Week 14: April 18-22

MONDAY, APR. 18
Oral presentations by Cayla, Alyssa, Anna, Eva, Kevin, and Sehr. Open this Google doc and follow the links for peer assessment surveys after each presentation.

Writing

  • Blog post #5 (about Kaling, 11-20, 85-96, 99-103, & 140-3) due by 9pm on Tues., Apr. 19 (moved from Apr. 5 on original syllabus)

WEDNESDAY, APR. 20
Reading


FRIDAY, APR. 22
Reading

Writing

  • Bring the two essays you will include in your final portfolio, along with three concrete revision and expansion ideas for each.

In class

Week 13: April 11-15

MONDAY, APR. 11
Oral presentations by Tai, Annabel, Keiyitho, and Julia. Open this Google doc and follow the links for peer assessment surveys after each presentation.


WEDNESDAY, APR. 13
Oral presentations by Alva, Jordan, Emma, Allison, Tom, and Sophie. Open this Google doc and follow the links for peer assessment surveys after each presentation.


FRIDAY, APR. 15
No class – Conference #2 with instructor replaces today’s class. Conferences will be held next week, April 18-22.

Week 12: April 4-8

MONDAY, APR. 4
Reading

  • Angelou, I Know Why the Caged Bird Sings, 120-68 (chs 18-22)
  • Wysocki & Lynch, Compose, Design, Advocate, 197-211 & 232 (online course reserves)

In class

Writing

  • Note: Blog post #5 moved to Tues., Apr. 19

WEDNESDAY, APR. 6
Reading

  • Angelou, I Know Why the Caged Bird Sings, 169-225 (chs 23-9)

FRIDAY, APR. 8
Reading

  • Angelou, I Know Why the Caged Bird Sings, 226-89 (chs 30-6)

Writing

Week 11: March 28-April 1

MONDAY, MAR. 28
Reading

  • Angelou, I Know Why the Caged Bird Sings, 1-60 (chs 1-9)

In class


WEDNESDAY, MAR. 30
Reading

  • Angelou, I Know Why the Caged Bird Sings, 61-119 (chs 10-17)

Writing

  • In a hard copy, bring your outline of three to five sub-points that you made in class on Monday. Along with the outline, choose one section/sub-point and type up at least one relevant quotation from your primary source and at least one quotation from one of your secondary sources that relates to the quotation from your primary source. It might be best to choose quotations for your least well-developed section since the class activity should help you work out your argument in relation to these quotations.

In class


FRIDAY, APR. 1
Reading

  • No reading

Writing

  • Draft of researched rhetorical analysis due in class for peer review. Bring three hard copies to class. The draft should be three full pages in length and should cite all sources at least once.

In class

Week 10: March 21-25

MONDAY, MAR. 21
Reading

  • Farrar, “Evidence,” 245-6
  • Greene, “Argument as Conversation,” 9-19
  • Losh et al., “Deciding Which Sources to Trust,” 195-7
    (all on online course reserves)

In class / Resources for research


WEDNESDAY, MAR. 23
Reading

  • Graff & Birkenstein, They Say / I Say (2nd ed.), 55-67, 68-77, & 92-101 (chs 4, 5, & 7) (online course reserves)

Writing

  • Researched rhetorical analysis: Draft of proposal and list of three sources (not yet fully annotated) due in class. Bring two hard copies to class.

In class / Resources for research

  • Peer editing workshop: Researched rhetorical analysis and preliminary bibliography
  • A guide to writing an annotated bibliography, along with some examples, from the Purdue OWL

FRIDAY, MAR. 25
Reading

  • No reading

Writing

In class

  • Workshop on library resources for research projects (meet in Woodruff Library, Rm 312)

Week 9: March 14-18

MONDAY, MAR. 14
Reading

  • Jacobs, Incidents in the Life of a Slave Girl, 5-6, 11-57 (“Preface” & chs 1-6) (online course reserves)

Writing

  • Blog post #4 (about Jacobs, 58-66, 82-9, 145-78) due by 9pm on Tues., Mar. 15

WEDNESDAY, MAR. 16
Reading

  • Jacobs, Incidents in the Life of a Slave Girl, 58-66, 82-9, & 145-78 (chs 7, 10, & 17-21) (online course reserves)

FRIDAY, MAR. 18
Reading

  • Jacobs, Incidents in the Life of a Slave Girl, 224-48, 264-7, & 285-303) (chs 29-31, 35, & 40-1 (online course reserves)

In class

Writing

Week 8: February 29-March 4

MONDAY, FEB. 29
Reading

  • Brosh, Hyperbole and a Half, 181-286 (“Dogs Don’t Understand Basic Concepts Like Moving” through “Thoughts and Feelings”)

Writing

  • During class on Feb. 29, Mar. 2, and/or Mar. 4, we will finalize the grading criteria for the visual memoir. Since this is a non-traditional composition, as a group we will determine the grading criteria together. I’ve created a Google Form to record your suggestions in each of the usual categories I use for grading criteria: rhetorical choices, writing, and development. There is a place for you to suggest the basic requirements for the assignment and a final category where you can suggest any grading criteria that do not fit into one of the earlier categories. This is the link to the Google Form: http://goo.gl/forms/DUUXjvROp9. By 5pm on Sunday, February 28, please submit a few suggestions for criteria that you consider important for grading a visual memoir.

In class


WEDNESDAY, MAR. 2
Reading

  • Brosh, Hyperbole and a Half, 287-369 (“Dogs’ Guide to Understanding Basic Concepts” through end)

In class


FRIDAY, MAR. 4
Reading

  • No reading

Writing

In class

  • Peer editing workshop: Visual memoir. Bring two hard copies of the outline required for the draft. You can bring your six required sketches (these can be basic) digitally, and then submit them to me via email. If you draw them by hand, you will need to submit a copy of them to me either on paper or as photos via email.
  • Guide for peer review

Week 7: February 22-26

MONDAY, FEB. 22
Reading

  • Brosh, Hyperbole and a Half, 1-98 (“Warning Signs” through “The Helper Dog Is an Asshole”)

In class


WEDNESDAY, FEB. 24
Reading

  • Brosh, Hyperbole and a Half, 99-180 (“Depression Part One” through “Lost in the Woods”)
  • Wysocki & Lynch, Compose, Design, Advocate, 237-8, 240-2, 244-64, 266-7, & 280-1 (online course reserves)

In class

  • Infographic on colors & emotions

Color_Emotion_Guide22


FRIDAY, FEB. 26
No class – Conference #1 with instructor

Writing

  • During class on Feb. 29, Mar. 2, and/or Mar. 4, we will finalize the grading criteria for the visual memoir. Since this is a non-traditional composition, as a group we will determine the grading criteria together. I’ve created a Google Form to record your suggestions in each of the usual categories I use for grading criteria: rhetorical choices, writing, and development. There is a place for you to suggest the basic requirements for the assignment and a final category where you can suggest any grading criteria that do not fit into one of the earlier categories. This is the link to the Google Form: http://goo.gl/forms/DUUXjvROp9. By 5pm on Sunday, February 28, please submit a few suggestions for criteria that you consider important for grading a visual memoir.

Week 6: February 15-19

MONDAY, FEB. 15
Reading

  • The Book of Margery Kempe, 33-67 (proem, preface, & chs 1-14)
  • Pianko, “Reflection: A Critical Component of the Composing Process,” 275-8 (online course reserves)

Writing

  • Blog post #3 (about Margery Kempe, 67-109, 122-7) due by 9pm on Tues., Feb. 16

WEDNESDAY, FEB. 17
Reading

  • The Book of Margery Kempe, 67-109 & 122-7 (chs 15-29 & 35-6)

FRIDAY, FEB. 19
Reading

  • The Book of Margery Kempe, 176-85, 193-201, & 247-61 (chs 56-9, 63-6, & 85-9)

Writing