Intersections of Image Textmadisonelkins.com/wp-content/uploads/2015/...2.0-1.pdf · ENG 101...

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ENG 101 Fall/Spring 201X 1 ENG 101 Section <<>> Intersections of Image and Text Instructor: Madison Elkins 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 writingintensive 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 peerediting, 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 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 firstyear writing courses from a set developed by the Council of Writing Program Administrators. Meeting Time and Place: <<>> Office Hours: <<>> Email/Contact: [email protected]

Transcript of Intersections of Image Textmadisonelkins.com/wp-content/uploads/2015/...2.0-1.pdf · ENG 101...

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 ENG  101  Section  <<>>  Intersections  of  Image  and  Text Instructor:  Madison  Elkins  

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    

● 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.  

Meeting  Time  and  Place:  <<>>  Office  Hours:  <<>>  Email/Contact:  [email protected]  Course  Website:  <<>>

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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  (2)  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#1-­‐include-­‐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:  The  first  two  weeks  of  this  class  will  focus  on  several  key  terms  about  writing  and  written  works,  culminating  in  a  rough  draft  of  a  rhetorical  analysis  on  a  multimodal  work.  This  is  a  3.5-­‐5  page  paper  that  will    

1. Identify  and  analyze  a  work’s  intended  rhetorical  context/situation,  genre,  and  audience  2. Identify  the  discourse  community  (or  communities)  the  work  is  in  conversation  with,  the  

features  of  this  community,  and  the  work’s  interaction  with  this  discourse  community  (or  communities)  

3. Argue  for  the  success  or  failure  of  work’s  claim  in  the  format  of  a  critical  analysis,  taking  into  account  its  rhetorical  characteristics  as  outlined  in  1  and  2    

4. Employ  evidence  from  the  work  to  support  your  controlling  idea  or  thesis.  You  may  choose  from  one  of  the  thesis  templates  we  discuss  in  class  or  create  your  own.    

5. Demonstrate  logical,  coherent,  effective  arrangement  (organization)    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).  

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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.      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   A  90.00-­‐92.99   A-­‐  86.00-­‐89.99   B+  83.00-­‐85.99   B  80.00-­‐82.99   B-­‐  76.00-­‐79.99   C+  73.00-­‐75.99   C  70.00-­‐72.99   C-­‐  66.00-­‐69.99   D+  60.00-­‐65.99   D  0-­‐59.99   F  

 Student Success Resources

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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.      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  [email protected].    

Emory Counseling Services Free  and  confidential  counseling  services  and  support  are  available  from  the  Emory  

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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.        

Unit  1A:  Key  Terms  in  First  Year  Composition  Main  unit  assignment:  Rhetorical  analysis  rough  draft  

 WEEK  ONE  Locating  Your  Writing  

• Review  of  key  terms:  rhetorical  situation,  conversations  (or  discourse  communities),  genre,  and  audience    

• Guidelines  for  choosing  the  multimodal  article  (from  a  list  of  5  genres)  that  you  intend  to  use  for  your  rhetorical  analysis  

• Setting  up  blogs  in  class;  overview  of  posting  procedures,  computer  access,  etc.  • Formulation  of  class  writing  rubric  (rubric  for  text  projects  only)  First  half  of  week:  rhetorical  situation  and  discourse  community/conversation  

o In-­‐Class  Writing  Activities:    (1) Rhetorical  situation:  On  your  own,  come  up  with  a  list  of  questions  we  can  put  to  a  

text/visual  artifact  that  can  help  us  identify  its  rhetorical  situation  (in  other  words,  what  do  you  need  to  know  to  understand  its  rhetorical  situation?)      

(2) Discourse  community:  Take  5-­‐7  minutes  to  write  your  own  definition  of  a  discourse  community  without  quoting  Swales.  Then,  switch  definitions  with  a  partner  and  write  a  response  to  his  or  her  definition  in  7-­‐10  minutes,  citing  Swales  for  evidence  if  necessary.  Is  your  partner’s  definition  missing  something?  If  so,  can  you  rewrite  his  or  her  definition  to  include  it?  Once  you  agree  with  your  partner’s  (perhaps  edited)  definition,  add  a  concrete  example  (i.e.  a  specific  discourse  community)  illustrating  the  definition.    

o Assignments:    (1) Choose  a  multimodal  article  to  use  for  your  rhetorical  analysis.  (2) Rhetorical  Analysis  Blog  Post  (Part  One):  In  a  post  of  about  300  words,  identify  the  

rhetorical  situation  and  discourse  communities  of  your  article.  Include  your  own  definition  of  rhetorical  situation  and  discourse  community  (without  quoting  definitions  from  our  readings)  and  include  evidence  from  your  article  to  support  your  claims.  At  the  end  of  your  post,  include  two  questions  or  concerns  about  either  your  post  or  your  understanding  of  these  key  terms.  

o Reading:    

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1) Rhetorical  situation:  Excerpts  (<  8  pages)  from  “Rhetorical  Situations  and  Their  Constituents”  by  Keith  Grant-­‐Davie  and  “The  Rhetorical  Situation”  by  Lloyd  Bitzer  in  Writing  About  Writing  

2) Discourse  communities/conversation:  Excerpt  (<  8  pages)  from  John  Swales’s  “The  Concept  of  Discourse  Community”  (215-­‐229)  in  Writing  About  Writing  

 Second  half  of  week:  audience  and  genre  

o In-­‐Class  Writing  Activities:    (1) Audience:  Devote  10  minutes  each  to  writing  two  advertising  blurbs  for  a  water  

company  geared  to  two  different  target  audiences  (parents,  teenagers,  athletes,  people  who  dislike  drinking  water,  etc.).    

(2) Genre:  As  a  class,  we  will  work  to  describe  the  genre  conventions  of  a  very  specific  genre-­‐  NPR  staff  biography  blurbs-­‐  working  from  a  set  of  3-­‐4  examples.  In  small  groups,  answer  the  following  questions  in  writing:    

i. What  are  the  larger  contexts  and  the  rhetorical  situation  in  which  the  genre  is  used  (including  setting,  subject,  participants,  and  purposes)?  

ii. What  are  some  of  the  patterns  in  the  genre’s  features  (including  its  content,  rhetorical  appeals,  structure,  format,  and  sentence  and  word  style)?  How  does  this  intersect  with  our  understanding  of  discourse  communities?  

iii. What  do  these  patterns  reveal  about  the  rhetorical  situation  and  larger  context/conversations?  

o Assignments:  Rhetorical  Analysis  Blog  Post  (Part  Two):  In  a  post  of  about  300  words,  identify  your  article’s  genre  and  its  intended  audience.  Use  evidence  from  your  article  to  support  your  claims.  Include  your  own  definition  of  genre  and  audience  (without  quoting  definitions  from  our  readings),  and  discuss  how  these  features  relate  to  the  article’s  rhetorical  situation  and  discourse  community.  At  the  end  of  your  post,  include  two  questions  or  concerns  about  either  your  post  or  your  understanding  of  this  key  term  and  one  complaint  or  triumph  about  this  draft.  

o Reading:    1) Genre:  Excerpts  (<  8  pages)  from  Amy  J.  Devitt’s  “Genre  Pedagogies”  in  A  Guide  to  

Composition  Pedagogies    2) Audience:  Excerpts  (<  8  pages)  from  “Audience”  chapter  by  Peter  Elbow  in  Writing  

With  Power:  Techniques  for  Mastering  the  Writing  Process      

WEEK  TWO  Developing  and  Re-­‐visioning  Your  Writing  

• Review  of  key  terms:  controlling  idea,  critical  analysis,  arrangement,  evidence,  reflection,  and  revision  

• First  half  of  week:  controlling  idea,  (critical)  analysis,  arrangement  o In-­‐class  Writing  Activities:  Rhetorical  analysis  peer-­‐review  workshop:  checking  your  

controlling  idea,  critical  analysis,  and  arrangement  o  Assignments:  (1)  First  full  rough  draft  of  rhetorical  analysis  (reworked  from  rhetorical  

analysis  blog  posts  1  and  2)  o Reading:  (1)  Excerpts  from  Joseph  Bizup,  “BEAM:  A  Rhetorical  Vocabulary  for  Teaching  

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 • Second  half  of  week:  evidence,  reflection,  revision  

o In-­‐class  Writing  Activities:  Rhetorical  analysis  peer-­‐review  workshop:  checking  your  use  of  evidence    

o Assignments:  (1)  Peer  review  3  other  rhetorical  analyses  (2)  Fill  out  guided  peer-­‐review  worksheets      

o Reading:  Excerpts  from  “More  Ways  to  Revise”  from  Writing  With  Power    

Unit  1B:  Image  &  Text  Main  unit  assignment:  Rhetorical  analysis  final  draft  

WEEK  THREE    Images:  How  do  they  work?  

• Review  of  visual  meaning-­‐making  principles/rhetoric:  rhetorical  situation,  conversations,  genre,  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  FOUR    (1)  Images,  (2)  Image  &  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  

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)  Peer-­‐editing  of  analysis  drafts    

o 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  we’re  reading  this  week.  (2)  Return  to  your  rhetorical  analysis—make  a  final  set  of  revisions  (taking  into  account  insights  from  peer-­‐review  sessions  as  well  as  new  information  you  may  have  gained  from  this  image  &  text  segment).  Be  sure  to  make  note  of  the  revisions  you  make.  

o 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)  Class-­‐generated  rubric.  (4)  Excerpts  from  Little  Seagull  on  drafting/editing  practices.  

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 WEEK  FIVE  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.  (2)  “I  think”  Blog  Post  Reflection:  Compose  an  informal  post  that  reflects  on  the  writing  process  you  used  for  this  assignment.  Address  the  following  questions:    Has  this  assignment  affected  how  you  think  about  strategies  of  research,  drafting,  revision,  editing,  and  reflection?  If  so,  how?  If  not,  why  not?  Do  you  intend  to  use  any  of  these  strategies  in  the  future?  What,  specifically,  have  you  learned  from  implementing  these  process  strategies?    

o Reading:  (1)  Excerpts  from  Little  Seagull  on  drafting/editing  practices      

Unit  Two:  Creative  Multimedia    Main  unit  assignment:  Creative  sequenced  multimodal  project  

WEEK  SIX  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  SEVEN  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    • 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)  

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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  EIGHT  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  NINE  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      

Unit  Three:  Commercial  Multimedia  Main  unit  assignment:  Persuasive  Advertisement    

WEEK  TEN  How  do  images  and  text  work  together  to  persuade  viewers?    

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• 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  ELEVEN  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.  

Revisit  this  activity  from  early  on  in  the  semester,  paying  particular  attention  to  the  key  terms  introduced  in  this  unit.  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  TWELVE  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  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.  

o Reading:  Peer  reviews.  

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   Unit  Four:  Scholarly  Multimedia    Main  unit  assignment:  Multimodal,  Evidence-­‐based  Article  

WEEK  THIRTEEN  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  FOURTEEN    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  FIFTEEN  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  

o Assignments:  (1)  Rough  draft  of  multimedia  article  due.  Post  on  blog  and  bring  to  class  for  peer  editing  

o Reading:  (1)  Peer  reviews  (2)  Personal  project  research  (3)  Recommended  excerpts  from  On  Writing  Well  and  Little  Seagull  Handbook  on  argumentative  essays,  editing  process,  

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and  MLA  format  to  support  a  claim    

WEEK  SIXTEEN  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.    • 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)  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?  (3)  Group  peer  reviews  (4)  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 Reading:  (1)  Peer  reviews  (2)  Personal  project  research      

WEEK  SEVENTEEN  Exam  week:  no  class  (individual  conferences  instead),  portfolio  due  

• 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.