Writing Course Review Form (12/1/08)
I. General Education Review – Writing Course
Dept/Program
Course # (i.e. ENEX
English Department
ENEX 200
Subject
200)
Advanced Composition
Course Title
II. Endorsement/Approvals
Complete the form and obtain signatures before submitting to Faculty Senate Office.
Please type / print name Signature
Date
Instructor
Kathleen J. Ryan
Director of Composition
Phone / Email
Program Chair
X4410
kathleen.ryan@mso.umt.edu
Casey Charles, Chair
Jill Bergman, Assoc Chair
III Overview of the Course Purpose/ Description: Provides an introduction to the subject
matter and explains course content and learning goals.
This advanced writing class builds on what students learn in first year composition as they
become increasingly knowledgeable and practiced readers, researchers, and writers.
Students in this course learn to understand the relationship of rhetoric and writing to
participation in academic and civic discourses; understand and practice the art of argumentation
as a writer, reader, and researcher; develop critical thinking, reading, writing and research
processes appropriate to different writing situations and genres; and gain fluency in making
rhetorical decisions when composing texts. The subject matter is, then, writing, researching,
arguing, and reading.
IV Learning Outcomes: Explain how each of the following learning outcomes will be achieved.
Informal writing in and out of class and process
Student learning outcomes :
writing helps students learn and synthesize new
Use writing to learn and synthesize new
rhetorical strategies and knowledge about
concepts
reading, researching, and writing arguments.
By practicing argumentation - in informal and
Formulate and express opinions and ideas in
formal writing assignments and in a range of
writing
genres - as a means of critical thinking,
students learn how to better develop their ideas
and arguments. Because it’s important for
students to feel like agents in the work, much
of the class emphasizes student expression.
All writing assignments in the course are
Compose written documents that are
explicitly designed for students to write in
appropriate for a given audience or purpose
multiple genres for different readers and
purposes. This is a key part of the course
because it’s part of the work of rhetoric.
Students regularly revise their major writing
Revise written work based on constructive
projects through self-assessment, peer feedback
feedback
and teacher feedback.
Find, evaluate, and use information effectively One of the learning outcomes in the class is that
(see http://www.lib.umt.edu/informationliteracy/) students engage in information literacy as a
means of invention, assessment, synthesis, and
creative problem-solving. More particularly,
they work on more sophisticated strategies than
in ENEX 101 for developing/refining research
topics and search terms, using databases, and
continuing to write up their research
appropriately.
One of the learning outcomes of the course is
Begin to use discipline-specific writing
that students understand the logic of genre
conventions
conventions and documentation systems
appropriate to the writing task, which includes
writing in different genres in different contexts,
including academic disciplines.
One of the learning outcomes of the course is
Demonstrate appropriate English language
that students understand style – ornament,
usage
appropriateness, clearness, and correctness – as
a rhetorical decision located in specific genres,
contexts, and audiences.
V. Writing Course Requirements Check list
Is enrollment capped at 25 students?
If not, list maximum course enrollment.
Explain how outcomes will be adequately met
for this number of students. Justify the request
for variance.
Are outcomes listed in the course syllabus? If
not, how will students be informed of course
expectations?
X Yes † No
(actually, 22)
X Yes † No
Are expectations for Information Literacy listed in
the course syllabus? If not, how will students be
informed of course expectations?
Are detailed requirements for all written
assignments included in the course syllabus? If not
how and when will students be informed of written
assignments?
X Yes † No
What instructional methods will be used to teach
students to write for specific audiences, purposes,
and genres?
Methods emphasize engaged learning:
collaboration in small groups and whole
class workshops, discussion, minilecture, teacher feedback. Assignments
focus on teaching these rhetorical
moves, so students get lots of writing
practice but also practice with rhetorical
analysis to read and understand issues
of audience, purpose, and genre.
† Yes x No
The syllabus includes information on informal
writing assignments and a brief summary of
major assignments. At the start of each
major unit, students receive an additional
handout with detailed requirements about
that written assignment.
Will written assignments include an opportunity for x Yes † No
revision? If not, then explain how students will
We use portfolio assessment.
receive and use feedback to improve their writing
ability.
VI. Writing Assignments: Please describe course assignments. Students should be required to
individually compose at least 16 pages of writing for assessment. At least 50% of the course grade
should be based on students’ performance on writing assignments. Clear expression, quality, and
accuracy of content are considered an integral part of the grade on any writing assignment.
Formal Graded Assignments
Students write four major papers (16-20
pages). These are not graded
individually, but receive comments along
the way. The final portfolio includes these
papers (and process materials). It counts
as 60% of the final course grade.
Informal Ungraded Assignments
20% of the final course grade is on
informal writing, done out of class. In
class writing is figured into the
participation grade.
VII. Syllabus: Paste syllabus below or attach and send digital copy with form. ⇓ The syllabus
should clearly describe how the above criteria are satisfied. For assistance on syllabus preparation
see: http://teaching.berkeley.edu/bgd/syllabus.html
Note: “Guidelines for Teaching Advanced Composition” is part of the syllabus for each ENEX
200 class, though teachers do take different approaches. See one sample syllabus below.
Guidelines for Teaching Advanced Composition at UM
Advanced Composition Student Outcomes (WRIT 200, formerly ENEX 200)
Advanced Composition extends the knowledges, processes, and conventions students study in firstyear composition into more sophisticated degrees of study and more focused practice with academic
genres and inquiry in different disciplinary and civic questions and issues.
Below are the rhetorical knowledges; critical thinking, reading, research, and writing processes; and
knowledge of conventions we ask students to understand, use, and appreciate in order to write with
a sense of civic and academic responsibility in Advanced Composition.
Rhetorical Knowledge
By the end of advanced composition, students should be able to:
•
•
•
Understand the relationship of rhetoric and writing to participation in academic and civic
discourses.
Understand the art of argumentation and have the ability to join academic, disciplinary, and
civic conversations as a writer and reader.
Write in multiple academic genres with an awareness of how genres shape and are shaped by
reading and writing situations and disciplinary contexts.
•
Consciousness of and fluency with rhetorical decision-making as an important part of
composing texts.
Critical Thinking, Reading, Research, and Writing Processes
By the end of advanced composition, students should be able to:
•
•
•
•
•
•
Practice argumentation as a means of critical thinking: “ask pertinent questions, recognize
and define problems, identify the arguments on all sides of an issue, search for and use
relevant data, and arrive in the end at carefully reasoned judgments” (Bok 109-110)
Understand and use rhetorical reading, analysis, and criticism as means to interpret and
compose texts.
Engage in information literacy as a means of invention, assessment, synthesis, and creative
problem-solving.
Appreciate the challenges of living with diversity and communicating effectively across
differences.
Use a variety of technologies to facilitate research, writing, communication, and document
design.
Enact collaborative and social aspects of learning with ease.
Knowledge of Conventions
By the end of advanced composition, students should be able to:
•
•
Understand the logic of genre conventions and documentation systems.
Understand style – ornament, appropriateness, clearness, and correctness – as a rhetorical
decision located in the inter-relationship among readers, writers, and texts in specific genres
and contexts.
Common Requirements
General
• Students use writing as an intellectual process to learn course material: discover, synthesize,
and construct meaning.
•
Students learn to write effectively in various academic and disciplinary genres for
professional and civic audiences.
•
Students learn to display competence with the generic features and conventions of academic
language.
•
The ENEX 200 classroom supports a constructivist pedagogy, where students are active
agents in learning.
Specific
• Students write regularly throughout the course. There should be a mixture of in-class and
out-of-class writing, informal and formal, and of graded and ungraded writing.
•
Students’ writing experience includes carefully planned, frequent informal writing-to-learn
writing assignments to help them generate ideas and better engage with course readings and
assignments. Informal writing should provide students with a variety of writing experiences,
by including writing situations with different audiences, purposes, and genres. Informal
writings include rhetorical analysis, reflective writing, electronic postings, reading responses,
etc.
•
Gives attention to both the process and product of writing.
•
Students do a substantial amount of writing, 16-20 pages of original writing for formal
papers.
•
Gives specific written instructions, including criteria for evaluation, for major writing
assignments. Uses portfolio evaluation.
•
Addresses the IL Outcomes for Advanced Composition (ENEX 200) to support students’
appropriate development in information literacy. This includes: more sophisticated strategies
for developing/refining research topics and search terms, using databases, and continuing to
write up research appropriately.
•
Includes Ancient Rhetoric for Contemporary Students as a required text.
•
Includes the current, common handbook as the required or recommended handbook. Use
the customized Quick Access required for all composition courses.
Professor Kate Ryan
Class: ENEX 200.01 237 McGill Hall, 1:10-2:30pm
Office: LA 121, Mailbox LA 133
Kathleen.ryan@mso.umt.edu
Advanced Composition: Art of the Essay
Prereq: C or better in ENEX 101 or direct placement into ENEX 200.01
For one reason or another, the essay has gotten a bad rap. This class treats the essay as a thought-provoking
genre to read and write. We’ll explore the range of this genre, from the traditional academic essay to personal
essays to essays that blur personal and academic writing. You will read a number of essays and selections
from a text on rhetoric to support this work. You’ll have the opportunity to explore your relationships with
other people, different places, and complex issues in our world as you read and write. As a result of this
course, I hope that you will broaden your general reading to include essays and become better writers of
essays.
Much of your work will involve different kinds of collaboration, including small group workshops and
discussions that will take place in class, in conference, and in electronic forums. Because writing development
is an important process that takes place over time and across different writing situations, all ENEX 195
classes use portfolio evaluation as the primary means to assess your course performance.
Course Texts
Crowley, Sharon and Debra Hawhee. Ancient Rhetorics for Contemporary Students. 3rd ed. New York: Pearson,
2004. (ARCS)
This text introduces you to issues in rhetoric and argument to inform our work together, particularly in
understanding issues about rhetoric, argumentation, and writing essays in different contexts for different
purposes.
Lunsford, Andrea. The Everyday Writer. Bedford/St. Martin’s: Boston, 2005.
This text is a resource for everything from composing in a digital age to reviewing information about
punctuation and mechanics to using MLA documentation. You’ll use it during the semester to help you
compose polished prose and document sources appropriately. This text is a reference for you to use
throughout your college career.
Electronic/Traditional Reserve List (password: Ryan195). Print and bring these readings to class on date
due.
Ballenger, Bruce. “Methods of Memory: On Native American Storytelling” College English 59.7 (November
1997): 789-800.
Brodkey, Linda. “Writing on the Bias.” Women/Writing/Teaching. Ed. Jan Zlotnik Schmidt. Albany: State U of
New York P, 1998. 77-102.
Connors, Robert. “How in the World Do You Get a Skunk out of a Bottle?” Selected Essays of Robert J. Connors.
Eds. Lisa Ede and Andrea A. Lunsford. Boston: Bedford/St. Martin’s, 2003. 199-201. 0195123778
Hampl, Patricia. “Memory and Imagination.” I Could Tell You Stories. Sojourns in the Land of Memory. New
York, NY: Norton, 1999.21-37.
Heilker, Paul. “The Need for an Alternative Form in Composition Instruction, or The Emperor Has No
Clothes.” The Essay: Theory and Pedagogy for an Active Form. Urbana, IL: NCTE, 1996. 1-12.
Kingsolver, Barbara. “High Tide in Tucson.” High Tide in Tucson: Essays From Now or Never. New York: NY,
1995. 1-16.
Lerner, Gerda. “Rethinking the Paradigm.” Why History Matters: Life and Thought. New York: Oxford UP,
1997. 146-198.
Matalene, Carolyn. “Experience as Evidence: Teaching Students to Write Honestly and Knowledgeably about
Public Issues.” The Writing Teacher’s Sourcebook. Eds. Edward P.J. Corbett, Nancy Myers, Gary Tate. 4th
ed. New York: New York, 2000. 180-190.
Murray, Donald. “Unlearn to Write.” Write to Learn. 8th ed. Boston: Thomson/Wadsworth, 2005. 12-23.
Royster, Jaqueline Jones Royster. “Time Alone, Place Apart: The Role of Spiracy in Using the Power of
Solitude.” Women/Writing/Teaching. Ed. Jan Zlotnik Schmidt. Albany: State U of New York P, 1998.
267-275.
Sanders, Scott Russell. “The Singular First Person.” Essays on the Essay: Redefining the Genre. Ed. Alexander J.
Butrym. Athens: University of Georgia Press, 1989. 31–42.
Sommers, Nancy. “Between the Drafts.” The Writing Teacher’s Sourcebook. Eds. Edward P.J. Corbett, Nancy
Myers, Gary Tate. 4th ed. New York: New York, 2000. 279-93.
Working Folder/ Final Portfolio. Keep a working folder of all your writing throughout the semester in a
three-ring binder. At the end of the semester, you’ll construct a final portfolio that will include selections of
informal writing; final copies of your three major assignments; artifacts of your reading, writing, and research
processes; and an introduction to the portfolio. Final portfolios serve as the culmination of your work in the
course. I like portfolio assessment for what it offers the writing classroom in terms of creating space for
learning, drafting, and ongoing reflection and assessment. Making choices about which informal writings to
include; the amount, kind, and degree of revision of the major assignments; and the organization and delivery
of the whole will help you revisit our work together and shape it to represent your learning to yourself and to
me as your evaluator.
Assignment Overviews
I will give you a detailed assignment sheet as we begin each of these major assignments. All major projects
must be completed for you to pass the course. I will respond to these projects with written comments
focused on suggestions for revision, geared towards that final portfolio.
Informal writing assignments. You’ll be asked to write informally for a variety of purposes – to respond to and
prepare for readings, workshops, and discussions – and in a variety of contexts -- in class and at home, alone
and in collaboration with others. Discussion sheets are one-page activities comprised of key terms, intriguing
quotations, and analytical questions you want to bring up in class discussion. You‘ll select some informal
writing to include in your final portfolio.
Personal essay: focus on place and memory based personal essays, learning this genre of essay writing,
practicing the rhetorical-writing process the class privileges.
Personal, academic essay: focus on genre that straddles the personal essay and academic essay, especially learning
how to use experience rhetorically.
Unfamiliar genre research project: focus on investigating a challenging or unfamiliar sub-essay genre (like sports
writing, food writing, nature writing, etc), recognizing the characteristics of that genre, writing a piece in that
genre, and reflecting on the process throughout the project.
Preface: focus on introducing your final portfolio to your readers.
Common Policies and Procedures
Registration-related issues. I will not sign overrides because it’s critical to keep the composition class size
small to support its rigorous writing and workshopping environment. If you miss the first two class meetings
(and haven’t talked in advance with me about extenuating circumstances), you need to drop the course on
Cyberbear and enroll another semester. The reason for this policy is that important groundwork for the
semester is put in place in the first couple of class meetings, and students without that foundational
framework are better served by taking the course when they can give it the attention it deserves. Note: The
last day to drop a single class on Cyberbear for a refund is September 18.
Attendance. More than two absences from a MW class will compromise your grade. 5 or more absences
from a MW class will result in a failing grade. Here’s the breakdown:
3rd absence: final grade drops one letter grade
4th absence: final grade drops one letter grade
5th absence: final grade is an F
Here’s the reasoning behind the attendance policy. Without attending class, you cannot perform your role as
a student. Personal situations and required university events may arise that, on a rare occasion, make it
impossible for you to be in class. Remember, however, that’s why a few absences are allowed; please reserve
those for emergencies. If you must miss class, you are responsible for obtaining any handouts or assignments
for the class. Make sure you talk with me in advance if you are worried about meeting a deadline or missing a
class.
Participation. Participation includes coming to class prepared and on time, taking part in class discussions
and workshops, asking questions, contributing your knowledge and insights in whatever form is appropriate,
and striving to make all your contributions excellent. It also includes doing the required reading and writing
for each class. I’ll also ask you to meet in writing groups twice during the semester. Note: Please come to
class on time. Lateness will hurt your grade because it is an unnecessary interruption and because latecomers
are likely to miss valuable information. Please see Participation Grade Descriptors for more information.
Late Work. Late work hurts everyone. If you miss a draft deadline, you’ve missed a crucial chance for
feedback on your work. If you aren’t ready with a response to a group member’s draft, you’re letting down
someone who is counting on you for help. If you aren’t prepared for class, you limit your own voice and
contributions to the class and community of writers and readers. For all these reasons, late work is unacceptable.
If you ever have a problem with an assignment, talk to me in advance of the deadline and you may be able to
negotiate a special arrangement. Deadlines are not negotiable after you’ve missed them.
Academic Conduct. You must abide by the rules for academic conduct described in the Student Conduct
Code. If you have any questions about when and how to avoid academic dishonesty, particularly plagiarism,
please review the Conduct Code and talk with me. The Council of Writing Program Administrators describes
plagiarism as follows: “plagiarism occurs when a writer deliberately uses someone else’s language, ideas or
other original (not common-knowledge) material without acknowledging its source.” Academic honesty is
highly valued in the University community and acts of plagiarism will not be tolerated.
Communication. Office hours: Monday 10:30-12:30, Wednesday 11:30-12:30. Office hours provide us with
an opportunity to talk one on one. You may drop in during these times or make an appointment with me
(243-4410) to talk about any questions you have about 195.01. I’m also happy to talk with you via email.
Please do not email me attachments or IM me unless asked to do so. I will respond to emails Monday
through Friday within 48 hours.
Classroom Community. Community is important in a small workshop class; we will work together to create
an environment that promotes collaborative learning and effective, thoughtful discussion. The student
conduct code asks students to “respect the rights, privileges, and dignity of others” – these are important
ways to engage in class discussion, particularly when the topic might be provocative. Please shut off cell
phones and pagers during class and conference to prevent unnecessary disruptions. If an emergency requires
you to leave your phone on, please speak to me at the beginning of class.
Students with Disabilities. Qualified students with disabilities will receive appropriate accommodations in
this course. Please speak with me privately after class or in my office. Please be prepared to provide a letter
from your DSS Coordinator.
Grades
Final Grade. I encourage you to talk with me at any time to better understand my comments or to discuss
your overall progress and success in the class. Success in this class depends on:
•
•
•
Meeting all the requirements.
The quality of your written, electronic, and oral work.
Your willingness to engage course aims.
Your final grade will be based on the following percentages:
1. Verbal participation in small/large groups and
written participation in class
2. Final portfolio
30%
70%
Participation Grade Descriptors for ENEX 195.01
A Superior participation shows initiative and excellence in written and verbal work. The student helps to
create more effective discussions and workshops through his/her verbal, electronic, and written
contributions. Reading and writing assignments are always completed on time and with attention to detail. In
workshop or conferences, suggestions to group members are tactful, thorough, specific, and often provide
other student writers with a new perspective or insight.
B Strong participation demonstrates active engagement in written and verbal work. The student plays an
active role in the classroom but does not always add new insight to the discussion at hand. Reading and
writing assignments are always completed on time and with attention to detail. In workshop or conferences,
suggestions to group members are tactful, specific, and helpful.
C Satisfactory participation demonstrates consistent, satisfactory written and verbal work. Overall, the
student is prepared for class, completes assigned readings and writings, and contributes to small group
workshops and large class discussions. Reading and writing assignments are completed on time. In workshop
or conferences, suggestions to group members are tactful and prompt, but could benefit from more attentive
reading and/or specific detail when giving comments.
D Weak participation demonstrates inconsistent written and verbal work. The student may be late to class,
unprepared for class, and may contribute infrequently or unproductively to classroom discussions or small
group workshops. Reading and writing assignments are not turned in or are insufficient. In workshops or
conferences, suggestions to group members may be missing, disrespectful, or far too brief and general to be
of help.
F Unacceptable participation shows ineffectual written and verbal work. The student may be excessively late
to class, regularly unprepared, and not able to contribute to classroom discussions or small group workshops.
This student may be disruptive in class. Reading and writing assignments are regularly not turned in or are
insufficient. In workshops or conferences, the student has a pattern of missing, being completely unprepared,
or being disruptive.
Portfolio Grade Descriptors for ENEX 195.01
A Superior portfolios demonstrate initiative and rhetorical sophistication that exceed general expectations.
The portfolio fully demonstrates a clear understanding and application of major course concepts.
B Strong portfolios succeed in meeting their goals without need for further major revisions of purpose,
evidence, audience, genre, or style/mechanics or need for further demonstration of understanding of major
course concepts.
C Satisfactory portfolios meet the basic course requirements, yet they would benefit from further revisions of
purpose, evidence, audience, genre or writing style/mechanics (or some combination) and a stronger
understanding of major course concepts. The writer composes across tasks at varying levels of success.
D Weak portfolios do not fully meet the basic evaluative standards. The texts generally require extensive
revision to purpose, evidence, audience, genre or writing style/mechanics (or some combination). The
portfolio does not demonstrate a sufficient understanding and application of major course concepts.
F Unacceptable portfolios exhibit pervasive problems with purpose, development, audience, genre or
style/mechanics that interfere with meaning and readers’ understanding. The portfolio demonstrates
significant gaps in understanding and applying major course concepts to assignments and activities.
Unacceptable portfolios are often incomplete. A portfolio will also earn an F if it does not represent the
writer’s original work.
Procedural Basics
1. Complete all reading and writing assignments on time. Word process all written assignments (except
for in-class work).
2.
3.
4.
Use the following format for submitting written assignments unless instructed otherwise or unless
you’re following specific genre conventions:
•
Provide a basic header in the upper left hand corner of page 1:
• Your name
• Course section and number
• Instructor’s Name
• Date
• No not paginate the first page
•
•
•
•
•
•
Double-space the text
Use one-inch margins
Use a standard 12-point font (like Times New Roman) or some equivalent
Number all pages in the upper right hand corner starting with page 2
Title assignments and locate them centered just above the text and following the header
Use a works cited page as needed (consult Lunsford)
Keep copies of all your work, as hard copy and on CD, disk, or memory stick.
Save everything in your working folder.
Evaluative Criteria for Portfolios. The criteria reflect the Outcomes Statement for ENEX 195, a
Composition Program document which identifies the goals you should strive for in our class. The following
questions are those I will use to evaluate your submission portfolio.
1. How does the portfolio demonstrate an understanding of the relationship of rhetoric and writing
to participation in academic and civic discourses?
2. How does the portfolio demonstrate a student’s understanding of and practices in the art of
argumentation in academic, disciplinary, and civic conversations?
3. How does the portfolio demonstrate a student’s ability to write in different essay genres with an
awareness of how genres shape and are shaped by reading and writing situations and disciplinary
contexts?
4. How does the portfolio demonstrate the writer’s consciousness of and fluency with rhetorical
decision-making as an important part of composing texts?
5. How does the portfolio demonstrate a student’s understanding and use of rhetorical reading,
analysis, and criticism as means to interpret and compose texts?
6. How does the portfolio demonstrate a student’s engagement in information literacy as a means
of invention, assessment, synthesis, and creative problem-solving?
7. How does the portfolio demonstrate a student’s appreciation of the challenges of living with
diversity and efforts at communicating effectively across differences?
8. How does the portfolio demonstrate a student’s ability to use a variety of technologies to
facilitate research, writing, communication, and document design?
9. How does the portfolio demonstrate a student’s ability to enact collaborative and social aspects
of learning with ease?
10. How does the portfolio demonstrate a student’s understanding of the logic of genre conventions
and documentation systems.
11. How does the portfolio demonstrate a student’s understanding of style – ornament,
appropriateness, clearness, and correctness – as a rhetorical decision located in the interrelationship among readers, writers, and texts in the essay genre?
12. Does the portfolio follow required guidelines?
ENEX 195 Fall 2006 Schedule (MW)
All homework assignments must be typed. Please ask questions if you have them. If school or class is
cancelled for any reason, please keep up with the syllabus.
Week
Date
Class Agenda
Homework
1
M 8/28 Introductions: course, text, people
Rd. syllabus, Ch 1
ARCs, Paul Heilker
“The Need for an
Alternative Form…”
(ereserve)
W 8/30 Discuss course concepts: rhetoric, essay,
Rd. Scott Russell
rhetorical process writing
Sanders “Singular
Introduce discussion sheet assignment
First Person” and
Patricia Hampl
“Memory and
Imagination”
Write: discussion
sheet
2
M
Labor Day
9/4
W 9/6
Discuss readings: personal essay genre,
Read: Robert
memory and imagination. Introduce personal Conners “How in
essay. Do a review of 5-paragraph essay.
the World…” and
Type their notes.
Barbara Kingsolver
“High Tide in
Tucson,” Bruce
(ereserve)
3
M 9/11 Discuss readings, do invention activities
Ch. 12 ARCS
Write brainstorming
draft (bring copies
for group)
W 9/13 Workshop brainstorming draft
Revise draft (bring
copies for group)
Read Donald
Murray “Unlearn to
Write” (ereserve)
4
M 9/18 Write: what will you have to learn/unlearn to Rd. Ch 11 ARCs rd
engage in the process of writing we’re doing
278-288 closely.
in this class?
Revise draft and
Workshop rough draft
bring 2 copies to
class.
W 9/20 Discuss reading; workshop draft on style
Finish essay
5
M9/25
Personal essay due; analyze & reflect on
Rd. Nancy Sommers
process; introduce personal, academic essay.
“Between the
Drafts” and Gerda
Lerner “Rethinking
the Paradigm”
Write: speculate on
what might make
each of these a
personal and
academic essay
6
7
W 9/27
Discuss key concepts of genre, especially use
of experience.
Invention activities: list personal/academic
commitments, questions, etc
M 10/2
Work with invention and getting from
invention to brainstorming draft
W 10/4
Do rhetorical analysis of Lerner’s use of
extrinsic proofs and ethical proofs
M 10/9
Discuss emotional appeals; share created
emotional appeals. Identify your arguments
for the personal, academic essays and ways
you’ll use extrinsic, emotional, and pathetic
appeals.
W10/11 Discuss reading, share analyses, discuss
arrangement and the academic, personal
essay
8 * meet with
outside writing
group this week.
9
10
M10/16
Workshop personal, academic essays
W10/18 No class; Kate at academic conference
M
Revised draft (from out of class writing
10/23
groups) due for editing workshop
W10/25 Personal, academic essay due analyze &
reflect on process; introduce
unfamiliar/challenging genre research project
M10/30
Class discussion of sub-essay genres and
sample essays in large and small groups.
Rd Ch. 8 ARCS
Do two invention
activities related to
review/research in
academic interests.
List extrinsic proofs
you’re learning about
in other classes that
interest you.
Rd Ch 6 ARCS
Gerda Lerner
“Rethinking the
Paradigm”
Rd 7 ARCS
Create an emotional
appeal related to
your invention work
on your personal,
academic
Rd. Bruce Ballenger
“Methods of
Memory.” Write:
what makes this
essay a personal,
academic essay?
Write first draft of
personal, academic
essay. (bring copies
for group)
Revise
Finish essay
Research sub-essay
genres that are
unfamiliar or
challenging to you
and bring a list to
class and one sample
essay. Begin research
log
Choose and
investigate your subessay genre. Read
and bring at least
three samples to
class (five would be
best). Write
bibliography of these
11 * meet with
outside writing
group this week.
12
W 11/1
Workshop: analyzing your genre (including
map their use of organization, experience,
ethos, pathos, extrinsic proofs, use of I (or
not) and other genre features we’ve
discussed)
M 11/6
Continue workshop on analyzing your genre;
W 11/8
Workshop brainstorming drafts. Write: plan
for composing draft
M11/13
Discuss reading and explore your use of
experience as evidence in your draft.
W11/15 Workshop draft.
Write reflection. What are you learning about
your sub-essay genre?
13
14
15
Exam Week
M11/20
Genre research project due; discuss
portfolio guidelines.
W11/22 Thanksgiving Recess
F 11/24 Thanksgiving Recess
M11/27 Discuss reading
Discuss portfolio elements: selection,
arrangement, revision; introduction as
argument and contents as evidence
W11/29 Portfolio workshop (draft or reflective letter)
M 12/4 No official class; open office hours for
conferences
W 12/6 Portfolios due at start of class; evaluations
12/11Return graded portfolios during exam slot
15
samples. Continue
log.
Rd. Ch. 2 ARCS,
write about kairos
and your genres.
Extend analysis by
writing: Where do
they appear? How is
that significant to
their exigency?
Continue log entries.
Compose
brainstorming draft
of genre. Continue
log entries.
Start composing
draft
Rd. Matalene
“Experience as
Evidence” write
discussion sheet.
Continue log entries.
Compose draft and
bring copies for
group. Continue log
entries.
Finish genre projects
(including annotated
bib of sample
genres, genre piece,
reflective letter)
revisit working
portfolio, Rd Nancy
Sommers’ “Between
the Drafts”
(ereserve). Bring
working portfolio to
class
Revise an essay or
draft your
introductive letter
Work on portfolio
Finish portfolios