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ENC 1102 - Strand 4: American Culture—The Popular, The Personal, The Political Section 37 MWF 9:05–9:55 in Bellamy 008 Section 38 MWF 11:15–12:05 in Bellamy 008 Instructor: Joseph Cottle Instructor email: joe_cottle@ymail.com Office Hours: Dodd Basement, Mondays 12:30-2:30; Tuesdays 2-4 (if anyone cannot make either of these, please let me know and we will try to arrange another time) (Many thanks to Sarah Pilcher and Bruce Bowles for much of their help/syllabuses!)

First-Year Composition 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 (dteague@fsu.edu).

Course Goals This course aims to help you improve your writing 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, write sustained exploratory journals (blogs), devise your own purposes and structures for your papers, work directly with the audience of your peers to practice critical reading and response, and learn many new writing techniques.

Outcomes Rhetorical Knowledge • Focus on a purpose • 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 • Write in several genres Critical Thinking, Reading, and Writing • 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 Processes • 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 Knowledge of Conventions • Learn common formats for different kinds of texts • Develop knowledge of genre conventions ranging from structure and • paragraphing to tone and mechanics • Control such surface features as syntax, grammar, punctuation, and spelling Composing in Electronic Environments • 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

Required Textbooks and Materials Beyond Words by Ruszkiewicz, Anderson and Friend (Pearson, 2012) The Curious Researcher by Bruce Ballenger (Pearson, 2012) The McGraw-Hill Handbook by Maimon, Peritz, and Yancey (McGraw-Hill, 2010) Access to a Computer and Printer (the university provides a number of computer labs) Pen/pencil and paper in 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. • • • • • • • • •

Three projects, edited and polished At least three drafts and revisions of each of the formal papers A group presentation Portfolio Informal, personal exploratory journals on the class blog Thoughtful participation in all in-class free writes/activities/quizzes Two individual conferences (in lieu of regular class time) Attentive, active, and responsible participation and citizenship, including oral discussion, preparation for class, in-class informal writing, and class workshops

Gordon Rule In order to fulfill FSU’s Gordon Rule “W” Designation (writing) credit, the student must earn a “C-” or better in the course, and in order to receive a “C-” or better in the course, the student must earn at least a “C-” on the required writing assignments for the course. If the student does not earn a “C-” or better on the required writing assignments for the course, the student will not earn an overall grade of “C-” or better in the course, no matter how well the student performs in the remaining portion of the course. The University stipulates that students must write 7000 words in ENC 1101 & 1102 (around 3000 per class).

Paper-by-Paper Evaluation Drafts will be graded on completeness and potential—not on editing or other mechanical issues. Final papers will be graded on audience awareness, organization, coherence, supporting evidence, thorough analysis, and editing. All other written and oral work will be graded on meaning or content and appropriateness to the assignment. Active participation in class discussion, discussion boards, conferences, workshops, and preparedness in class all factor into this section.

Grades 15% Paper #1 15% Paper #2 20% Paper #3 15% Blog 35% Portfolio Journals: Every class you will write in your journals for the first few minutes. You can either write by hand or type your journal entries. However, for your e-portfolio, you will be required to have samples of your journal entries typed, so it might be easier to type them the first time. On certain days, I will dictate a topic for you to write about. Think thoroughly about the topic, yet try to write continuously throughout the duration of the exercise. Sometimes, merely writing


down your thoughts can help you to gain a better understanding of the topic and your own thought processes. At the beginning of some classes, you will be allowed to free write in your journals. You could contemplate a problem you’ve been having with one of your writing assignments or with one of the assigned readings. You could write about a problem you overcame successfully while writing. Even if I do not dictate a topic to you, your journal entries should have some relevant connection to the work/topics of our classroom. Journal entries should not be written about people in your life or a funny story from the night before. They reflect your work in the class.

Late Work Policy

All major assignments may be turned in for late credit; however, late projects will be penalized. For each day the project is late, five points (the equivalent of one-half letter grade) may be deducted. A student who thinks that he or she may not be able to hand a paper in on time should ask for an extension. Extensions must be granted at least 48 hours in advance. Note: extension requests do not guarantee an extension. I may (that is, probably will) accept late minor projects at his discretion. Five points will be deducted from your assignment grade each time that you do not bring a draft of your paper to class on workshop day.

Attendance The First-Year Composition program maintains a strict attendance policy to which this course adheres: more than six (6) absences is grounds for failure . You should always inform me, ahead of time when possible, about why you miss class. I understand there are situations where you cannot come, for whatever various and sundry reasons those may. My advice is, save y our absences for when you get sick or for family/personal emergencies; also be aware of the days you might miss. There is no difference between “excused” and “unexcused” absences: all absences (no matter the reason) count as an absence. `

Tardies Three tardies equal one absence. Class begins promptly at 9:05/11:15 a.m. If you are more than 10 minutes late, you will be counted absent. Please do your best to be on time - I know there can always be particulars that come up, but again, just do your very best

Conferences Each student is required to meet with me for two conferences this semester. These conferences are held in place of class time; if you miss your scheduled conference, you are counted absent for not only that day, but the whole week.

Civility


I will tolerate neither disruptive language nor disruptive behavior - I'm not a big fan of it. Disruptive language includes, but is not limited to, violent and/or belligerent and/or insulting remarks, including sexist, racist, homophobic or anti-ethnic slurs, bigotry, and disparaging commentary, either spoken or written (offensive slang is included in this category). While I do not disagree that you each have a right to your own opinions, inflammatory language founded in ignorance or hate is unacceptable and will be dealt with immediately. Disruptive behavior includes the use of cell phones, pagers or any other form of electronic communication during the class session (e-mail, web-browsing). Disruptive behavior also includes whispering or talking when another member of the class is speaking or engaged in relevant conversation (please remember that I am a member of this class as well). Although there is no required dress code here at FSU, inappropriate attire will not be tolerated in the classroom. (I define “inappropriate” as any clothing that might distract other students from the class at hand). I will respect you as members of our writing community, and I ask that you do the same for me. This classroom functions on the premise of respect, and you will be asked to leave the classroom if you violate any part of this statement on civility. I also reserve the right to count you as absent if you cannot conduct yourself appropriately for class. Remember that you will sign a contract that indicates you have read and understand this policy.

First-Year Composition Drop Policy

This course is NOT eligible to be dropped in accordance with the “Drop Policy” adopted by the Faculty Senate in Spring 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.

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 Composition 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.

Drafts, Revisions, and Final Papers You'll be responsible for uploading your drafts to our Blackboard site by 5:00 p.m. the day before we workshop. You'll also be responsible for reading peer drafts BEFORE workshop day, making digital comments on the drafts using Microsoft Word, and bringing printed copies of your peers' drafts to class for workshop. I require that all drafts and revisions be typed (MLA format, 1-inch margins). You have access to a number of computer labs around campus, so if you don't have your own computer, take advantage of one of FSU's. Final papers do not need covers or title pages. All your written work must have your name, my name, and the date at the top of the first page. It is a good idea to put money on your FSUCard for printing and copying in the library. You will be required to turn in hard copies of your work. It is also a good idea to save your documents in http://www.dropbox.com. That way, you have access to your files from any computer, even if your computer fails. You will generally be choosing your own topics and structures for the drafts and papers in this class (after the first week). You will be required to share your work with your classmates, so take care in what you choose to write. Your writing for this class is nearly always public writing in the sense that others will be reading, hearing, and commenting on it.

Available Academic Assistance Resources Reading/Writing Center (RWC) The Reading/Writing Center, located in Williams 222-C, Strozier Library, and the Johnston Building, is devoted to individualized instruction in reading and writing. Part of the English Department, the RWC serves Florida State University students at all levels and from all majors. Its clients include a cross-section of the campus: first-year students writing for composition class, upper level students writing term papers, seniors composing letters of applications for jobs and graduate schools, graduate students working on theses and dissertations, multilingual students mastering English, and a variety of others. The tutors in the RWC, all graduate students in English with training and experience in teaching composition, use a process-centered approach to help


students at any stage of writing: from generating ideas, to drafting, organizing and revising. While the RWC does not provide editing or proofreading services, its tutors can help writers build their own editing and proofreading strategies. Our approach to tutoring is to help students grow as writers, readers and critical thinkers by developing strategies for writing in a variety of situations. During the fall and spring semesters, the RWC is open Monday through Thursday from 8 - 6 and Friday from 9 -2. Digital Studio The digital studio can be a great tool for your blogging project and future assignments you may encounter in other courses. The Digital Studio provides support to students working individually or in groups on a variety of digital projects, such as designing a web site, developing an electronic portfolio for a class, creating a blog, selecting images for a visual essay, adding voiceover to a presentation, or writing a script for a podcast. Tutors who staff the Digital Studio can help students brainstorm essay ideas, provide feedback on the content and design of a digital project, or facilitate collaboration for group projects and presentations. Students can use the Digital Studio to work on their own to complete class assignments or to improve overall capabilities in digital communication without a tutoring appointment if a workstation is available. However, tutor availability and workspace are limited so appointments are recommended. ADA 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. Class grades/assignments "You Be the Teacher� For our textbook The Curious Researcher, you will be the teacher! Five groups (consisting of around 4-5 students) will each be responsible for separate chapters of the text. Your group will prepare a lesson (about 15-20 minutes) on the chapter(s) you were assigned. Do your best not to just lecture at your classmates—we all know that can be rather boring. Use visuals, engage the class in activities, provide outlines or notes as handouts, show a pertinent video, etc. This presentation will be significant part of your participation grade, and exceptional presentations will have the opportunity to earn extra credit!

Description of Major Assignments Paper 1: The Movie Paper, 5-7 pages Obviously, movies are such a broad form of entertainment, it's hard to really pick a particular genre to look at. But I want us to try and focus on 'realistic' movies. Movies that depict realistic events, even if not based on exact historical events (ex. the Vietnam War in Apocalypse Now -


the war was a historical event, but none of the fighting in the movie mirrors any actual battles; similarly with Gladiator) certainly attempt to be realistic. We can obviously contrast these with such movies as Star Wars or Monster's Inc., where reality is suspended and we literally immerse ourselves in another world. Certain movies to consider include the 'biopics': Gandhi, The King's Speech, Milk, Amadeus, Goodfellas - an innumerable list could follow: biopics especially, and just historically related 'real-life' movies (Primary Colors, Gettysburg, Braveheart, Rob Roy, The Social Network). There is an almost endless number of ways this paper can be approached, but the real goal here is analysis. Whether you look at representation of gender, sexuality, race, class, stereotypes, some combination of these, or something all your own, your task is to produce an argument in terms of what the show says about some facet of our culture. One of the challenges will be to avoid simply summarizing the material you‘ve viewed, so be sure to strike a balance between recapping what happened on the show and what ―what happened means in a larger sense. This paper is really an exercise in semiotic reasoning. In other words, as you work with your material, you should keep asking (and answering!) two fundamental questions: why and what does this mean? Paper 2: “Critical Research Article” (8-10 pages) For this assignment, you will compose a critical research article. It can be a feature article for a magazine, a major expose for a local or national publication, etc. The key is that you explore some aspect of popular culture in an analytic and detailed fashion. Your first step will be constructing a research question: what is it that you want to explore further and discuss in-depth? Here are some examples of possible research questions: • How does consumer culture’s idea of beauty affect the self-esteem of adolescent females? • What effects do Facebook and other various social networking sites have on the overall communication habits of Generation Y? • Do negative campaigning strategies and/or attack ads actually influence voters? • How did the bounty controversy in regard to the New Orleans Saints reflect larger issues of authority in American society? • Is Obamacare the most effective solution to the health care crisis America is facing? Once you have formulated your research question, you next need to consider your audience. Who is it you want to address? What kind of publication would this article be best suited for? What types of people read this publication? Beyond understanding who your audience is, you also need to consider how you will write to this audience. What kind of background knowledge can you assume? How will you tailor your language/rhetoric to meet the exigence of the situation? What will you do to capture and maintain your readers’ interest? Your critical research article will be eight to ten pages in length and include at least seven outside sources (three of which must be scholarly articles and no more than three sources originating on the internet). You will either use MLA format or another format if you believe it more suitably fits your needs and/or requirements. In the end, your critical research article should move beyond merely stating facts and demonstrating knowledge—you should be analytical and engage your audience in a thorough discussion of the issue at hand while providing unique insight into the topic. You will also give a brief presentation (5 min.) on your research findings and the main conclusions you reached in your research article. This presentation should include a visual component (i.e. PowerPoint, Prezi, video, etc.) that aids your presentation in a rhetorical fashion. Paper 3: Reflecting and Shaping American Cultures, 7-10 pages


This paper moves beyond personally exploring one‘s own culture and asks you to critically analyze various cultures existing within America, but instead of looking at American culture through movies, this paper will allow you to examine other cultural facets of America. You will examine how American culture is reflected and shaped through various legal actions, media formats, and concepts. Your paper will select one particular facet of American culture—one that closely reveals a part of America‘s culture. For example, you could explore the increased number of college students who watch John Stewart‘s Daily Show, and how this television show becomes the main, or only, source of news for this particular group; how does this show impact youth‘s perception of news? Also, you could examine the ways gas prices or global warming has shaped and continues to shape America‘s automobile industry. Then you will compose a feature article or exposé in order to reveal how your particular topic defines our overall culture and how the rhetoric and images surrounding this topic impact one‘s understanding of it. How do current events and news shape our understanding of American culture? We want to examine what we take for granted in our culture, interrogate it, and bring our discoveries to light in this paper. In order to investigate a particular part of our culture, you will become journalists, freelancers, and authors, writing for the news publication, magazine, or insider program of your choice. When approaching this topic, you need to look past the simple news story and closely analyze what this specific part of our culture means both to us and the American culture. Like with the first paper, do not summarize but analyze. Find something that engages or troubles you within the American culture. After finding an interesting topic to analyze, you need to consider who you want to address— who is your audience—as you compose your feature article or exposé. Where might such an article or exposé be published? A feature article informs the reader and engages them in an interesting way, while an exposé exposes some story or information, uncovering untold truths. Make the topic interesting for the audience; make us want to read it. You need to not only catch the reader's attention but also hold that attention through your choice of language and your tone. Your language and rhetoric become tools for presenting your critical stance of this part of American culture. Think about how the writer‘s rhetoric and your own rhetoric conveys a topic; how do images alter one's perception of culture and how can you also use images to deliver your message. There is a minimum of 5 sources required to support your 7–10 page article, drawing from a variety of source materials: library books, journals, magazines, newsprint, credible web publications, interviews, etc. Our text, The Curious Researcher, will guide us through the steps of researching for your feature article/ exposé and documenting your sources using MLA format. Electronic Portfolio: The primary purpose of the electronic portfolio is not a matter of simply collecting your work for the semester and providing some cathartic reflection about how this class changed your life. When you construct your portfolios, I want you to dig deeper and examine what you have truly learned in this class, ways in which your writing has developed, concepts and ideas you may have been introduced to (and their value or lack their of), areas of weakness that persist, etc.


For starters, your portfolio should contain the following items: -the four best examples of your blog posts -eight of your journal entries (typed, not scanned, please) -your 1st, 2nd, and final draft of your first two papers You may choose to design your e-portfolio in any manner you choose and organize it using any logical method - Wix or Weebly are both two sites I learned how to use over the summer, and both are quite useful. The Digital Studio can come in very handy when learning how to operate them. I’m not concerned with how aesthetically pleasing it is: primarily, I want to be able to navigate your work in an accessible manner. The main objective of this portfolio is the reflection- it will also serve as one of the most crucial elements in my grading. As with the design element, you are free to reflect in any manner you choose. I require six to eight pages double-spaced worth of reflection, yet you can fulfill this requirement in a variety of different ways. You could write a 6-8 page reflective letter; you could compose a brief reflective letter as an introduction and have individual reflections for each element of the portfolio; you could even have reflection within the work itself! The choice is yours but make it wisely. Although I do not want to give you detailed instructions as to how to accomplish your reflections, use these guidelines for assistance: -Use the contents of your portfolio to generate your reflection. Truly examine your work before you begin your reflection. -Tie specific assertions to specific examples from the portfolio. For example, do not just tell me that you experimented with interesting syntax during your “Critical Research Article”show me this in your work. I am encouraging you to quote yourself. -Overall, the emphasis should be on YOUR writing. You can discuss the class or myself if it pertains to your writing, yet do not focus primarily on these aspects. Merely evaluating the class is not reflection. Besides, you will be given the opportunity to do this during course evaluations. -Once again, I reiterate, do not turn the reflective portion of your portfolio into an overly dramatic chronicle of your journey in the class. Be analytical and descriptive. Examine your work and your learning. - Discuss the thought processes behind various decisions you made throughout your writing for this class. Explain the rationale behind your choices. What influences had an effect? Did you consider genre? Who was your audience? Did you break a standard writing convention? Why? What motivated the decisions you made during revision?


Please use these guidelines merely as guidelines. Do not take them as the authoritative instructions for your portfolio and merely address the questions I have asked. Experiment and be creative, and of course, if you have any questions, please feel free to ask. I will be evaluating your portfolio on the progress you made as a writer, the diligence you spent in revision (please don't just submit final drafts with a couple of comma changes), the polished nature and overall quality of your final drafts, and, primarily, through your reflection. The portfolio is, again, 35% of your grade- do not mail-in the reflective aspect or your revisions. Take the time to truly reflect: you might be surprised by what you find out about yourself as a writer.

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