Composition Forum 27, Spring 2013
http://compositionforum.com/issue/27/
Appendix 1 to Intractable Writing Program Problems: Syllabi from Matt Bryan and Scott Launier
This is an appendix to Intractable Writing Program Problems, Kairos, and Writing about Writing: A Profile of the University of Central Florida's First-Year Composition Program.
ENC1101 Composition I
ENC1101.0021 Fall 2012
Instructor: Matt Bryan ENGR-227
Course Overview
Course Description:
This is a writing class about writing itself. We'll study various forms and reasons for writing, the social interactions surroundings its uses, and the individual processes we use when generating text. By better understanding how writing—especially your own—actually works, you can take control of the variety of writing situations you'll face both in college and in your career. As such, this is not an English course in the traditional sense; we will not be discussing literature and we will not spend much—if any—time in class on grammar or mechanical concerns. Instead, our work here builds out of the scholarly discipline of Writing Studies, so we'll treat writing as both a tool used to coordinate and conduct a myriad of activities and an object that is itself worthy of scrutiny and analysis.
Course Objectives:
To meet University goals for this course, by the end of the semester, you should…
- understand how writers construct text persuasively
- understand how readers construct meaning(s) from texts
- understand rhetorical situation and how to apply it to reading and writing
- understand writing as a process requiring planning, incubation, revision, and collaboration
- understand how language practices mediate group activities
- understand how and why discourse conventions differ across groups
- have acquired a vocabulary for talking about writing processes and themselves
- have acquired strategies for reading complex, college-level texts
- have acquired tools for analyzing the discourses and genres of various communities
- have acquired tools for successfully responding to varied discourse conventions and genres in different situations
- be able to actively reflect on own writing processes and practices and adjust them as appropriate to rhetorical situations.
Required Texts:
- Writing about Writing. Ed. Elizabeth Wardle and Doug Downs.
Everyday Writer 4th Edition with 2009 MLA update. Ed. Andrea Lunsford.
Additional handouts and readings available on webcourses and/or in class
Materials:
loose-leaf notebook paper
audio/video recording device
computer/printer/Internet access (preferably a laptop)
blue/black ink pens
Course Policies
Attendance: Regular attendance is important to your success in this class. There are engagement points given out daily for doing work in class (this participation comes in the form of in-class activities and writing, pop quizzes, and discussions) and these points cannot be made up. Failure to attend class regularly is likely to result in your inability to complete writing assignments according to course and program standards. To encourage you to attend class, having more than 4 absences may result in a failing participation grade for the course (this is 10% of your overall course grade). Once you have missed more than 1/3 of the class sessions, you may be in danger of failing the course and could be encouraged to drop the class and take it again another semester. Note that two late appearances will count as absence.
Classroom Conduct: Show respect for your classmates and our work by being on time for class and prepared. Repeated tardiness may negatively affect your final grade, and, at my discretion, count as absences. Cell phones, laptops, and other electronic devices should be turned off and stowed unless otherwise specified. No texting, even if you think you’re being discrete. Please no eating in class either. It’s distracting. If we’re doing work on laptops, don’t use my class as an opportunity to check Facebook, shop, or play games. Failure to follow any of these protocols will result in forfeiting your engagement points for the day. Repeated violations may negatively affect your final grade at my discretion.
E-mail DOs and DON’Ts: DO type your course, section, and a brief description in the subject line. DO sign your first and last name. DON’T email assignments. DON’T email excuses or ask for assignments after missing class. Failure to follow this protocol may result in me ignoring you. Remember that there is a difference between an email you send to me and a text to your best friend. Act professional and courteous, and I’ll do the same. Also, be sure to check your Knights email account regularly as I will occasionally send correspondence about the course.
Missed Assignments: It is YOUR responsibility to obtain daily assignments, class notes, and handouts when you miss class. Get assignments and notes from other students in the class. Missed handouts are available before or after class. Missed quizzes may not be made up.
Late Assignments: All assignments are due by the beginning of the assigned class period. HOMEWORK, CLASSWORK, PAPERS, AND QUIZZES WILL NOT BE ACCEPTED LATE, NO MATTER THE REASON. If you know you’re going to miss class, it’s your responsibility to get your work in on time.
Assignment Format: Unless otherwise specified, ALL homework must be typed, double spaced, and in correct MLA format to receive credit. See Everyday Writer p. 410 for the format, including what information needs to be by your name, what the header looks like, how the spacing is handled, what the proper margins and font are, etc. It’s your responsibility to get this right. If you can’t figure it out, consider this an opportunity to get better acquainted with your word processor. Hard copies of any assignment that runs more than a page MUST be stapled in the top left corner.
Submitting Assignments: ALL assignments must be submitted through webcourses to receive credit unless otherwise specified. Reading responses can be copy and pasted into the assignment submission box. Attach all drafts as Microsoft Word-friendly file types (.doc,.docx, or .rtf all work). Remember that all assignments are due at the start of class time.
Plagiarism: The Department of Writing and Rhetoric has adopted the definition of plagiarism from the Council of Writing Program Administrators (WPA):
“In an instructional setting, plagiarism occurs when a writer deliberately uses someone’s language, ideas, or other original (not common-knowledge) material without acknowledging its source. This definition applies to texts published in print or on-line, to manuscripts, and to the work of other student writers.”
The WPA and the DWR distinguish plagiarism from the misuse of sources: “A student who attempts (even if clumsily) to identify and credit his or her source, but who misuses a specific citation format or incorrectly uses quotation marks or other forms of identifying material taken from other sources, has not plagiarized. Instead, such a student should be considered to have failed to cite and document sources appropriately.”
Consequences of Academic Dishonesty: DWR takes plagiarism and other forms of academic dishonesty seriously and responds in accordance with UCF policy. Plagiarizing or cheating---or assisting another student who plagiarizes or cheats---may result in a failing grade on an assignment or for the entire course; a report to the Office of Student Conduct; and/or a “Z” grade, which denotes academic dishonesty on your transcript.
Disability Accommodation: Students who need accommodations must be registered with Student Disability Services (Student Resource Center, Rm. 132, ph. 407-823-2371) before requesting accommodations from the instructor.
University Writing Center: The University Writing Center (UWC) is a free resource for UCF undergraduates and graduates. At the UWC, a trained writing consultant will work individually with you on anything you're writing (in or out of class), at any point in the writing process from brainstorming to editing. Appointments are recommended, but not required. For more information or to make an appointment, visit the UWC website at http://www.uwc.ucf.edu.
Stylus: The Department of Writing and Rhetoric publishes a journal for outstanding writing produced by Composition students called Stylus. You may find the student work published in this journal helpful during our exploration of writing this semester. Also, you should consider submitting your own work for publication. Students published in Stylus become eligible for the President John C. Prize for Excellence in First-Year Writing, a $450 book scholarship awarded annually. To submit your work, simply email your essay to me as a Microsoft Word-friendly attachment and I’ll send it to the editors. To see previous issues and learn more, visit the Stylus website at http://writingandrhetoric.cah.ucf.edu/stylus/
*Please note that all of these policies are subject to change at my discretion. If you have any questions or concerns, please do not hesitate to email me or stop by my office.
Grading and Assignments
How You’re Graded: Writing is a recursive process built around revision; few to no writers ever produce their best work in an early draft. Therefore, this course uses a portfolio grading system, meaning that, while you’ll be submitting papers throughout the course of the semester, the majority of your grade will come from the final portfolio you’ll submit to me at the end of the semester. The final portfolio will be the accumulation of your work throughout our semester, so KEEP EVERYTHING, including multiple versions of documents, all homework, reading responses, graded drafts, and peer workshopped copies of papers, so you can turn it all in during the final class period. Again, BE SURE TO SAVE MULTIPLE VERSIONS OF YOUR ESSAYS so you can show your progress from draft to draft.
Here’s how it works: you’ll write and submit a major paper at the end of each of three units. These initial submissions will be due on a set date just to ensure you stay on track with your writing through the semester, but you’re welcome to submit drafts early. You’ll receive a small grade for each of these initial submissions, but after that, you may revise and re-submit an assignment for feedback (but not extra points) as often as you like. Guidelines for submitting revisions will be discussed in class.
Your focus early on in the writing process should be on global issues (the actual content and organization). Local issues (grammar and mechanics, syntax, style) should be dealt with in later revisions, since, if the content or organization changes, you likely won’t be working with the same sentences/language/grammar issues. To be successful in this course, plan to write and submit drafts of your work early and often and to submit your very best, most polished and revised work in the final portfolio. Further portfolio guidelines will be discussed and given out in class.
Grade Breakdown
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ENGAGEMENT |
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10% of your grade will result from your engaged participation in the course, by which I mean:
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Engagement points will be given out daily for the activities we do in class and cannot be made up. Absences will severely affect your engagement credit, since it’s hard to participate if you aren’t here. |
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READING RESPONSES (55 POINTS TOTAL) |
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20% of your grade will result from Reading Responses* (12 at 5 points each)
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These are daily written responses to readings. Look at the schedule for readings and prompts. All reading responses should be at least 400-500 words and refer specifically to the text. I will drop the lowest score. See below for directions on writing these. |
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MAJOR PROJECT WORK (170 POINTS TOTAL) |
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20% of your grade will result from daily work and writing, by which I mean: |
Completion of all major projects, drafts, and related assignments as outlined below. Keep in mind most of your major project work will primarily be graded on learning, thoughtfulness, and growth. |
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Workshop Drafts (4 at 10 points each) 40 points total |
Complete drafts of major essays for workshop. Not having a draft (or having a partial one) means you can't fully participate and benefit from the workshop. Points are awarded based on level of completion. |
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Analyzing Your Rhetorical Situation* (3 at 10 points each) 30 points total |
Descriptive analyses of the rhetorical situations you’re writing into for each major project. These are exercises in invention that build off of the research of Keith Grant-Davie and the other scholars we’ve read. Points are awarded on thoughtfulness, detail, and understanding of content. |
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Initial Think-aloud Transcripts 5 points |
Initial transcripts of think-alouds collected as part of the research for Major Project 2. Points are awarded based on level of completion. |
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Final Think-aloud transcripts, coding, and writing log 5 points |
The primary research collected for Major Project 2. These will also go in your Appendices to that project. Points are awarded based on level of completion. |
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Collected Data for MP3 5 points |
Data you’ve collected regarding your online discourse community/ies. Points are awarded based on level of completion. |
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Initial Submission of Major Project 1: Rhetoric Article* 20 points |
An article for a future edition of your textbook written for incoming Composition students that both explains and demonstrates the usefulness of rhetorical mindfulness through examples, anecdotes, and/or careful analysis. Think of your text as an addition to the conversation already appearing in your textbook—what sorts of gaps can you fill? Guidelines and directions will be discussed in class and posted on webcourses. |
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Final Draft of Metaphors about Writing* 20 points |
An essay that elaborates on 1-2 metaphors that could be used to describe your writing process. You’ll also use the writing of this essay to gather research for your autoethnography. Guidelines and directions will be discussed in class and posted on webcourses. |
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Initial Submission of Major Project 2: Autoethnography* 20 points |
A scholarly, primary research-based essay that joins the ongoing conversation about writing processes currently going on in Stylus: A Journal of First-Year Writing. You’ll use a combination of research methods (think-alouds, writing logs, observation) to learn about your writing process, analyze it, and then write up your findings and conclusions in a manner useful for an audience of fellow researchers and students. Guidelines and directions will be discussed in class and posted on webcourses. |
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Initial Submission of Major Project 3: Online Discourse Community Ethnography* 20 points |
A thorough analysis of a particular online discourse community/ies written in response to a compelling exigence for an appropriate audience in an appropriate genre. For this assignment, you’ll need to identify that exigence, the audience, and the genre, based on your inquiry into the community/ies. Guidelines and directions will be discussed in class and posted on webcourses. |
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Final Exam 5 points |
An in-class reflection on writing and learning conducted during the final exam period. |
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FINAL EPORTFOLIO WITH REFLECTIONS |
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The course eportfolio constitutes the other 50% of your course grade. |
During the semester you will receive daily writing points for turning in your work and I will give you feedback to help you revise. The eportfolio is the majority of your grade, and to do well on it you are expected to revise the three major projects as needed over the course of the semester. At the end of the semester all of your work (and a rhetorical reflection) will go into the eportfolio, which is your opportunity to demonstrate your best work. Keep everything because it all goes into the eportfolio, INCLUDING MULTIPLE VERSIONS OF THE SAME DOCUMENT. This includes rough drafts and process work, reading responses, revision memos, UWC receipts, etc. NOTE: YOUR EPORTFOLIO MUST INCLUDE FINAL, REVISED COPIES OF EVERY MAJOR PROJECT AND THE RHETORICAL REFLECTION IN ORDER TO PASS. Further ePortfolio and rhetorical reflection guidelines will be discussed and given out in class. |
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Grading Scale: |
Grade Point Scale: |
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A = 93–100 A- = 90–92 B+ = 87–89 B = 83–86 B- = 80–82 C+ = 77–79 C = 73–76 C- = 70–72 NC = —— F = 0–69 |
A = 4.00 A- = 3.75 B+ = 3.25 B = 3.00 B- = 2.75 C+ = 2.25 C = 2.00 C- = 1.75 F = 0.00 |
Note: No incompletes are given in ENC 1101 or 1102 courses.
The grade of NC (no credit) can be assigned at the teacher’s discretion only if the student completed all course work on time and attended class regularly but was unable to write at a level appropriate for ENC 1101. |
Gordon Rule
ENC 1101 is a Gordon Rule course. You must earn at least a C- in order to fulfill university and state Gordon Rule and GEP requirements. Over the course of the semester you will write at least 6000 words of evaluated writing, as mandated by UCF and the Department of English. Assignments that fulfill the Gordon Rule are indicated with an asterisk (above) as mandated by UCF policy. Each has the following characteristics:
1. The writing will have a clearly defined central idea or thesis.
2. It will provide adequate support for that idea.
3. It will be organized clearly and logically.
4. It will show awareness of the conventions of standard written English.
5. It will be formatted or presented in an appropriate way.
Expectations and Some Advice
Reading: Most of the readings in your textbook will be accompanied by a “Framing the Reading” section that acts as an introduction and gives you an idea of what to look for as you read. Be sure to read these prior to reading the text itself. They’ll make your life a lot easier. Also, since these texts are complex, it will be helpful to annotate and take notes in the margins so you can refer back to them when writing the reading journals and other assignments or during class discussion. FOR ALL READINGS, YOU MUST BRING THE ASSIGNED TEXT WITH YOU TO CLASS THE DAY WE’RE DISCUSSING IT. Without it, you can't participate and will be marked absent. Plan to bring Writing about Writing with you every day.
Writing the Reading Responses: The reading responses are a chance for you to reflect on the readings of the course and demonstrate your understanding of them. Look to the response prompts before and during reading, take notes, and think seriously about the ideas presented. These responses are a large part of your grade, so a cursory, incomplete, or irrelevant response will not suffice. All reading responses should be at least 400-500 words and refer specifically to the text. If you find yourself having trouble meeting this word count, you should reevaluate the depth and specificity of your answers. I’ll also be happy to talk to you further one-on-one.
Participation: Participation means coming to class fully prepared to ask questions and discuss the concepts at hand. Expect to write, work, and talk in every class. If I call on you, it’s not my intention to pick on or embarrass you; I’m genuinely interested in what you have to say. I like to hear from every student every class, so be ready.
Also, I can't emphasize enough the importance of asking questions, either in class, before or after, over email, in office hours, or by appointment. This class isn't easy, but I do want all of you to succeed, both here and beyond, so ask questions, seek clarification, and get feedback on your writing. I won't know if you do not understand something unless you ask the question.
Technology: In an effort to cut down on paper waste and expedite feedback, we’ll be using webcourses and other websites extensively this semester to organize our work. Additionally, as part of our research, we’ll be using a variety of recording devices. These technologies should help make our life a little easier. That said, as in the world that exists beyond the boundaries of school, blaming technology is not an excuse for not getting your work completed or submitted on time. Consider familiarizing yourself with the particular website, tools, and technologies part of the assignment. If at any time you feel uncomfortable with these websites or technologies, please do not hesitate to contact me.
One Minute Papers: We'll end every class with a brief, anonymous writing during which I'll ask you to give me feedback about the class. This is your chance to make comments or ask questions that otherwise might make you uncomfortable, and it's my chance to figure out how I can best adjust the course for your needs. These are anonymous, but keep comments mature: asking for less work or to get out early will only make me grumpy.
Fall 2012 Schedule
You are responsible for noting any changes announced in class or by email. All readings and assignments are due at the start of class.
WAW = Writing about Writing
EW = Everyday Writer
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Date |
Daily Subjects |
Reading Due |
Assignments Due |
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T 8/21 |
FIRST DAY Introductions Expectations Start talking about writing |
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Th 8/23 |
The idea of “error” What should writing instruction be? Assign Major Project 1 DROP/SWAP DEADLINE on myUCF (ends at 11:59 p.m.)
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Read “Introduction to the Conversation” WAW p. 1-5 Read Joseph M. Williams’ “The Phenomenology of Error” WAW p. 37-51 Read “The Top Twenty” EW p. 3-4, skim p. 5-12 |
Reading Response #1 --What does Williams argue here? How does he support that argument (i.e. what sort of evidence and/or reasoning does he use?)? Which parts of this argument do you agree or disagree with? Why? Draw from your own experiences to support what you want to say. --Who is Williams writing to here (hint: look to the citation that appears under his author photo on the first page of the article)? How do you think that shaped what and how he wrote this article? How might the article be different if it were addressed to another audience, like, say, first-year writing students? |
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T 8/28 |
What exactly is writing anyway? What does it mean to be a writer? Objectivity as constructed (and the implications of that) How our understanding of context influences how we read
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Read Donald Murray’s “ All Writing Is Autobiography” WAW p. 56-65 Read Stephen King’s “What Writing Is” WAW p. 305-07 Read Junot Diaz’s “Becoming a Writer” WAW p. 319-20 |
Reading Response #2 --How do these three writers seem to be defining writing and/or writers differently? Whose ideas do you most agree with? Why? What ideas do you disagree with and why? --What do you know about who these articles were written for? How do you think that might’ve shaped how any of them were written? How might one of these articles be different if it were addressed to another audience? |
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Th 8/30 |
What makes up a rhetorical situation, and how can we use this concept? The construction of meaning
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Read “Texts/Constructs: How Do Readers Read and Writers Write?” WAW p. 34-36 Read Keith Grant-Davie’s “Rhetorical Situations and Their Constituents” WAW p. 101-16 Skim “Writing Situations” EW p. 43-51 |
Reading Response #3 --In your own words, how would you define rhetorical situation? Exigence? Rhetor? Audience? Constraints? A sentence or two for each should be enough. --Grant-Davie seems to want us to use the idea of rhetorical situation mostly in an analytical way, to understand why existing discourses have taken the shape they have. In other words, he seems to be talking to us as readers. In what ways is the idea also useful for writers? How might it be useful to understand the rhetorical situation you’re “writing into”? Try to support your discussion with specific examples.
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T 9/4 |
What can we actually do with rhetorical knowledge? Thinking of rhetoric beyond the classroom |
Now that we’ve had a chance to talk about it in class, look back over the Grant-Davie reading again Look at several (5-7) different articles published by different websites about a current news event you’re interested in (news.google.com is a great place to start here) |
Reading Response #4 --What do you understand about the Grant-Davie piece that you missed the first time? Is there anything you notice now that you didn’t see before? What questions still remain? --Use 3 of the articles you looked at as the basis for a brief rhetorical analysis. It might be easiest to choose the articles that seem the most different in terms of style and/or content. What differences do you see in the articles? How do the authors seem to be imagining the rhetorical situation differently? Use Grant-Davie’s rhetorical situation model to help you explain the differences. Bring these articles to class, too, and be ready to talk about them. |
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Th 9/6 |
Authority and writing in the university How rhetorical knowledge can benefit students Thinking about assignments and the role they ask students to take on
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Read Ann M. Penrose and Cheryl Geisler’s “Reading and Writing without Authority” WAW p. 602-14 Bring in at least two writing assignments (the directions, though you’re welcome to bring in your writing as well) from another course(s). These can be from your high school classes, another course you’re enrolled in now or have taken, or ones you find online |
Reading Response #5 --The authors argue that the differences between Roger's and Janet's texts stem from a difference in their views of knowledge. They argue that Janet has been trained in an information-transfer model of knowledge while Roger sees “the development of knowledge as a communal and continual process” (also known as a constructivist model of knowledge). In your own words, explain the differences between these two models, how those differences are reflected in Roger and Janet's writing, and how they're reflected in your own writing as well. |
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T 9/11 |
Authority, continued Applications for rhetorical analysis Other takes on rhetoric Synthesizing research |
Now that we’ve had a chance to talk about it in class, look back over the Penrose and Geisler reading again Do some of your own research into how other people use rhetoric and rhetorical knowledge. Find at least two useful articles through a Google search and at least two through the library’s databases (JSTOR and Project Muse will be good places to start). |
Reading Response #6 --What do you understand about the Penrose and Geisler piece that you missed the first time? Is there anything you notice now that you didn’t see before? What questions still remain? --Briefly, summarize what you found in your research into rhetoric/rhetorical analysis/rhetorical knowledge. How do these sources add to what you already know? Are there any points of conflict? What questions remain? Bring these articles to class, too, and be ready to talk about them. |
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Th 9/13 |
Using rhetorical analysis as an invention strategy Thinking about the rhetorical situation you’re writing into Planning Drafting |
Skim “Planning and Drafting” EW p. 57-67 Work on Major Project 1 Look at the types of articles appearing in your textbook Bring textbooks Bring laptops for in-class drafting |
Analyzing Your Rhetorical Situation #1 Look back at the assignment for Major Project 1. --First, consider what you know about the rhetorical situation you’re writing into? What are the exigencies? What is your role as a rhetor? Who are the audiences? What are the various constraints? Hint: Look at the articles we’ve been reading and other articles in your textbook as models of what the editors are looking for. --Then, consider how these elements of the rhetorical situation will shape your text. How will you approach these audiences? What kind of tone or language might you need to use? Are there any genre conventions you should follow? What does your text need to do, and how will you do it? Submit on webcourses and bring a hard copy with you to class. NOTE: If you do not bring a printed hard copy with you to class, you will NOT receive credit. |
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T 9/18 |
Major Project 1 workshop What makes these essays good? Developing arguments and explanations Using personal experience and/or analysis to demonstrate
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Skim “Integrating Sources and Avoiding Plagiarism” EW p. 185-190 Work on Major Project 1 Bring textbooks Bring laptops for in-class revision |
Workshop Draft of Major Project 1 Write a complete draft of Major Project 1. Submit on webcourses and bring a hard copy with you to class. NOTE: If you do not bring a printed hard copy with you to class, you will NOT receive credit. |
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Th 9/20 |
Reflection Studying the writing process Begin keeping writing log Assign Major Project 2 |
Skim “Reviewing and Revising” EW p. 82-94 Work on Major Project 1 |
Initial submission of Major Project 1 due via webcourses |
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T 9/25 |
What the “pros” say What can we learn from metaphors about writing? Constructing our own metaphors |
Read Anne Lamott’s “Shitty First Drafts” WAW p. 301-4 Read Barbara Tomlinson’s “Tuning, Tying, and Training Texts: Metaphors for Revision” WAW p. 251-65 |
Reading Response #7 --What seems to be Lamott’s main point? Do you buy it? Why or why not? --Tomlinson argues that “a good deal of what people ‘know’ about composing…is based not on careful observation of their own activities, but on…culturally shared information about the writing process” (para. 2). What do you think she means by this? Can you give examples of such “cultural knowledge” of writing—things you believe about writing or that shape your experience of it that you haven’t personally experienced? Remember to keep your writing log and perform your think-alouds as you work on Metaphors about Writing/Major Project 2. |
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Th 9/27 |
What a study of the writing process might look like Idiosyncrasies Incubation Audience's impact on process |
Read Carol Berkenkotter’s “Decisions and Revisions: The Planning Strategies of a Publishing Writer” and Donald Murray’s “Response of a Laboratory Rat—or, Being Protocoled” WAW p. 216-34 Work on Metaphors about Writing |
Reading Response #8 --What did Berkenkotter and Murray discover that was surprising about Murray’s writing process? What similarities or differences do you see between Murray’s process and your own? --How did this study change Berkenkotter’s understanding of writing processes in general, particularly planning and revision? What do you think of these findings? Remember to keep your writing log and perform your think-alouds as you work on Metaphors about Writing/Major Project 2. |
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T 10/2 |
Writing rules, where they come from, and their effect Algorithms vs. heuristics Writer's block Different types of writers |
Read Mike Rose’s “Rigid Rules, Inflexible Plans, and the Stifling of Language: A Cognitive Analysis of Writer’s Block” WAW p. 236-48 Work on Metaphors about Writing |
Reading Response #9 --Create a list of all the rules that, according to Rose, interfere with “the blockers'” writing. What rules, if any, do you find yourself forced to follow that seem to get in the way of your writing? --Describe the difference between the rules that blockers in Rose's study were following and those that non-blockers were following. What leads to this difference: a particular view of writing or themselves as writers? The type of rule? The way the rule's applied? Remember to keep your writing log and perform your think-alouds as you work on Metaphors about Writing/Major Project 2. |
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Th 10/4 |
NO CLASS- Campus closes at 12:30 Extra office hours from 9:00-noon. Stop by if you have questions. |
Read Thomas Osborne’s “Late Nights, Last Rites, and the Rain-Slick Road to Self-Destruction” at http://writingandrhetoric.cah.ucf.edu/stylus/2_2.php or EW UCF-p. 24-30 Read “The Other Half of the Bracelet” by Karina Garcia at http://writingandrhetoric.cah.ucf.edu/stylus/1_1.php Work on Metaphors about Writing Begin typing transcripts for Major Project 2 |
Remember to keep your writing log and perform your think-alouds as you work on Metaphors about Writing/Major Project 2. |
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T 10/9 |
Developing an idea Using narrative and detail Refining metaphors
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Work on Metaphors about Writing Bring textbooks Bring laptops for in-class revision Continue typing transcripts for Major Project 2 |
Workshop Draft of Metaphors about Writing Write a complete draft of Metaphors about Writing. Submit on webcourses and bring a hard copy with you to class. NOTE: If you do not bring a printed hard copy with you to class, you will NOT receive credit. Remember to keep your writing log and perform your think-alouds as you work on Metaphors about Writing/Major Project 2. |
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Th 10/11 |
Coding Analyzing data Making claims Comparing writing processes |
Finish Metaphors about Writing Read Clayton Stark’s “The Average Writer: A Self-Analysis” WAW p. 278-91 Watch/listen to your think-alouds Work on Major Project 2 |
Final Draft of Metaphors about Writing due via webcourses Initial Think-aloud Transcripts While watching/listening to your think-alouds, type up the transcripts for each and bring these with you to class. (post online and bring a hard copy to class as well) Also, bring your writing log and any notes, drafts, plans, etc. with you to class. Remember to keep your writing log and perform your think-alouds as you work on Metaphors about Writing/Major Project 2. |
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T 10/16 |
Comparing writing processes Focusing arguments Building off of research |
Read Whitney Brown’s “Self-Evaluation of My Writing Process Portrayed in Freshman Composition” in Stylus 1.1 (available at http://writingandrhetoric.cah.ucf.edu/stylus/1_1.php) Read Aubrey Marks’ “Reconceiving: Using Combination and Repetition to Your Advantage” (available at http://writingandrhetoric.cah.ucf.edu/stylus/2_2.php) Skim “Constructing Arguments” EW p. 126-40 Finish writing log Finish coding all data Bring textbooks Bring laptops for in-class drafting Work on Major Project 2 |
Final Think-aloud Transcripts, Coding, and Writing Log Finish your writing log, transcripts and coding. Bring your final transcripts and coded data with you to class. (post online and bring hard copies to class as well) Also, bring your writing log and any notes, drafts, plans, etc. with you to class. |
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Th 10/18 |
Planning Structure Working with evidence |
Read Austin Lemaster’s “Throw the Notebook at the Wall: What Writing Can Do to the Average Student” in Stylus 3.1 (available at http://writingandrhetoric.cah.ucf.edu/stylus/3_1.php) Skim “Writing for the Social Sciences” EW p. 536-43 Work on Major Project 2 Bring textbooks Bring laptops for in-class drafting |
Analyzing Your Rhetorical Situation #2 Look back at the assignment for Major Project 2. --First, consider what you know about the rhetorical situation you’re writing into? What are the exigencies? What is your role as a rhetor? Who are the audiences? What are the various constraints? Hint: Look at the articles we’ve been reading that have been published in Stylus. --Then, consider how these elements of the rhetorical situation will shape your text. How will you approach these audiences? What kind of tone or language might you need to use? Are there any genre conventions you should follow? What does your text need to do, and how will you do it? Submit on webcourses and bring a hard copy with you to class. NOTE: If you do not bring a printed hard copy with you to class, you will NOT receive credit. |
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T 10/23 |
Major Project 2 workshop What makes these essays good? Creating a space for your own research Focusing Developing analysis Integrating evidence and details Appendices |
Work on Major Project 2 Bring textbooks Bring laptops for in-class drafting
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Workshop Draft of Major Project 2 Write a complete draft of Major Project 2. Submit on webcourses and bring a hard copy with you to class. NOTE: If you do not bring a printed hard copy with you to class, you will NOT receive credit. |
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Th 10/25 |
Reflection Introduction to discourse communities Assign Major Project 3 |
Work on Major Project 2 |
Initial submission of Major Project 2 due via webcourses |
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T 10/30 |
Issues of joining a community Trading values for access Academic discourse communities WITHDRAWAL DEADLINE Monday, October 29 (ends at 11:59 p.m.) |
Read Ann M. Johns’ “Discourse Communities and Communities of Practice: Membership, Conflict, and Diversity” WAW p. 606-28 Brainstorm and look into discourse communities you might research for Major Project 3 |
Reading Response #10 --What are some of the complications Johns outlines related to joining a discourse community? --Johns notes that people joining a new discourse community can rebel against some of its conventions and in doing so actually change the discourse community. Explain what this means and try to think of some examples of when this has happened, either from history or your own personal experiences. |
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Th 11/1 |
How researchers analyze specific discourse communities Multiliteracies Focusing analysis WITHDRAWAL DEADLINE Monday, October 29 (ends at 11:59 p.m.) |
Read Tony Mirabelli’s “Learning to Serve: The Language and Literacy of Food Service Workers” WAW p. 538-54 Perform some initial research on your online discourse community/ies Work on Major Project 3 |
Reading Response #11 --What seems to be Mirabelli's research question and where does he state it? What kind of data did Mirabelli collect to analyze the diner discourse community? What seem to be his primary findings, and what does he do with these findings? What arguments do they allow him to make? --What is the “traditional” view of literacy, according to Mirabelli, and what is the view of literacy that New Literacy studies takes? What are multiliteracies? Do you agree that skills like “reading customers” should be considered a form of literacy? Why or why not? |
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T 11/6 |
Enculturation What does membership mean? Discourse communities and identity Data collection/analysis |
Read Elizabeth Wardle’s “Identity, Authority, and Learning to Write in New Workplaces” WAW p. 520-33 Collect data for Major Project 3 |
Reading Response #12 --Wardle quotes Hasu and Engeström, well-known activity theory scholars, as saying that conflict and breakdown can actually be positive, helping to reshape how a community does things in ways that are more productive (650). However, the conflicts between Alan and his work community did not have positive results. Why do you think this is? How could his conflicts have been handled so that they did result in positive change? --When Wardle was drafting this article, several readers objected to her claim that people like Alan are used as tools, not seen as community members. What do you think? What's the difference? Can you think of some other examples where the line between community member and tool is blurred? |
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Th 11/8 |
Analyzing data Focusing arguments |
Read Steve Liu’s “The Most Popular Thing You’ve Probably Never Heard of” in Stylus 2.1 (available at http://writingandrhetoric.cah.ucf.edu/stylus/2_1.php) or EW UCF p. 17-23 Read Channing Trainor’s “Discourse Communities and Onions” in Stylus 2.2 (available at http://writingandrhetoric.cah.ucf.edu/stylus/2_2.php) Work on Major Project 3 Bring textbooks Bring laptops for in-class drafting
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Collected data due Collect several samples of texts, various genres, and interactions from your online discourse community/ies. Submit on webcourses and bring a hard copy with you to class. NOTE: If you do not bring a printed hard copy with you to class, you will NOT receive credit. |
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T 11/13 |
Planning How to demonstrate and support claims |
Find and read 3-4 samples of the kind of text you’d like to create Work on Major Project 3 Bring textbooks Bring laptops for in-class drafting
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Analyzing Your Rhetorical Situation #3 Look back at the assignment for Major Project 3. --First, consider what you know about the rhetorical situation you’re writing into? What are the exigencies? Who are the rhetors? Who are the audiences? What are the various constraints? --Then, consider how these elements of the rhetorical situation will shape your text. How will you approach these audiences? What kind of tone or language might you need to use? Are there any genre conventions you should follow? What does your text need to do, and how will you do it? Refer to the sample texts you found and bring them with you to class. Submit on webcourses and bring a hard copy with you to class. NOTE: If you do not bring a printed hard copy with you to class, you will NOT receive credit. |
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Th 11/15 |
Major Project 3 workshop What makes these essays good? Creating a space for your own research Focusing Developing analysis Integrating evidence and details |
Work on Major Project 3 Bring textbooks Bring laptops for in-class drafting
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Workshop Draft of Major Project 3 Write a complete draft of Major Project 3. Submit on webcourses and bring a hard copy with you to class. NOTE: If you do not bring a printed hard copy with you to class, you will NOT receive credit. |
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T 11/20 |
Reflection End of semester business Assign Rhetorical Reflection Assign Final ePortfolio Guidelines |
Work on Major Project 3 |
Initial submission of Major Project 3 due via webcourses |
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Th 11/22 |
NO CLASS -THANKSGIVING HOLIDAY |
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T 11/27 |
PORTFOLIO CONFERENCES |
Revise Major Projects 1, 2, and 3 Work on ePortfolio |
Attend your conference. Bring all notes, drafts, and materials related to your major projects and the final portfolio |
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Th 11/29 |
LAST DAY OF CLASS PORTFOLIO CONFERENCES |
Skim “MLA Documentation” EW p. 371-419 Finish Revisions Work on Rhetorical Reflection Work on ePortfolio |
Attend your conference. Bring all notes, drafts, and materials related to your major projects and the final portfolio |
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T 12/11 10:00 am |
FINAL EXAM PERIOD In-class Reflection on Writing |
Skim “Editing and Reflecting” EW p. 94-102 Finish ePortfolio and Rhetorical Reflection |
Submit your final ePortfolio (guidelines and directions will be discussed in class) |
ENC 1101: Composition IDepartment of Writing and Rhetoric College of Arts and Humanities, University of Central Florida
COURSE SYLLABUS |
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Instructor: |
Scott Launier |
Term: |
Fall 2012 |
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Office: |
304 I, Colbourn Hall |
Class Meeting Days: |
Mon, Wed & Fri |
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Dept. Phone: |
407-823-5417 |
Class Meeting Hours: |
3:30—4:20 |
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E-Mail: |
eugene.launier@ucf.edu |
Class Location: |
Cl1 301 |
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Office Hours:
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MWF: 12:30—1:20 & 2:30—3:20 and by appointment |
Section: Number: Credit Hours: |
0130 80412 3 |
Welcome!
This is a 16-week call to learning. Students who participate fully in the course will engage in a substantial, lifelong learning experience. In college, students are responsible for their own learning. Guidance and support toward lifelong success is bountiful at UCF, but you must seek it out and follow-through on it. Two keys to success in this course are Discipline and Responsibility.
II.Course Description
In ENC1101, students read research findings from Writing Studies intended to help them gain both procedural and declarative knowledge about writing that they can generalize ("transfer") to later writing situations. Course topics include:
- How writers and readers construct texts
- Effective writing processes and practices
- How discourse communities shape writing
- Understanding writing in the university
As students study each of these topics, they engage in writing-to-learn activities to help them understand and apply the various concepts; they also compose and revise extended texts employing those concepts at the end of each unit.
III.Required Texts and Materials
- Writing about Writing: A College Reader by Wardle and Downs, Bedford/St. Martin’s, 2010
The Everyday Writer by Lunsford, Bedford/St. Martin’s, UCF Custom Edition
- 8½ x 11-inch loose-leaf paper, or a notebook
- A pocket folder or three-ring binder for keeping handouts and loose-leaf paper
- Three hard-copies (8½ x 11-inch) of computer-processed Major Paper drafts
- A spiral-bound portfolio of all course material (sans readings) to be handed in at the end of the semester
IV.Supplementary (Optional) Texts and Materials
- Dictionary; Thesaurus; Laptop computer
V.Course Policies: Major Paper Drafts and Peer Assessments
Major Paper Drafts, as well as Peer Reviews of these drafts, are due according to the schedule and will not be accepted after the due date.
VI.Course Policies: Major Paper Revisions
Each Major Paper is worth 20% of the course grade. Every Major Paper may be revised to improve the grade, if all of the conditions for doing so are met, according to the policy for Major Paper Revisions. If a Major Paper Revision is submitted, then the final grade for the paper will be calculated as two-thirds of the Major Paper Revision grade and one-third of the grade for the initial submission. (Note: Final grades will not be lower than the grade received for the initial submission.)
Students are eligible to submit a revision of any Major Paper for an improved grade by meeting all of the following requirements: submit the Major Paper Draft on time; participate in the Major Paper Peer Review and provide the peer review assessment on time; sign-up for a one-on-one conference and meet with the instructor during the time period allotted for the particular assignment; submit the revision reflection sheet provided during the meeting with the instructor.
VII.Major Papers
Rhetorical Analysis Paper
Assignment
In 4–12 pages, rhetorically analyze your own past high school experiences as rhetorical situations. Address the “So what” question by explaining what you are learning about the potential of rhetorical analysis; explain what you’re learning about who you are as a reader and writer, and from where this comes.
Purpose: To apply/practice/perform rhetorical analysis; to rhetorically analyze real-life situations to learn more about the value of rhetorical analysis, and who we are as readers and writers.
Writing Process Paper
Assignment
In 4–12 pages, rhetorically analyze yourself as a reader and a rhetor, especially your writing processes, how these might be changing overall, and how these processes change to fit different writing situations. Give specific consideration to the impact of your environment and surroundings on your writing process and yourself as a writer, and how controlling these factors may or may not benefit you. Also give specific consideration to the impact of the affective and cognitive domains in your writing experiences, and how this awareness changes (or does not change) your perception of yourself as a writer and offers (or does not offer) new strategies for your writing processes.
Purpose: To articulate a new, critical understanding of yourself as a reader and writer; to gain more control over your future experiences as an academic reader and writer.
Discourse Community Paper
Assignment
In 4–12 pages, explain the Discourse Community Concept to a relative (or relatives), analyze a (or several) real workplace Discourse Community (or communities) from His/Her (or their) personal experience(s), and discuss how knowing and analyzing this concept can be usefully applied to negotiate/navigate through real life situations. Specifically examine how language/communication is used for the discourse community to function, survive, succeed, and thrive.
Purpose: To use a concept of discourse communities to analyze real-life situations; to more deeply understand the applicable value of the Discourse Community Concept; to learn how the Discourse Community concept can be employed as a framework for negotiating or navigating through conflicts and contradictions that arise when groups of individuals need to work together.
VIII.Schedule of Readings and Major Writing Assignments
Segment 1: Course Introduction
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8/20 |
8/22 |
8/24 Read “The 6th Paragraph” |
Segment 2: Introduce Course Concepts
Learning Goals:
- Recognizing and understanding common misconceptions about writing
- Understanding the Rhetorical Situation concept, and applying it to writing and reading situations
- Acquiring a vocabulary for talking about writing processes
- Understanding writing and research as processes requiring planning, incubation, revision, and collaboration
- Gaining tools for examining the discourses and texts of various communities
- Recognizing the textual “moves” common to many forms of academic discourse
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8/27 Read GreeneRead Kleine |
8/29 Read “Evocative Objects” |
8/31 Read Sun Selections |
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9/3 Labor Day Holiday |
9/5 Read Grant-Davie |
9/7 Read Kantz |
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9/10 Read Murray “Autobio” |
9/12 Read Interlude Selections |
9/14 Read RoseRead Williams |
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9/17 Rhetorical Analysis Paper Draft Due (3 hard copies) |
9/19 Read Keller |
9/21 Read SwalesRead Harris
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Segment 3: Develop & Reinforce Course Concepts
Learning Goals:
- Improving as readers of complex, research-based texts
- Understanding how readers construct meaning(s) from texts
- Actively considering our own writing processes and practices and adapting them as necessary to make them most effective
- Understanding how language plays a role in discourse community enculturation
- Considering various understandings of what it means to be literate
- Acquiring tools for successfully responding to varied discourse conventions and genres in different classes
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9/24 Rhetorical Analysis Paper Peer Review Due |
9/26 Read Brandt |
9/28 Read Berkenkotter |
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10/1 Rhetorical Analysis Paper Due |
10/3 Read McCarthy |
10/5 Read Perl |
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10/8 Read Penrose and Geisler |
10/10 Read Haas and Flower |
10/12 Read Mirabelli |
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10/15 Writing Process Paper Draft Due (3 hard copies) |
10/17 Read Porter |
10/19 Writing Process Paper Peer Review Due |
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10/22 Read Baron |
10/24 Read Sun Selections |
10/26 Read Sun Selections |
Segment 4: Reboot Course Concepts
Learning Goals:
- Understanding how writers construct texts persuasively (or not)
- Understanding what it means to say that knowledge is constructed
- Understanding ourselves as writers
- Understanding how language practices mediate group activities
- Understanding the relationship between language, identity, and authority
- Considering how discourse is used in the university
- Understanding which discourse conventions vary across disciplines and why they do so
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10/29 Writing Process Paper Due |
10/31 Read Heath |
11/2 Read DeVoss et al. |
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11/5 Read Tierney and PearsonUnit 1 Paper Revision Due |
11/7 Discourse Community Paper Draft Due (3 hard copies) |
11/9 Read Dawkins |
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11/12 Veteran’s Day Holiday |
11/14 Discourse Community Paper Peer Review Due |
11/16 Read Johns |
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11/19 Discourse Community Paper Due |
11/21 |
11/23 Thanksgiving Holiday |
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11/26 Read HylandUnit 2 Paper Revision Due |
11/28 Read Casanave |
11/30 Read Tomlinson |
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12/3 |
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Portfolio Reflection Paper Due with Portfolio Discourse Community Paper Revision Due with Portfolio Final Portfolio Due at Final Exam |
NOTE: Additional in-class assignments, homework assignments and readings from The Everyday Writer will be assigned in class
Appendix 1 to Intractable Writing Program Problems from Composition Forum 27 (Spring 2013)
Online at: http://compositionforum.com/issue/27/ucf-appendix1-bryan-launier.php
© Copyright 2013 Matt Bryan and Scott Launier.
Licensed under a Creative Commons Attribution-Share Alike License.
Return to Composition Forum 27 table of contents.