Monday, September 10, 2012

What's the Purpose?


August 20, 2012, 11:13 pm

Scared Straight — Into the Voting Booth


It strikes me as funny that we call our political organizations “parties.” For most of us, elections and political parties are the antithesis of fun. It’s no wonder that many young people avoid them. As colleges around the country welcome hordes of students, and politicians feebly attempt to spark interest in the fall election, we should ask why.

I live in a college town, Austin, now the fastest growing city in the country. Young people are moving here in droves, drawn by the city’s creative energy and laid back lifestyle. And they are some of the most active and committed people I know.

I’ve been lucky to get to know many of them since I moved back to town last summer, after many years in New York City. Tanene Allison is developing a new media platform to give a voice to women, people of color and gay and lesbian youth. Cristina Tzintzun organizes low-income construction workers. Michelle Dahlenburg helps incarcerated women through theater and creative writing. John Fiege is making a film about people taking direct action to address climate change. Patrick Slevin launched a youth orchestra for Latinos. I could go on.

So why do so few young people vote?

In the recent run-off elections to select Senate candidates for the race this fall in Texas (there was one for Democrats and one for Republicans) only 8.5% of eligible voters showed up. These determined citizens essentially decided the outcome in November, given the extreme odds against a Democrat defeating the Republican run-off winner, Ted Cruz. Though Texas is certainly ground zero for weak voter participation, even national averages for young people (18-35) have teetered just around 50% for most presidential elections, and they’re half that in non-presidential election years – 24% in the 2010 midterm elections.

 
While the percentage of young people who vote has actually grown incrementally during the last few presidential elections, we have yet to return to the voting levels of the early 1970s. Turnout was 55% in 1972 — just after the 26th Amendment to the Constitution added millions of young voters to the rolls by dropping the voting age from 21 to 18. To offer a more stark comparison, voter turnout rates have topped 70% in Canada, 79% in France, and 96% in Australia (where voting is compulsory).

Quoting these sobering statistics, older generations love to bemoan the antipathy of youth, the lack of a culture of civic participation in America. At a dinner party I hosted recently, dour comments flowed. While it was hardly a representative group — the guests included journalists, advocates, a documentary filmmaker and a government official — their remarks were typical: “When I was young everybody got involved in politics, but my kids just don’t care;” “Young people have given up on government, and it’s our fault because government sucks;” “Occupy was so inspiring at first, but I guess they all just wanted to camp.”

These comments ignore other forms of youth engagement that may tell us something about why young people can be enthusiastic volunteers and organizers but tepid voters. Three causes are worth exploring. First of all, many young people just don’t see the connection between voting and their commitment to improve their communities, advocate for a cause, or change the world. Secondly, there are very real grounds for political cynicism. And finally, let’s face it, civic engagement can be a snore.

The missing link between issue advocacy and voting struck me forcefully when I discovered that many of the young women who rallied recently at the state capitol to protest Gov. Rick Perry’s attack on Planned Parenthood hadn’t voted in the 2010 gubernatorial election. They had skipped a step in the policymaking process that might’ve kept them out of the heat – voting out a leader willing to risk women’s lives to score political points. I’ve also met plenty of bike-riding young people who are passionate about saving the environment, fanatic about composting, obsessed with their carbon footprint — but they don’t vote either.

Other citizens get how government is supposed to work but are deeply cynical about the political process. This isn’t just youthful ennui. Big money has an outsize influence on both political parties, gerrymandering dilutes votes, and partisan gridlock stalls action on even the most pressing problems. Young people are courted during election season and then ignored or chastised when they demand accountability and solutions. There are still too few candidates who represent the diversity of the younger generation, which is comprised mostly of people of color and immigrants. Recognizing all this, we need to make a better case that voting still matters.

Then there’s the fun factor. The fact is, for many young people – all right, most people – civic engagement is a bore. The phrase “civic engagement” conjures images of neighborhood meetings that plod along in rooms with stained carpets, cheap paneling and fluorescent lighting. Slick, overproduced political rallies and overly earnest sharefests. I know, I’ve been there. I’ve even sponsored a few.

How to remedy these ills? We need to put young people in charge, because they will engage their peers where they’re already active – in community gardens, volunteer networks, sports clubs and cultural hubs. Voting should be tied directly to issues that young people care about, as a natural extension of other forms of involvement, creative expression and collective action. And the best way to counter youth cynicism may be to rub their noses in the stale fruit of inaction – do you really want to have no say in policies that determine whether or not you have a job, what you pay for college, whether climate change ever gets addressed or even acknowledged? Scared straight into voting.

Most importantly, it should be terrific fun to vote and to stay involved after election day. What if the average civic gathering – whether it’s a political rally, grassroots group, school task force, or city council – involved cook-offs, improv or gaming? What if we devised clever ways to scale up what’s working, instead of whining for a living? What if we banned Robert’s Rules of Order and actually got to know one another? It’s no surprise that two of the most effective movements in the last few years have been the Tea Party and Occupy Wall Street. They threw out tired old forms of engagement and communication, and inspired people to make noise, create political theater, to engage people’s emotions and not just their rational brains.

Some groups are doing things differently now, and we need more like them. The Bus Project in Oregon recruits young people to get on a bus — yes, an actual bus — to engage voters on issues or candidates they believe in. They’ve made even tried and true methods of political organizing more fun, like their Phone Phests: “Vivacious volunteers + tasty treats + delicious drinks + magnificent music + dialing for democracy = the greatest phone calling experience of your sweet young life.”

The League of Young Voters, despite its stodgy name, is masterful at cultural organizing and social media outreach. Check out “Total Recall Live,” the league’s weekly online talk show where an R&B songstress and a D.J. remix news regarding hip-hop and politics.


Yana Paskova for The
New York TimesYouth volunteers in Athens, Ohio, 2008.

Conservatives have wisely invested in youth leadership programs for decades, through groups like the Leadership Institute. Their graduates helped Cruz, a Tea Party favorite, win the primary against the candidate of the Republican establishment and Gov. Perry, Lt. Gov. David Dewhurst.

In 2008, as a candidate, Obama dazzled the nation with his ability to inspire millions, including loads of young people, to get involved in political organizing for the first time. And they reached their goal – they elected Obama. Problem was, it was the wrong goal. The party ended, and many were disillusioned when change didn’t happen overnight. Voting is critical, but it is just one step in the broad spectrum of engagement required to advance real change, whatever your goals and ideology. For democracy to flourish, we need people to do it all — vote, volunteer and raise some righteous hell.

Ann Beeson is a senior fellow and lecturer at the Annette Strauss Institute for Civic Life at the University of Texas. She was previously the national associate legal director of the American Civil Liberties Union.
After reading the article above, answer the following questions:

1.) What was the author's purpose? 
To Inform
To Entertain
To Question
To Argue
To Ellicit an Emotional Response
2.) Once you identify the author's purpose, next explain "for what and/or for whom."  In other words, if you stated the author's purpose was to entertain, then explain for what reasons and/or to whom.
3.) Next explain "why?"
Please note that questions 1-3 could be completed in as little as one sentence.
4.) Now list some evidence that supports your assertion on her purpose.  You may write this in sentence format, or you may simply bullet the information.
5.) Now discuss what strategy she used to achieve her purpose.   You may need to review your notes on all the rhetorical devices and strategies we have discussed so far.  Sorry, but I am not giving any hints here.
5.)  Next, open up one of the ten hyperlinks within the article and read where it takes you.  Comment upon the relevancy of the link as it pertains to the article.  Does it support the article, if so, in what manner?  Does it seem off-topic from the article?  If so, then why?
Please try to read a different link than what others have already reviewed.
6.)  Finally, respond to one other person's commentary.  Just one person this time:>) unless you would like to respond to more than one person, then please feel free to do so.
Your posting to me is due by Friday, September 14th, and your response to one other classmate is due by Sunday, September 16th.


Tuesday, September 4, 2012

Reality Check

Freshman Composition Syllabus


Below is a syllabus for a Florida State University freshman composition writing course that was given during summer.  Either copy/paste the document into a word doc and save it to your desktop, or read the entire document within this blog  and then answer the questions written in red in a thoughtful manner by using evidence from the document and your new-found understanding of the AP exam.  Do Not Post Your Response.  Email it to: aplangkhs@gmail.com.  Identify your class period and your first and last name within the Subject section of the email like this: Per. 3 Jack Johnson

 

Freshman English Composition Course Syllabus 

ENC 1101.17 Investigating Communities: How We See Ourselves and Others

Summer Session C, 2008

11-12:15 M-F Williams 217

Instructor: Lucy Littler

Office: Williams 329

Office Hours: Tuesdays 2-4pm, Thursdays 2-4

Email: clr07d@fsu.edu

First Year Composition Mission Statement

First-Year Writing courses at FSU teach writing as a recursive and frequently collaborative process of invention, drafting, and revising. Writing is both personal and social, and students should learn how to write for a variety of purposes and audiences. Since writing is a process of making meaning as well as communicating, FYW teachers respond to the content of students' writing as well as to surface errors. Students should expect frequent written and oral response on the content of their writing from both teacher and peers. Classes rely heavily on a workshop format. Instruction emphasizes the connection between writing, reading, and critical thinking; students should give thoughtful, reasoned responses to the readings. Both reading and writing are the subjects of class discussions and workshops, and students are expected to be active participants of the classroom community. Learning from each other will be a large part of the classroom experience. If you would like further information regarding the First-Year Composition Program, feel free to contact the program director, Dr. Deborah Coxwell-Teague at dteague@fsu.edu.

Our Course Goals

This course will help you to grow as a writer and a critical thinker by encouraging you to investigate and to write about communities that have played a role in shaping you as an individual. In addition to looking closely at yourself, you will take a close look at others within the communities around you and study larger communities you currently participate in or hope to join.

 This course aims to help you improve your writing and communication skills in all areas: discovering what you have to say, organizing your thoughts for a variety of audiences, and improving fluency and rhetorical sophistication. You will write and revise three papers, give an oral presentation, write sustained exploratory journals (both in and out of class), work directly with an audience of your peers to practice critical reading and response, and learn many new writing techniques.

 We will begin the semester with Paper #1 which asks you to examine your own literacy history and how you see yourself as a member of the writing/reading community. From there you will use community as the lens with which to examine and write about someone else in Paper #2, and then in Paper #3, you will examine a larger community you are currently a member of or one you think you would like to join. To conclude our course, we will focus briefly on oral communication as each student will organize and present his/her favorite paper from the term to the class. You will not read your paper to the class, but you will convey what about the process of writing the paper was most enjoyable, challenging, memorable, etc.

Required Materials:

On Writing 3rd Edition, FSU Edition (Bishop 2008)

The New McGraw-Hill Handbook (Maimon, Pertiz, Yancy, 2007

Our Own Words available at http://english3.fsu.edu/writing/oow

Access to a Computer (the university provides a number of computer labs)

Electronic Storage device (flash/thumb drive, disk, etc) for use in and out of class

Requirements of Course

All of the formal written assignments below must be turned in to me in order to pass the course. Attendance is also a requirement. More than four absences in a 6 week course is grounds for failure. Three "tardies" will constitute an absence.

Three papers, edited and polished

Oral presentation

Multiple drafts and revisions of each of the three formal papers

 Exploratory journals, some in-class & some out-of-class

Two individual conferences

Thoughtful, active, and responsible participation and citizenship, including discussion, preparation for class, in- and out-of-class informal writing

Check email and course Blackboard site daily

Evaluation

Rough drafts will be graded on completeness and potential—not on editing, coherence, or other mechanical issues. If you miss a scheduled workshop or show up to a workshop without a complete and thoughtful draft (or the requested number of copies, etc), your final paper grade will be lowered by 1/3 (this means a final paper that would normally be a B would become a B- if you missed one workshop, a C+ if you missed two workshops, etc. Please note that showing up without a draft, without a draft that addresses the given assignment, without having posted your draft on Blackboard, or without bringing the required number of copies of your draft all carry the same penalty as missing the workshop altogether. No exceptions. IT IS YOUR RESPONSIBILITY TO LISTEN TO/CHECK BLACKBOARD FOR DIRECTIONS AND COME PREPARED TO ALL CLASS MEETINGS AND WORKSHOPS.)

Final papers will be graded on audience-awareness, organization, thoughtfulness, and editing. Each final paper will be handed in with a packet of required materials (rough drafts, process writing, etc).

If you fail to hand in a final paper on time or with the necessary required materials, your final paper grade for that assignment will be lowered by a full letter grade. All other written and oral work (quizzes, journals, presentations, etc) will be graded on meaning or content and appropriateness to the assignment.

 Paper 1—Personal Exploration: How You See Yourself as a Writer (20%)

Paper 2—How You See Another: Community Member Profile (30%)

Paper 3—Featured Article: How You See Yourself and Others within a Community (30%)

Oral Presentation—Writing Process: Your Favorite Paper from our Course (10%)

Journals—Writing activities, in and out of class (10%)

ALL FORMAL PAPERS AND THEIR DRAFTS MUST BE COMPLETED AND TURNED IN TO EARN A PASSING GRADE IN THIS COURSE.

Attendance

I keep strict attendance and will adhere to the First-Year Writing rule that an excess of four absences in a 6 week class [that's the equivalent of 20% of this course] is grounds for failure. You should always inform me, ahead of time when possible, about why you miss class, but letting me know you will be out of town or that you don’t feel well, etc. does not "excuse" the absence. All absences, no matter what the reason, count toward the total number. Save your absences for when you get sick (it will happen, trust me) or for family emergencies. If you are late to class (and/or conference) three times, it will be counted as an absence. Not showing up for a conference counts as an absence as well.

Please keep in mind that attendance in this course means being here both physically

and mentally. Sleeping, not participating, or detracting from the progress of the class is grounds being asked to leave for the remainder of the class meeting and counted absent for the day.

 Drafts and Workshops

FSU believes that writing is an on-going process that includes stages of invention, drafting, revision, and editing. These stages don’t always happen in a set order, nor do they necessarily happen only once during any given writing task. To encourage this process-approach to writing, each paper in ENC 1101 will consist of several drafts. These drafts will be due on designated workshop days—days on which you will be expected not only to receive feedback on your own work but also to generate feedback on the work of your peers.

 You are required not only to attend workshops with a completed and thoughtful draft, but you are also expected to contribute to the workshop by giving your peers’ drafts your full attention and offering them honest, helpful criticism.

 You should submit your draft to our online Blackboard site (please use .rtf format) well in advance of class time so you will be prepared to share your work as soon as class begins. Sometimes you will be expected (you will have ample time to prepare) to bring one or more hard copies of your draft to class.

I will take up drafts at various times during the course and provide written and/or oral feedback. I will not tell you what to do because your writing should be a reflection of your choices as a writer--I will offer suggestions by discussion with you how your work has affected or reached me as a reader.  I will act as a "sounding board" on which you can flesh out your ideas and bring your intentions as a writer to fruition from the initial invention stages of an assignment all the way to editing and polishing your final drafts.

For more information on this approach to teaching composition, please see Brannon and Knoblauch’s "On Student’s Rights to Their Own Texts: A Model of Teacher Response"

Please see the

Evaluation section of this course information sheet for the penalties associated with missing a workshop or coming to a workshop unprepared.

 Journals

Each week, we will engage in a number of journal assignments. Some of these assignments will be completed in class, others will require that you spend some time reading, reflecting, and writing outside of designated class meeting time.

First-Year Composition Course Drop Policy

This course is NOT eligible to be dropped in accordance with the "Drop Policy" adopted by the Faculty Senate in the spring of 2004. The Undergraduate Studies Dean will not consider drop requests for a First-Year Composition course unless there are extraordinary and extenuating circumstances utterly beyond the student's control (e.g.:death of a parent or sibling, illness requiring hospitalization, etc.). The Faculty Senate specifically eliminated First-Year Composition courses from the University Drop Policy because of the overriding requirement that First-Year Composition be completed during students' initial enrollment at FSU.

Reading/Writing Center

The RWC offers one-on-one help for students with their writing, whether they need help with a writing problem, understanding what their teacher wants, or just want to do better on their writing assignments. The Center is staffed by teaching assistants who are trained in writing and teaching. Make an appointment by calling ahead (644-6495) or stopping in (222-C WMS). The Writing Center is open 9:00-4:30 Monday-Friday. Online tutoring is also available. The Center is a great asset; please take advantage of it.

 Plagiarism

Plagiarism is grounds for suspension from the university as well as for failure in this course. It will not be tolerated. Any instance of plagiarism must be reported to the Director of First-Year Writing and the Director of Undergraduate Studies. Plagiarism is a counterproductive, non-writing behavior that is unacceptable in a course intended to aid the growth of individual writers. Plagiarism is included among the violations defined in the Academic Honor Code, section b), paragraph 2, as follows: "Regarding academic assignments, violations of the Academic Honor Code shall include representing another's work or any part thereof, be it published or unpublished, as one's own." A plagiarism education assignment that further explains this issue will be administered in all first-year writing courses during the second week of class. Each student will be responsible for completing the assignment and asking questions regarding any parts they do not fully understand.

Gordon Rule

Successful completion of all writings in this course and a final course grade of C- or better will allow you to satisfy the Gordon Rule requirement. The University requires you to write 7,000 words, but you will be writing much more than that in any FYW course.

American Disability Act

Students with disabilities needing academic accommodations should in the FIRST WEEK OF CLASS 1) register with and provide documentation to the Student Disability Resource Center (SDRC) and 2) bring a letter to the instructor from SDRC indicating the need for academic accommodations. This and all other class materials are available in alternative format upon request.

 Description of Paper Assignments

(These descriptions are subject to modification as I see fit)

Personal Exploration: How You See Yourself as a Writer (20%)

This essay should explore the aspects of what makes you who you are as a writer. As a person, and as a member of your larger communities, what has shaped you as a writer, and a student of writing, to this point? Who has influenced your attitudes and perceptions toward reading, writing and academic education? What decisions or events in your life have determined your literacy? How did you become the writer you are today?

 For this essay, explore all of these questions by considering and reflecting on your past experiences with reading and writing. Think of the communities you belong to (home, school, hobbies, social groups, etc.) and how those communities have contributed to your evolution into the literate person you are today. You may choose to focus on a turning point, such as a time when a teacher influenced you, the first great book you read that introduced you to the joys of literature, or the influence of a friend or family member on some aspect of your literacy history. Or you may choose to focus on a practice you have developed, or an experience related to your literacy that has impacted you. Your focus might be positive or negative—you may relate a struggle connected to reading or writing (perhaps it was never something you liked), or you may want to discuss a discovery you made (perhaps you enjoy a particular genre of literature) that changed your perspective.

 Whatever your focus, this essay should contain a significant amount of analysis and interpretation of what has shaped you. Tell your story in this essay, but move beyond narration to reflect upon and articulate why and how the experience(s) was(were) significant for you. How were you shaped as a person and within your larger communities by this experience/event/discovery? The essay should provide a level of detail, through example, anecdote and explanation, which enables a reader to relate to your experience and to understand your perspective. It should provide significant insight into what or who has made/makes you who you are as a writer, reader, student and person of your world.

The various drafting stages of this assignment will ask you to focus on using sensory detail and description, using dialogue, and taking risks through radical revision.

 The final draft will be 5-7 typed, double-spaced pages. You will use 12 point Times New Roman font, 1 inch margins, MLA Style headings and page set-up.

 Paper Two – Community Member Profile: How We See Another

As our class is focused on community, this essay asks you to examine a community in relation to one of its members. Before you start work on this paper, you will want to consider what a community is, how it functions, what traits its members have, and why this community exists.

In your first paper, you wrote about yourself; now, you are being asked to closely examine another person and write a profile. Unlike a biography that catalogs the major events in a person’s life, a profile looks at a person through a specific lens. The lens you choose dictates which traits and experiences will be highlighted. A profile based on a person’s job will look very different than a profile looking at someone’s childhood.

 You will use community as the lens with which to examine someone. Choose someone to profile whom you think belongs to an interesting community or whose relationship with that community tells a lot about the person. There are any number of opportunities to find a unique view of this person through his/her involvement with a community—you may choose generation, culture, profession, etc.

 You will want to explore both the community and the person. In what ways does this person interact with this community? What traits do all members of the community possess? How does this person reflect this community? How would this person be different if he/she didn’t interact with this community?

 In order to discover the answers to these questions, you will want to interview this person (maybe more than once). The interview(s) will allow you to integrate direct quotations into your paper.

Here are a few examples to keep in mind:

Maria is from Cuba and extremely religious. A profile could examine how religion, especially aspects of Cuban Catholicism, helped her when she immigrated to the U.S.

 

Bruce is a civil engineer. He is obsessed with structural safety and has spent 20 years traveling around the country examining structures. His profile could focus on how his career has influenced his hobbies, lifestyle, and thought processes.

 

Susan was born in the 50s and grew up during Vietnam. She saw a picture in a magazine of a girl in Vietnam running from a bomb. Her profile could center on her loss of innocence during that era, an era when it is often argued our nation lost her innocence as well.

 

Your essay will most likely include description, narration, analysis, and reflection; it is up to you to decide how these will all be integrated. You will not merely describe the person and his/her community, but you will analyze the relationship between the person and the community, paying special attention to why this relationship deserves to be explored in a profile. Why is looking at this person in this light particularly interesting, important, or insightful?

 

The various drafting stages of this assignment will ask you to focus on thoughtful representation of your subject matter, your audience’s perspective, description, analysis, and using interviews as source material.

 

The final draft will be 5-7 typed, double-spaced pages. You will use 12 point Times New Roman font, 1 inch margins, MLA Style headings and page set-up.

Paper Three –Feature Article: How We See Ourselves and Others Within a Community

We began the semester by looking at ourselves and what shaped us in a community of readers and writers. Next we interviewed another person and examined a community in relation to one of its members. Now we will examine a larger community we are currently a member of or one we think we would like to join. We will expand our writing lens to include a much larger, broader focus that will now cover a more expansive community.

 You will research your topic with the intent of publishing your essay as a feature article for a college magazine. You will inform and describe some of the important ideas behind your academic or professional goals for people who might want to pursue the same avenue. Some questions you might consider: What is my academic or professional goal? What kind of knowledge do I need to understand this goal better? What types of classes will I need to take? What characteristics do I need in order to successfully obtain these goals? What are the societal stereotypes that I might need to overcome? How will these stereotypes affect me? In order to answer these questions, you will need to interview people in your field in academia or working professionals.

 You will also need to examine questions about yourself: Why do I have these goals? Where do they stem from? Am I secure and/or comfortable with my goals? Do they fit with what I want to do with my life? How do I know this for sure (reflect and research)? What do I know about myself that will be conducive for this field? What stereotypes might I need to overcome to succeed?

 Finally, you will need to reflect and respond: What did I already know and what did I learn as a result of my research?

 The various drafting stages of this assignment will ask you to focus on thoughtful representation of your subject matter, your audience’s perspective, description, analysis, and using various types of source material (interview, ethnography, periodicals, the web, etc).

 The final draft will be 5-7 typed, double-spaced pages. You will use 12 point Times New Roman font, 1 inch margins, MLA Style headings and page set-up.

Description of Oral Presentation

During the final days of our course, each student will share with the rest of the class what he or she has learned about his or her personal writing process through an analysis of his or her favorite paper from our course.

 Using your favorite paper (and any writing or materials you used while developing that paper) from our course, you should analyze and explain to your peers in an organized oral presentation what you have discovered about your writing process. What helps you write? What gets in your way? What do you like or dislike about your writing and why? How does this particular paper illustrate your process, or what you would like your process to be? What will you take from this paper with you into future writing situations?

 Though you should cite your own writing (such as drafts, journals, process letters, etc) in your presentation to illustrate your points, you should not plan to simply read your paper to the class. The purpose of this oral presentation is not to summarize the paper itself but to help you analyze and share what discoveries you made during the writing of this particular paper that you feel were valuable to you in some way. This assignment will serve as a bridge between ENC 1101 and whatever courses and writing experiences await you in the future as it encourages you to recognize and examine what works (and what doesn’t work) for you as a writer.

 Your oral presentation will be between 4 and 5 minutes long and it will include a visual aid. You must be present and attentive for all presentations in order to get credit for your own.

Tentative Schedule

(All readings, assignments, and due dates are subject to change. Check Blackboard DAILY for updates.)

Week 1

Monday, June 30th

 

Syllabus, ENC 1101 Expectations?

Read "What Goes on in First Year Writing" by Devan Cook, Our Own Words 1998-99 Edition http://english3.fsu.edu/writing/?q=node/444

Section 2A in The New McGraw Hill (p 21-23)

 Tuesday, July 1st

Discussion: What are your expectations for ENC 1101? College writing in general? Writing beyond college? How does Cook’s text affect what you think/expect?

What is process writing?

Introductions

Read Paule Marshall’s "The Poets in the Kitchen," Amy Tan’s "Mother Tongue" and the Introduction to Chapter 2 in On Writing

Section 11 in The New McGraw Hill (p 237-241)

 Wednesday, July 2nd

 Introducing Paper 1

Discussion: How has language affected Marshall’s life? How has language affected Tan’s life? How is language related to or reflective of community?

Invention Strategy: Timelining and Looping

Read Richard Straub’s "Responding—Really Responding—to Other Students’ Writing" in On Writing and Section 5A in The New McGraw Hill (p 90-93)

 Thursday, July 3rd

 Discussion: What’s the point of workshopping, and what should we expect to get (and give?) in a peer review?

Example Student Paper

 Friday, July 4th

No Class, University Holiday

 Week 2

Monday, July 7th

Workshop 1

Make sure to post a copy of your electronic draft (in .rtf format!!) to the appropriate BB discussion board forum by class time and bring a hard copy of your paper to class with you

Read "Sing with Me Somehow" and "Knocked Up" from Our Own Words (2007-2008 edition)

 Tuesday, July 8th

Discussion: What choices have these writers made to convey their stories effectively? What risks might you take with your draft?

Invention Activity: Showing vs. Telling

Snapshots, Exploding the Moment

Example Student Paper

Read Anne Lamotte’s "Shitty First Drafts" in On Writing

Complete out of class journal (TBA) in preparation for your conference

 Wednesday, July 9th

 Conferences, no class meeting

Thursday, July 10th

 Conferences, no class meeting

 Friday, July 11th

 Invention Activity: Sensory Detail

Workshop 2

Make sure to post a copy of your electronic draft (in .rtf format!!) to the appropriate BB discussion board forum by class time and bring a hard copy of your paper to class with you

Week 3

Monday, July 14th

Final Draft of Paper 1 due by class time (Submit an electronic copy of your final draft to the appropriate Discussion Board forum on our BB homepage. Bring a STAPLED packet to class to turn in made up of your final draft, all rough drafts, and your process letter).

Introducing Paper 2

How to conduct an interview

Read "The Unsung Hero" in Our Own Words, 1999-2000 Edition http://english3.fsu.edu/writing/?q=node/150

Section 3A in The New McGraw Hill (p 35-45)

Tuesday, July 15th

Discussion: What decisions has this student writer made in profiling his grandfather?

Using a cultural artifact to guide an interview

Read Haunani-Kay Trask’s "Tourist, Stay Home" in On Writing and Section 4B-C in The New McGraw Hill (p 65-71)

 Wednesday, July 16th

 Discussion: How does Trask’s essay profile her community? How is language central to this community’s struggle?

Biography vs. Profile: Focusing through a specific lens

Paragraph length Profile

 Thursday, July 17th

 Sample Paper:

Seinfeld’s "The Soup Nazi"

Friday, July 18th

Workshop 1

Make sure to post a copy of your electronic draft (in .rtf format!!) to the appropriate BB discussion board forum by class time and bring a hard copy of your paper to class with you.

Complete out of class journal (TBA) in preparation for your conference

Week 4

Monday, July 21st

Conferences, no class meeting

Tuesday, July 22nd

Conferences, no class meeting

Wednesday, July 23rd

 Final Draft of Paper 2 due by class time (Submit an electronic copy of your final draft to the appropriate Discussion Board forum on our BB homepage. Bring a STAPLED packet to class to turn in made up of your final draft, all rough drafts, and your process letter).

 Introducing Paper 3

What is Ethnography?

Read "Life in a Box: The Psychological Effects of Dormitory Architecture and Layout on Residents" Blakely Louis Beals from Our Own Words 1999-2000 Edition

Thursday, July 24th

Discussion: What does this essay reveal about student life/living at FSU? How would you describe this author’s style?

Example Student Paper

Invention Activity: Cubing

Read "Freaks and Geeks" in On Writing and Section 3B-D The New McGraw Hill (p. 45-57)

Friday, July 25th

 Discussion: How does Reeves’ essay profile a community through one of its members? How does Reeves use interview? Ethnography? Cultural Artifacts?

Using Language to convey reality: Abstract Shapes

Week 5

Monday, July 28thLibrary Visit, Meet in the "Coffee Lobby" at Strozier at 11am. Don’t be late!!

Tuesday, July 29th

Workshop 1

Make sure to post a copy of your electronic draft (in .rtf format!!) to the appropriate BB discussion board forum by class time and bring a hard copy of your paper to class with you

Read Section 18B The New McGraw Hill (p 323-325) and Fulwiler’s "The Role of Audiences" in On Writing

 Wednesday, July 30th

Who is your audience?

Searching the Web for Usable and Reliable Information

Thursday, July 31st

Revision Workshop using "Glossing" and "Commentary"

Friday, August 1st

Workshop 2

Make sure to post a copy of your electronic draft (in .rtf format!!) to the appropriate BB discussion board forum by class time and bring a hard copy of your paper to class with you

Read Section 13 in The New McGraw Hill (p 248-253)

Week 6

Monday, August 4th

How to Give an Effective and Engaging Oral Presentation

Tuesday, August 5th

 Revisiting Process Writing in Preparation for your Oral Presentation

"Imagoes"

Wednesday, August 6th

Final Draft of Paper 3 due by class time (Submit an electronic copy of your final draft to the appropriate Discussion Board forum on our BB homepage. Bring a STAPLED packet to class to turn in made up of your final draft, all rough drafts, and your process letter).

Oral Presentation "Dress Rehearsal"

Thursday, August 7th

Oral Presentations

Friday, August 8th

 Oral Presentations

 

Your Assignment:  After reading the 12 page document--yes it was 12 pages, comment on the following:

  1.  What surprised you the most?

  2. Do you have a greater understanding on why I am pushing you to do your work on time and use technology?  Please explain by referring to the FSU syllabus, thus showing me evidence of your understanding and why I require certain things within this course.

  3. Reflect on what you now understand about the AP Language and Composition exam and how I am trying to get you ready for bypassing an English composition course by preparing you to score high on the exam and yet still preparing you on what you would have learned within a college composition course. 

DO NOT POST YOUR RESPONSE TO THIS ASSIGNMENT ON THIS BLOG SITE.  This time, I want you to email me your response to aplangkhs@gmail.com.  In the subject column, identify your class period then write your formal name: first and last.  

Example: Per. 3: Jack Johnson

Make sure that your response remains in letter format and that you thoughtfully address the three items noted above.  Make sure that you use evidence from the sample syllabus and your understanding of the AP exam in order to support your response.

 Once Again: Do Not Post Your Response. 

Please email me your response to: aplangkhs@gmail.com.  Note your period and your first and last name within the subject heading of your email.

Assignment due no latter than September 9th, by Midnight

Please accept my apology on the radical change in font size within this document.  While trying to copy/paste it within the blog site, it would not allow me to remove some formatting features.  My sincerest apology.
~Ms. Carlson


 

     

Monday, August 27, 2012

The Aesthetics of Language


Sarah Kay: If I should have a daughter ...








 
 
 
Click on the link below to view a performance by spoken poetry artist Sarah Kay.


After viewing the video, choose one phrase/section that you really like and comment on how Sarah Kay manipulates language to make the content aesthetically pleasing.  In other words, what does she say that “moves” you and how does she say it?  Think in terms of every literary device you have every learned.

One thing you might want to focus on is how she uses allusions (A Reference to Something Historical, Cultural, Biblical, or Mythical).  An allusion is a literary device that also appears within essays and speeches.

Because you have so many reading and writing assignments this week, you do not need to comment on what your peers say unless you would like to send them a message.

Your response is due by Sunday, September 2nd at Midnight.

Monday, August 20, 2012

The Power of Facebook

Read the article below to get a little background on how Facebook is being used for political activism.  The article is from The Moor Next Door, a blog site on Maghreb Affairs, Geopolitics, and International Relations. 


A Self-Immolation in Mauritania

The story of the Tunisian Revolution has swept the Arab region, and so has the legend of Mohamed Bouazizi. Thus far, four Algerians and an Egyptian and a Mauritanian each have lit them selves on fire in protests meant to recall Bouazizi, the young man whose self-immolation inspired the Sidi Bouzid uprising. Bouazizi was twenty-six years old and unemployed. Yacoub Ould Dahoud, the Mauritanian who imitated Bouazizi’s act more recently was a forty-year old from a well off family. He lit himself up in front of the Presidential Palace. A Reuters report claims his grievance was “alleged government mistreatment of his tribe.” Ould Dahoud’s long Facebook message posted before the deed makes no reference or claim about his tribe being wronged (it begins “[. . ] no to the rule of tribalism … no to the return of patronage.”). He was not protesting his economic condition. He was making a blatant political statement: “a simple citizen demands legitimate rights.” Ould Dahoud wrote: “Enough corruption! Enough injustice in Mauritania! For fifty years we have suffered from corruption and injustice.” His statement, quoted and paraphrased extensively here, includes jabs at the army, the political elite demanding “the ouster from power of the clique of spoilers from the army” and “a cancelation of all duties and taxes on rice, wheat, [cooking] oil, sugar, dairy and monitoring of the outrageous profits from them” and demanded that anti-slavery activists be released from jail. His final statement even included a proposal for a constitutional amendments that would ban “current or former” military officers from running or being elected president, among other things. His message implored France: ”respect the right of the Mauritanian people to self-determination”. Ould Dahoud addressed his pleas to President Mohamed Ould Abdel Aziz: “if you do not accept these demands, you will face the wrath of the People who will come out just like they came out against Ben Ali.” His cause was for ‘our children to live in a country with social justice, freedom and democracy.”
This is as activist as one can get. Unlike the copy-cat self-immolations in Algeria (and Bouazizi’s original) there was no apparent spark in his personal life and he was older and better off than several of the other men. Little is known about Ould Dahoud personally, though Mauritanians that crossed paths with him at various stages describe him as “a democrat,” by disposition. It appears he intended to mimic Bouazizi’s “spark” to revolution. His self-immolation will shock many in Mauritania but a Facebook page has already been set up called “Solidarity with Yakoub Ould Dahoud who burned himself for Mauritania,” with enthusiastic users changing their profile pictures to an image of the man burning on the street. It seems clear that the event has the regime nonplussed, which had a rough time getting outsiders to accept its legitimacy. That some news sites and agencies have buried the story somewhat is not an accident.

Now Click on the link below and read more about the concerns and responsibilities regarding the use of Social Media.


http://www.theatlantic.com/technology/archive/2011/01/the-inside-story-of-how-facebook-responded-to-tunisian-hacks/70044/

Comment on the articles (Other than the fact that four men literally lit themselves on fire as a form of protest).  Think about the implications of a society out of control.  Should  a Social Media network facilitate an uprising or should a government be able to shut down the Internet during times of unrest?  How might shutting down the Internet affect our freedom of speech if something similar were to happen within the United States?  Should government be for the people, by the people?  Or should the government do what they believe is for the benefit of the greater good?  These are just suggested questions to get you thinking.  Please feel free to take the discussion in any other intelligent direction.  But remember to:
  • Use evidence from the articles to support your response.
  • Respond to me by Friday, August 24th, Midnight and then  . . .
  • Respond to two of your classmates by Sunday, August 27th, Midnight.
  • Write in paragraph format adhering to grammar and punctuation.
  • You may want to compose your thoughts first within a Word Doc and then Cut/Paste it into the response section of the blog.  This way you can use grammar and spell check, plus you avoid losing your thoughts in case you have a problem while posting.

Sunday, August 12, 2012

Localism Overload
By Good. Food. Stories. Contributor | February 17, 2010 |

The Good. Food. Stories. team is extra-pleased to present today’s guest post from Jessie Knadler, a former Manhattan magazine writer and editor who now lives in rural Virginia with her husband, 30-odd chickens, two rambunctious dogs, and a host of farm equipment. Her adventures as a city girl attempting country living are chronicled on her “awesome blog” (her words and our feelings exactly) Rurally Screwed. We’re eagerly awaiting her canning-focused cookbook with co-author Kelly Geary that will be published by Rodale in Spring 2011.

When I first moved from Manhattan to rural Virginia four years ago, I assumed I was saying goodbye to the foodie fascism that had taken hold of the city. I took it as a given I’d never have to overhear two Brooklyn yoga moms prattle on about the virtues of free-range eggs for little Dexter and Elliot or listen to well-meaning friends pester waiters with questions like, “Is this beef really grass-fed?” I was fed up with thinking I too had to define myself by what I ate.

If only I was a little more organic, a little more free-range, steel-cut, Meyer lemon-eating, blah-blah-blah, I’d somehow be a better person. To me, the pursuit of dietary asceticism seemed like just another form of subtle social stratification, right up there with carrying the right handbag, only somehow less shallow, more “real.”

So I was excited at the prospect of moving somewhere where people, I assumed, still ate Slim Jims and where cocktail party food centered around Philadelphia cream cheese in various guises. I thought the most probing food question I’d encounter here was “Does the chicken fried steak come with brown or white gravy?”

Well, this is what happens when a pampered urbanite moves to the middle of nowhere—you quickly realize how provincial and ignorant you really are. Organic piety, I’ve since realized, extends to small-town America as well, to conservative communities where the rebel flag still proudly flies and where 30-somethings don’t think much about living in a cabin or a yurt.

In fact, dietary hysteria is actually worse here than in places like Park Slope or Berkeley because people in my small southern community tend to lead less frenzied lives—there’s less pressure to get your kid into the “right” school, the cost of living is pretty cheap, and people generally live closer to the land since much of the local economy revolves around agriculture and construction.

Rewarding career opportunities, especially for women, are somewhat limited, so a lot of moms end up making the procurement of food—organic, locally grown food—their primary occupation. And some take it to an almost fetishistic degree.


(This chick is now an egg-laying machine)

Here’s one recent example: A couple of months ago, I attended a lunch for which I brought each guest a carton of eggs. (My husband and I have a flock of 30 chickens.) When one of the guests who was refusing to let her five-year-old even eat a Hershey’s Kiss because they’re “poison”—saw my carton of eggs, she hesitated. “I don’t know,” she said. “Let me look at them.” She opened the carton, eyeballed the eggs and, in a distinctly withering tone, said, “On second thought, I don’t need any.”

I was offended. I had no idea why she refused my eggs. My flock is clean, they free-range over eight acres, they eat bugs and grass and grubs. I wondered, were my eggs not white enough? Did she refuse them because the carton was Styrofoam and not more eco-friendly cardboard? Or was it because she knew my husband and I supplement our chickens’ diet with—shudder—commercial feed from the farmer’s co-op?

The incident illustrated that food snobbery is not limited to the upwardly mobile in coastal cities, but also to people who live in cabins in the woods. It’s everywhere. There’s no getting away from it. It’s an entrenched part of the national conversation and I keep waiting for the day when it will all kind of go away, like the rollerblade craze of the early ’90s.

This is not to suggest that food awareness—knowing where your food comes from—isn’t important. Every time you turn around, there’s another study linking processed food to obesity, ADD, asthma… the list keeps growing. And the way animals in factory farms are raised is unconscionable at best. It is precisely because I am concerned with these matters that I now have two freezers stocked with three deer, shot for us by our rifle-toting neighbor, plus half a pig and half a cow (both locally raised and butchered, natch.)

(Even deep-friend Twinkies are not off limits from time to time.)

I have a huge garden and can my weight in fruits and vegetables like a deranged pioneering lunatic in the warmer months. My husband brews his own beer. We churn our own ice cream. We bought chickens so we wouldn’t have to eat the watery, jaundiced specimens that pass for eggs at the grocery store.

I’m about as homestead-y as you can get without owning a carpet beater, but I try not to look down my nose about it because the truth is, I still occasionally eat Funyuns. I sometimes eat fried mozzarella sticks dunked in Sysco marinara sauce. I snack on Milk Duds and processed crackers and hoover up the remaining flavor dust residue from my husband’s Roy Rogers French fries.
Even I spotted the food nazi who refused my eggs—the same one who won’t eat ice cream down at the local ice cream parlor because it’s “too full of fillers”—inhaling a plate of chili cheese fries down at the drive-in a few months prior! I’m no Michael Pollan, but I’m pretty sure the cheese on those fries didn’t come from a cow up the road, but a pump. In my mind, that made her refusal of my eggs more a rebuke of me than it was a stand for organically pure ovum. Which is to say, I probably won’t be inviting her to my next potluck.

So this is my gentle plea for 2010: Can we all please stop talking about localism and organic food now? Everyone’s a locavore anymore. (Or those that want to be anyway.) We get it. The eggs are free-range. The meat in the freezer is from a farmer down the road. The fish is sustainably caught. Understood. Here’s a gold star.

I welcome the day when we can all just sit down to the table and take it as a given that what we’re eating is good wholesome, nutritious food without feeling the urge to itemize the sourcing of each dish. You know, sort of like they do in Europe. Besides, odds are, somewhere along the line a Dorito will probably pass your lips.
Answer the following question with a brief paragraph:
1.) What is the point that Jessie Knadler is trying to make within her essay?
2.) Now, in another brief paragraph, identify a particular food or food issue that is exclusive to Kauai and explain why it is exclusive to Kauai.( This should take only 2 or 3 sentences) Once you indentify that food, then bullet a quick list of things you associate with that food or food issue.
Post your response to me by Friday, August 17th.
Respond to two other classmates about their food item by Sunday, August 19th.  Your reponse to your classmate needs to only be a few sentences.  But have something to say!  Just don't say, "I agree with you."  While you may agree with them, add onto their thoughts by adding new insight.