ENG 101
Fall/Spring 201X
ENG 101
Section <<>>
Intersections of Image and Text
Instructor: Madison Elkins
Meeting Time and Place: <<>>
Office Hours: <<>>
Email/Contact:
madison.elkins@emory.edu
Course Website: <<>>
Intersections of Image
Text
Course Description
How do visual mediums and textual mediums communicate differently, and what can we say about
them? How do various genres—from news articles and scientific studies to BuzzFeed “listicles” and
literary fiction—employ images to construct an argument, engage an audience, or make a statement?
How can an image change the way we understand text, and vice versa? In a writing-intensive
exploration of intersections of image and text, this course will engage students in an extended study of
audience, purpose, rhetorical constraints and the processes of making meaning both in images and in
written works. Students will analyze, write about, create and share with the class their own short
multimodal texts (such as photodocumentaries, scrapbooks, or comics) to better understand how
images and words work together to create meaning. In addition to creating their own multimodal works
and analyzing their creative process through self- and peer-editing, students will build composition and
critical thinking skills by composing and editing formal response papers, informal blog posts, and an
argumentative, multimodal essay in which students employ scholarly evidence to support a claim.
Course Learning Outcomes
By the end of this course you will be able to
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Compose texts in multiple genres, using multiple modes with attention to rhetorical situations.
Work within and analyze conventions of multimedia genres.
Summarize, analyze, synthesize, and evaluate the ideas of others as you undertake scholarly
inquiry in order produce your own arguments.
Practice writing as a process, recursively implementing strategies of research, drafting, revision,
editing, and reflection.
Employ and integrate key terms and techniques of visual and textual rhetoric in your writing and
in your own multimodal works.
Analyze and implement rhetorical use of images within textual works, and vice versa.
Many of these outcomes have been adapted for Emory first-year writing courses from a set developed
by the Council of Writing Program Administrators.
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Required Texts
On Writing Well, 30th Anniversary Edition: The Classic Guide to Writing Nonfiction, William Zinsser.
The Little Seagull Handbook, Richard Bullock and Francine Weinberg
Texts Placed on Emory Course Reserves:
Text and Image: A Critical Introduction to the Visual/Verbal Divide by John Bateman
Picture Theory: Essays on Verbal and Visual Representation by W. J. T. Mitchell
The Visual Language of Comics: Introduction to the Structure and Cognition of Sequential Images by Niel
Cohn
Reading Images: The Grammar of Visual Design by Gunther R. Kress, Theo van Leeuwen
You Have Seen Their Faces by Margaret Bourke-White and Erskine Caldwell
Blankets by Craig Thomas
Maus by Art Spiegelman
I Love New York City, Crazy City by Isa Genzken
Varga, A. Kibedi. "Criteria for Describing Word and Image Relations." Poetics Today 10 (1989): 31-53.
Goodwin, James. “The Depression Era in Black and White: Four American Photo-Texts.” Criticism 40.2
(1998): 273-307. (2)
Meskin, Aaron. “Defining Comics?” The Journal of Aesthetics and Art Criticism 65.4 (2007): 369-379. (3)
Buckler, Patricia P. and C. Kay Leeper. “An Antebellum Woman's Scrapbook as Autobiographical
Composition.” Journal of American Culture 14.1 (1991): 1-8.
Mulvey, Laura. "Visual Pleasure and Narrative Cinema."
Barthes, Roland. “Rhetoric of the Image.”
Course Policies
Attendance
Attendance is essential. Aside from documented absences for school-related activities, you may miss
three classes without incident. While I do not require documentation or an explanation for these
absences, I encourage you to notify me of your absence via email. If you miss two consecutive class
periods I will require explanation and documentation. For every class you miss after the third absence,
I’ll lower your grade by one-third of a letter. Meet with me if you feel your situation warrants an
exception to this rule. Bring appropriate documentation to our meeting.
Late work
All assignments are due by the time and date specified unless I have granted advance permission via
email, and permission is not guaranteed.
 In-class writing assignments cannot be made up. If you miss an in-class writing assignment, you
will not receive credit for that day.
 Permission for an extension on major assignments (those worth at least 15% of your grade)
must be requested via email or in person at least 12 hours before the start of the class period
for which it is due, except in cases of emergency (for which documentation will be required).
 Permission for an extension on minor assignments (those worth less than 15% of your grade)
must be requested via email or in person at least 6 hours before the start of the class period for
which it is due, except in cases of emergency (for which documentation will be required).
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Failure to request permission for an extension within the 12- or 6-hour period specified will
result in a deduction of 10 points for each day the assignment is late (beginning the first 24
hours after the specified due date and time) for up to 7 days. Unless I explicitly specify
otherwise, no assignment more than 7 days late will be accepted.
Because it is important (both for me and for you) to stay on schedule in the class, you will not
be granted more than two extensions for any reason, and no extensions will be granted after
the due date has passed. It is up to you to use the allotted amount of extensions wisely.
Meet with me if you feel your situation warrants an exception to these rules. Bring appropriate
documentation to this meeting.
Contact/Communication
Email is the best way to contact me if you have questions or concerns. Generally, I will respond to all
student email within 24 hours (although on weekends and holidays, it may take a little longer). Likewise,
there may be instances when I will need to contact you by email. It is your responsibility to check your
Emory-based email account at least once every 24 hours.
A note on email etiquette:
Professional emails constitute a genre of writing that you will be expected to master during your college
career. While I will not be personally offended should you neglect a salutation or two, others could be,
so you should always practice professional, respectful email etiquette in our correspondences. For a
quick guide on how to do just that, check out these tips:
 http://www.businessinsider.com/email-etiquette-rules-everyone-should-know-2014-9#1include-a-clear-direct-subject-line-1
 http://college.usatoday.com/2013/07/29/4-tips-for-writing-a-perfect-professional-e-mail/
Academic Integrity
We will follow the Emory College Honor Code
(http://catalog.college.emory.edu/academic/policy/honor_code.html). I take plagiarism and other forms
of academic dishonesty seriously. Should I suspect that you engage in academic dishonesty in this
course, I will refer the case to Emory’s Honor Council. You may also receive an F on the assignment(s) in
question.
Course Assessment
Assignments
 Formal Blog Posts: 10%
 Informal Writing (including in-class writings and ”I think” blog posts): 10%
 Rhetorical Analysis: 15%
 Creative Multimedia Project: 15%
 Advertisement: 15%
 Annotated Bibliography: 5%
 Scholarly Multimedia Article: 15%
 Portfolio and Reflection: 10%
 Participation (including class discussion and attendance): 5%
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Formal Blog Posts: Formal blog posts will usually take the form of short rhetorical analyses or reflections
on your own work. These assignments are designed to acquaint you with publishing in a public forum
and to offer you the opportunity to engage with the work of your peers.
Informal Writing: Designed to get you comfortable with writing regularly, expressing your opinions, and
using a unique writing voice, informal writing assignments for this class may vary in prompt, parameter,
and forum but will always give you free rein in terms of format, writing style, and content. (You should
feel free, for example, to use slang, emojis, exclamation points, cat memes, bullet points, images, etc., if
you like.) You should take these assignments seriously, but because I want you to feel free to write
without restraint, these will be graded only for completion. (A completion grade means that you will
receive a 100% when you turn in the assignment on time and on topic. The late work policy still applies
to these assignments.)
Rhetorical Analysis: This 3-4 page paper will analyze the intended audience, purpose, tone, and
interactions of image and text in a multimodal work, and will make an argument for the success or
failure of work’s claim.
Creative Multimedia Project: In this assignment, you will analyze, write about, create and share with
the class your own short sequenced multimodal texts to better understand how multiple panels of
images and words work together to create a sustained chain of meaning. You will choose a sequential
multimodal genre from three options: a photo documentary (images with text captions), a scrapbook
(images with some text element), or a comic. In this short multimodal text, you can either (1) assert an
opinion/make a claim (2) dramatize or explain a concept or (3) tell a story. For each of these options,
you may choose from a list of provided prompts or create your own prompt/direction (with approval
from me).
Advertisement Assignment: Imagining yourself as an authority on Emory University, you will compose
and design a promotional webpage (3-4 paragraphs and 2-3 photographs) for the Emory University
admissions/information website addressed to a specific target audience (parents, high school students,
middle school students, Northerners, Southerners, etc.) utilizing a specific tone (informal, energetic,
humorous, formal).
Scholarly Multimedia Article: In this assignment, you will compose an argumentative, multimodal article
in which you employ researched evidence to support a claim. You will be free to explore a variety of
forms (scientific articles, news articles, business articles, web-texts, etc.) and topics related to your own
academic area of interest—science, business, humanities, etc.—but will be required to use at least three
well-integrated images (graphs, photographs, illustrations, etc.). The article should be around 2000-2200
words.
Portfolio and Reflection: Throughout the semester you will assemble a portfolio of your work. The
portfolio will include short writing assignments, drafts, reflections about writing in progress, and final
drafts you’ve accumulated throughout the semester. Toward the end of the semester, you will use this
collection as evidence to argue in a reflective essay that you have achieved the learning outcomes for
the course.
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Explanation of Letter Grades
In class, we will collaboratively create a series of rubrics for our assignments. You will use these rubrics
to guide your peer reviews and editing processes, and I will use these rubrics to grade your projects.
While criteria for successful projects may change according to each assignment rubric, a general
explanation of letter grades is as follows:
A: An excellent response to the assignment. Demonstrates a sophisticated use of rhetorical knowledge,
writing, and design techniques.
B: A good response to the assignment. Demonstrates an effective use of rhetorical knowledge, writing,
and design techniques. May have minor problems that distract reader.
C: An average response to the assignment. Demonstrates acceptable use of rhetorical knowledge,
writing, and design technique. May have problems that distract reader.
D: A poor response to the assignment. Demonstrates a lack of rhetorical knowledge and writing and
design technique. May have significant problems that distract reader.
F: A failure to respond to the assignment appropriately.
Grading Scale
93.00-100
90.00-92.99
86.00-89.99
83.00-85.99
80.00-82.99
76.00-79.99
73.00-75.99
70.00-72.99
66.00-69.99
60.00-65.99
0-59.99
A
AB+
B
BC+
C
CD+
D
F
Student Success Resources
Access and Disability Resources
I strive to create an inclusive, welcoming learning environment for all. I am invested in your success in
this class and at Emory, so please let me know if anything is standing in the way of your doing your best
work. This can include your own learning strengths, any classroom dynamics that you find
uncomfortable, ESL issues, disability or chronic illness, and/or personal issues that impact your work. I
will hold such conversations in strict confidence.
Students with medical/health conditions that might impact academic success should visit Access,
Disability Services and Resources (http://www.ods.emory.edu/index.html) to determine eligibility for
appropriate accommodations. Students who receive accommodations must present the
Accommodation Letter from ADSR to your professor at the beginning of the semester, or when the
letter is received.
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Emory Writing Center
The Emory Writing Center offers 45-minute individual conferences to Emory College and Laney Graduate
School students. It is a great place to bring any project—from traditional papers to websites—at any
stage in your composing process. Writing Center tutors take a discussion- and workshop-based approach
that enables writers of all levels to see their writing with fresh eyes. Tutors can talk with you about your
purpose, organization, audience, design choices, or use of sources. They can also work with you on
sentence-level concerns (including grammar and word choice), but they will not proofread for you.
Instead, they will discuss strategies and resources you can use to become a better editor of your own
work. The Writing Center is located in Callaway N-212. Visit writingcenter.emory.edu for more
information and to make appointments.
Tutoring for Multilingual Students
If English is not your first language and if you need additional help with assignments in this or other
college classes, you may benefit from working with specially trained ESL Tutors. The tutors are
undergraduates who will support the development of your English language skills. Like Writing Center
tutors, ESL tutors will not proofread your work. Language is best learned through interactive dialogue,
so when you come to an ESL tutoring session, be ready to collaborate! ESL tutors will meet with you in
the ESL Lab in Callaway S108 and other designated locations, and they will help you at any stage of the
process of developing your essay or presentation. You may bring your work on a laptop or on paper. If
you schedule an appointment in the ESL Lab, you may also bring your work on a USB stick - computers
are available in the lab.
Visit the website of the Office for Undergraduate Education (http://college.emory.edu/oue/) and select
"Student Support" and then "ESL Program" to schedule an appointment, read the tutoring policies, and
view the offerings of the ESL Program (direct link to ESL Tutoring:
http://college.emory.edu/oue/student-support/esl-program/esl-tutoring.html). If you do not have a
scheduled appointment, you may want to meet with a drop-in tutor in the ESL Lab, Callaway S108. Here,
you may have less time with a tutor if other students are waiting, but you can briefly discuss an
assignment and some of your concerns. For more information, visit the website or contact Levin
Arnsperger at larnspe@emory.edu.
Emory Counseling Services
Free and confidential counseling services and support are available from the Emory
Counseling Center (404) 727-7450. This can be an invaluable resource when stress makes your work
more challenging than it ought to be. http://studenthealth.emory.edu/cs/
Course Schedule/Logistics
Final Exam
Date: x/x/xx
Time: X:XX
We will use the final exam week for individual conferences on final projects and portfolios.
Tentative Schedule: According to the needs of the class and the constraints of the course, we will alter
the schedule as the semester progresses as needed.
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Unit One: Image and Text
Main unit assignment: Rhetorical analysis
WEEK ONE
Texts: How do they work?
 Review of writing principles: argument, purpose, audience, tone, etc.
 Setting up blogs in class; overview of posting procedures, computer access
 Formulation of class writing rubric (rubric for text projects only)
o In-Class Writing Activity: (1) Informal personal introduction and personal relationship
to/experiences with writing (2) Rapid-fire analyses: list argument, purpose, audience,
and tone of textual examples in 5 minutes or less (3) Rapid-fire email editing: Following
our email etiquette guidelines, edit given examples of [fake] student-to-professor emails
o Assignments: Blog posts: (1) Analysis: Analyze one short article (list of examples from
variety of genres will be included), discussing argument, purpose, audience, tone, etc.
(2) “I think”: Compose short informal post discussing how images and words influence
us in our everyday lives, considering your own practices in using image/text together
(Facebook, emojis, scrapbooking, memes, articles, etc.).
o Reading: Excerpts from On Writing Well, 30th Anniversary Edition: The Classic Guide to
Writing Nonfiction, William Zinsser.
WEEK TWO
Images: How do they work?
 Review of visual meaning-making principles/rhetoric: argument, purpose, audience, gaze,
juxtaposition, arrangement, framing, point of view, metonymy, symbolism, etc.
 How do they make arguments?
 Rhetorical principles/strategies/purposes
 Visual Hierarchies (graphic design, advertising, photography)
 Describing Images (Accessibility and Universal Design)
o In-Class Writing: (1) Rapid-fire analyses: list argument, purpose, audience, tone of visual
examples in 5 minutes or less (2) Image descriptions (exploring the challenge of
mapping linguistic meaning onto visual meaning)
o Assignments: Blog posts: (1) Analysis: Analyze one image (list of examples from a variety
of genres will be included), discussing argument, purpose, audience, “tone,” implied
perspective, etc. (2) “I think”: Compose short informal post (2-3 paragraphs) responding
to Mulvey’s conception of the “male gaze.” Agree, disagree, thoughts, questions?
o Reading: Short excerpts from: (1) Kress and van Leeuwen’s Reading Images: The
Grammar of Visual Design (2) Laura Mulvey’s "Visual Pleasure and Narrative Cinema"
WEEK THREE
Image and Text together: Making, Interpreting, and Writing About Meaning
 How can an image change the way we understand text, and vice versa?
 http://www.image-and-text.com/
 Examples (Narrative photography; Duane Michals, Photo documentaries, articles, etc.)
 Formulation of class rubric (rubric for text + image projects) and practice applying it
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In-Class Writing: (1) Rapid-fire analyses: write a short description of how images/text
interact in given examples in 5 minutes or less (2) Peer-editing of analysis drafts
Assignments: (1) Blog post: Compose short post listing three “takeaways” (what seems
important?) and one question (what are you unsure or unconvinced about?) for each
article. (2) Draft of short rhetorical analysis (3-4 pages) due for peer editing
Reading: (1) Excerpt from Varga’s "Criteria for Describing Word and Image Relations” (2)
Excerpt from Mitchell’s “Beyond Comparison: Picture, Text, and Method” (3) Classgenerated rubric. (4) Excerpts from Little Seagull on drafting/editing practices.
WEEK FOUR
Image and Text together: Genre Conventions and Rhetorical Purpose
 How do various genres—from news articles and scientific studies to BuzzFeed “listicles” and
literary fiction—employ images to construct an argument, engage an audience, or make a
statement?
o In-Class Writing: (1) Rapid-fire analyses: Write a short description of how images/text
interact to make an argument in given examples in 5 minutes or less
o Assignments: (1) Final draft of short rhetorical analysis due, with one-page personal
reflection on writing, drafting, and peer-editing process.
o Reading: (1) Peer papers and peer edits/comments (2) Excerpts from Little Seagull on
drafting/editing practices
Unit Two: Creative Multimedia
Main unit assignment: Creative sequenced multimodal project
WEEK FIVE
Exploring creative multimedia genres: How do they work?
 Discuss conventions of graphic novels, comics, children’s picture books, fiction, graffiti (location,
place, etc.), scrapbooks, travel blogs, social media
 How do we analyze creative works differently than scholarly works?
o In-Class Writing: (1) Rapid-fire analyses: Write a short description of how images/text
interact in given examples in 5 minutes or less (2) Rapid-fire response: Write a short
personal response (Opinions? Reactions?) to given examples in 5 minutes or less
o Assignments: Blog Posts: (1) “I think”: Compose informal post listing one interesting
argument, statement, or example from each of the three readings and explain why you
find it interesting (2) Rhetorical analysis: Compose a 3-4 paragraph formal rhetorical
analysis of a work in the genre in which you hope to create your own project
o Reading: Very short excerpts. (1) On photo documentaries: (a) Goodwin’s “The
Depression Era in Black and White: Four American Photo-Texts.” (b) Mitchell’s “The
Photographic Essay: Four Case Studies.” (2) On comics: Meskin’s “Defining Comics?” (3)
On scrapbooks: Buckler and Leeper’s “An Antebellum Woman's Scrapbook as
Autobiographical Composition.”
WEEK SIX
Exploring creative multimedia genres, especially sequential multimedia: How can we analyze them?
 Sequential multimedia: Understanding, analyzing, creating meaning and narrative
 Sequential techniques in various genres
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Multimedia project templates
o In-Class Writing: (1) Rapid-fire analyses: Write a short analysis of a given example of
sequential art in 10 minutes or less (2) Peer editing
o Assignments: Blog Posts: (1) Project Proposal: Compose a post describing your plans for
your sequenced multimedia project, including chosen genre, topic, and prompt (2)
Outline: Compose an outline of the sequences you intend to use in your sequenced
multimedia project (including a rough draft of the text you’ll be using and the kinds of
images that will accompany them). You may create a storyboard instead if you feel more
comfortable composing in that mode. Post on blog and bring printed copy in to class for
peer review.
o Reading: (1) Excerpts from Cohn’s Visual Language of Comics: Introduction to the
Structure and Cognition of Sequential Images (2) Browse genre examples: (a) Photo
documentary example: Bourke-White and Caldwell’s You Have Seen Their Faces, Evans
and Agee’s Let Us Now Praise Famous Men (b) Graphic novel/comic examples: Thomas’s
Blankets, Spiegelman’s Maus, Collins’s The Gigantic Beard That Was Evil (c) Scrapbook
examples: http://www.wearewestamerica.com/ (travel blog), William S. Burroughs &
Brion Gysin (scrapbook), I Love New York City, Crazy City by Isa Genzken (scrapbook)
WEEK SEVEN
Creating our own sequential multimedia: Outlines, Storyboards, Creative Statements
 This week we will use our own creative projects as topics of discussion and analysis.
o In-Class Writing: (1) Rapid-fire reflection: Write a short personal reflection of your
outline/drafting process so far (Challenges? Triumphs? Complaints?) in 5 minutes or
less (2) Peer editing
o Assignments: Blog Posts: (1) Creative Statement: Compose a document describing the
overall organization and content of your project as well as the creative treatment,
layout, and format you intend to use. Post on blog and bring printed copy to class for
peer review. (2) Rough Draft Due: Bring rough drafts of creative project to class (we
will discuss what a rough draft of a multimedia project should look like) for peer editing
and revision
o Reading: (1) Recommended sources for project aids: introductory guides to
scrapbooking, photo documentary, and comic techniques TBD (2) Peer reviews
WEEK EIGHT
Creating our own sequential multimedia: Rough Drafts, Final Drafts, and Reflections
 This week we will use our own creative projects as topics of discussion and analysis
o In-Class Writing: (1) Peer editing (2) Rapid-fire response: Write a short personal
response to the peer-editing process. What is helpful/not helpful/difficult about the
process?
o Assignments: (1) Final Draft: Compose final drafts. Post digital projects on blog; bring
physical projects to class (2) Blog Post: “I think”: Compose an informal blog post in
which you reflect on your project composition process. In this reflection, defend/explain
your chosen medium and design choices and describe how your images and text work
together.
o Reading: Peer reviews
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Unit Three: Commercial Multimedia
Main unit assignment: Persuasive Advertisement
WEEK NINE
How do images and text work together to persuade viewers?
 Images and text in marketing
 How do images serve a unique purpose in advertising? Information, evidence, description, etc.
 Why are most marketing plans multimodal?
o In-Class Writing:
o Assignments: Blog Post: (1) “I think”: Compost a short, informal post reflecting on the
purpose of images in advertising, referencing three examples (2) Compose a formal post
comparing two different advertisements (magazine, billboard, or other still-image ad)
for similar products in two brands (i.e. compare ads for two different brands of birth
control pills, two different brands of chocolate, etc.), paying special attention to
argument, purpose, target audience, tone, voice
o Reading: Short excerpt from Roland Barthes’s "Rhetoric of the Image."
WEEK TEN
Copy: What’s important when you’re writing for a business, brand, or product? How should you employ
images differently in different contexts?
 Treating advertisements/campaigns as objects for analysis: argument, context, purpose,
audience, tone, voice
 Look at Emory University website/similar websites and discuss in preparation for next week’s
advertisement assignment
 Brand identity: voice, tone, design aesthetic, target audience
o In-Class Writing: (1) Rapid-fire advertising: context, tone, target audience exercises.
Write a short advertising blurb for a water bottle company. Imagine that it will
accompany given photo (from a water bottle ad, like this one:
https://www.dasani.com/wp-content/themes/dasani/images/figures/bottle.jpg).
Devote 5 minutes each to writing for a blurb for different contexts/medium (magazine,
splash page, billboard, etc.), tones (energetic, formal, authoritative, etc.) and target
audiences (parents, teenagers, athletes, people who hate drinking water, etc.).
o Assignments: (1) Compose a rough draft of your persuasive advertisement for Emory.
Post on blog 24 hours before class and bring printed copy to class. Images or thumbnails
of the types of images you will use are required at this stage. (2) Compose constructive
comments/peer reviews for two classmates’ rough draft blog posts (assigned groups);
bring to class for discussion and group peer editing.
o Reading: Classmates’ blog posts
WEEK ELEVEN
Workshopping our own advertisements
 Final draft: persuasive advertisement: final draft, workshopping
o In-Class Writing: (1) Rapid-fire response: Compose a short personal response
(Reactions? Opinions?) to given examples of advertisements in 5 minutes or less
o Assignments: (1) Compose a final draft of your persuasive advertisement for Emory.
Post on blog and bring to class for discussion. (2) Blog Post: “I think”: Compose an
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o
informal blog post in which you reflect on your project composition process. In this
reflection, defend/explain your chosen medium and design choices and describe how
your images and text work together toward a specific persuasive end.
Reading: Peer reviews.
Unit Four: Scholarly Multimedia
Main unit assignment: Multimodal, Evidence-based Article
WEEK TWELVE
Using evidence to support a claim
 Genres of scholarly multimedia (scientific writing, non-scientific academic writing, business
writing, web-texts, etc.)
 Research, MLA-style (or other styles) formatting, database familiarization, library trip
o In-Class Writing: (1) In library: Generate a list of eight important questions/issues in your
area of interest. You may need to do some research (for example, browse prominent
journals in the field) to help generate a strong list.
o Assignments: Blog Post: Compose a formal blog post in which you choose four of the
eight questions that seem especially promising or interesting, and for each question
identify two or more sides of the issue at hand. You will eventually choose one of these
four issues to take up in your article; you will then take one of the argumentative
stances you generated.
o Reading: (1) Articles, journals, or other research necessary to generate your personal
list/argumentative stances (2) Excerpts from On Writing Well and Little Seagull
Handbook on argumentative essays and employing/citing evidence to support a claim
WEEK THIRTEEN
Using Images as evidence, annotated bibliographies
o In-Class Writing: (1) Rapid-fire response: Compose an analysis of how given examples
use images to support a claim in 5 minutes or less
o Assignments: (1) Create an annotated bibliography of 5-6 textual sources (with one or
two sources working against your own argument) and 3-4 image sources. Annotations
for text sources will need to: summarize the source (including its argument), explain
how the source engages with your argumentative stance, and note how the source will
be used in your article. Annotations for image sources need to: note the image’s
content, tone, implied audience, and claim (if applicable) and explain how it could be
used in your article. Bring printed copy to class.
o Reading: (1) Articles, journals, or other research necessary to generate your personal
list/argumentative stances (2) Excerpts from On Writing Well and Little Seagull
Handbook on argumentative essays and employing evidence to support a claim
WEEK FOURTEEN
Creating our own scholarly multimedia: Drafts, Workshopping, Peer review
 This week we will use our own creative projects as topics of discussion and analysis.
o In-Class Writing: (1) Rapid-fire reflection: Compose a short response in which you reflect
on the process of writing your article draft in 7 minutes or less. Challenges? Triumphs?
Questions? Areas you need to work on? Areas in which you succeed? (2) Peer reviews
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o
o
Assignments: (1) Rough draft of multimedia article due. Post on blog and bring to class
for peer editing
Reading: (1) Peer reviews (2) Personal project research (3) Recommended excerpts from
On Writing Well and Little Seagull Handbook on argumentative essays, editing process,
and MLA format to support a claim
WEEK FIFTEEN
Creating and analyzing our own scholarly multimedia: Workshopping, Final drafts
 This week we will use our own creative projects as topics of discussion and analysis.
o In-Class Writing: (1) Peer reviews
o Assignments: (1) Final draft of multimedia article due. Post on blog and bring printed
copy to class. (2) Blog Post: “I think”: Compose an informal blog post in which you
reflect on your composition process for this assignment and respond to your own
article. What does it do well? What could it do better? How did you employ images and
text together in a productive way?
o Reading: (1) Peer reviews (2) Personal project research
WEEK SIXTEEN
Workshopping, Portfolio Compilation, Personal reflection
 In addition to finalizing our written works from the semester, we’ll also spend some time
discussing other forms of writing you’re likely to encounter during your college career, the
different approaches they might require, and some ways you can tailor your writing skills to
varying, distinctive situations.
o In-Class Writing: (1) Group peer reviews (2) Workshopping on your own assignments
(bring all major projects—Rhetorical Analysis, Creative Multimedia Project, Emory
Advertisement, Scholarly Multimedia Article—to class) (3) As a class, we will create a set
of questions you can apply to every writing assignment you encounter in college
(regardless of discipline/area)
o Assignments: Blog Post: (1) Portfolio: Compile short writing assignments, drafts,
reflections about writing in progress, and final drafts. For blog posts, print out and
include in portfolio. Organize chronologically. (2) Reflective Essay: Use this collection as
evidence to argue in a reflective essay that you have achieved the learning outcomes for
the course. Post on blog and bring printed copy to class. We will discuss portfolios and
reflective essays in individual conferences during exam week.
o Reading: (1) Peer reviews (2) Self-created texts
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