Emphasis On Rhetoric And Composition

ENG102ENG102GCC

Tracy Washington

SyllabusSyllabus

Glendale Community CollegeEnglish 102 -First Year

CompositionFall, 2007October 13th -December 8th

Section:5215; S- HT-2-155 8:00am-1:30pm Instructor: Tracy Washington (BA-ASU,

MaEd-ASU, Reading Specialist UofP) E-mail: [email protected]

[email protected] (E-mail is the best way to reach me) Telephone: Cell: 623-332-9182 Office: By Appointment Credits: This is a three-credit class

mailto:[email protected]

mailto:[email protected]

CourseCourse DescriptionDescription::

Emphasis on rhetoric and composition with a focus on persuasive, research-based writing and understanding writing as a process. Developing advanced college-level writing strategies through three or more writing projects comprising at least 4000 words in total.

Prerequisites: ENG 101 with a grade of “C” or better.

Required Text & Materials:Required Text & Materials:

Literature: The Human Experience: Reading and Writing by Richard Abcarian and Marvin Klotz 9th edition Bedford/St. Martin’s

Research Papers by William Coyle and Joe Law, 14th edition Composition Book College Dictionary Thesaurus 3ring binder Clear sheet protectors Dividers 2 scantrons

To be successful in ENG 102, students must To be successful in ENG 102, students must understand and consider these major course understand and consider these major course

expectations.expectations.

This is a writing-intensive course. Be prepared to work TWO hours per week OUTSIDE of class for every ONE hour you meet in the class, polishing and perfecting your writing skills. Some papers may require a few rewrites before you get to a point where you feel satisfied with your work.

You are responsible for learning time management skills. You have to exhibit college level reading and writing skills.

You must be willing to learn and use computer word processing and internet skills.

You will present your research paper in front of the class

Goals and Objectives (Exit Goals and Objectives (Exit Competencies):Competencies):

Students successfully completing this course will be able to perform the following.

Write for specific rhetorical contexts, including circumstance, purpose, topic, audience and writer, as well as the writing’s ethical, political, and cultural implications.

Organize writing to support a central idea through unity, coherence and logical development appropriate to specific writing context.

Use appropriate conventions in writing, including consistent voice, tone, diction, grammar, and mechanics.

Find, evaluate, select, and synthesize both online and print sources that examine a topic from multiple perspectives.

Integrate sources through summarizing, paraphrasing, and quotation from sources to develop and support one’s own ideas.

Identify, select and use an appropriate documentation style to maintain academic integrity.

Use feedback obtained through peer review, instructor comments, and / or other sources to revise writing.

Assess one’s own writing strengths and identify strategies for improvement through instructor conference, portfolio review, written evaluation, and /or other methods.

Generate, format, and edit writing using appropriate technologies.

Assignments: Assignments:

You will be completing one 2000-word research paper with in-text citations and three 500-1000 word essays. One of these would be written in class and one an argument. Complete all writing, exercise, and reading assignments. In addition to understanding the material more thoroughly, you will find class discussions, exercises, and group tasks more rewarding and interesting. Please be prepared to listen, contribute, and participate in an appropriate fashion. On the days when a draft is due for peer review please bring a complete typed draft to class. If you do not have a rough draft the day it is due, 20 points will be deducted from your final grade.

Final Research PaperFinal Research Paper

Your final research paper will be a culmination of all the work you do this semester. The following are important instructions for constructing your paper:

1) It should be approximately 2000 words, typed, double-spaced, using a 12 point font. 2) It must have a clearly stated thesis and conclusion. 3) You will cite at least 5 secondary/academic sources. a. Use at least two journals b. Use at least two books c. Two sources must have been published within the last two years. 3) You will use proper MLA or APA documentation. 4) Provide an MLA or APA Works Cited page. 5) You will use a combination of the following techniques: a. Paraphrase b. Summary c. Incorporated quotes

**Note: Assignments can be handed in up to one week late for half credit. Therefore, you have until Saturday morning of the following week the assignment is due to hand it in for up to ½ credit. After that date, there are no make up assignments. Your final paper cannot be turned in late.

Late papers: Papers are due at the beginning of each class hour. Computer malfunctions, printer jams, lack of ink, or any other malady that strikes the technology the day before the paper is due, is not an excuse. Please identify at least one study buddy in class. Exchange phone numbers with your buddy. If you are absent, make sure you call your buddy to find out what you have missed.

To earn full credit for work, students must submit assignments in class on the due date. Assignments submitted after the class will be considered late and will earn only 50% of the possible points. Assignments submitted one week after the due date will not be considered for a grade. Students who are absent on a day an assignment is due must make arrangements to have the assignment to the instructor by the class time on the due date. Reading Quizzes and In-Class Writing Exercises must be taken in class on the assigned day. No make-up for Reading Quizzes or In-Class Writing Exercises will be offered.

Format for all essaysFormat for all essays

. One inch margins - all 4 sides. B. Typed, black on white paper (8x11) C. Upper left corner: (see below) 1. Student’s Name. 2. Section Number. 3. Assignment Number. D. No title unless assigned. E. No cover, no cover sheet, unless assigned. F. Font size: 12 Times New Roman G. Spaced: Double-spaced H. Stapled: upper left corner Example Format 1” 1” Student Name Section # Assignment #

The general grading scale will be as follows:

A = 90-100%B = 80-89%C = 70-79%D = 60-69%F = 0-59%

Assignments for English 102 Grade Scale

A = 1000 - 900 pts

B = 899 - 800 pts

200 pts. 19. Journal (8) 50 pts. 2. Quizzes (2) C = 799 - 700 pts 40 pts. 3. Peer Review (2) D = 699 - 600 pts 300 pts. 4. Critical Response Essays (3) 15 pts. 5. Thesis Statement and Research Proposal

25 pts. 8. Outline Literary Research Paper 200 pts. 9. Literary Research Paper 25 pts. 10. Oral Presentation 15 pts. 11. Works Cited Page 30 pts. 12. Portfolio 20 pts. 13. Letter to Instructor 80 pts. 14. Participation (8) 1000 total points possible

Reading Response Journal Questions Reading Response Journal Questions and Guidelines:and Guidelines:

A reading journal is an informal piece of writing in which you explore your own experiences, ideas, and feelings related to and stimulated by the selection you have read. They will be used as the basis for class discussions, tests, and essays. Journal entries will be date-stamped, collected periodically, and graded for being complete, on time, and showing evidence of your engagement with the selection. There are no “wrong” entries, merely incomplete, late, and/or off-topic ones. Spelling, grammar, etc. will not be graded.

Although it is important to keep track of what events took place, what ideas were discussed, and what characters were mentioned in the reading selection, your reading journals should not just summarize the information or sound like you are answering a series of questions. The purpose of a reading journal is to enter into a conversation with the text, the author, and yourself. Comment on what puzzles you, what attracts you about the reading, and indicate reasons for your response. Sometimes you might find the literary terms and critical approaches that we will be incorporating in the course

Reading journal entries must be HANDWRITTEN and completed in a lined hardcover, wide-ruled, 100 sheet composition book. You can and should use both sides of the paper. You should fill at least one page (one side) each time. There is no need to rewrite the questions; nevertheless, make sure your responses are complete enough to incorporate the ideas effectively. It is more effective to produce a response that resembles a long paragraph rather than a numbered list of answers to questions; you do not need to answer all of these questions or in this particular order, although they do encourage a broad range of ways to respond to a selection regardless of genre.

Reading Journals in Order Reading Journals in Order

1.) 10/12/07Innocence and Experience"The House on Mango Street" by Sandra Cisneros (pgs. 127)Short Story (Fiction)

2.) 10/12/07Innocence and Experience"Young Goodman Brown" by Nathaniel Hawthorne (pgs. 80)Short Story (Fiction)

3.) 10/12/07Innocence and Experience"Incident" by Countee Cullen (pg. 141) "Advice to My Son" by Peter Meinke (pgs. 144)Poetry

4.) 10/20/07Innocence and Experience"The Lesson" by Toni Cade Bambara (pgs. 116-122)Short Story (Fiction)

5.) 10/20/07Innocence and Experience"My Wicked Wicked Ways" by Sandra Cisneros (pgs. 154)

"Euphoria" by Major Jackson (pgs. 156) “I Felt a Funeral, In My Brain” by Emily Dickenson (pgs.

134)Poetry 6.) 10/20/07

Conformity and Rebellion“The Ones Who Walk Away From Omelas” by Ursula K. Le Guin (pg.357)Short Story (Fiction)

7.) 10/27/07Conformity and Rebellion"The market economy" by Marge Piercy (pg.414)Poetry

8.) 11/27/07Conformity and Rebellion"Two Kinds" by Amy Tan (pgs. 383)Short Story (Fiction)

9.) 11/27/07Conformity and Rebellion"She rose to His Requirement" by Emily Dickinson (pg. 396) “Ballad of Birmingham” by Dudley Randall (pgs. 409)Poetry

10.) 11/03/07Conformity and RebellionA Doll's House by Henrik Ibsen, Act I (pgs. 423)Drama

11.) 11/03/07Conformity and RebellionA Doll's House by Henrik Ibsen, Act II (pgs. 445)Drama

12.) 11/03/07Conformity and RebellionA Doll's House by Henrik Ibsen, Act III (pgs. 463)Drama

14.) 11/10/07The American Dream and Love and Hate“Othello” Act 1 by William Shakespeare (pgs. 824-861)Drama


Journal Check #1--Journals #1-15 collected for grading 11/10/07


17.) 11/24/07Culture and Identity “Yellow Wallpaper” by Charlotte Perkins Gilman (pgs. 729)Fiction

18.) 11/24/07Culture and Identity"Sonny's Blues" by James Baldwin (pgs. 534)Short Story (Fiction)

19.) 12/01/07Culture and Identity"Rose of Emily” by William Faulkner (pgs. 526)Short Story (Fiction)

20.) 12/01/07Culture and Identity"Everyday Use" by Alice Walker (pgs. 559)Short Story (Fiction)

21.) 12/01/07 Presence of Death“Cask of Amontillado” by Edgar Allen Poe (pgs. 968)Fiction

22.) 12/08/07Culture and IdentityA Raisin in the Sun by Lorraine Hansberry, Act I (pgs. 609)Drama

23.) 12/08/07Culture and IdentityA Raisin in the Sun by Lorraine Hansberry, Act II (pgs. 640)Drama

24.) 12/08/07Culture and IdentityA Raisin in the Sun by Lorraine Hansberry, Act III (pgs.672)Drama

Journal Check #2—Journals #16-26collected for grading 12/15/07

Today’s Date: ____Journal # _____ Title _________________________________ Author: __________________________________________ Genre:___________________________________________

1.) FIRST REACTION: What is your first reaction or response to the reading? Describe or explain it.

2.) FEELINGS: What feelings does the reading awaken in you? What emotions do you feel as you read?

3.) PERCEPTIONS: What do you see happening in the reading? Briefly retell the main events and points.

4.) ASSOCIATIONS: What memory does the reading call to mind—of people, places, events, sights, smells or even something more ambiguous, perhaps feelings or attitudes? Does this reading call to mind any other selection (poem, play, short story, novel, essay, nonfiction book, textbook, or film)? If it does, what is the work and what is the connection you see between the two?

5.) THOUGHTS, IDEAS: What idea or thought is suggested by the reading? How can this idea or thought work as a theme or main point for the reading? Explain.

6.) FOCUS: Upon what in the text do you focus most intently as you read—what word, phrase, image, idea or technique? What is the most important aspect of the reading? What direct quote (with page number) most defines the “essence” of this selection for you?

7.) AUTHOR, BACKGROUND: What are some interesting details provided in your text about this author? What sort of person do you imagine the author to be? When was the piece written? How does the historical context/time period contribute to your understanding of this selection?

8.) RESPONSE: How do you respond to the reading—emotionally or intellectually? Do you feel involved with the reading, or distant from it? Why?

9.) PROBLEMS: What is there in the reading that you have the most trouble understanding? To what extent do these problem areas hinder your overall response?

10.) EVALUATION: Do you think this is a good piece of writing? Why or why not? How does this selection compare/contrast other selections in this genre and/or theme?

Essay Guidelines: Essay Guidelines:

Throughout the semester, you will write three short essays centered on the themes in your text Literature: The Human Experience. The purpose of these essays is to analyze readings from different genres, to make connections to the theme, and to focus on what the work means to you rather thanto merely summarize the plot, to restate the obvious, or to “borrow” ideas from the Internet or elsewhere. Ideally, your reading response journals will serve as the starting point for developing your ideas. You will also complete a longer literary research paper (6-8 pages, 1,500-2,000)

On every essay, be sure to:On every essay, be sure to:

have your own original title mention the title and author of the story in your introduction (short selection titles use quote marks and longer selection titles are underlined) state and support a thesis. type your paper using proper MLA format as detailed on syllabus and in your text. correctly use in-text citation and include a Works Cited page

Essay #1: Innocence and Essay #1: Innocence and ExperienceExperience

(Assigned Week 1 and Due Week 3) (2-4 pages, 500-1,000 words, plus a MLA format Works Cited page)

Consider the connection between relationships and the journey from innocence to experience. How do parents or other adults in these readings affect the central characters and the journey from innocence to experience? These effects may be negative, positive, or some combination of both. You may also wish to consider how setting/place/environment affects the journey from innocence to experience. You must compare/contrast and analyze at least two readings from two different genres (poetry and short fiction) in order to develop your essay centered on this theme.

“Where I’m From” by George Ella Lyon “The House on Mango Street ” by Sandra Cisneros “Young Goodman Brown” by Nathaniel Hawthorne “Advice to My Son” by Peter Meinke

“Incident” by Countee Cullen “The Lesson” by Toni Cade Bambara

“My Wicked Wicked Ways” by Sandra Cisneros “Euphoria” by Major Jackson

“I Felt a Funeral, In My Brain” by Emily Dickenson

Essay #2: Conformity and Essay #2: Conformity and RebellionRebellion


Consider the connection between the individual and the larger group--family and/or society. How do the attitudes and actions of the central characters constitute a sense of conformity with the status quo? What is the price of this conformity? How do the attitudes and actions of the central characters constitute a rebellion against the status quo? What is the price of this rebellion? You must compare/contrast and analyze at least two readings from at least two different genres (poetry, short fiction, and drama) in order to develop your essay centered on this theme.

“The Ones Who Walk Away from Omelas” by Ursula K. Le Guin “The market economy” by Marge Piercy

“Two Kinds” by Amy Tan “The Unknown Citizen” by W.H. Auden “An Old Man” by Robert Pinsky “She rose to His Requirement” by Emily

Dickinson A Doll’s House by Henrik Ibsen

“Ballad of Birmingham” by Dudley Randall

Essay #3: Literary ResearchEssay #3: Literary Research

Othella or Great Gatspy(Assigned Week 4 and Due Week 6) (MINIMUM 6-8 pages or 1500-2000 words)

You must use a minimum of 5 sources. Your sources must be varied and not all from websites or online sources. Try reference books, encyclopedias, magazines, newspapers, and databases like EBSCOhost.

References serve as evidence to support your own thinking on the topic, not as substitutes for your own thinking. You must take notes from your sources. Highlighted computer printouts are sources, not notes.

Essay #4: Culture and Essay #4: Culture and IdentityIdentity


What forces go into shaping our identity? What role does environment, particularly our cultural and ethnic backgrounds, play in shaping our perspective on our relationships with ourselves and others? How do the cultural and ethnic backgrounds of parents and adults affect other characters’ views of themselves? You must compare/contrast and analyze at least two readings from at least two different genres (poetry, short fiction, and drama) in order to develop your essay centered on this theme.

“Mr. Z” by M. Carl Holman “Latin Women Pray” by Judith Ortiz Cofer “Sonny’s Blues” by James Baldwin “Everyday Use” by Alice Walker

“A Raisin in the Sun” by Lorraine Hansberry

“Yellow Wallpaper” by Charlotte Perkins Gilman

Identity"Rose of Emily” by William Faulkner “Cask of Amontillado” by Edgar Allen Poe

Literary Terms Questions:Literary Terms Questions:

PLOT—The events of the story

1.) What was your favorite part of the story? Why? 2.) How would you describe the conflict (s) with which the main characters were struggling? Were any of the conflicts solved? Explain. 3.) Were the events believable? Why/Why not? You may wish to give examples of both. 4.) Did the events seem to happen to the characters, or did the characters themselves bring about the events? Explain, using examples. 5.) If you could extend the ending of the story, what do you predict would happen? Why?

SETTING—The time and place of the story 6.) How does the author use descriptive language

to help you experience the world of the story? Find examples. 7.) How important was the setting to the story? How did it influence the characters’ lives? 8.) How does the author use the setting of the story to convey moods or feelings, such as gloominess, happiness, sadness, or hope? Find examples.

CHARACTER—The people 9.) Who were the main characters in the story? Who were

the minor characters in the story? 10.) Which character did you identify with in the story? Why? If you didn’t identify with any character explain why not. 11.) Which of the character (s) in the story seemed most/least interesting? Why? 12.) Did you change your opinion of any of the characters? Which ones? Why? 13.) Did any character (s) experience an epiphany? Explain.

THEME—The overall message of the story—the bigger picture

14.) Did the ideas or situations in the story remind you of anything else that you have read or experienced? Explain. 15.) Did any of the characters make discoveries about themselves or others? Explain. 16.) What message or theme do you think the author wanted you to find in the story? 17.) Explain the title of the story. Did it reflect a theme? Explain. What do you think would make a good title for this story? Explain.

NARRATION AND POINT OF VIEW—The person who tells the story

18.) Who was the narrator of the story? How does the narrator help you to enter the world of the story? 19.) How much did the narrator influence how you felt about the characters and events? 20.) How might this story be different if another narrator had been chosen to tell it? Choose a different narrator and describe a short scene using that character’s point of view. 21.) Did anything about the narrator remind you of yourself or anyone you know? Give some examples

AUTHOR’S CRAFT—The author’s techniques and style 22.) How did the author create images in your mind of people, places, things, feelings, or moods? 23.) How did the author get you interested in what happened to the characters? 24.) Was there much dialogue in the story? How did the use of dialogue affect the way you felt about the characters? 25.) Did you like the author’s style of writing? Why or why not?

Literary Genres:Literary Genres: Fiction Fiction "By inventing, developing, and amassing descriptive details, works of fiction create the illusion of full,

authentic, and realistic reports of human experience" ().

AntagonistCharacterization Dynamic Flat Round StaticConflictEpiphanyIrony Dramatic Situational VerbalPlot Exposition Rising Action Climax Falling Action DenouementPoint of View First-Person Limited Omniscient OmniscientProtagonistSettingThemeTone

PoetryPoetry

"Critics often describe poetry as 'heightened language,' meaning that the poet strives for precision and richness in the words he or she uses" ().

Figurative Language Simile Metaphor Personification AllusionMusic of Poetry Rhyme Alliteration RhythmSymbol Contextual Public Types Ballad Carpe Diem Elegy Pastoral Sonnet VillanelleWord Choice/Diction Connotation

DramaDrama

"Drama is fundamentally different from other literary forms. [. . .] By their nature, plays are more spectacular than poems or works of fiction. [. . .] they are designed to show, not tell [. . . ]" ()

Characters Antagonist Characterization Dialogue Protagonist SoliloquyConflictDramatic IronyPlot Stages and Staging

EssaysEssays

"Essays differ from fiction in that they generally do not create imaginary worlds inhabited by fictional characters. [. . .] Usually, the essay is relatively short, and it almost always embodies the writer's personal viewpoint" ().

Argumentative EssaysDescriptive EssaysExpository EssaysNarrative EssaysStructure and DetailStyle and ToneThesis

Critical Approaches Important in the Critical Approaches Important in the Study of Literature:Study of Literature:

Deconstruction:

This critical approach looks at opposition, ambivalence, and contradictions. It arose as a rejection of the formalist approach and its assumptions of authorial control and conscious design. According to this approach, language is, by its very nature, "shifting and unstable" which makes the act of interpretation incomplete and even misleading ().

Ethical Criticism: This critical approach extends beyond the

academic and aesthetic worlds and into the larger realm of ethics and moral judgments. Looking at a literary work using this approach means searching for a broader lesson or message about good or bad behavior. At times, ethical criticism can be grounds for censorship ().

Feminist Criticism: This critical approach looks at literature as one

way that a patriarchal society keeps women subordinate to men. It examines the way that women have been minimized or stereotyped in literature and seeks a more balanced approach. The feminist critical movement has uncovered and promoted the work of women writers in order to broaden the literary canon and therefore reflect the full range of human experience ().

Formalist Criticism: This critical approach stands in opposition

to the reader-response approach and to the ethical approach because literature is viewed as a formal work of art independent of a particular reader and is important for its aesthetics, not for the lessons it may teach. The author is a successful artist if the literary work is "rich, unified," and universal ().

Marxist Criticism: This critical approach arises from the doctrines of

Karl Marx () and looks at literature as one particular human activity that can reflect power relations and economic class divisions, whether knowingly or unknowingly . Literature can also serve as a means to expose oppression and exploitation and bring about enlightenment and even revolution. Unlike the formalist approach, the political and economic message is more important than the aesthetic structure).

New Historical Criticism: This critical approach is "new" because it

moves beyond the old concept of history as zeitgeist or "spirit of the times" and seeks to broaden the connection between history and other disciplines. Without a thorough knowledge of the relationship between a literary work and its historical context, real knowledge and interpretation is incomplete.

Psychoanalytic Criticism: There are several approaches contained within this critical

approach. Freud viewed the self as divided into the id (unconscious, aggressive, primal, erotic urges), the ego (the self), and the superego (similar to what you might define as a conscience). Characters in a literary work struggle to control the primal urges while fulfilling social obligations. The Oedipus complex perhaps one of the most famous examples. Carl Jung, a post-Freudian, argued for a collective unconscious and the idea of archetypes or original patterns that appear and reappear in literature. Some examples include the search for the father (or parent figure), death and resurrection, the quest, and the double (). Overall, this critical approach looks at the hidden and unconscious motives behind behavior.

Reader-Response Criticism: This critical approach views the reader as a necessary and

equal component in the act of literary interpretation. The relationship between an author, a literary work, and a reader is a dynamic and transactional one. As opposed to other critical approaches, this one is highly subjective and looks at all of the factors that account for readers' differing experiences and interpretations of a literary work such as gender, age, previous knowledge, ethnic/racial background, etc. The journal response questions you use in this course (developed from Robert Probst) are connected to this critical approach ().

Emphasis On Rhetoric And Composition

Education

toni cade

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wicked wicked

central characters

final research

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critical approaches

critical approach