Reflection for English 1000 Syllabus

Deborah Holland
English 1000
Thoughts behind the course structure of English 1000, version 2
Upon reflection, I decided not to require texts for my section of English 1000. Since I’m using the writing workshop model, students will be focused on writing three complete essays, with very little time for extra work and reading. I plan to pull from compose.design.advocate as need, once I’m more familiar with my students/writing groups. Any readings I believe they would benefit from will be posted on the ning, or on eres.
I used the example syllabus as a partial source/ guide for the skeleton of my plan. Taking the offer to use the information therin, I copied what was permitted, then modified it to suit my purposes. I’ve used some of my blog postings below, plus attributed, modified postings to explain the Difficulty Paper and the Big Idea Project. I’ve also included a verbatim copy from the WPA Outcomes Statement for First-Year Composition
I like the idea of centering the first paper on an exploration of the student’s life prior to English 1000. The course guide states that the typical 19 year old Freshman is egocentric, and so they should find writing about themselves quite pleasurable, even as it challenges their media assemblage, information gathering, and expository writing skills. An auto-ethnography should provide a smooth entry into the world of academic writing. I’d start with the “Where I’m From” poem to lure them into beginning the larger assignment--and at the end of introductions, would confide that they’ve already finished one element of this assignment! Students like to believe that their work has a purpose, so this should get the writing ball rolling. The text: compose, design, advocate will be a valuable resource in this process and throughout the rest of the course.
Since I also know about Ohio State’s Digital Archive for Literacy Narrative, I’d ask students to structure their work so that it could be shared, if they wish, with others on this network. (Information pasted below this text.) Info below is from Ohio State's Digital Archive for Literacy Narratives, retrieved from (DALN) site: http://daln.osu.edu/ What is a Literacy Narrative? A literacy narrative is simply a collection of items that describe how you learned to read, write, and compose. This collection might include a story about learning to read cereal boxes and a story about learning to write plays. Some people will want to record their memories about the bedtime stories their parents read to them, the comics they looked at in the newspaper, or their first library card. Others will want to tell a story about writing a memorable letter, leaning how to write on a computer or taking a photograph; reading the Bible, publishing a 'zine', or sending an e-mail message. Your literacy narrative can have many smaller parts, but they will all be identified with your name. For instance, you might want to provide a story about learning to read a as a child, a digitized image of one of your old
report cards, a story about writing a letter as a teenager, a photograph of you as a young child; a song you learned when you were in school).
Step 1: Compose/Tell your story Decide what stories you want to tell and what items you want to include in your literacy narrative. You can tell these stories in many forms: words, images, videos, audio clips, photographs. You can include as many of these items as you’d like in your literacy narrative. They will all appear under your name. Some of the following prompts may remind you of stories you want to tell: Early experiences at home * Tell a story about how you first learned to read when you were a child. * Tell a story about how you first learned to write when you were a child. * Tell about the kinds of reading and writing that were done around your hose when you were little or when you were growing up. Were there books in your house? Comics? Music? * Tell a story about what your parents/grandparents read (example:
newspapers, books, religious materials, computer games, etc.). * Tell a story about what your parents/grandparents wrote (example: newspapers, books, religious materials, computer games, etc.). * What kinds of stories did your parents/grandparents tell you about how they learned to read and write? * Tell a story about how you first learned to use a computer. Who helped? Where was it? What did you use it for? (examples: chatrooms, email, gaming) Experiences during your school years * Tell a story about reading in elementary/secondary school. * Tell a story about writing in elementary/secondary school. * Tell a story about using a computer for reading or writing of any kind (examples: chatrooms, email, gaming, writing papers, creating music) * Tell a story about using other kinds of technology for reading and writing and communicating when you were in school (examples: cell phones, hearing aids, computers, PDAs). Why dis you use each device? How often? In what circumstances? Later experiences: * Tell a story about reading as an adult. What kinds of things do you
read for work? For fun? For education? With friends or family? * Tell a story about writing as an adult. What kinds of things do you read for work? For fun? For education? With friends or family? * Tell a story about using a computer for reading or writing of any kind (examples: chatrooms, email, gaming, writing papers, creating music). * Tell a story about the kinds of technology you unow se for reading and writing and communicating as an adult (examples: cell phones, hearing aids, computers, PDAs). Why do you use each device? How often? In what circumstances? Additional Materials We also encourage you to add as many other items as you’d like to your literacy narrative. Each item you submit should help illustrate or explain your literacy narrative: * scanned photographs of you as a child or your family, or snapshots you have taken; * scanned images of old report cards, maps you made, drawings you have created; * recorded music you have composed or sounds you have recorded * digitized clips from home movies that show your literacy practices; * short stories, letters, or other materials you have written. * essays, 'zines', newsletters, e-mail messages you have written or
contributed to; I’d help students focus on the details of this assignment through a series of mini-lessons, as a large group, then I’ll divide them into writing groups and turn them loose, using the once/week model to keep track of their progress.
The Difficulty Paper
Below please find justification and preliminary notes for the Difficulty Paper assignment. I’ve adapted and amended information posted by Michael Arnzen in Praxis and Theory, retrieved from
http://blogs.setonhill.edu/MikeArnzen/010483.html
For your second essay assignment, you will write a "Difficulty Paper" -- a task in writing about the things you find difficult to understand when reading an essay, ranging from vocabulary to turns in an argument to theoretical references -- in response to reading Fahrenheit 451. Although we will use writing group discussions to wrestle with reading and writing difficulties, the experience of recognizing and writing about story elements you find difficult to understand will serve you well in your analysis of future text and other forms of media. The "Difficulty Paper" is an assignment espoused by composition theorists Mariolina Salvatori and Patricia Donahoe in their book, The Elements (and Pleasures) of Difficulty. It comes out of the idea that by grappling with intimidating readings, students can master their anxieties about (and become more confident reading) academic texts, and that -- through writing out their thoughts (e.g., taking a metacognitive approach) they can identify what they already know and what they still need to
find out. This not only trains students in ways of reading in the future, but it also, in turn, can lead to more thoughtful and honest paper assignments. Peter Elbow calls this process "text-wrestling" -- an approach to writing that struggles-yet-embraces difficult discourse, while avoiding the superficial and distant approaches to writing that a student may have picked up in school. It's really a transcript of critical reading and I believe it will help you understand Fahrenheit 451 and then form your own ideas in relation to it, so you will construct your essay, and arguments wisely.
The Big Idea Project: Essay & Multi-Media Project
“Big ideas—broad, important human issues—are characterized by complexity, ambiguity, contradiction, and multiplicity. Whether stated as single terms, phrases, or complete statements, big ideas do not completely explicate an idea but represent a host of the concepts that form the idea. For example, the term conflict may represent a number of concepts, such as power, personal and social values, justice and injustice, and winners and losers. Because they provide artmaking with significance, big ideas are important to the work of professional artists—and of students if student artmaking is to be a meaning-making endeavor rather than simply the crafting of a product. Big ideas are what can expand student artmaking concerns beyond technical concerns. Big ideas can engage students in deeper levels of thinking.” Sydney Walker. Teaching Meaning in Artmaking.
“The principle goal of education is to create (wo)men who are capable of doing new things, not simply of repeating what other generations have done—(wo)men who are creative, inventive, and discoverers.” Jean Piaget (Creativity, 326) (wo)amendment by Deborah Holland
Big Ideas: Themes, Topics, and Issues that Endure: guidelines and justification for the Big Idea Project
Notes in blue by Deborah Holland
Template and annotations in black by Dr. Kathy Unrath
Quotes and notes in green from Rethinking Curriculum in Art by Marilyn Stewart and Sydney Walker
Project Title: Big Ideas: Themes, Topics, and Issues that Endure
Motive: Approaching an area of study through its enduring ideas is a useful strategy because big ideas are universal. This method can be designed to work for any age, in any group, at any time, anywhere, always.
Personal Stake in the Unit/Goals – Big ideas are flexible and can stretch to accommodate multiple modes of learning in a wide spectrum of curricular areas. This malleability and elasticity makes it possible to provide learning opportunities for students of all abilities in their preferred/optimum mode of learning. Meaning may be constructed in an infinite variety of response options. This approach encourages cross-curricular learning.
Big Idea Rationale: “Curriculum design is highly involved with decision making about inclusions and exclusions. Philosophical and conceptual commitments, not always overtly articulated, underlie curriculum design and influence how education is shaped. In our approach, choosing enduring ideas as a foundation for curriculum represents a philosophical commitment to content that exceeds any one subject matter or discipline.” From RethinkingCcurriculum in Art, Stewart & Walker, p. 25)
Key Instructional Concept: Big ideas are worthy of further thought and study.
Essential Questions:
 What is the importance of the idea? Is it worth studying?
 What is the appropriateness of the idea for study?
 How does it relate to their present and future interest and needs?
 How does it relate to contemporary culture?
 How is the enduring idea represented in the arts?”
 From Rethinking Curriculum in Art, Stewart & Walker, p. 32.
 How is the big idea represented in Science/Social Studies/Language Arts/Physical Education/Media? What other experiences or information would enhance the study of the enduring idea?
Learning Strategies: One of the advantages of Constructivist learning is that multi-modal forms of response are both necessary and desirable. Students should engage in a wide range of learning/thinking/response behaviors: reading, writing, listening, field trips, art production. Accomodations should be made for Visual/Auditory and Kinesthetic learners.
Opportunities for Personal, Aesthetic and Critical Response: Students need to be encouraged to respond to big ideas in several different modes, and should be given the time and supplies necessary to do so.
Constraints: a resourceful teacher will creatively “wire around” the possible constraints of time and supplies, enabling students to engage in optimal learning experiences.
I will also use the information garnered from the WPA Outcomes Statement for First-Year Composition to guide my thinking during the course.
Retrieved from: http://wpacouncil.org/book/export/html/8
and copied verbatim
Introduction
This statement describes the common knowledge, skills, and attitudes sought by first-year composition programs in American postsecondary education. To some extent, we seek to regularize what can be expected to be taught in first-year composition; to this end the document is not merely a compilation or summary of what currently takes place. Rather, the following statement articulates what composition teachers nationwide have learned from practice, research, and theory. This document intentionally defines only "outcomes," or types of results, and not "standards," or precise levels of achievement. The setting of standards should be left to specific institutions or specific groups of institutions.
Learning to write is a complex process, both individual and social, that takes place over time with continued practice and informed guidance. Therefore, it is important that teachers, administrators, and a concerned public do not imagine that these outcomes can be taught in reduced or simple ways. Helping students demonstrate these outcomes requires expert understanding of how students actually learn to write. For this reason we expect the primary audience for this document to be well-prepared college writing teachers and college writing program administrators. In some places, we have chosen to write in their professional language. Among such readers, terms such as "rhetorical" and "genre" convey a rich meaning that is not easily simplified. While we have also aimed at writing a document that the general public can understand, in limited cases we have aimed first at communicating effectively with expert writing teachers and writing program administrators.
These statements describe only what we expect to find at the end of first-year composition, at most schools a required general education course or sequence of courses. As writers move beyond first-year composition, their writing abilities do not merely improve. Rather, students' abilities not only diversify along disciplinary and professional lines but also move into whole new levels where expected outcomes expand, multiply, and diverge. For this reason, each statement of outcomes for first-year composition is followed by suggestions for further work that builds on these outcomes.
Rhetorical Knowledge
By the end of first year composition, students should
 Focus on a purpose
 Respond to the needs of different audiences
 Respond appropriately to different kinds of rhetorical situations
 Use conventions of format and structure appropriate to the rhetorical situation
 Adopt appropriate voice, tone, and level of formality
 Understand how genres shape reading and writing
 Write in several genres
Faculty in all programs and departments can build on this preparation by helping students learn
 The main features of writing in their fields
 The main uses of writing in their fields
 The expectations of readers in their fields
Critical Thinking, Reading, and Writing
By the end of first year composition, students should
 Use writing and reading for inquiry, learning, thinking, and communicating
 Understand a writing assignment as a series of tasks, including finding, evaluating, analyzing, and synthesizing appropriate primary and secondary sources
 Integrate their own ideas with those of others
 Understand the relationships among language, knowledge, and power
Faculty in all programs and departments can build on this preparation by helping students learn
 The uses of writing as a critical thinking method
 The interactions among critical thinking, critical reading, and writing
 The relationships among language, knowledge, and power in their fields
Processes
By the end of first year composition, students should
 Be aware that it usually takes multiple drafts to create and complete a successful text
 Develop flexible strategies for generating, revising, editing, and proof-reading
 Understand writing as an open process that permits writers to use later invention and re-thinking to revise their work
 Understand the collaborative and social aspects of writing processes
 Learn to critique their own and others' works
 Learn to balance the advantages of relying on others with the responsibility of doing their part
 Use a variety of technologies to address a range of audiences
Faculty in all programs and departments can build on this preparation by helping students learn
 To build final results in stages
 To review work-in-progress in collaborative peer groups for purposes other than editing
 To save extensive editing for later parts of the writing process
 To apply the technologies commonly used to research and communicate within their fields
Knowledge of Conventions
By the end of first year composition, students should
 Learn common formats for different kinds of texts
 Develop knowledge of genre conventions ranging from structure and paragraphing to tone and mechanics
 Practice appropriate means of documenting their work
 Control such surface features as syntax, grammar, punctuation, and spelling.
Faculty in all programs and departments can build on this preparation by helping students learn
 The conventions of usage, specialized vocabulary, format, and documentation in their fields
 Strategies through which better control of conventions can be achieved
Composing in Electronic Environments
As has become clear over the last twenty years, writing in the 21st-century involves the use of digital technologies for several purposes, from drafting to peer reviewing to editing. Therefore, although the kinds of composing processes and texts expected from students vary across programs and institutions, there are nonetheless common expectations.
By the end of first-year composition, students should:
 Use electronic environments for drafting, reviewing, revising, editing, and sharing texts
 Locate, evaluate, organize, and use research material collected from electronic sources, including scholarly library databases; other official databases (e.g., federal government databases); and informal electronic networks and internet sources
 Understand and exploit the differences in the rhetorical strategies and in the affordances available for both print and electronic composing processes and texts
Faculty in all programs and departments can build on this preparation by helping students learn
 How to engage in the electronic research and composing processes common in their fields
 How to disseminate texts in both print and electronic forms in their fields

Syllabus for English 1000

English 1000
Deborah Holland, Instructor: Office in 303 Townsend: MWF 3-4:00 p.m. or by appointment
Phone: 882-6572; e-mail dkhad8@mizzou.edu
The goal of English 1000 is to improve students' skill in writing academic papers. The strategy in this section will be to focus, especially in Essays 2 and 3, on papers comparable to those assigned in Writing Intensive courses. These papers require close analyses of media in all its various forms and then collecting impressions and evidence to support an opinion about the form of media studied. Your essays and projects will also require the use and citation of outside sources, both tangible and electronic.
Suggested, but not required texts and materials:
Wysocki, Frances & Lynch, Dennis A. compose.design.advocate
Hacker, Diana A pocket manual of style, 4th edition
Some matters of classroom management: Attendance & Late Work Attendance:
I will take attendance, so please attend class unless there is a significant personal emergency and/or you are too ill to do so. I will drop students for absences if they miss the equivalent of six classes, You should arrive in class with the texts, documents and supplies necessary for your success, fully prepared to take an active role in class activities. We will meet as a large group during Weeks 1 & 2, then again during Week 10. Personal appointments to discuss big idea proposals will occur during Week 11. All other weeks, you will attend class on your assigned day to meet with your writing group.
Late work:
Decisions regarding the acceptance of late work will be made on a case-by-case basis. Do your best to plan ahead so you will be prepared to turn in your assignments on time.
Assignments are due at the beginning of class. Please contact me the day before the assignment is due if you require an extension of the due date.
We workshop papers, meaning that students' work will be shown to other students and discussed in class. In a class this size it is impossible to workshop anonymously. I will not, of course, discuss your grade with other students.
One function of this class is to ensure that students understand how to use sources properly and avoid plagiarism. Before you hand in any work, read sections 29 and 30 of A Pocket Style Manual (pages 115-123). In this class plagiarism, no matter how accidental or trivial, will always result in a grade penalty. Papers that involve plagiarism exceeding the accidental or trivial will be assigned zeros. In addition, I will report any incident of plagiarism that may be intentional to the Provost's office, which may administer penalties as severe as suspension or expulsion.
Words from the Provost:
Academic Integrity Academic integrity is fundamental to the activities and principles of a university. All members of the academic community must be confident that each person's work has been responsibly and honorably acquired, developed, and presented. Any effort to gain an advantage not given to all students is dishonest whether or not the effort is successful. The academic community regards breaches of the academic integrity rules as extremely serious matters. Sanctions for such a breach may include academic sanctions from the instructor, including failing the course for any violation, to disciplinary sanctions ranging from probation to expulsion. When in doubt about plagiarism, paraphrasing, quoting, collaboration, or any other form of cheating, consult the course instructor. Access If you need accommodations because of a disability, if you have emergency medical information to share with me, or if you need special arrangements in case the building must be evacuated, please inform me immediately. Please see me privately after class, or at my office.
To request academic accommodations (for example, a note taker or extended time on exams), students must also register with the Office of Disability Services (http://disabilityservices.missouri.edu ), S5 Memorial Union, 882-4696. It is the campus office responsible for reviewing documentation provided by students requesting academic accommodations, and for accommodations planning in cooperation with students and instructors, as needed and consistent with course requirements. For other MU resources for students with disabilities, click on "Disability Resources" on the MU homepage.
Whole class attendance and organization of writing groups:
For the first two weeks of class, we will meet as a group and work on some of the components of your first paper, an auto-ethnography. Starting with week three, you will attend class once/week on your designated day, where you will meet with me and the other members of your small writing group. We will use this time to discuss readings, projects, and the writing of each member of the group.
Learning Objectives:
 Develop ability to apply principles and generalizations already learned to new problems and situations
 Develop analytic skills.
 Develop problem-solving skills; identify difficulties in understanding.
 Develop ability to draw reasonable inferences from observations.
 Develop ability to synthesize and integrate information and ideas.
 Develop ability to think holistically; to see the whole as well as the parts.
 Develop ability to think creatively.
 Develop ability to distinguish between fact and opinion.
 Develop the ability to work productively with others.
Grading
If you want to earn an A, you need to accumulate at least 225 of the 250 points available in this class. Each essay will be 20% of your grade. During this class, you will be asked to write three essays: an auto-ethnography, a difficulty paper based on Fahrenheit 451, and a final essay on a
topic of interest to you that has been approved by me. Three essays @20% each = 60% of your grade. Each essay is worth 50 points, for a total of 150 points. Writing group participation (20% of your grade) will be worth up to 50 points, and your blog posts will also be worth up to 50 points—the final 20% of your grade. It is possible to earn extra points if your thinking and writing stuns me with your brilliance! Assignments for the first essay: Auto-ethnography You will  Write your own "Where I'm From" poem, after viewing the original and other examples. You need not follow the rhythm of the piece, but should keep the same general intent, using your own narrative voice. WIF poems will later be posted on the ning, but during class you will pair up and use the poem as a way to quickly get acquainted. Each person will introduce their paired up NBF, using information garnered from the poem and a brief informal interview.  In the second assignment, you will write about your life in the manner of Hemingway. We’ll review and then discuss examples, noting characteristics of style. Please post your imitative essay on the ning, and then comment on the writing efforts of peers. Please post at least one interesting link to some of Hemingway’s short stories, or links to information about his life and times. Finally, please locate and post your favorite Hemingway quote and then write a justification as to why you chose it. (And if you cannot identify a favorite Hemingway quote, then post a favorite from another writer.)  The third assignment involves a written imitation of the Peterman catalog style of writing. Please write about one aspect of your life in a Peterman-like manner and voice, and post your essay on the ning.  The fourth assignment requires you to choose four items in your life that are important to you and use an essay, collage, poem, song, chant, rap, painting, photo or multi-media to express why these items are in your top four. Bonus points given for creativity and extra effort. Students should post their top four on the ning.  Fave five: I'm borrowing this assignment from Facebook, and it is remarkably like assignment #4, except this time, you should choose five favorite songs,
YouTube videos, websites, blogs, games--with an explanation of why they are favorites. Think back five years and see if you can recall your fave five from back in the mists of time. How have your tastes changed? Check the DALN list posted on the class ning to help you think of to additional elements for your Auto-ethnography.
Schedule
Week
Monday
Wednesday
Friday
1
Introduction, Syllabus
Where I’m From essay: write in class, share with partner, class introductions, then post to the ning—an action hereby abbreviated as P2N.
Writing, made choppy. A study and imitation of
Hemingway’s writing voice. Write about some aspect of your life in Hemingway’s style, then P2 N.
This is your life—Peterman’s catalog style. Write about some aspect of your life in the style of Peterman’s, then P2N.
2
Fave Four: choose four of your favorite things, write about them, and
P2N.
Fave Five: choose five of your favorite items within one broad category, then write about your choice and P2N.
Collect information you plan to use in your auto-ethnography and put it into the form most useful for you. If you are stumped, check the class ning for the list of suggestions posted under information about the DALN project. Begin your essay, expanding on the information gathered, and bring copies of your rough draft for your group members next week.
Remember, we will begin small group meetings next week. The next time we will meet as a large group will be during Week 10, so please mark your calendar accordingly.
3
Go over small group guidelines and discuss rough drafts. Revise and add to rough draft, and
Go over small group guidelines and discuss rough drafts. Revise and add to rough draft, and bring copies
Go over small group guidelines and discuss rough drafts.
Revise and add to rough draft, and bring copies to the next
bring copies to the next session for everyone in the group.
to the next session for everyone in the group.
session for everyone in the group.
4
Group discussion of essay, final suggestions for revision. Finished paper due next week. Begin reading Fahrenheit 451 and come to class ready to discuss it.
Group discussion of essay, final suggestions for revision. Finished paper due next week. Begin reading Fahrenheit 451 and come to class ready to discuss it.
Group discussion of essay, final suggestions for revision. Finished paper due next week. Begin reading Fahrenheit 451 and come to class ready to discuss it.
5
Submit Essay One. Discuss Difficulty Papers.
Discuss Fahrenheit 451, noting difficulties and questions for later use. Begin a rough draft of Difficulty paper.
Submit Essay One. Discuss Difficulty Papers.
Discuss Fahrenheit 451, noting difficulties and questions for later use. Begin a rough draft of Difficulty paper.
Submit Essay One. Discuss Difficulty Papers.
Discuss Fahrenheit 451, noting difficulties and questions for later use. Begin a rough draft of Difficulty paper.
6
Discuss Fahrenheit 451 difficulty paper rough drafts, note additional difficulties that come to light. Rough Draft-500 word paper due next week.
Discuss Fahrenheit 451 difficulty paper rough drafts, note additional difficulties that come to light. Rough Draft-500 word paper due next week.
Discuss Fahrenheit 451 difficulty paper rough drafts, note additional difficulties that come to light. Rough Draft-500 word paper due next week.
7
Turn in rough draft for grading. Continue to discuss and write about F451.
Turn in rough draft for grading. Continue to discuss and write about F451.
Turn in rough draft for grading. Continue to discuss and write about F451.
8
Return papers. Revise and complete papers for submission next week.
Return papers. Revise and complete papers for submission next week.
Return papers. Revise and complete papers for submission next week.
9
Submit F451 paper (5 page minimum) for grading. Begin work on Big Idea project.
Submit F451 paper (5 page minimum) for grading. Begin work on Big Idea project.
Submit F451 paper (5 page minimum) for grading. Begin work on Big Idea project.
10
Meet as a large group to discuss research and guidelines for the production of the big idea project.
Examples of big idea projects will be revealed. Continued class discussion of big idea project.
Brainstorm use of technology for big idea project.
11
Individual appointments to discuss and receive project approval for big idea. Begin research and
Individual appointments to discuss and receive project approval for big idea. Begin research and writing.
Individual appointments to discuss and receive project approval for big idea. Begin research and writing.
writing.
12
Meet with writing group, go over Big Idea rough draft. Submit rough draft for review. Keep writing.
Meet with writing group, go over Big Idea rough draft. Submit rough draft for review. Keep writing.
Meet with writing group, go over Big Idea rough draft. Submit rough draft for review. Keep writing.
13
Rough drafts returned. Group review of latest product. Revise and continue assembling project.
Rough drafts returned. Group review of latest product. Revise and continue assembling project.
Rough drafts returned. Group review of latest product. Revise and continue assembling project.
14
Turn in papers and celebrate!
Turn in papers and celebrate!
Turn in papers and celebrate!