester you will have gained
a better understanding not only of why writing matters, but also of what you
need to consider to fully develop your potential as writers who can take on a
variety of rhetorical tasks. We write to communicate to others—whether they are
colleagues, professionals in their fields, or friends. We write to discover new
things about our world as well as about ourselves. We write to enter an
intellectual conversation and to convince others that our position has
validity. Thus, writing represents a medium for self-reflection,
self-expression, and communication, a means of coming to know for both writers
and readers.
Since one may look at all writing as argument, the relationship between writer and reader and the uses of the rhetorical appeals are of particular interest in this course. We are going to look at writing as an act of negotiating between writers and readers with specific purposes and expectations in specific situations. You’ll read each other’s work in progress, the writing of other students as well as published authors to discover different rhetorical strategies and how you can incorporate these strategies in your own writing to make it more effective. Much of the readings may challenge more commonly accepted assumptions, so please try to keep an open perspective.
In the second half of the
semester, we will devote considerable attention to Ernest J. Gaines’s novel A
Lesson Before Dying, which is the central piece of the All Freshman Read
program, whose purpose is to build community through discussions of reading and
writing. You will have a chance to hear Ernest J. Gaines talk about his work
when he comes to Greensboro, at two different locations: Gillford College
(November 14) and the Public Library (November 15). Attendance to either of
these events is optional, but I will require that you attend the
mini-production by the Triad Stage Company, at a time and place to be announced.
Although the strategies we cover should apply to any
writing task you face, our emphasis will be on the processes and forms of
academic writing. At the completion of
this course, you should be able to do the following:
·
interpret
and evaluate argumentative discourse, including writing and speech
·
construct
cogent argument
·
communicate
those arguments clearly, coherently, and effectively
·
locate,
synthesize, and evaluate relevant information
·
demonstrate
an understanding of the aims and methods of intellectual discourse
·
weigh
evidence and evaluate the arguments of differing viewpoints
Requirements:
3
essays that make up the core of your final portfolio
Midterm
portfolio
Final
Portfolio
Journal
entries, reader responses, and in-class writings
Class
participation (including group work and conferences)
You
must meet all of the above requirements in order to do well in this class. For evaluation criteria,
please read the section on “Degrees of Good Writing” from Writing Matters,
pp. 99-101.
Grading:
Our
focus
is on writing as an ongoing creative process rather than a final
product that is beyond revision. Therefore, throughout the term I will provide
extensive feedback on your writing, calling your attention to both its
strengths and weaknesses, but I will not assign grades to individual papers.
Instead, I will give you a midterm “so far” grade, which, in
combination with the comments I make on your papers and our discussion in
conferences, should give you a sense of how you are doing in the course.
Portfolios: As records of your
accomplishments in reading, writing, and critical thinking, the portfolios
provide you with the opportunity to have your best work evaluated. Thus, they
will include not only the polished versions of the three essays you are required
to write in the course of the semester but also samples of revised journal
entries, reader-responses, and in-class writings. For each essay, you will
produce a rough draft for a peer review, and then a revision of that draft for
me to read. I will ask you to turn in your final draft in a two-pocket folder
with the current draft for me on one side, and your prewriting, peer review
comments, outlines, notes, etc. on the other. When a draft is due for a
workshop in class bring at least two copies. When I return your papers, I
strongly advise that you read my comments and suggestions carefully and ask for
clarifications where needed.
The mid-term portfolio will include
about 8-10 pages of polished writing, while the final portfolio will have 20 or
more pages of polished writing. Both portfolios will include a reflection paper
on your progress as critical thinkers, readers, and writers this semester. For
more about keeping a portfolio, read carefully Nedra Reynolds’ guide.
All papers written outside of class must follow the MLA format (typed, double-spaced with 1 inch margins, in Times New Roman or an equivalent). All papers are due at the beginning of class in which they are assigned. NO LATE PAPERS WILL BE ACCEPTED. Failure to turn in any one of these essays is grounds for failing the course.
Journal
This is a loose-leaf notebook for your journal entries (JE) and reading responses (RR). The first will
allow you to engage the course material on a deeper, more personal level, so
feel free to record those daily experiences/observations from which you have
learned something new about yourselves and/or others. Most times topics will be
assigned, following the prompts provided before and after each professional
selection, but if one is not, you can create your own topic, or continue with
the topic assigned in class by the writing leader. I expect you to be as
creative and provocative as possible and to experiment with various types of
writing. While you might use an entry to describe something that happened to you,
part of the entry should contain some analysis of the event. How did it make
you feel? Why did you react the way you did?
Reading
responses
work in the same manner as regular journal entries except that you will be
responding to/critically engage one of the texts you will have read for this
class. I will expect you to formulate interpretive questions and tentative
insights about the reading selections as you ponder them. These notes will be
subsequently used as the basis of our class discussion.
Hold on to these entries, for you can always revise them for your portfolios and expand on them while in the process of writing formal papers. Sometimes I will ask you to add in-class writings to your journal. And since teaching this class is going to be a learning experience for me, too, I would encourage you to give me some feedback about what is going on in class and what you think I could do differently. You may choose to do this as often as you think fit.
Each week,
unless notified otherwise, you will write at
least 1 journal entry and 1
reading response, each of at least 300 words (typed and double-spaced). They
will be given a check plus, a check, or a check minus. The overall grade will
be based on the number of entries you do out of the number possible. No entries
will be accepted late. For more on journaling and for samples of journal
entries written by other UNCG students, read WM, 20-22 and 79-86.
Group work: During group activities you will share ideas and writings with your
peers, working together through the revision process. It is important that
throughout these sessions you work together supportively and cooperatively. One
of the activities I have in mind will require each group to lead the discussion
on various aspects of the novel we’ll be reading in this class. You will
receive a more detailed handout concerning this activity in due course.
Since group work counts for your final grade, I will ask each of you to reflect not only on the group work as a whole but also on your individual contribution to it. These reflections will make up a separate entry in your final portfolio.
Conferences: You
will sign up for two individual and informal meetings with me in the course of
the semester. The purpose of these meetings is for me to gain a better understanding
of your writing-related interests and concerns and for you to receive feedback
on your work. Missing a conference will count as a class absence. You are
welcome, however, to stop by office any time during my office hours.
It is important that I see the writing you do in
class as well as the papers you produce outside of class. For every formal
paper that you write, you will move through drafts and revisions, working with
your peers to rethink, revise, edit your work, and help them with theirs.
Consequently, it is important that you attend class regularly and participate
in class activities that demonstrate your writing process in addition to the
“final” products that you turn in. Your grade will be seriously compromised by
more than three absences. You will fail if you miss more than 9 classes. If a
paper is due on the day you are absent, make arrangements to get the paper in
on that day. You are responsible for finding out what goes on in the classes
you miss, including any changes in the schedule or homework assignments. If you
do miss class because of a serious illness, inform me as soon as possible.
Classroom
behavior: Any
behavior that disrupts, distracts, or is disrespectful will not be tolerated.
Tardiness is rude and so is coming to class unprepared. Sleeping in class,
putting your head down, and working off topic will be grounds for removal and
thus counted as absences. Cell phones and pagers should be turned off during
class time. You may be reached during classes or conferences at the department
phone number (334-5311) in the case of an emergency.
Students with learning differences: If you
have a disability that could affect your performance in this course or for
which you need accommodation, please contact me and/or the office of Disability
Services at 334-5440.
Aug. 20 Introduction to course. Getting to know each other
Aug. 22 Read: WM (11-22)
JE: Letter to me about your Writing Instruction
In-class writing (diagnostic essay)
Assign Essay # 1: The Story behind the Photograph
Aug. 27 Read: “Reading for Understanding and Meaning” (SS, chapter 1)
“How to Mark a Book” (SS 277-282)
“Life in the Margins” (handout)
RR: Annotate a favorite reading
In-class writing on what constitutes “good” writing
Group discussion
Aug. 28 Last day to drop
course for tuition and fees refund
Aug. 29 Read: “Writing Essays” (SS, chapter 2)
“Polaroids” (SS 356-58)
JE: see prompt on p. 356 (SS)
Group activity: invention exercise
Sept. 3
Read: Description (154-64)
“How to Say Nothing in 500 Words” (284-95)
RR: Reading log for Essay 1 (bring picture/photograph to class)
In-class writing: make inferences about the picture
Sept. 5 Read: Narration (SS 207-221)
“Ave Maria” (WM 41-43)
Opening paragraph of essay # 1 due
In-class writing (“sideshowing”)
Sept. 10 Read: Combining Strategies (SS 37-45)
“Six by Four” and “Family Lamb” (WM Supplement 8-13;
14-17)
JE: open
Sept. 12 Rough Draft of Essay # 1 due for peer critique workshop
Sept. 17 Essay # 1 Due
Assign Essay # 2: Entering
the Conversation: Analyzing and Evaluating Arguments
Read: “Rhetoric and the Writing Class” (WM 23-26)
In-class rhetorical analysis of an advertisement
Sept. 19 Read: Argumentation (SS 565-78)
RR: rhetorical analysis of “Ain’t I a Woman?” (SS 485)
Group discussion
Sept. 24 Read: “Propaganda: How Not to Be Bamboozled” (SS 424-35)
JE: see prompt on p. 424
In-class writing: the believing-doubting game
Instructions for Midterm Portfolio
Sept. 25 & 26 Conferences (class cancelled on Thursday)
Read: Portfolio Keeping (1-26)
“The Writing Conference” (WM 26-28)
Oct. 1 Read: Cause and Effect Analysis (SS 506-20)
“The Face of Beauty” (SS 540-44)
JE: see prompt on page 540
Oct. 3 Rough Draft of Essay # 2 due for revision workshop
Week
8
Oct. 8 Read WM (73-85)
Editing Workshop
Oct. 10 MIDTERM PORTFOLIO DUE
Intro to Gaines
Questions for Writing about Fiction (handout)
Groups sign up for leading discussions
Oct. 11 Last day to drop courses without academic penalty
Instruction ends for Fall Break 6:00 p.m.
Oct. 15 NO CLASS
Oct. 17 Essay
# 2 Due
Assign Essay # 3: Making Connections
In-class informal response to “The God Who Loves You” (handout)
Oct. 22 Read: A Lesson Before Dying, chapters 1-6
RR: Analyze Gaines’ strategies for opening the novel
Group discussion
Oct 24 Read: LBD, chapters 7-11
RR: open
Group # 1 leads discussion
Oct 29 Read: LBD, chapters 12-16
RR: open
Group # 2 leads discussion
Oct. 31 Read: LBD, chapters 17-21
RR:
Group # 3 leads discussion
Week
12
Nov. 5 Read LBD, chapters 22-26
RR:
Group # 4 leads discussion
In-class writing
Nov. 7 Read: LBD, chapters 27-32
RR:
Group # 5 leads discussion
Nov. 12 In-class: Video: A Lesson Before Dying
Nov. 13 & Nov. 14 Conferences (class cancelled on Thursday)
Nov. 19 Rough Draft of Essay # 3 due for revision workshop
Nov. 21 Essay # 3 Due
Nov. 26 Revision Workshop
Nov. 28 Thanksgiving Holiday (No Class)
Dec. 3 Editing Workshop
Dec. 5 FINAL PORTFOLIO DUE