The course schedule may be modified slightly during the semester. Check here and on the Weekly Updates page for changes. I will inform you during class of any changes to the reading and writing requirements. Informal writing assignments may be added during the semester.
| Date | Reading | Writing |
|---|---|---|
| Week 1: January 13-15 | ||
| Wed., Jan. 13 | Introduction to the course | |
| Fri., Jan. 15 | • The Passion of Sts Perpetua and Felicity (available via Medieval Sourcebook) • Russ, "What Can a Heroine Do? or Why Women Can't Write," 79-93 (online course reserves) | |
| Week 2: January 18-22 | ||
| Mon., Jan. 18 | No class – MLK Day | |
| Wed., Jan. 20 | • The Life of Hildegard, 135-6, 155-60, 193-5, & 205-8 • Woolf, "Chapter 5," A Room of One's Own, 78-93 (both on online course reserves) | |
| Fri. Jan. 22 | Three visual narratives of the life of St Margaret of Antioch (available here on our course website) Three short articles about social media: • Burge, "Overblown Facebook personas can leave friends deflated," The Washington Post, 30 September 2014 • Garner, "The Curated Self: How Social Media Creates the 'Virtual Self,'" The Wall Blog, 10 May 2012 • Tokumitsu, "The Politics of the Curation Craze," New Republic, 24 August 2015 | Domain registration and blog post #1 (about Satrapi, 3-32) due by 9pm on Sun., Jan. 24 |
| Week 3: January 25-29 | ||
| Mon., Jan. 25 | • Satrapi, Persepolis, 3-32 ("The Veil" through "Persepolis") • Lamott, "Shitty First Drafts," 527-31 (online course reserves) | |
| Wed., Jan. 27 | Satrapi, Persepolis, 33-102 ("The Letter" through "The Key") | |
| Fri., Jan. 29 | No reading. Peer editing workshop: Social media biography | Draft of social media biography due in class for peer review |
| Week 4: February 1-5 | ||
| Mon., Feb. 1 | • Satrapi, Persepolis, 103-34 ("The Wine" through "Kim Wilde") • Murray, "The Maker's Eye: Revising Your Own Manuscripts," 56-60 (online course reserves) | Blog post #2 (about Satrapi, 135-72) due by 9pm on Tues., Feb. 2 |
| Wed., Feb. 3 | Satrapi, Persepolis, 135-72 ("The Shabbat" through "Tyrol") | |
| Fri., Feb. 5 | Satrapi, Persepolis, 173-206 ("Pasta" through "The Horse") | Social media biography due by 7pm on Fri., Feb. 5 via email |
| Week 5: February 8-12 | ||
| Mon., Feb. 8 | • Satrapi, Persepolis, 207-98 ("Hide and Seek" through "The Convocation") • Bérubé, "Analyze, Don't Summarize," 318-22 (online course reserves) | |
| Wed., Feb. 10 | • Satrapi, Persepolis, 299-341 ("The Socks" through the end) • "Rhetorical Analysis," in Everything's an Argument, 114-9 (online course reserves) | |
| Fri., Feb. 12 | No reading. Peer editing workshop: Visual rhetorical analysis | Draft of visual rhetorical analysis due in class for peer review |
| Week 6: February 15-19 | ||
| Mon., Feb. 15 | • 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) | Blog post #3 (about Margery Kempe, 67-109, 122-7) due by 9pm on Tues., Feb. 16 |
| Wed., Feb. 17 | The Book of Margery Kempe, 67-109 & 122-7 (chs 15-29 & 35-6) | |
| Fri., Feb. 19 | The Book of Margery Kempe, 176-85, 193-201, & 247-61 (chs 56-9, 63-6, & 85-9) | Visual rhetorical analysis due by 7pm on Fri., Feb. 19 via email |
| Week 7: February 22-26 | ||
| Mon., Feb. 22 | Brosh, Hyperbole and a Half, 1-98 ("Warning Signs" through "The Helper Dog Is an Asshole") | |
| Wed., Feb. 24 | • 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) | |
| Fri., Feb. 26 | No class – Conference #1 with instructor | |
| Week 8: February 29-March 4 | ||
| Mon., Feb. 29 | Brosh, Hyperbole and a Half, 181-286 ("Dogs Don't Understand Basic Concepts Like Moving" through "Thoughts and Feelings") | |
| Wed., Mar. 2 | Brosh, Hyperbole and a Half, 287-369 ("Dogs' Guide to Understanding Basic Concepts" through end) | |
| Fri., Mar. 4 | No reading. Peer editing workshop: Visual memoir | Draft of visual memoir due in class for peer review |
| Mar. 7-11 | No class – Spring Break | |
| Week 9: March 14-18 | ||
| Mon., Mar. 14 | Jacobs, Incidents in the Life of a Slave Girl, 5-6, 11-57 ("Preface" & chs 1-6) (online course reserves) | Blog post #4 (about Jacobs, 58-66, 82-9, 145-78) due by 9pm on Tues., Mar. 15 |
| Wed., Mar. 16 | Jacobs, Incidents in the Life of a Slave Girl, 58-66, 82-9, & 145-78 (chs 7, 10, & 17-21) (online course reserves) | |
| Fri., Mar. 18 | Jacobs, Incidents in the Life of a Slave Girl, 224-48, 264-7, & 285-303) (chs 29-31, 35, & 40-1 (online course reserves) | Visual memoir due by 7pm on Fri., Mar. 18 via email |
| Week 10: March 21-25 | ||
| Mon., Mar. 21 | • 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) | |
| Wed., Mar. 23 | Graff & Birkenstein, They Say / I Say (2nd ed.), 55-67, 68-77, & 92-101 (chs 4, 5, & 7) (online course reserves) Peer editing workshop: Researched rhetorical analysis and annotated bibliography | Researched rhetorical analysis: Draft of proposal and list of three sources (not yet fully annotated) due in class |
| Fri., Mar. 25 | No reading. Workshop on library resources for research projects (meet in Woodruff Library, Rm 312) | Researched rhetorical analysis: Proposal and annotated bibliography with three sources due by 3pm on Sat., Mar. 26 via email |
| Week 11: March 28-April 1 | ||
| Mon., Mar. 28 | Angelou, I Know Why the Caged Bird Sings, 1-60 (chs 1-9) | |
| Wed., Mar. 30 | Angelou, I Know Why the Caged Bird Sings, 61-119 (chs 10-17) | |
| Fri., Apr. 1 | No reading. Peer editing workshop: Researched rhetorical analysis | Draft of researched rhetorical analysis due in class for peer review |
| Week 12: April 4-8 | ||
| Mon., Apr. 4 | • Angelou, I Know Why the Caged Bird Sings, 120-68 (chs 18-22) • Wysocki & Lynch, Compose, Design, Advocate, 197-211 & 232 (online course reserves) | Blog post #5 moved to Apr. 19 |
| Wed., Apr. 6 | Angelou, I Know Why the Caged Bird Sings, 169-225 (chs 23-9) | |
| Fri., Apr. 8 | Angelou, I Know Why the Caged Bird Sings, 226-89 (chs 30-6) | Researched rhetorical analysis due by 7pm on Fri., Apr. 8 via email |
| Week 13: April 11-15 | ||
| Mon., Apr. 11 | Oral presentations | |
| Wed., Apr. 13 | Oral presentations | |
| Fri., Apr. 15 | No class – Conference #2 with instructor | |
| Week 14: April 18-22 | ||
| Mon., Apr. 18 | Oral presentations | 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) |
| Wed., Apr. 20 | Mindy Kaling, Is Everyone Hanging Out Without Me?, 11-20, 85-96, 99-103, & 140-3 (online course reserves) | |
| Fri., Apr. 22 | Losh et al., "Rethinking Revision," 217-44 (online course reserves) Peer editing workshop: Final portfolio revisions | Bring the two essays you will include in your final portfolio, along with three concrete revision and expansion ideas for each. |
| Week 15: April 25 | ||
| Mon., Apr. 25 | Swartzendruber-Putnam, "Written Reflection: Creating Better Thinkers, Better Writers," 88-93 (online course reserves) Peer editing workshop: Reflective letter | Draft of reflective letter due in class for peer review |
| Wed., May 4 | Final portfolio due by 5pm | |
Important dates for Spring 2016
| Date | Event |
|---|---|
| January 12 | Classes begin |
| January 18 | MLK Day, no classes |
| January 19 | End of Add/Drop/Swap |
| March 4 | Partial withdrawal deadline (without penalty) |
| March 7-11 | Spring Break, no classes |
| April 1 | One-time partial withdrawal deadline |
| April 25 | Classes end |
| April 28-May 4 | Exam period |
