Intro to Writing
(and some things about rhetoric)
Time: Monday, Wednesday and Friday 8:00 – 8:50
Location: LA 125
Time: Monday, Wednesday and Friday 9:00 – 9:50
Location: ME 122
Time: Monday, Wednesday and Friday 10:00 – 10:50
Location: CB 417
Instructor: Fish W.W. Burton
Email: firstname.lastname@example.org (but I prefer messages on Canvas)
Office Times: (email me to schedule an appointment)
Office Location: CB 403
Description: Per the UVU catalog: English 1010 teaches rhetorical knowledge and skills, focusing on critical reading, writing, and thinking. English 1010 introduces writing for specific academic audiences and situations. English 1010 emphasizes writing as a process through multiple drafts and revisions. The course may include major essay assignments, writing and collaboration, research writing, journals, and portfolios.
Outcomes: According to the UVU Writing Department: Upon successful completion of English 1010, students should be able to: Demonstrate rhetorical awareness of audience, purpose, context, and genre in written and oral forums (papers and class discussion). Demonstrate critical reading, writing, and thinking skills, learning to inquire into issues and problems, explore and interrogate multiple perspectives, negotiate meanings across a diverse array of positions, and problematize oversimplifications. Demonstrate use of process as an integral component of college-level writing. Demonstrate knowledge of conventions of academic writing and research. Craft well-reasoned written and oral arguments derived from personal and public inquiry. Demonstrate the ability to complicate problematic, clichéd notions of interpretation and articulation.
Communication: I prefer messages on canvas, but you can communicate with me via email or canvas. I will try to respond within 48 hours. You will receive all the comments I make on your assignments through canvas. If you email me with private questions, I will assume that your email is private enough to be in line with any student federal privacy regulations (such as FERPA). If this is not the case, please let me know so I can respect you and your privacy, and so we can find a secure means of communication. If you have any issues with the class, please speak to me. I promise that I want to change and will listen to any feedback that you have. I want to be a respectful, helpful, kind (is this starting to sound like the Boy Scouts motto?) and courteous teacher.
Etiquette: Don't be a jerk. Also, I don't care if you use electronics in class; in fact, I encourage it, because there are so many resources that can help you through and with learning, and our electronics are such a part of our diurnal discussions that it would be silly for me to try and stop you. Of course, if you use them as a distraction, then you are, as far as I see it, just throwing your college money in the trash, and i’m not going to stop you from doing that either. Also, I don’t care if you eat food in class. In fact, I’ve always fantasized (yes, this is a confession) that students will suddenly rebel against the system and organize their own food schedule (despite, and without approval from, the instructor) because they want to learn and learn comfortably (i.e. gnoshing on foods and snacks of great variety and refinement)), but this is just a fantasy (fantasy: imagining things that are impossible or, at best, improbable (yes, I am challenging you)).
Content: Being in college (being human) means you will have to deal with some heavy/tough stuff. If any objectionable content is presented in class, you are welcome (even encouraged) to express yourself in class or with me privately. That all said, I will be as conscious and respectful as I can.
Attendance: My policy is this: I don't care. When you signed up for college, you paid (are paying) for it, and if you want to be absent from class, then that is on you to waste (or spend) your money how you like (I haven't done the math, but you might want to figure out (based on tuition and a multitude of other things you are paying for (rent, food, etc.)) how much you are paying for each class period, and how much you are losing each time you decide to skip class). At any rate, I also believe in natural consequences. If you miss class, you will miss the crucial information and discussions that really can't be replicated and are provided in order to help you accomplish the learning tasks of the class. You can use electronics as much as you need in the class, but if you use them so much that you aren't paying attention, then you are functionally absent, and all the things I have said above about being absent applies in this case as well.
Makeup: I inevitably have students ask me how they can make up work, either because they've planned something else or because they didn't expect something else to happen. If you have a university excused absence, then I will help you catch up. If you just miss class, I will not hold private lessons for you to personally catch up. Again, you are paying for my expertise at a specifically scheduled time that we all mutually signed up for. I hope you will understand—early—that my classes are not lectures that can just be read or understood at your leisure (with some powerpoint, handout or another). I don't teach like that, so if you miss class you miss something that can't be replicated.
Canvas (uvu.instructure.com): This is the platform that you will be using to turn in your freewrites, drafts, and the links to your final assignments (after you have posted them on medium). I recommend that you download the app on your devices. You should already have an account created for you by the university. If you try going to canvas through canvas.com or something like that, then you will likely get confused, so just stick with the link at the beginning of this paragraph. You can send me messages on this platform, and you can turn in assignments under the assignments section.
Medium (medium.com): This is the platform that you will be using to turn in your final drafts and your out-of-class medium posts and out-of-class comments. At the beginning of the semester, you will create an account (if you don't already have one). Also, I have so many students ask (for whatever reason) how I will know if they have done the posts and comments assignment. Don’t worry about me finding you. I have you turn in your assignments as links, so it’s rather easy to find them (I just need to click). I would also recommend getting to know the platform and how it works: "Welcome to Medium."
Style: Since all of your final assignments will be turned in on medium, I want to mention that you should adopt the style, the documentation and the citation practices of the platform. In all other ways you should default to the Chicago Manual of Style (chicagomanualofstyle.org). In other words, please, whatever you do, don’t make your assignments on Medium look like assignments for a class. Don't title them "Best Piece of Writing" or "Rhetorical Analysis." Those are bad titles in any place, and people won't read your articles if you title them like that (and don't worry about me knowing which assignment is which; if you turn them in on canvas in the right way, then I will know exactly which assignment it is). Also, I would recommend looking into unsplash.com; it’s a great resource for free high-resolution photos that you can use in your Medium posts and major assignments.
Audience: There are a lot of things that I can’t teach you, only because these learning experiences come by way of sociality and serendipity. In order to encourage pedagogical serendipity, I want you to create an audience on Medium. I want you to write everything you write to that audience, or at least try to find them as you write. An audience is not a given, you have to imagine it and then do what you can to appeal to it.
Syllabus: I have many students ask me questions that are on the syllabus. If you ask a question that can be answered by reading the syllabus, then I will likely ask you if you read the syllabus or point you to the section that has your answer. I know it’s a big syllabus, which is why I recommend using the search function on your given device; each device is different, but every mainstream browser has the function built in (e.g. on Mac you can press cmd + f, or in Safari for iOS you can tap the share sheet and scroll over to the "Find on Page" option).
Reading: Do the reading for my class before you do the reading for any other classes (every college professor says this, or at least wants to say this, by the way). I recognize that reading for a class is difficult, so let me tell you my thoughts on why I encourage you to do the reading before each class (and why I ultimately assign these readings). They are there to help prepare you for the discussions. If you don’t do the reading, then the conversations in class won’t benefit you in the same way, or, at the very least, you won’t have an example or text to draw from or base our theoretical discussions on. The readings from the mindful writing book are intended as supplemental reading, but I do hope that what you learn and take from these readings will add to your ability to participate in the discussions, and add to your curiosity toward investigating the variety of terms and ideas we visit throughout the semester.
Everyone’s an Author, 2nd Edition / ISBN: 9780393265293
Structure, Sign and Play by Jacque Derrida
Beowulf by …
A Sign in Space by Italo Calvino
The World of Wrestling by Roland Barthes
The Typography of Stranger Things by Sarah Gless
The Good, Racist People by Ta-Nehisi Coates
I Have a Dream by Martin Luther King Jr.
Why I Am Teaching a Course Called "Wasting Time on the Internet" by Kenneth Goldsmith
Why Were Confederate Monuments Built? by Miles Park
The Philosophy of Bill Murray by Wisecrack
Joyas Voladoras by Brian Doyle
Leap by Brian Doyle
Notes of a Native Son by James Baldwin
Consider the Lobster by David Foster Wallace
A Walk in the Pink Moccasins by Carol Lynn Pearson
A Plea for Captain John Brown by Henry David Throreau
Resistance to Civil Government by Henry David Throreau
Let Justice Roll Down by Martin Luther King Jr.
White Debt by Eula Biss
The Case for Reparations by Ta-Nehisi Coates
Objectified by Gary Hustwit
Popcorn Explosion with Mr Let’s Paint by Mr Let’s Paint
Let’s Paint, Bicycle & Blend TV by Mr Let’s Paint
The Death of the Author by Roland Barthes
“I Spent a Month Reading Print News” by … (nytimes)
Xenotext by Christian Bök
Pierre Menard by Jorge Luis Borges
Art in the Age of Mechanical Reproduction by Roland Barthes
Postmodern Essay Generator by …
Tender Buttons by Gertrude Stein
The Treachery of Images by Rene Magritte
One and Three Chairs by Joseph Kosuth
From “DRIFT” by Caroline Bergvall
Cremation Project by John Baldesari
Fur-Lined Teacup by …
Obey by Shepherd Fairey
The Artist Is Present by Marina Abramovic
The Fountain by Marcel Duchamp
The Next Rembrandt by …
Untitled (Chalkboard) by Cy Twombly
Chair by David Hockney chair
Student Hall of Fame:
#nofilterfeminismisdangerous by Ellie Israelsen (Stasis Interrogation)
Chaos and Anarchy in The Dark Knight by Charles Hirst (Stasis Interrogation)
What Values Do We Carry in Our Holsters? by James Robinson (Stasis Interrogation)
Mormons & Me by Dani Christlieb (Discourse Community Analysis)
Overcoming Stereotypes within Our Communities by James Kimmel (Discourse Community Analysis)
Why Keep Trying when Hard Work Doesn’t Pay Off? by Mallory Stoker
youtube rewind 2018 by neils topham
Happiness! Something That All of Us Want by Mallory Adams
Assignments: All of the major assignments are required: Summary and Review, Rhetorical Analysis, Discourse Community Analysis, Stasis Interrogation, and the Final Writing Reflection. If you don’t complete them, then the department requires me to automatically fail you; just a heads up. Please do what the title of the assignment says. The lessons should help you get a better idea of what that means. If the assignment is to write a Summary and Review, make sure that you are summarizing and reviewing. If you are asked to write a Rhetorical Analysis, make sure that you are analyzing the rhetoric. etc. etc.
Deadlines: I’m not going to deduct points if you turn in things late. In other words, there are only suggested deadlines, but there are no hard deadlines (but you should convince yourself that there actually are deadlines, and if you can’t do that then tell yourself there are “deadlines” (but then learn how to treat things in scare-quotes seriously (I don’t care how you learn how to believe things (actually, no, i’m fascinated by that)))), and you can turn assignments in whenever you like. But there is such a thing as assignments stacking up so much that you never recover and ultimately fail the class because you've left yourself with too much to chew on and too little time to swallow or digest (let alone write). And since there are no deadlines, there are, I suppose, no lifelines either (you can turn in an assignment early (though why get ahead of the lectures unless you plan on implementing what you learn after the fact (in which case i personally wouldn't do it early)). In other words, if you do something early, you will miss out on the opportunity to implement what you are learning in class. I have a schedule with suggested deadlines. If you stick to those suggested deadlines, then you will do great. If you don't, then I don't know how you will do. But, again, the core assignments must be completed or I have to fail you.
Submissions: All your assignments will be submitted on Canvas. When you click on an assignment you will be given two options: one, paste some text; or, two, submit a link. If it asks you to submit a link, this will be a link to your Medium account or one of your Medium articles. The assignment descriptions on this syllabus (below) should make it clear on how to submit the assignment. If you submit any assignments in the wrong way, then I will ask you to revise and resubmit the assignment.
Feedback: As the semester comes to a close, I am buried in papers, and suddenly everyone wants feedback on all of their papers all at once. This is one unfortunate setback to how I’ve set up the class, and so I say that I will give limited feedback during the last section of the class (i.e. I probably won’t give you feedback during the last section of the semester at all). If you want feedback on papers, do them earlier rather than later.
Drafts: I give you points for doing drafting for the five main assignments. You may not be used to this approach (most students binge write (I know, mostly, because that’s what I did as an undergraduate, and because students always make that confession at the end of the semester)), but I want you to try drafting out. Again, if you can convince me that you don’t need to do this, or that you know better, or have found a better way, then please dialogue with me. I am open to better suggestions, and if you happen to find a better way to structure the course, then I will completely re-structure my course, because I want to do what is best for students of writing. Also, I don't give comments on drafts unless you ask me specific questions. If you don’t understand the paper, you have no one to blame but yourself, only because I give my students ample lectures and many opportunities to ask questions (at the beginning of every class period), and if you miss class and neglect to ask questions, then there is not much I can do to help you.
Grading: Please write for people, not for a grade. I will try to grade you as best as I can (yes, grading is subjective, but most things are (I honestly have yet to meet someone who successfully leaves the body into a true objective essence that pervades the universe, but if you know, personally, anyone like this, then please let me know). I’ll just say this: I am more concerned with your effort than your performance (though performance necessarily seems to be a part of performance). If you come to class, participate, practice what we discuss, and work hard on your final papers, then you will do great in the class. Also, I sort of despise people who care more about their grades than they do their learning (although I understand how our school system encourages this kind of mentality). You will get a better grade in my class if you focus on learning and improving your writing skills. That's what you are paying for, and it is rather odd that I have to train people to get what they are paying for. Also, if you feel that you were given an unfair grade, then you are always welcome to challenge the grade in an academic manner (or explain yourself, or tell me why you believe that I gave the wrong grade). To be clear, I give you the option of doing this in order to enter into an academic conversation with me, not as a means to allow for fighting or responding with ire.
Grades: If you ask me what your grade is, I will just point you to Canvas where all your grades are. If there are grades missing, then I haven't graded them, and I can't tell you what your grade is on assignments I haven't yet graded. My assignments all add up to a thousand points, nothing is weighted, there are no curve balls, so I've made the math simple for you (and me).
Texts, Topics, Media and Substrates: Over the years of teaching this course, I have come to realize that students have difficulty in believing me when I say they can pick their own texts, topics, media and substrates for the respective major assignments. I really mean it (and I honestly enjoy the risk-takers; I reward those who take thoughtful and intentional risks). If you want to write a Rhetorical Analysis on mountains (mountains as “text”), by all means, please. If you want to write on permaculture (permaculture as “topic”), then you can. If you want to make street art for your multimodal project (spray-paint as media and wall as substrate), then you certainly can take that risk (but I’m not condoning doing anything illegal (but I do condone an opinion editorial ripping into the discrepancies between legality and morality)). In the first few days of the course, we will talk about literacy, language, etc. These discussions will help you expand your view of what “texts,” “topics,” “media” and “substrates” are. I would encourage you to picks “texts” that will benefit you, and ones that you want to gain literacy in. For example, if you are a finance major, then I would recommend picking finance “texts.” If you are studying microbiomes, then pick “texts” that are or have to do with microbiomes. These assignments are not only there to teach you the basic principles of rhetoric and writing, but can also benefit you by teaching you the basic principles of rhetoric and writing within your own chosen field. I will caution against getting too abstract with the idea of “texts” in this class, only because the base assumption I have of students in this class is that they are beginning. Again, you can take the idea of “texts” to their limits, but there are reasons that only the most seasoned poets peer over the ledges, bushes or buildings.
Best Writing / 25 points / any word count / posted on Medium then submitted on Canvas / Find the best piece of writing that you have, post it on Medium, and then submit the link to the article on Canvas. Don’t post it to Medium with the title “My Best Piece of Writing;” that is a boring title, and no one will read it (also, consider adding pictures to your articles; that will up your chances of getting readers (or so i hear)). I don’t care what it is, or how long it is, just as long as it contains language and you genuinely feel that it is your best piece of writing (so, yes, it can be a poem if you so choose). The only thing I don’t want from this assignment is for it to look like a school assignment. Try to make it look as much like a Medium article as you can. If you "have" nothing, then you need to write something as best as you can and then claim that as the best writing that you have. A note on the pedagogical reasons for this assignment: this is a diagnostic piece of writing that you and I will use to know what you're best is in order to help you become better than your best. I suppose you could cheat yourself by sending me something of lesser quality, but why would you want to cut your education short like that?
In-Class Freewrites / 100 points / any word count / messaged on canvas / At the beginning of class, you will write non-stop for a few minutes. There are two rules for this assignment. First, put the subject of the Canvas message as "freewrite" or "free write.” Please put this as the subject so I don’t confuse these with other messages you might be sending me. The second rule is “dont’ stop writing.” If you can’t think of anything to type besides “Taco Bell,” then just write that over and over again. And if you can’t even think of words, then just bang on the keyboard until you can think of words. Please don’t send me freewrites for days that you are not present, I will just delete them. These freewrites are important as an opportunity for play and experimentation. I want you to be as playful and experimental and crazy as you can get with language. Try misspelling everything. Try thinking faster than you are typing. Try typing with your elbows, etc., etc., etc.
Out-of-Class Posts on Medium / 100 points / 250 words minimum / posted on Medium and submitted on Canvas / The way to submit this assignment is rather simple: copy the link to your Medium account and paste it in the respective assignment on Canvas. As far as accomplishing or doing the assignment, that will take a little more work. Before each class (or whenever you like, since there are only suggested deadlines) you should write an original Medium post. You can write on whatever you like. I would recommend writing on something that you are interested or something associated with your major, but you can write on anything you like. These posts are a good opportunity for you to practice and implement what you are learning in class. I have added numbers on the schedule (at the suggestion of a student) to help you know how to pace yourself. Again, there is no such thing as late work, but I advise against letting these stack up (which students inevitably do, and one student found out and told me there is a limit to how many you can post in a day, so keep that in mind as well). If you think that these are busywork, then don’t do them. Instead, I want you to write to me why they are busywork and why you shouldn’t do them. If you convince me of this, then I won’t require you to do them.
Out-of-Class Comments on Medium / 100 points / 100 words minimum / posted on Medium / The way to submit this assignment is rather simple: copy the link to your Medium account and paste it in the respective assignment on Canvas. As far as accomplishing or doing the assignment, before each class you should write a comment on a Medium article you have picked. There are a wide variety of topics (really, try typing in anything on Medium, and I bet you will find it (and if you don’t find it, well, then you have found something that needs to be written; so write it)). Try to write a meaningful comment instead of trying to write the most vanilla comment that adds nothing to the conversation. Try to add to the conversation. Try to take the good from the article and take it a little further. Try to be constructive and critical. I promise you that this is not busywork. I have been studying and teaching writing for a few years now; and if you will do this, then I promise it will surprise you (especially when someone messages you back after commenting on their article (and isn’t that scary and gratifying (and, oh, yeah, that’s what writing should be like and should have been like all along (funny how asking students to write in a world of people will help them realize how evocative and exciting the whole thing can be)))).
Freewrite Draft / 10 points each unit (50 points total) / about 250 words minimum / submitted on Canvas / These are very loose ideas written down. I don't care what they say, how they are formatted, whether they are coherent, or really much of anything other than being evidence that you are actively thinking about your paper or project ahead of time. Think of this as something like brainstorming or jumping in the cold waters of the page. They should be typed. In terms of grading, I’m mostly looking to see if you have met the word count.
Rough Draft / 10 points each unit (50 points total) / half the word count of the final draft / submitted on Canvas / This should be the essay half finished. That can be half the word count or half the structure worked out, or half of anything, but it should have a steady amount of work done. In terms of grading, I look to see if the essay is in the right ball field, if its headed, generally, in the right direction.
Formal Draft / 10 points each unit (50 points total) / full word count of the final draft / submitted on Canvas / At this point in the writing process, the essay should have all the parts but maybe not the polish. It should be mostly done, almost done, but not fully done. It should be ready to show people, or maybe at this stage you might take it to the Writing Center. In terms of grading, I am looking to see if all the pieces are there and make sure it’s taking on a developed structure.
Final Draft / 100 points each unit / full word count of respective assignment / posted on Medium then submitted on Canvas / When your draft is finished, post it to Medium, and then submit the link on Canvas. At this point, you should consider the essay finished (although I don't think anything could ever be finished (just ask Walt Whitman about his Leaves of Grass)). As far as grading goes, I am looking that you have put an appropriate amount of effort into the writing, that you have implemented the concepts and practices from the in-class discussions, and that you have followed the directions outlined in the respective assignment descriptions (which you will see below).
Summary and Review Essay / 100 points / 750 words minimum / The first thing you will want to do on this assignment is to pick a text to summarize and review (see “Texts, Topics, Media and Substrates” to learn more on how to pick a text). What I want you to focus on is developing the skills of critically reading a text, and learning strategies on how to respond to a piece of writing. There are many ways to summarize something (and we will talk about this in class), and your job is to consider those options and then pick the method you feel best suits the text and your audience. We begin with summarizing and reviewing texts because it gives us the opportunity to learn how to read creatively; and, by looking closely at someone else’s text, you will more full develop the skills of looking closely and evaluating your own texts. Summary is also an important skill to learn because it will help you simplify large and complex ideas in your own major or on papers in other classes, making them more manageable in research and practice. Reviewing a text also helps you develop the skills of evaluating a text (because not all texts are made the same). You should try to balance the amount of summary and review you do, about fifty percent of the paper should be devoted to each summarizing and reviewing. You don’t necessarily need to keep the summary and review separated into two sections; there are a lot of ways you can structure the paper. What I don’t want to see is a whole paper of summary and then one sentence of review at the end that basically says “It was good.” When summarizing, make sure you are being a good representative, that you are representing someone else’s ideas, rather than expressing your own. Too often, I have students write their summaries in ways that make it seem like they are writing their own ideas down, rather than summarizing someone else’s ideas. The review portion of the paper is about genre analysis. Make sure you are practicing the skills of expressing evaluations, of making judgements, of expressing whether the text succeeds at accomplishing what it has set out to do. Your review is about making sure the text fits in the genre, is appropriate to the genre. Another way to think about this is to ask yourself, “how does this text compare to other texts of its kind or type?” Keep in mind the characteristics of successful reviews that are described in your textbook (see page 302 in Everyone’s an Author): relevant information about the text, criteria for the evaluation, a well-supported evaluation, attention to the audience’s needs and expectations, an authoritative tone, awareness of the ethics of reviewing, etc. Another good textbook reference for this assignment is “Two Thumbs Up,” on pages 297-339, or the review roadmap and sample reviews on pages 325-330.
Rhetorical Analysis / 100 points / 1250 words minimum / posted on Medium then submitted on Canvas / The purpose of a rhetorical analysis is to analyze the rhetoric of a text. The first thing you will want to do is to select a text (see “Texts, Topics, Media and Substrates” on how to pick a text). Once you have selected a text, you will want to identify the rhetoric being used in that piece. This is best done by identifying what the argument is and what strategies are used to convince a specific audience of that argument. Make sure that when you identify the various rhetorical strategies that you then analyze them. We will talk at length on what rhetoric is and how to identify and analyze it. Another way to approach this assignment is to explain how you and the intended audience felt persuaded, or how the author/creator accomplished or produced the experience of persuasion (emphasis on the word how). Do not engage with the argument. You are not engaging with their ideas, but their method to expressing those ideas. Focus on their use of genre, context, text, subtext, rhetorical strategies, assumptions, audience awareness, logos, ethos, pathos, kairos, etc. Keep in mind that analysis is the ability to unpack a concept, to extrapolate commonly felt meanings from a concept or representation of an idea. The “I” you are writing from is a wide I; you’re speaking from the perspective of the audience, for the audience, to the audience. Summary is a necessary part of analysis, only because it conveys details in a reduced form and sets the stage for the analysis to take place; but if you don’t unpack the ideas, and if you only glance off the top of a lot of rhetorical techniques (as opposed to a selecting a few and really going deep), then you’ll inevitably be summarizing. What you’re trying to do is to make more obvious the seemingly obvious; yes, I cried while reading this, but why; no, it didn’t make sense to me, but why not; yes, he has a lot of respect in such and such community, but why didn’t I trust what he was saying; etc. Another way of thinking about this is to attempt to answer this question by the time you reach your conclusion: “what, exactly, does the author want from the reader, want the reader to do, or feel, or think, or be?” Avoid being too oblique by basically saying, “see, see how rhetorical that was?” I want you to assume I am incapable of being persuaded unless you explain to me exactly how it could be (or is) persuasive. I am asking you to do the cardinal sin of jokes: explain why the joke is funny, or, more accurately, explain to me why I am crying, why I am nodding my head in agreement, why I would now (upon reading this) follow this person to the ends of the earth. One insight into how I grade: I hardly ever read the quotes you include (hardly), mostly because I am focusing on how you pick apart (or analyze) that quote; but I will look for quotes, to see and make sure you are making claims off of actual source material. One other thing to keep in mind is to outline the intended audience from the outset. Determining the audience will set the stage for how you go about analyzing the rhetorical techniques’ impact on that given audience. Another way to think about this assignment: your Rhetorical Analysis should describe the relationship between the author and their audience, and describe how the author is trying to (and either succeeding or failing) at changing or persuading the audience. As you write the Rhetorical Analysis, consider asking yourself and attempting to answer these questions: Who is the intended audience? How are members of this audience like and unlike you? What does the author want the audience to think or do? Did the author think the audience would be interested? How much does this audience know about the topic? Are there any audiences that might care but who aren’t addressed by the author? What is the author’s reason for writing? What is the aim or goal behind a claim or thesis statement? What is the author’s attitude toward the topic? What is the author’s relationship to the topic and audience? How does the author convey his/her stance through tone? How do you think the author’s stance and tone were received by the intended audience? Does the author recognize any other perspectives? Are there any constraints on the author or the writing? How does the genre affect the tone? Are there specific design features expected in the genre? Does the genre require a certain organization? Why is the author using that genre? Did the author get to choose the medium? How does the medium of the text determine what the author could or could not do? Does the medium favor certain conventions? Does the author include visuals, sounds, extra-textual materials? Who wrote the text? Is it an individual or an organization? When and where did the author write it? Where is the text published or visible? Who reads or sees this text most? And, who is the intended audience? Does the author quote others in the text? Why? Does s/he use nonstandard English? Is jargon or slang used? What is its purpose (to educate, alienate, entertain)? How effective is this text in achieving that purpose, for its intended audience? How effective do you find this text, as its reader, in achieving its purpose? How does the layout of the document affect audience perception? How does the author represent others in this text? What information is included and excluded in the text?
Also, you can refer to this part of the book for additional reading and understanding: “Thinking Rhetorically,” pp. 5-17 / “Rhetorical Situations,” pp. 18-24 / “Reading Rhetorically,” pp. 25-39
discourse community analysis essay / 750 words minimum / what is the community? what are its products? how are the products categorized? which category do you belong to? (discourse community analysis: pick a community (topic, conversation, etc.). writing: here are the basic steps to write this paper: 1 2 3 4. now that you know the rules, use the rest of your energy to innovate upon them. don’t just blindly follow the directions, make them better. According to James Paul Gee, discourse is “not just what you say or even just how you say it.” Discourse is also about you and the members of a community that you communicate with on a daily basis. In some circumstances, you may be new to a discourse community, and you have to learn the necessary literacies to successfully get your message across. For this assignment, you will write an essay about a time when you successfully joined a rhetorical discourse community. To do this, you will write personal experiences and anecdotes on how you were able to learn the language and reasoning (logos) specific to the community, navigate the values and emotions (pathos) of this community, and build your credibility as a community member or leader (ethos). In other words, you are tracing your movement from an outsider to an insider. As you’ve learned from the introduction in Everyone’s an Author, we’ve all taken various paths to achieve the goal of attending university. Such a path has enabled you to join the academic discourse community; other communities you may already belong to include a sports team, church, club, (physical or online) organization, and workplace. For this assignment, use the rhetorical principles we’ve discussed as a class and encountered in our reading to analyze a particular discourse community. describe the community, but to also describe the discourse that is had by that community.
details / Using your previous homework as a starting place (freewrites, comments, reading), write a personal narrative that explores a particular discourse community. Your goal is to analyze an event through description and a focus on the specific elements that define a discourse community. In synthesizing and analyzing particular discourse communities, you should pay close attention to the ways in which ethos, logos, and pathos allow members of a specific community to communicate (see pages 11-12 in Everyone’s an Author). While research for this assignment is less formally required, you may consider including quoted material from the reading we do for this class or the outside reading you complete for your essay. You may also use quotes from texts produced within the discourse community as well as your own personal reflection of the community.
style / In its final form, your essay should be creative and imaginative (see pages 13-14 in Everyone’s an Author). You should use descriptive language and include a clearly stated, cohesive argument. Your essay should also include a strong thesis statement, clear and thoughtful reasoning, and appropriate evidence to support your claims, while also offering an accurate and fair analysis of the discourse community. As always, include appropriate in-text citations, if necessary. Keep in mind that you want to show that you understand the complexity of the discourse community
audience / The audience for this paper will be to the medium community. Approach this paper in a way that helps your readers get to know you better; therefore, you may write in a more informal style that is distinctly your own—just make sure that you’re communicating clearly.
tips / Choose a discourse community that you’re very familiar with and comfortable discussing with your peers / Choose a discourse community that you’ve actively joined, rather than one into which you were born / Consider the tensions and limitations of the rhetoric utilized in the discourse community. For example, do some members demand or disapprove of certain language use? / When writing about a specific event or tradition, don’t forget to show rather than just tell. Use sensory (visual, auditory, olfactory, tactile, kinesthetic) cues to describe details about the community.
stasis interrogation essay / 1250 words minimum / (writing: here are the basic steps to write this paper: 1 2 3 4. now that you know the rules, use the rest of your energy to innovate upon them.) holding a paper accountable to the details it decided to use, holding a paper accountable to its stasis (detailing something as stasis) don’t just blindly follow the directions, make them better. In classical terms, the word “stasis” (or stases) literally means a “slowing down” or a standstill. Similarly, in rhetoric, we use stasis to point to an issue that is controversial and needs a decision before the argument can move forward. Stasis theory, therefore, can be used to identify and work through impasses in an argument. As our textbook explains, stasis theory is “a simple system for identifying the crux of an argument—what’s at stake in it” (387). And, we do this by asking four specific questions in sequence: What are the facts? / How can the issue be defined? / How much does it matter and why? / What actions should be taken as a result? stasis interrogation: if you are not asking questions of the text, you are not doing it right. you need to put everything in the text into question. make sure you focus on the author’s argument instead of making your own. make sure you ask questions of the author’s argument instead of ask questions of the issue they are writing on. don’t just summarize what they are saying, break down the argument’s implications. now, what i mean by interrogation is to inspect the text. pretend the argument in the text is a boat. before you set sail you want to make sure that the boat won’t sink. the syllabus has a collection or questions or a sort of inspection list. if you ask those questions of the text and answer them, then you will find how sound the argument is, and you’ll be able to make a good assessment of the issue. here’s a good resource for stasis interrogation: https://owl.purdue.edu/owl/general_writing/the_writing_process/stasis_theory/stasis_for_teamwork.html . i will grade you on your ability to dismantle and describe the given parts of an argument. another way to understand this assignment is to call it an argument analysis. you’re going to slow down an argument, freeze it in time and place (per se) and then describe it, and finally offer your own conclusion based on the consequences of the argument in stasis (or frozen in the place that you have preserved it). 1 stasis interrogation (pentad), 3 detail, 4 definition and redefinition, 5 semantics, 6 content, 7 consequences and implications (implications of writing, what happens as a result of writing) eschatology, 8 praxeology, 9 also you can do some workshops in there as well, 10 - inventio (wikipedia) / a search for arguments (this might be better as a schedule thing (look at the schedule and then compare to this list)).
details / For this essay, you will attempt to understand the complexity of an issue by using stasis theory to interrogate a single article found in the textbook. The goal is to discover the various points at which you could enter the conversation. After analyzing your primary text, you will then offer a supported argument on one of the many points of contention you discover through the stasis analysis, using a secondary source (found in your textbook or through the UVU Library Databases, or on medium). Unlike a rhetorical analysis or genre/medium analysis, this essay will focus mostly on the content of the argument rather than how the argument is made.
First, pick an essay in the back of your textbook (starting from page 817) that you find interesting, or pick one from medium. For a better reference, you may use the categorized menus on the inside back cover of the textbook to find an article that fits a specific genre or theme that piques your interest.
Then, after reading through your essay several times, use the following stasis questions to develop a rich analysis that both summarizes the issue and posits various alternative perspectives (As you work through each stasis category, consider each question in developing your paragraphs; however, not every question needs to be directly addressed): 1 - What are the facts? What happened, according to the article, to make this a debatable issue? / What caused this issue to manifest or what factors existed in order to bring this issue to our attention? / Do these “facts” stack up, in your opinion, or could some of them be questioned by others? Which ones and why? / Do others have a differing opinion about what exactly happened to cause this issue to surface? Make sure to explain your answers. 2 - How can the issue be defined? How does the article define the issue? / Are there certain terms, parts, or categories that help define this issue for the author(s)? / What are they and how are they defined? / Do these definitions help or hurt your understanding of the issue? / Would you define the issue or parts of the issue differently? / If so, what terms, conditions, or criteria would you use to redefine this issue? Make sure to explain your answers. 3 - How much does the issue matter and why? How serious is the issue according to the author? / Are there any moral or ethical consequences related to this issue? / Does the author propose immediate action be taken, or does the issue revolve around an understanding of the issue? / What are the consequences if we don’t act? / How serious are these consequences? Do you agree with the importance or seriousness of this issue? Do you feel there are any additional or missing moral or ethical implications? Make sure to explain your answers. 4 - What actions should be taken as a result? What is currently being done to affect the issue? / What does the author feel is working or not working about this current action? / Does the author argue for a specific change in action or policy? / What does the author feel we or others should do? / How might others disagree with these proposed actions? / Do you agree with the author’s proposed actions? If so, would you change any aspect of how or what needs to be done? / If you don’t agree with the actions, what alternative actions could we take?
And finally, pick one of the stasis questions methods that that most fully interrogates the author’s position, and using a secondary source (either from the back of the book or online using the Library Databases) write a short, but well-supported argument for your own perspective. Make sure that your argument has a claim and at least one reason to support it. Use your secondary source as evidence for your argument.
style / The format for this essay will follow the above instructions, looking first at the stasis questions regarding your textbook or medium essay, and then making an argument using your secondary article. In terms of style and tone, you will want to keep in mind what our textbook states: “[An] appropriate writing style is one in which your language and the way that you arrange it suits your topic, your purpose, your stance, and your audience” (642).
audience / Imagine your audience are those most affected or most likely to be interested in this issue. This means that you will have to take into account your rhetorical situation, your stance on the issue, what stasis question you’re addressing, and what concerns your audience might have with the issue.
textbook / “What’s at Stake,” pp. 387-389 / “Appropriateness and Correctness,” pp. 642-643
writing reflection / 1000 words minimum / writing: here are the basic steps to write this paper: 1 2 3 4. now that you know the rules, use the rest of your energy to innovate upon them. don’t just blindly follow the directions, make them better. your final writing portfolio and reflection should include a few things: first, your medium username.; second, a 500 word reflection; third, the title of your best essay; and, fourth, the titles of your five best medium posts. you will print this out and give it to me in person; it’s the only paper that you give me in the class. you must come to the final and turn in this physical piece of paper on the day of the final. i won't accept them early, and i won't accept them from a person who is not you. i will grade your entire medium account, so you should add all the writings you want me to see there on your medium account, and you should format and design them to be in tip-top shape. we will discuss document design principles during this section. those lessons should assist you in preparing your final portfolio. reviewing and designing your documents will also give you an opportunity to review your work and thus what you have learned throughout the semester. the reflection you write should be concerned with reviewing your writing process throughout the semester. in addition to assessing your strengths and weaknesses as a writer, your statement should also address your future goals as a writer. Additionally, the portfolio statement, or reflection letter or essay, is an opportunity to recall your triumphs and struggles, your writing process and finished projects, and your overall learning gains in the course. Reflecting on what you’ve accomplished can help you retain the lessons you’ve learned and prepare the way for improvement in your future writing projects.
details / Use the prompts on page 796 in Everyone’s an Author that ask you to review your work for strengths and weaknesses; analyze your writing process and strategies; reflect on your work as an author, and to define future writing goals and plans for improvement.
style / Whether in a letter or essay genre, paper or electronic delivery, you should think of this as a persuasive task, telling readers what you’ve learned. Using your portfolio materials as supportive evidence, explain what your work says about you as a student and writer? Help your instructor understand why you included the materials you did and what this says about your work in this course. So, for example, if you claim to have improved your organization, you can point to your improved paragraphs, transitions, or how you moved sections around to increase clarity or remove redundancies. Keep in mind that this is not an evaluation of the class or instructor (you’ll get a chance to do this in the course evaluations); rather, it is an evaluation of what you have learned about writing, what you have accomplished in the semester, and about your ability to set your own writing goals and assess your own written work.
audience / As a capstone project for the course, the portfolio will be read with great interest by your instructor to assess and grade, and may even be used to measure how effectively the course objectives have been achieved. Because it is a reflective genre, you, the author, may be the most important audience for the portfolio, as choosing your best work and assessing your own writing is a critical practice that helps to solidify learning gains. As it turns out, for this assignment you and your instructor share similar audience needs: You want to write an honest and penetrating exploration of your composing process and products, while having a compelling story of specific gains earned through your struggles and victories—pretty much what your instructor wants to read.
tips / Remember that the statement is yet another opportunity to showcase your writing ability for your instructor, so do it care and thoroughness. / Map out your progress in the course visually. Which elements seem to dominate your visual representation? / List the comments from peers and the instructor that you see. Are there suggestions that came up more frequently? What did you do to improve on the skill being mentioned? / Enjoy the process! Remember that the portfolio is meant to help you see how you’ve improved as a writer and critical thinker.
textbook / “Assembling a Portfolio,” pp. 793-801
schedule: the schedule is rather simple: you have reading and responding assignments due before class each day, and you have a sequence of topics and subjects that will help you work toward completing the major assignments. also, as time continues to amalgamate, and i continue to enable its amalgamation by continually writing (adding to this syllabus), i am realizing that there is no way we will be able to talk about all the things that i would like to talk to you about; at which point i lose all hopelessness and faithfully attempt to teach you what i can. having said this, i want to assure you that the best way for these days to proceed is by your participation, for i cannot perceive what you do and do not know, which is why i want you to let me know so i can tailor the lessons according to your needs. if you (and i mean all of you) do not let me know what those needs are, then i will have to do that thing we humans have come to call assuming, and i really hate doing that (though i understand that life is just one large assumption, and i don’t want to infer that i hate life, i just prefer, when it comes to other disoriented humans, to know what your particular disorientation is, so i can attempt to orient or oxident my fellows).
workshops: there will be days in which the class will magically, by the power of my voice and authority, change from a lecture hall into a workshop. on these days i expect you to be there so i can watch you closely as you work and prod you with questions and hopefully arouse some sort of courage (or fear (whichever is more useful)) in you. (does this all sound like a rather miserable experience) i’ve been known to cause students to pursue their wildest dreams and confront some of their greatest fears and setbacks in life. i sometimes can’t help but see writers’ blocks as life blocks. but these days are also useful for the fact that there will be a whole class engaged in their writing projects, and i can’t iterate to you how vital and helpful these days are, if only you get to talk to another student who is struggling with the same thing you are (commiseration is sometimes the hot-bed of collaboration and innovation).
day one / january 7 / intro to class
due / book purchased / syllabus read /
class / freewrite / introduce people / discuss syllabus / explain platforms / where are you now with writing? / what are your desires for writing / what do you hate about writing? / what are your fears with writing and this class? / the importance of a spirit of inquiry / what is your question to life? / writing as inevitably subjective / writing as expression / breaking the rules of writing / what is a "perfect" paper / can you write a paper to everyone / is there a completely "wrong" paper / is there a perfect way to read a paper / is there a wrong way to read a paper / are there wrong or perfect styles / are there perfect or wrong rules in writing /
day two / january 9 / intro to writing
due / everybody's an author introduction read / structure, sign and play by jacque derrida first three pages read / medium account created / medium post written (1) / medium comment written (1) / best thing you've ever written posted on medium and then submitted on canvas /
class / freewrite / language and literacy / what exactly is language or what isn't language / are you literate? / IRL vs. AFK / language as representative / language as sign / ideal vs. real / the death of the author / idea spectrum from abstract to specific / ideas as metaphysical / language as access / eidolon and image / all words are images / literacy and phenomenology / hermeneutics and the complications of interpretations / can you undo your literacy / literacy is not knowing all the words, its knowing how to know all the words / what is reading if there is no understanding, and what is understanding / witches curse by tom friedman /
day three / january 11 / summary and review / writing
due / everyone's an author chapter 7 read / a sign in space by italo calvino read / medium post written (2) / medium comment written (2) / freewrite draft assignment description read / summary and review assignment description read / texts, topics, media and substrates from syllabus read /
class / freewrite / introduce summary and review assignment / perform a summary and review / discuss: how do you understand the summary and review assignment / creativity / what is the act of creation? / what is the act of writing? / how do you write / what methods do you use to write / how do you approach writing / what is a writing process / what is expression / how do you express an idea / post-literate society / academese / instructors have falsely taken the “i” out of writing / writing process / is there a “perfect” way to write / is there a “perfect” paper / writing as creating your own rules / text / what is a text / how to select a text / what makes something textual /
day four / january 14 / summary and review / writing
due / everybody's an author chapter 8 read / top ten best movie trailers by watchmojo watched / medium post written (3) / medium comment written (3) / summary and review text picked / summary and review freewrite draft submitted on canvas /
class / freewrite / what is a summary / how do you summarize something? / encyclopedias / language as summary of object / summary and context / summary and audience / is anything said not a summary / summary as attempt to identify essences / within the totality of the thing, what have you selected as descriptive of the thing and why / how long would it take you to tell me about twenty years of your life (at the very least, twenty years, right), or what do you want summarized about you at your funeral / peer discussion: talk about how you want to be eulogized / what can and what does summary do to a thing / summary as as form of expression, or summary as funneling the world / summary as inevitably opinionated / language has built into the quality of summary (all language summarizes (e.g. the word “dog” is a summary of dogs and dogness)) / moby dick and a totality on whales (i.e. the failure to write a totality ends with summary as the result instead) / totality as the only way to not summarize / summary as inevitable because totality is impossible / do you trust all summaries / when do you trust a summary, when don’t you / summary as a form of representation / what are the dangers of summary (oversimplifying, etc.) / summary as a form of conflict (people fighting over how to summarize a thing) / if you removed one word from an essay, does it then become a summary / are excerpts of a thing a summary / summary as a performed perspective of a text / doctors giving you a diagnosis as a summary (he wouldn’t take you to medical school so you can understand your diagnosis) / summary as reducing something down to “what it is” or down to its “most agreeable terms” /
day five / january 16 / summary and review / writing
due / everybody's an author chapter 9 read / the authoritarian populism of incredibles 2 by richard brody read / medium post written (4) / medium comment written (4) / rough draft assignment description read /
class / freewrite / what is a review / how do you review something / movie reviews / theater reviews / tech reviews / review as critique (formalism, feminism, psychoanalysis, marxism, new historicism) / reviewing as assisting others in making a decision / review as setting it in a framework and evaluating it / meta-reviews: reviewers reviewing reviewers (e.g. pewdipie reacting to youtubers reacting to content) / review as obviously subjective / review as evaluation / review and axiology / review as how i feel about what is / re-viewing as re-creating the experience / what is the “view” part of “review” / review as looking at the whole / review (or evaluative) frameworks: moral, ecological, quality, entertaining, art. / review / what are the ethics of review / how do you ethically review something / criteria / what do you use to make a criteria / what are you criterion /
day six / january 18 / summary and review / writing
due / everyone's an author chapter 15 read / waluigi, boar vessel, x [meme review] by pewdiepie / medium post written (5) / medium comment written (5) / summary and review rough draft submitted on canvas /
class / medium confessional day / structure / how do you structure a piece of writing / context as offering structural suggestions / genre as offering structure / radical genre: isn’t everything a genre unto itself? /
no class / january 21
day seven / january 23 / summary and review / writing
due / everyone's an author chapter 25 read / leap by brian doyle read / medium post written (6) / medium comment written (6) / formal draft assignment description read /
class / freewrite / style / what is a writing style / what are the functions of style / fashion / style and experimentation / how does one “find” style / style as method of expression / william strunk jr.’s elements of style / writing style vs. style guides / style and aesthetics / style is between the lines and is the lines / what are the benefits and detriments of stylistic conformity / style and expectations / style and personal identity / style and communal identity / when writing you should identify the style of the audience you are addressing / style helps us build relationships / bill cunningham: fashion duality / fashion / good fashions are attempts to simultaneously conform and disrupt traditional style / hemmingway’s lack of dialogue tags / discussion: turn to a partner and describe your writing style as it is and as you want it to be / does style determine context or does context determine style / style and phenomenology / style and history / style and tradition / aesthetics /
day eight / january 25 / summary and review / writing
due / everyone's an author chapter 29 read / the good, racist people by ta-nehisi coates / medium post written (7) / medium comment written (7) / summary and review formal draft submitted on canvas /
class / freewrite / axiology / how do we value things / what is value / how do we identify if something truly has value / value and need / value and desire / meta-value or valuing our values / value systems: good vs. evil (morality), good vs. bad (quality), positive vs. negative (trajectory), like vs. different (similarity), thrive vs. stagnation (fecundity), merit vs. worthless (venerability), aesthetic vs. ascetic (enjoyability), power vs. humility (controlability), fate vs. choice (?), meaningful vs. pointless (?), etc. / how do we arrive at values / belief vs. values / reciprocating values / things you want vs. things that matter / are all values of the same strength / what gives a value strength / what would you die for / what would you live for / do we all value then same thing (no (then what do we do in a world that doesn’t share all the same values)) / value and evaluating / value and reviewing / expressing values / actions concede values / writing choices concede the writer’s values / negotiating value / value as changing based on context / value as changing based on experience / is value essential to the person / do you choose your values / nature vs. nurture / do you have complete control over your values / do you have control over what is valuable / how do you identify someone else’s values (ethos) / values are shared / values are learned / value as given to a thing or idea / how do you give value to a thing or idea / what is the value system in a given text or context /
day nine / january 28 / summary and review / writing
due / everyone's an author chapter 31 read / medium post written (8) / medium comment written (8) / final draft assignment description read /
class / freewrite / workshop / discussion on how to engage with other writing: content editing, copy editing, proofreading /
day ten / january 30 / summary and review / writing
due / everybody's an author chapter 32 read / medium post written (9) / medium comment written (9) / summary and review final draft posted on medium and submitted on canvas /
class / freewrite / writing process / genre / genre as putting in a box / how do you break a genre / genre as comparative / does everything have a genre it belongs to / can everything be categorized / innovating new genres / things that are a category unto themselves / the fallacy of genre and the incomparability of things / taxonomies (can a scientist really fully categorize this vast, complex, beautiful world of ours) / why are genres useful / genre allows for clearer evaluation and comparison / genre and association / genre and category, kind, type / genre vs. style / what happens when a piece of writing is categorized in a way that the author doesn’t agree with / what happens when a thing is mis-categorized / “its apples to oranges” / discussion: turn to a partner and talk about your favorite genres in books, movies and music / how do we classify or how do we make decisions on what genre something belongs to / characteristics allow us to classify / genre as the classification of art / platonic image and genre (bird-ness, reptile-ness, chair-ness) / one and three chairs by joseph kosuth / genre as standard / the ethics of categorization and the problems of stereotyping (racism, agism, genderism, etc.) / genre and assumptions / genre as being constantly negotiated and fought over / genre and sub-genre / is it possible to avoid categorizing / genre and symbol (symbol as representative of the whole) / genres: mystery, esoterica, teen fantasy, historical fiction, indie, etc. / what is the difference between aesthetics and genre / perhaps aesthetics are more of a philosophy, genre is more of a form / which came first, the community or the genre / how to and why resist and or embrace genre / genre as community specific / how do you use genre in your day to day life / what is the utility of genre / genre as a categorization of art / genre vs. categorization / genre vs. stereotyping / discuss: invent a genre / how are genres invented / genre as radical venn-diagramming / genre helps you find what you are looking for / community and genre / community as grouping of people, genre as grouping of art / what genre’s exist in your communities / categorization as method of analysis, placing things in genre as a form of analysis / genre as a way to differentiate within a community / why make genres, why not let everything be a category unto itself / why favor some genres over others / how do you use genre /
day eleven / february 1 / rhetorical analysis / reading
due / everybody's an author chapter 1 read / medium post written (10) / medium comment written (10) / rhetorical analysis assignment description read /
class / freewrite / introduce rhetorical analysis / perform a rhetorical analysis / discuss: how do you understand the rhetorical analysis assignment / rhetoric / what is rhetoric / what is rhetoric / is a wave rhetorical? / rhetoric is trying to control how people interpret things / what do you analyze in your personal life / analysis as not reducing, not stereotyping, not assuming / rhetorical analysis as rhetor’s relationship with audience / rhetorical analysis as not summary, not engaging with the opinion / rhetoric as persuasion of the mind / rhetoric as not biological, not physical coercion / what are you persuaded by? / why are you persuaded / what are you dissuaded by / why are you dissuaded / the great wave off kanagawa is a wave rhetorical / what would be the perfect piece of rhetoric, and is it possible, or how close can you get / how many people can you convince (quantity) / how much could you convince even one person (quality) / does the rhetor’s intention matter / rhetoric as the collapsing the other into the self, or rhetoric as implosive (collapsing the me and the you into an us / rhetoric and sincerity (authenticity), or can you act rhetorically and sincerely at the same time / rhetoric and audience / rhetoric as appealing to things already inside others / rhetoric as providing to audience more pertinent details / logos, ethos, pathos, kairos / rhetoric is -how- a thing is / if rhetoric is phenomenological, then rhetoric is an appeal to the imagination / rhetorical literacy includes your ability to identify what persuades you / rhetoric and persuasion / rhetoric and influence /
day twelve / february 4 / rhetorical analysis / reading
due / everybody's an author chapter 2 read / medium post written (11) / medium comment written (11) / rhetorical analysis freewrite draft submitted on canvas /
class / freewrite / analysis / what is analysis / analysis as understanding, as looking, as dividing, as connecting, as inquiry to the “truth” underneath the thing, as the joy of discovery, as observing, as interpreting, as critique, as perspective, as taking things beyond themselves / analysis by juxtaposition and/or association / analysis as re-imagining / why do we analyze / analysis as pulling apart / analysis as isolating details / analysis as translating the world into thought / analysis as examination / analysis as naming things (naming things lifts them into abstraction) / analysis and “over-analysis” (why not push the limits of analysis) / how do we increase out ability to analyze (e.g. name things in their wholeness and parts) / what is a “poor” analysis / discussion: what do you analyze and why / self-analysis / smelling a flower as a form of analysis / analysis as attempt at empathy / analysis as experiencing a thing / analysis as taking place through the senses (physical and rhetorical senses) / analysis as asking questions of something / analysis and interrogation / pentad / analysis and context / analysis and scope / analysis assumes there is more / analysis and industry analysts / analysis as a loosening / analysis by gathering data vs. analysis by interrogating data / analysis is the active interpretation of data that i have gathered / analysis and hermeneutics /
day thirteen / february 6 / rhetorical analysis / reading
due / everybody's an author chapter 3 read / why i'm teaching a course called "wasting time on the internet" by kenneth goldsmith read / medium post written (12) / medium comment written (12) /
class / freewrite / logos / what is logic and what is logical / how to persuade with logic / logic as reasoning, and reasoning as various / what are the various approaches or structures in a logical sense / logos as assumption, as sequence and order, as ... / premises and syllogisms / one plus two equals four (numbers as epistemai, operations as reasoning) / fallacy can be in the epistemai or the reasoning / does everything has logos / is a sunset logical / numbers as a language (with the same complications as all language) / how 1.9 = 2 / "alternative facts" / logic and tautology / how do we render logos in writing / what is a "fact" / logical structures / taking things and making information out of it / is a sunset logical / logos and reasoning / how do we “make sense” of things or make them into sense / “if, then” statement are logical functions of language (same as mathematical functions) / language equations (is is =, and is +, of is x, etc.) / logic and programming / logic and assumptions / the problems with logic: first, we translate the world into thinkable terms; second, we create relationships between these terms / how has logic changed over time / what are the “variables” of language /
day fourteen / february 8 / rhetorical analysis / reading
due / everybody's an author chapter 4 read / medium post written (13) / medium comment written (13) / rhetorical analysis rough draft submitted on canvas /
class / freewrite / pathos / pathos as emotional persuasion / emotional truths / humor or jokes as pathos / volksgeist and zeitgeist / laughing as evidence of emotional persuasion (or pathos) / pathos as appealing to emotions already existing in audience / tone as attitude toward audience / stance as attitude toward subject / tone vs. stance / emotion as expression / what is emotion / sympathy / empathy / pathetic /
day fifteen / february 11 / rhetorical analysis / reading
due / everybody's an author chapter 5 read / "the philosophy of bill murray" by wisecrack watched / medium post written (14) / medium comment written (14) /
class / freewrite / ethos / the "i" / ethos as representative (image) of ethics / what values does an ethos represent / "dad makes fun of his son for looking like marilyn manson" / ethos as character or personality / what are the persuasive elements of an ethos / ethos as appeal to values within an audience / ethos as awareness that you are being perceived / ethos as fashion or style / ethos and credibility / how to render ethos in writing / style as a vehicle for values / ethos as author / ethos and authenticity / ethos doesn't occur in isolation / ethos as social appeal / ethos as negotiation between the "i" and the "we" / change your ethos lesson content by listening to poets read their own poems. what is the ethos of allen ginsberg vs. t.s. eliot vs. charles bukowski, etc. / others to listen to / ocean vuong / anne sexton / steve roggenbuck / mark baumer
day sixteen / february 13 / rhetorical analysis / reading
due / everybody's an author chapter 6 read / i have a dream by martin luther king jr. read / good racist people by ta-nehisis coates read / medium post written (15) / medium comment written (15) / rhetorical analysis formal draft submitted on canvas /
class / freewrite / kairos / kairos as persuasion by awareness / kairos as appeal to place and time / people as things of time and place / kairos and appropriateness / kairos and situation / place as multifaceted / walk around campus and inspect the kairos of given contexts /
day seventeen / february 15 / rhetorical analysis / reading
due / why were confederate monuments built? by miles parks read / medium post written (16) / medium comment written (16) /
class / freewrite / workshop /
no class / february 18
day eighteen / february 20 / rhetorical analysis / reading
due / song of my self by walt whitman read / medium post written (17) / medium comment written (17) / rhetorical analysis final draft posted on medium and submitted on canvas /
class / freewrite / interpretation / how does a rhetorician respond to interpretation and reading /
day nineteen / february 22 / discourse community analysis / discoursing
due / everybody's an author chapter 19 read / medium post written (18) / medium comment written (18) / discourse community analysis assignment description read /
class / freewrite / introduce discourse community assignment / perform a discourse community analysis / discuss: how do you understand the discourse community analysis assignment / what is discourse / how do we enter into discourse / discuss: what topics do you tend to talk about (i.e. what discourses do you care about) / why have conversations (why post on instagram (why speak)) / discourse as conversation / discuss: what if you lost the ability to have any kind or sort of conversation / discourses we enjoy vs. ones we don’t / why do we avoid certain conversations / colleges within a university as discourse communities / why do we care what is said about a thing / what does discourse do to a thing / discourse a party /
day twenty / february 25 / discourse community analysis / discoursing
due / everybody's an author chapter 10 read / medium post written (19) / medium comment written (19) / discourse community analysis freewrite draft submitted on canvas /
class / freewrite / community / what is a community / how are communities formed / hunter s. thompson and the hell’s angels / david foster wallace and consider the lobster / leaders in communities vs. participants in communities / what is the spirit of a community / what are access points into a community / what is the center and what is marginalized in a community / mansplaining or —splaining / how do you “look,” “see,” “experience” a community / what is the atmosphere of a community at any given moment / individual’s impact on community vs. community’s impact on individual / sub-communities / hybrid communities / what is the “glue” of a community / discuss: what communities are you apart of / communities and assimilation / hybrid communities / discuss: how do you make new friends / what are the purposes of community / how do you leave a community / the reason we care how people describe our communities is because how we describe our communities is how we describe ourselves / community and identity / what functions do communities serve / how are communities formed / what gives a community impetus / why analyze a community (why write a discourse community analysis) / community and the self (the godfather: when you mess with my family, you mess with me) / community analysis as fostering cross-community empathy / lasting communities vs. ephemeral communities / how does the center of a community move, and what are the implications of that movement /
day twenty-one / february 27 / discourse community analysis / discoursing
due / everybody's an author chapter 12 read / medium post written (20) / medium comment written (20) /
class / freewrite / workshop /
day twenty-two / march 1 / discourse community analysis / discoursing
due / everybody's an author chapter 20 read / medium post written (21) / medium comment written (21) / discourse community analysis rough draft submitted on canvas /
class / freewrite / audience / known vs. unknown audiences / how do you choose a target audience / imagining audience as an act of empathy / discuss: pick an audience and imagine it / audience as absent (and yet how do we write to them) / why think about audience / what happens to a paper that doesn’t take audience into consideration / audience and topic / audience and context / trying to predict an audience’s reaction when writing / how do you successfully imagine an audience / topic oriented vs. audience oriented / imagining an audience can bring clarity to your writing / who is your ideal audience / how does an audience change your writing, and should it change your writing / can you actually determine your audience / commenting on others’ medium posts: what’s it like to be an audience member / actual audience (who actually reads it) vs. intended audience (who you hoped would read it) / how will you know who will read your writing / audience anticipation / if you don’t know who will actually read your writing, then how can you act rhetorically / finding your audience vs. your audience finding you / do you ever really “know” who you are speaking with, or do you always have to imagine them and their reaction / sub-audiences: audiences within audiences / how to attract a specific audience / orator vs. audience / what are your audience ambitions (who would you love to have read your work and love it) / imagining audience and writing cover letters for job applications / actual vs. intended vs. imagined vs. ideal audiences / if an essay fell in a forest, would it be persuasive /
day twenty-three / march 4 / discourse community analysis / discoursing
due / everybody's an author chapter 24 read / medium post written (22) / medium comment written (22) /
class / freewrite / workshop /
day twenty-four / march 6 / discourse community analysis / discoursing
due / everybody's an author chapter 26 read / medium post written (23) / medium comment written (23) / discourse community analysis formal draft submitted on canvas /
class / freewrite / genre / genre as forms of a given discourse community /
day twenty-five / march 8 / discourse community analysis / discoursing
due / everybody's an author chapter 30 read / medium post written (24) / medium comment written (24) /
class / freewrite / engaging / how to engage in a discourse community / medium claps as form of engagement / likes vs. comments vs. subscriptions vs. etc. / discuss: what articles do you have or not have engagement on, why do or don’t you have claps or comments, which articles do you have engagement on and why / why do you personally engage with different articles / how does a text engage with a community or person / engagement and ambition / the ethics of engagement / do you engage with things that don’t want to reify / naming and renaming as a form of engaging with something / “he-who-must-not-be-named” / initial engagement vs. continued engagement / community size vs. community passion / what is your intention with your engagement / engagement as participation / engagement and marina abramovic’s the artist is present / quid pro quo or engagement / engagement and making something meaningful / engagement and exceptionality / engagement and disengagement / engagement as approval /
day twenty-six / march 11 / discourse community analysis / discoursing
due / medium post written (25) / medium comment written (25) / discourse community analysis final draft posted to medium and submitted on canvas /
class / freewrite / criticism /
day twenty-seven / march 13 / stasis interrogation / interrogating
due / everybody's an author chapter 17 read / medium post written (26) / medium comment written (26) / stasis interrogation assignment description read /
class / freewrite / introduce stasis interrogation assignment / perform a stasis interrogation / discuss: how do you understand the stasis interrogation assignment / stasis / what do we mean by stasis / ways to preserve or freeze an issue / the four types of stasis interrogation: conjectural, definitional, qualitative, translative / stasis interrogation white glove test: https://www.youtube.com/watch?v=InVvsnFaSM4 / HISHE as stasis interrogation / stasis as photographing an argument / arguments as dynamic / heisenbrg principle - either know its place or its speed but not both / stasis interrogation as a form of favoring the stasis part of the heisenberg principle / arguments are dynamic, issues are dynamic, discourses are dynamic, etc. / stasis as catching up, getting ahead, regrouping, understanding, taking in the full amount, etc. / stasis as a hold the phone moment / stasis interrogation as what you do during a mid-life crisis / stasis interrogation as formalist approach / text and written language as static / do you dissect a moving and living frog / stasis interrogation as violence to an article / kill the text, pin it down, and dissect it / interrogation / what is meant by interrogation
day twenty-eight / march 15 / stasis interrogating
due / everybody's an author chapter 18 read / medium post written (27) / medium comment written (27) / stasis interrogation freewrite draft submitted on canvas /
class / freewrite / grammar / syntax / proscriptivism vs. descriptivism / punctuation /
no class / march 18 – 23
day twenty-nine / march 25 / stasis interrogation / interrogating
due / everybody's an author chapter 11 read / medium post written (28) / medium comment written (28) /
class / freewrite / conjectural / detail / support / pentad / ontology / description / depth and scale by detail / going “into” a thing / what does description do to a thing (stasis?) / detail as giving something textual presence / of all the things an author made “to be” in a text, why these things, why these of all details / why did the author chose “to be” these things / detail as ontological / detail and variety / different kinds of details / discuss: how detailed is your own writing, and what details do you prefer to include / discuss: swap one of your medium posts with a peer; are the details fair to the topic / why do we care about detail (interesting, relatable, unique) / chekov’s gun / how do you add detail in writing / what details would you include in an autobiography, and what difference does it make /
day thirty / march 27 / stasis interrogation / interrogating
due / everybody's an author chapter 13 read / medium post written (29) / medium comment written (29) / stasis interrogation rough draft submitted on canvas /
class / freewrite / definitional / definition and redefinition / semantics
day thirty-one / march 29 / stasis interrogation / interrogating
due / everybody's an author chapter 14 read / medium post written (30) / medium comment written (30) /
class / freewrite / workshop /
day thirty-two / april 1 / stasis interrogation / interrogating
due / everybody's an author chapter 22 read / medium post written (31) / medium comment written (31) / stasis interrogation formal draft submitted on canvas /
class / freewrite / qualitative / qualitative stasis / inspection /
day thirty-three / april 3 / stasis interrogation / interrogating
due / everybody's an author chapter 16 read / medium post written (32) / medium comment written (32) /
class / freewrite / translative / jurisdiction / consequences / implications / therefore what? / praxeology / the study of action and application /
day thirty-four / april 5 / stasis interrogation / interrogating
due / medium post written (33) / medium comment written (33) / stasis interrogation final draft posted to medium and submitted on canvas /
class / freewrite / workshop /
day thirty-five / april 8 / writing portfolio / designing
due / everybody's an author chapter 33 read / medium post written (34) / medium comment written (34) / writing reflection assignment description read /
class / freewrite / introduce writing portfolio assignment / perform a reflection on writing / discuss: how do you understand the writing portfolio assignment / talk about dieter rams’ design principles. talk about what each student’s design principles are.
day thirty-six / april 10 / writing portfolio / designing
due / everybody's an author chapter 34 read / medium post written (35) / medium comment written (35) / writing reflection freewrite draft submitted on canvas /
class / freewrite / design
day thirty-seven / april 12 / writing portfolio / designing
due / everybody's an author chapter 35 read / medium post written (36) / medium comment written (36) /
class / freewrite / workshop /
day thirty-eight / april 15 / writing portfolio / designing
due / everybody's an author chapter 36 read / medium post written (37) / medium comment written (37) / writing reflection rough draft submitted on canvas /
class / freewrite / discuss paper with instructor / substrates
day thirty-nine / april 17 / writing portfolio / designing
due / everybody's an author chapter 37 read / medium post written (38) / medium comment written (38) /
class / freewrite / technology /
day forty / april 19 / writing portfolio / designing
due / medium post written (39) / medium comment written (39) / writing reflection formal draft submitted on canvas /
class / freewrite / workshop /
day forty-one / april 22 / writing portfolio / designing
due / medium post written (40) / medium comment written (40) /
class / freewrite / workshop /
day forty-two / april 24 / writing portfolio / designing
due / writing reflection final draft posted to medium and submitted /
class / freewrite / workshop /
day forty-three / final / ???
due / final portfolio / use this link to know when the final is: https://www.uvu.edu/academicscheduling/exam_schedule/
class / charcuterie
(yes, i intentionally left that last one blank because blank space is a key term as well.)
Plagiarism may be intentional or unintentional. Unintentional plagiarism, or incidental use of another's ideas or words without proper attribution, arises from a lack of understanding of the rules of citation and quotation. One commits intentional plagiarism (academic fraud) when one does any one of the following:
represents as one's own the work or knowledge of another person, regardless of the form in which that work or knowledge had originally appeared (e.g. in the form of a book, article, essay, lecture, web site, speech, photograph, chart, graphic, or any other form)
incorporates into one's work the words or ideas of another person without clear attribution that appears at the point the words or ideas have been incorporated, to an extent substantial enough that the origin of the words or ideas has been misrepresented
fails to acknowledge clearly the partial or full authorship of someone else when submitting work
consistently fails to cite or quote textual resources properly, despite the instructor's attempts at educational intervention.
A person who knowingly allows his or her work to be copied, or submitted by another student as course work without the work's proper authorship clearly identified, is an accomplice to plagiarism, and the sanctions outlined below, as relevant, will be applied to this person as well. If evidence shows that intentional plagiarism, as defined above, has occurred, the following sanctions shall be imposed:
The academic work shall receive a failing grade
The student will fail the course, or may elect to drop the course if the last day to drop a course has not yet passed, provided that the instructor's syllabus for the course conveys that intentional plagiarism will result in a failing course grade
A written summary of the infraction of this policy, with copies of the relevant evidence, shall be submitted to the Office of the Dean of Student Services to document a violation of the Student Code of Utah Valley University, as outlined in "Student Rights and Responsibilities". This documentation shall also be provided to the student, and constitutes both a warning and a reprimand to the student as described in Section M, "Sanctions," of "Student Rights and Responsibilities" (Article IV, Section M in the print version).
For more information and tips on avoiding plagiarism, please visit: http://www.uvu.edu/english/student-resources/policies-procedures.html
Statement of Accessibility: If you have any disability which may impair your ability to successfully complete this course, please contact the Accessibility Services Department (LC 312; 863-8747; www.uvu.edu/asd/). Academic Accommodations are granted for all students who have qualified, documented disabilities. Services are coordinated with the student and instructor by the Accessibility Services Department. Students who need accommodations because of a disability may contact the UVU Accessibility Services Department (ASD), located on the Orem Campus in LC 312. To schedule an appointment or to speak with a counselor, call the ASD office at 801-863-8747. Deaf/Hard of Hearing individuals, email email@example.com or text 385-208-2677.
Waitlist and Add Policy: It is against the policy of Utah Valley University for students who are not registered and enrolled in a class to attend it. Students who are on a class waitlist, even if they are the first on the list, are not enrolled. There is absolutely no guarantee any students on the waitlist will be enrolled. Students on a waitlist must wait for an email notifications that allow registration and enrollment in the course. All adds and enrollments into a course off a waitlist are through the online system. Instructors cannot add students. Department administrative staff and academic advisors cannot add students.
Writing Lab: www.uvu.edu/writingcenter
The UVU Writing Center provides a space where students of all disciplines may further their understanding of writing principles and enhance their writing skills. This is primarily achieved through one-on-one tutorials focused on specific writing assignments and tailored to the individual student's needs.
First Year Experience Information: www.uvu.edu/firstyear
Multicultural Student Services: http://www.uvu.edu/multicultural
LGTBQ Student Services: http://www.uvu.edu/multicultural/lgbt
Veteran’s Center: https://www.uvu.edu/veterans/
disclaimer: this syllabus is subject to change.