# data[].attributes.body
1/24/18 Homework due: 1/26/18
1. Read all of the Opening Conversations introduction. pp. V-Xii
2. Read Opening Conversations: A Writer's Reader, Hejira by David Sedaris (page. 168)
3. What is Sedaris's writer's context? What is his exigence? Who is the audience? What kind of rhetoric is he using?



📎 Photo
Help! I woke up in a chicken suit and can't take it off!
Help! I woke up in a chicken suit and can't take it off!
1/24/18 Wednesday Agenda
1/24/18 Wednesday Agenda
1. Opening Conversations group work  (15 minutes)
2. Share out (10 minutes)
3. Class reads other sections to themselves. (10 minutes)
4. Free write: Help! I"m in a chicken suit! email vs. tweet
Define context, writer, reader, audience expectations, voice, and share out. (10 minutes)
5. Go over homework. 
Opening Conversations: A Writer's Reader (Introduction)
Opening Conversations: A Writer's Reader (Introduction)
In small groups you will read your assigned section silently, discuss section, and share out with group. Use markers and chart paper.

Group 1:
Writing as Conversation: What does it mean to write well in this brave new world? Write down key components to share with the class. 
 
Group 2:
The Rhetorical Situation: What is the rhetorical situation? How does the rhetorical situation affect the decisions that writers make? Write down key components to share with the class

Group 3:
A Writer's Context: What is a writer's context? Give examples of possible writer's contexts. Write down key components to share with the class


📎 Photo
Homework 1/22/18 due 1/24/18
Homework 1/22/18 due 1/24/18

1. Please get your textbooks and bring them to class everyday starting 1/24/18.
2. Please bring a folder, notebook, and writing utensil to class everyday.
3.  Reflect on an experience that informed or exemplifies your ideas about writing: the purpose of writing, what makes for good writing, who you are as a writer (Pick one topic or touch on all 3) (min. 500 words) 
*Share into the English 112 google drive folder, look for your section. 

Books are:
Hoang, Haivan V., et al., editors. Opening Conversations: A Writer’s Reader. Hayden-McNeil Publishing, 2015. ISBN: 9780738080215. 
Lunsford, Andrea A. EasyWriter. 6th ed. Bedford/St. Martin’s, 2016. ISBN: 9781319050764.
 Zukowski, Patricia and Anne Bello et al., editors. The Student Writing Anthology, 2017-18. Hayden-McNeil (make sure you are sold the write edition!)
Publishing, 2017. ISBN: 9780738093284. 

How to order your books: You can purchase these books through the Amazon Course Materials tool; search for Englwrit 112 on SPIRE to get the direct links. If you search for the books online, look for them using ISBN numbers to ensure that you’re getting the correct edition. All texts are also available on course reserve (print only) at the DuBois Library.

Get to know each other!
Get to know each other! 
Pick one question you would like to answer and share with the group.
If you could travel anywhere in the world, where would it be?
What is a quote that you live your life by?
What is your favorite movie/TV show/music group why?
What’s your favorite hobby or pastime?
Who is your biggest role model and why?
Why did you decide to enroll at this college?

Community Guidelines
Community Guidelines
1. Come to class on time, prepared, and ready to participate.
2. Hand in all work on time. 
3. Be respectful and courteous to classmates.
4. Please turn cell phones off and refrain from using them.

*Unwillingness to abide by these community guidelines will result in final grade reductions*
📎 Document
Five Texts Generative Writing
Five Texts Generative Writing
List the last five texts you wrote.

Who were these writings for?
How were your approaches different or similar? 

Week one goals
Week one goals
Introduction to college writing and writing community.
Introduce our Unit One assignment.
Introduce the concept of writing: as a means for thinking, expressing ideas, engaging others.
Introduce syllabus: esp. course goals and policies, five units, writing process, and community guidelines. 

Office Hours
Office Hours
My office is in Du Bois, 1234. Hours are on Mondays and Wednesday from 11:30 am -12:30 pm, by appointment please. :)

Padlet Address 
https://padlet.com/juliana_ward/112spring2018
First Day 1/22/18
First Day 1/22/18
1. Welcome and introductions. Name, what do you like to be called?, major, where are you from? (10 minutes)
2. Five texts free write. (5 minutes)
3. Share out. What is writing? Why do we write? (5 minutes)
4. Hand out syllabus and introduce course goals and policies,
five units and writing process. (20 minutes) 
5. Questions and icebreakers. 


Welcome to College Writing!
Welcome to College Writing!

# data[].attributes.body
Objectives/Goals: In almost every essay, an author will use terms that are specific to the text and crucial to the meaning of it. One way to enter more deeply into a text is to identify these terms and the ways the author uses them to construct meaning.

Description/ Instructions: First, list at least three specific terms the author uses. Then, respond as fully as you can to the following questions without worrying too much, during this exploratory stage, about matters of spelling, structure, and so on.

1. What does each of the terms mean? Try to define what the author is meaning by these terms.

2. What does each of the terms seem to imply—that is, what tones or nuances do the terms carry? Use specific examples from the text to support your analysis of the terms.

3. What do the terms mean to you? What meanings do they carry in your life? Again, use specific examples.

While remaining as true as possible to the author’s words and intentions, don’t worry too much about getting the “right” answer, for there are no perfectly right answers to these questions. Instead, work to find responses and ideas that are interesting and lead to more questions. If you are working in a group, it is useful to note any disagreements and/or differences group members may have concerning the terms. These points of difference will lead to interesting questions and help further your understanding of the text.

# data[].attributes.body
1. “Based on your reading of the essay and on the other feedback this writer received, what is the number one thing the writer should focus on in revision?”

Reflect on the balance of the description and analysis. Are there lots of fantastic descriptions but very little analysis (or vice versa)? Offer your partner feedback as to where and when he/she might need to do some work to “balance” his/her draft. Look back to any question marks you’ve left in the margins and write a few sentences explaining why these moments were confusing.

# data[].attributes.body
Writers make choices about such issues as what words to use,
what details to emphasize, what order to retell events, and how to present one’s own thinking and actions to the audience(s) one is addressing. Each of these seemingly minor choices (e.g. choosing the verb “bumped” or “crushed” to describe one car hitting another) not only conveys the writer’s relationship to what he describes, but also affects how readers envision the events, persons, and/or places described.

1. Once you have read the text reread it, marking passages where the author describes self, another person, an event, and/or a place.
2. From these marked passages, choose three to focus on that relate to the same person, event, or place.
3. For each of these passages, list words/phrases/sentences that seem key to you in terms of how they convey a sense of the person/place/event. Then write a paragraph or two reflecting on the impact of these stylistic choices, using the following questions as
guides:

a. What similarities or differences are there in these passages? How do they differ in terms of word choice, syntax, imagery, etc.? Are there differences in point of view (e.g. first person vs. third person) or perspective?
b. How do these different choices reflect the overall message you think the writer seeks to communicate? What tone/mood/point of view is the author conveying in each passage/ Does this relationship change between the three passages?
c. How do these choices position the writer in relation to what she describes?
d. How do these choices position the reader in relation to what is described?

# data[].attributes.attachment_link.title
What Was The First Viral Internet Meme? The origin of the ooga chaka dancing baby meme

# data[].attributes.attachment_link.description
What was the first internet meme? It's hard to say forcertain, but the dancing baby is definitely one of them. Also known as the ooga chaka baby or the ally mcbeal baby, it was the first meme I myself remember. Let's look at the history and origin of the meme.

# data[].attributes.body
Unit 5 due

1. Meme slide show and tell. (20 minutes)
2. Final icebreaker (exquisite corpse) and good byes (30 minutes)

# data[].attributes.body
1. Share selected with whole group. Group gives feedback. (20 minutes)
2. Introduce meme assignment (links below) and how to send them in.  (10 minutes)
3. Students free write ideas/units/images they might use for memes. (10 minutes)

Homework:
1. Submit final reflection by Monday 12/11/17.
2. Make and submit 2 memes. One on 112 and one on college in general. Must be PG!! Email to me in ONE email by 5pm Sunday.

# data[].attributes.body
1. Free write: What does it mean to be a writer? Where and why do we learn to write? (5 minutes)

2.  Intro: Unit 5 assignment sheet, Look at course goals and unit goals. (copies). (5 minutes)

3. What did we learn? Create a list of writing skills/strategies practiced throughout course. Units group work and share. (20 minutes)

Unit 1: Inquiring into the self
Analyzing your own context
Free writes
Writing to close/informal audience
Thinking about how your context influences your writing
Read SWA essays
Hook/ good opening skills
Introduced the writing process
Introduced peer editing and reflected
Gender, race, class

Unit 2: Interacting with texts
Learning to relate personal context to text
Engaging with text
More formal writing techniques
Academic audience
Analyzing essays
Respond to text
Engaged with author
Argument
group work

Unit 3: Adding to the conversation
Annotated Bibliography
Incorporate your own voice and ideas
summarize sources main points
create a thesis and support with effective quote
research question
explored the library
Conclusion
Conferences feedback
critical thinking
Structure/ claims/ evidence
Ethos/ pathos/ logos
Listened our songs
Research/database

Unit 4: Interacting with Art
Free writes on the meaning of art
Used personal context to come up with opinion
PIcked a take
compared and contrast different types of art
Researched through visit
Worked on first draft
Public speaking
Connecting your life experiences to the art
Cite unconventional sources
Questioned the systematic value making of art
Exit Through the Gift Shop

4. Look at Free write again, add ideas for structuring unit V. Reread Writing histories from week one if possible. (5 minutes)

5. Questions and homework.

Homework:
1. Read 2 SWA unit 5 essays. What do the students emphasize about their writing experiences?

2. Bring laptop for Weds.

# data[].attributes.attachment_link.readable_text
In Exit Through the Gift Shop, reclusive street artist Banksy tells the story of Thierry Guetta, a videographer who sets out to capture the world of street art. Through a series of unlikely events, Guetta becomes the subject - and a street artist, himself.

The film, nominated for an Academy Award in the documentary category, has confused reviewers and moviegoers alike, who doubt its authenticity.

Banksy does not give interviews, so producer Jaimie D'Cruz joins NPR's Lynn Neary on his behalf. "Thierry," explains D'Cruz, "was obsessed by filming everything in his path." Guetta was related to a street artist, and through that connection he became embedded in the graffiti world. It's "a world populated almost exclusively by furtive men, working illegally and at night."

Guetta became a well-known personality in the underground scene, "a world without any personalities," and served as a diarist for the movement. He parlayed his access, built on his reputation for trustworthiness, into meeting "the prize, which was the street artist Banksy - the uber-anonymous person in a world full of anonymous people."

The subjects Guetta cast his camera on believed he was using the footage for a documentary, but that may never have been the case. Rather, Guetta seemed to use the story as a cover to further access to a world he found exhilarating. Guetta began creating his own street art, under the pseudonym Mr. Brainwash.

"Thierry wanted to be a part of this world," says D'Cruz. "We're talking about a married man in his 40s, a father of three, not the typical street artist guerrilla. And I think Thierry got quite a lot of satisfaction out of being out on the rooftops in various cities around the world, being out all night and having the excitement and the thrills of being part of this illicit world."

But Banksy found Guetta's story more intriguing than his own, so he took over the documentary and switched its focus - or so the story goes. Some believe Banksy invented Guetta's story, and that it's more of a creative movie than a documentary.

D'Cruz dismisses the suspicion. "The truth is, the film is really a true story of something extraordinary that happened," he says. "We wouldn't be able to create something as extraordinary as the rise of Thierry Guetta ... We didn't have the intent, we didn't have the inclination to do that, to kind of stage a prank on the world."

LYNN NEARY, host:

We continue our series today talking with the filmmakers behind the top five documentary feature films nominated for Academy Awards. Today, "Exit Through the Gift Shop." The film tells the unlikely story of Thierry Guetta, a man who set out to film guerilla street artists all over the world. After five years of obsessively filming artists who work secretly and often at night on city streets and rooftops, Thierry finally got to meet the elusive Banksy. A British artist, Banksy appears in the film as a silhouette wearing a hoodie, his face completely blacked out and his voice distorted.

(Soundbite of movie, "Exit Through the Gift Shop")

BANKSY (Artist): I never let anybody film anything before. I said he could film me, putting my hands from behind (unintelligible) afterwards.

Mr. THIERRY GUETTA (Filmmaker): It was magic that this person let me film, you know? I felt like I had the piece that will finish the puzzle.

NEARY: Through a series of complicated events, Banksy ends up directing his own film using the footage Thierry collected over the years. The result, an Oscar-nominated documentary. Jaimie D'Cruz produced the film, "Exit Through the Gift Shop." He joins us from a studio in Los Angeles.

Welcome and congratulations on your nomination.

Mr. JAIMIE D'CRUZ (Producer, "Exit Through the Gift Shop"): Thank you very much. I'm glad to be here.

NEARY: And if you in the audience have seen the film and have any questions, give us a call. The number is 800-989-8255. Our email address is talk@npr.org. You can also join the conversation at our website. Go to npr.org and click on TALK OF THE NATION.

Well, Jaimie, at the beginning of the film, Banksy sort of sums up what it's all about when he says, quote, "The film is the story of what happened when this guy tried to make a documentary about me, but he was actually a lot more interesting than I am. So now the film's kind of about him."

So can you elaborate on how that all came about?

Mr. D'CRUZ: Yeah. I mean, Thierry was - Thierry, the main character in the film, who's a French �migr� living in L.A., had become through a strange set of circumstances obsessed by - well, first, obsessed by filming everything in his past, and through a kind of coincidental family relationship he suddenly managed to become very embedded in the world of street art and graffiti, which is a world populated almost exclusively by furtive men working illegally and at night.

So he became a kind of a kind of personality in a world without any personalities. And he was actually very well known in that world. I mean, this is long before I'd ever heard of him. He's become a kind of, you know, a kind of peeps(ph) figure. He was the kind of diarist of this movement. And so he had incredible access to this world which he kind of parlayed into after a long time of showing that he was a man who can be trusted.

He managed to kind of inveigle his way to kind of the prize which was the street artist Banksy, who is the uber-anonymous person in a world full of anonymous people.

And so I think the comment that Banksy makes at the beginning of the film, which is that, you know, he became more interesting than Banksy was, was because Thierry had become a personality in this world, and he I mean he is an interesting and compelling character and - no, he became the focus of the things he was filming. He became the story almost.

NEARY: And also he had, I guess, was it a thousand hours of tape? Is that right? A thousand hours of film?

Mr. D'CRUZ: Well, the truth is we have absolutely no idea how many hours of footage Thierry has.

(Soundbite of laughter)

Mr. D'CRUZ: Thierry has absolutely no idea how many hours of footage he has. I mean, I - we've estimated we probably had something close to a thousand hours, a little under a thousand hours. But I suspect that Thierry has thousands more hours that we haven't seen. And Thierry told us himself, he really doesn't really know where these tapes are. But he has - you know, he filmed a lot. And not only did he filmed everything, he also filmed quite a lot of it on two cameras and quite often on three cameras. So you know, a day in Thierry's life could result in, you know, 20 or 30 tapes, quite easily.

NEARY: So Thierry might not ever have gotten this done, in other words. I mean, he really, perhaps, didn't have the ability to go through that tape and turn into a documentary.

Mr. D'CRUZ: Sure. Yeah. I mean, I think one of the first twists in the film comes when it's revealed that - you know, I don't want to give anything away to any people listening in who haven't seen the film. But there's a revelation about Thierry's motives earlier on, which is - I think it's like curious revelation and it was certainly a surprise to us. And it was revealed to us quite late into us making the film, that Thierry didn't really watch his tapes, and he wasn't particularly planning to make a film. But it was kind of a good cover story.

I think, when I say cover story, Thierry kind of wanted to be a part of this world. He gave him - you know, we're talking about a married man in his 40s, father of three, not the typical kind of street artist guerilla. And I think Thierry got quite a lot of satisfaction out of being out on the rooftops in various cities around the world, being out all night, having the excitement and the thrills of, you know, being a part of this elicit world. Yeah. So I think Thierry kind of went along with the idea that he was making a documentary because that was the obvious idea that - everyone he was filming assumed he was making a documentary.

I don't think Thierry, kind of, misled people. I think it was kind of a convenient belief that - you know, immediately convenient thing that he has kind of had out there, that he was in the middle of making this amazing documentary about this amazing world. But I think (unintelligible) to him wasn't really planning to make that film.

NEARY: Right. Jaimie D'Cruz is the producer of Oscar-nominated documentary, "Exit Through the Gift Shop."

If you like to join our discussion, the number is 800-989-8255. We're going to take a call from David in Charleston, North Carolina? David?

DAVID (Caller): South Carolina.

NEARY: South Carolina. I thought so.

(Soundbite of laughter)

NEARY: Go ahead.

DAVID: I have a question. I've been researching a lot about the movie and it's a wonderful movie, by the way. My wife is an artist, a sculptor. And we've read a lot about the movie being somewhat of a contrivance, that Banksy really sort of created this sort of artistic idea of who the writer was - the man who's making the movie and kind of turned him into what he is. And that the movie itself is more of a contrivance than actual documentary and a wonderful one. So I don't want anyone to take that the wrong way, because it's a phenomenal movie. But I was hoping that the producer could talk about that a little bit and kind of shed some light on that.

NEARY: Yeah. I was going to ask you about that myself, Jaimie. I was like...

Mr. D'CRUZ: Yeah.

NEARY: So there is a lot of - a little bit of controversy about whether this is real or not.

Mr. D'CRUZ: There's more than a little bit controversy. There's been a kind of a big, kind of, suspicion amongst critics, viewers, all sorts of people, that we the filmmakers, and Banksy in particular, somehow, kind of created this story as a way to make a comment on the art world and other things. But, actually, the truth is that the film is really a true story of something extraordinary that happened

And maybe one thing I would say to those people who have accused us of staging the whole story, is that, you know, frankly, it's beyond us. You know, we wouldn't be able to create something as extraordinary as the rise of the Thierry Guetta and his morphing into Mr. Brainwash, which is the name he becomes known as a street artist in his own right. I mean, we - so we didn't have the intent. We didn't have the inclination to do that, to kind of stage a prank on the world.

And I think the problem in part that's, I think, fueling this is that there is, frankly, an unbelievable story. I mean, I wouldn't disagree with that for a moment. I mean, it is an unbelievable story. But, you know, just because it's unbelievable, it doesn't meant it ain't true, you know. And the film is actually in a very traditional documentary terms, in that it tells the story of something that happened with the people being - you see, the main character in that being interviewed. And that story's supported by rushes, by, you know, video material, garnered over a long time. And I mean, it's quite hard thing to prove that it is true. But, you know, it's actually a true story.

NEARY: Okay, Dave, thanks so much for your call. Let's go to Corrie(ph), and Corrie is calling from Parkville, Maryland. Hi, Corrie.

CORRIE (Caller): Hi. Yeah. I mean, I'm on the same page as the last caller, in that my impression was that Mr. Brainwash, as an entity, was created to comment on the swift popularity of the street art movement. But I certainly didn't think that the whole thing was a hoax, because, I mean, there's no way he could have gone back and remade all that footage.

NEARY: Which is basically what you're saying, Jaimie. Is that right? You were saying the same thing.

Mr. D'CRUZ: Yeah. And I think your caller is making a good - I mean, there is a spectrum here. There's a spectrum where it goes from one extreme - the whole thing is completely made up. Thierry Guetta is an actor. He's been scripted and styled and, you know, the film is really - I mean, we had all sorts of rumors that Sacha Baron Cohen was involved and Spike Jones. You know, I mean, so that's one extreme. And the other extreme, you know, is simply that we somehow manipulated the (unintelligible) events, you know, and that Banksy kind of -was somehow more complicit in Thierry's show and in the astounding success of Thierry's show than we let on in the film.

But, you know, again - I mean, as the people - as one of the people making the film, I mean, I think that the truth is that the story be - kind of gathered its own momentum. And we were running to keep up with the story, because we all became involved in this film, Thierry hadn't done his show. We had no idea that it was going to become an astounding success. We didn't have that as a preconceived outcome by any means. We also didn't really know anything about what Thierry'd been filming all these years.

So we had to two processes going on. One was filming a real time story, which became an incredible story. And as I said, we were kind of running to keep up with that. And the other story that was going on with it, we were finding what Thierry's treasure trove was in his boxes and boxes of tapes and what story that would tell. So, you know, we approached this film as, very much, as something where we wanted to find out what the story was and to work out how, you know, the best way to tell that story. But the idea that we created the story is simply not true.

NEARY: Jaime D'Cruz is the producer of the Oscar-nominated film "Exit Through the Gift Shop." And he joined us from a studio in Los Angeles. Thank you and good luck at the Oscars.

Mr. D'CRUZ: Thank you.

NEARY: You can view a trailer for this film on our Website. Go to npr.org and click on TALK OF THE NATION. You can also see our interviews with the other documentary filmmakers nominated for Academy Awards this year, as well as last year's nominees.

Tomorrow, NPR's Bob Mandelo explains which documentaries get nominated and which are ignored. This is TALK OF THE NATION from NPR News. I'm Lynn Neary.

Copyright © 2011 NPR. All rights reserved. Visit our website terms of use and permissions pages at www.npr.org for further information.

NPR transcripts are created on a rush deadline by Verb8tm, Inc., an NPR contractor, and produced using a proprietary transcription process developed with NPR. This text may not be in its final form and may be updated or revised in the future. Accuracy and availability may vary. The authoritative record of NPR's programming is the audio record.

# data[].attributes.attachment_link.title
Banksy's 'Exit' Reveals Street Art Secrets ... Sort Of

# data[].attributes.attachment_link.description
In Exit Through the Gift Shop, reclusive street artist Banksy tells the story of Thierry Guetta, a videographer who sets out to capture the world of street art. Through a series of unlikely events, Guetta becomes the subject - and a street artist, himself.

# data[].attributes.body
1. Course Evaluations (20 minutes)
2. Discuss SWA essays: What did students emphasize about their writing experiences? Peer share, group share. (10 minutes)
3. Begin drafting Unit 5. (10 minutes)

Homework:
1. Work on Unit 5.
2. Read all portfolios 1-4. Identify 2-3 passages from your semester portfolio that demonstrate course goals. Look for identity themes and patterns, shifts in style and development across the semester. Put these in a document with your notes and be prepared to share.

# data[].attributes.body
1. Reread and bring in reflections and a assignment sheets- for units 1-3. (4 will be done in class.)
2. Finalize and send in Unit 4 through google docs.

# data[].attributes.body
1. Watch remainder of "Exit Through the Gift Shop". (50 minutes)

# data[].attributes.body
1. Read this article on "Exit Through the Gift Shop" http://www.nytimes.com/2010/04/14/movies/14banksy.html
2. Continue to revise Unit 4 essay based off peer review.

# data[].attributes.body
1.  Peer Review 1st revised draft of Unit 4. (15 minutes)
2. Free write: What do we value as art? Turn and talk . (5 minutes)
3. Introduce Banksy, street art, and "Exit Through the Gift shop. (5 minutes)
4. Begin watching "Exit Through the gift shop". (15 minutes)

# data[].attributes.body
1. Lady Bird (movie)
2. Bad moms 2 (movie)
3. Black Friday youtube
4. Strangers Thing (netflix)
5. Brooklyn 99 (show)
6. Christmas movies
7. Sharing music
8. Charlie Brown Thanksgiving
9. Thor movie
10. It (movie)
11. Murder on the Oriental Express
12. Bubble Tea
13. Daddy's home 2
14. Game of Thrones

# data[].attributes.attachment_link.description
We're all about learning! Juliana Ward's English 112 class came to discuss and observe the exhibition this morning at the UMCA.

# data[].attributes.attachment_link.embed_code
Post by umca.umass.

# data[].attributes.attachment_link.title
What's a Curator? | The Art Assignment | PBS Digital Studios

# data[].attributes.headline
How Mining the Museum Changed the Art World

# data[].attributes.subject
How Mining the Museum Changed the Art World

# data[].attributes.body
By: Kerr Houston

# data[].attributes.attachment_link.title
HOW MINING THE MUSEUM CHANGED THE ART WORLD

# data[].attributes.attachment_link.title
Unit 4 %22Interacting With Art%22 Assignment sheet

# data[].attributes.body
1. Work on weaving in response (think back to unit 2: Interacting with texts) to their initial draft. Initial draft due (300 word min. electronic or paper) in class on 11/17/17. Use research notes from class to develop analysis.
2. Read How Mining the Museum Changed the Art World by Kerr Houston (sent through email.) Take notes on your ideas and be prepared to share on 11/15/17.

# data[].attributes.headline
Fred Wilson Art 21: STARTS at 15:00 min ends at 27:00 min

# data[].attributes.subject
Fred Wilson Art 21: STARTS at 15:00 min ends at 27:00 min

# data[].attributes.body
Pay special attention during museum curation

# data[].attributes.attachment_link.description
http://www.pbs.org/art21/ - How do we organize life? What are the ways in which we capture knowledge and attempt greater understanding? From Season Three, copyright 2005, Art21, Inc.

# data[].attributes.attachment_link.title
A brief history of religion in art - TED-Ed

# data[].attributes.attachment_link.title
Purdue OWL: MLA Formatting: List of Works Cited

# data[].attributes.attachment_link.description
This vidcast discusses how to format a paper using Microsoft Word according to MLA style. To learn more about MLA style, please visit the following resource on the Purdue OWL: http://owl.english.purdue.edu/owl/resource/747/01/

# data[].attributes.body
1. Finalize Unit 3 portfolio and send it before class on 11/10/13.
Label all drafts and send on google docs, in one doc if possible.
Self grade using the rubric with assignment sheet.

# data[].attributes.body
1. Audience: Generative write: Who is your ideal reader? What is their name? What age, where are they from? What makes them your ideal reader? What are you hoping they get out of your essay? Do you like this person? (10 minutes)
2. MLA format and annotated bibliographies. Videos and examples. (10 minutes)
3. Self review your annotated bibliography. (5 minutes)
4. Work on essays, citations, Unit 3 ect, consider audience, copy-editing (watch videos and use EW) (20 minutes)
5. Questions for Unit 3. (5 minutes)

# data[].attributes.attachment_link.readable_text
Aristotle's "modes for persuasion" - otherwise known as rhetorical appeals - are known by the names of ethos, pathos, and logos. They are means of persuading others to believe a particular point of view. They are often used in speech writing and advertising to sway the audience.

Meaning of Ethos, Logos, and Pathos

Aristotle used these three terms to explain how rhetoric works:

"Of the modes of persuasion furnished by the spoken word there are three kinds. The first kind depends on the personal character of the speaker [ethos]; the second on putting the audience into a certain frame of mind [pathos]; the third on the proof, or apparent proof, provided by the words of the speech itself [logos]. Persuasion is achieved by the speaker's personal character when the speech is so spoken as to make us think him credible."

Ethos (sometimes called an appeal to ethics), then, is used as a means of convincing an audience via the authority or credibility of the persuader, be it a notable or experienced figure in the field or even a popular celebrity.

Pathos (appeal to emotion) is a way of convincing an audience of an argument by creating an emotional response to an impassioned plea or a convincing story.

Logos (appeal to logic) is a way of persuading an audience with reason, using facts and figures.

View & Download PDF

Using Ethos, Logos, and Pathos

Here are some persuasive examples of ethos, logos, and pathos used in sentences.

Ethos

Examples of ethos can be shown in your speech or writing by sounding fair and demonstrating your expertise or pedigree:

"As a doctor, I am qualified to tell you that this course of treatment will likely generate the best results."

"My three decades of experience in public service, my tireless commitment to the people of this community, and my willingness to reach across the aisle and cooperate with the opposition, make me the ideal candidate for your mayor."

"If my years as a Marine taught me anything, it's that caution is the best policy in this sort of situation."

"You know me - I've taught Sunday School at your church for years, babysat your children, and served as a playground director for many summers - so you know I can run your preschool."

"Our expertise in roofing contracting is evidenced not only by our 50 years in the business and our staff of qualified technicians, but in the decades of satisfied customers who have come to expect nothing but the best."

"He is a forensics and ballistics expert for the federal government - if anyone's qualified to determine the murder weapon, it's him."

"Based on the dozens of archaeological expeditions I've made all over the world, I am confident that those potsherds are Mesopotamian in origin."

"If my age doesn't convince you that I know what I'm talking about, at least consider that I am your grandfather and I only want the best for you."

"If you're still unsure, please consider that my advanced degree and fieldwork speak for themselves."

Logos

Using logos as an appeal means reasoning with your audience, providing them with facts and statistics, or making historical and literal analogies:

"The data is perfectly clear: this investment has consistently turned a profit year-over-year, even in spite of market declines in other areas."

"Ladies and gentlemen of the jury: we have not only the fingerprints, the lack of an alibi, a clear motive, and an expressed desire to commit the robbery... We also have video of the suspect breaking in. The case could not be more open and shut."

"It's a matter of common sense that people deserve to be treated equally. The Constitution calls it 'self-evident.' Why, then, should I have been denied a seat because of my disability?"

"More than one hundred peer-reviewed studies have been conducted over the past decade, and none of them suggests that this is an effective treatment for hair loss."

"History has shown time and again that absolute power corrupts absolutely."

"Private demand for the product has tapered off for the past three years, and this year's sales figures are at an all-time low. It's time to research other options."

"The algorithms have been run in a thousand different ways, and the math continues to check out."

"You won't find any deer along this road. In 25 years of driving the same route, I haven't seen a single one."

"He has a track record of success with this company, culminating in some of our most acclaimed architecture to date and earning us Firm of the Year nine times in a row."

"Research compiled by analysts from NASA, as well as organizations from five other nations with space programs, suggests that a moon colony is viable with international support."

"Veterinarians say that a German Shepherd will are the perfect match for people with active lifestyles."

"Doctors all over the world recommend this type of treatment."

Pathos

Examples of pathos can be seen in language that draws out feelings such as pity or anger in an audience:

"If we don't move soon, we're all going to die! Can't you see how dangerous it would be to stay?"

"I'm not just invested in this community - I love every building, every business, every hard-working member of this town."

"There's no price that can be placed on peace of mind. Our advanced security systems will protect the well-being of your family so that you can sleep soundly at night."

"Where would we be without this tradition? Ever since our forefathers landed at Plymouth Rock, we've celebrated Thanksgiving without fail, making more than cherished recipes. We've made memories."

"They've worked against everything we've worked so hard to build, and they don't care who gets hurt in the process. Make no mistake, they're the enemy, and they won't stop until we're all destroyed."

"Don't be the last person on the block to have their lawn treated - you don't want to be the laughing stock of your community!"

"You should consider another route if you leave later. I heard that that street is far more dangerous and ominous at night than during the daytime."

"You'll make the right decision because you have something that not many people do: you have heart."

"After years of this type of disrespect from your boss, countless hours wasted, birthdays missed... it's time that you took a stand."

"Better men than us have fought and died to preserve this great nation. Now is our turn to return the favor. For God and country, gentlemen!"

"You will never be satisfied in life if you don't seize this opportunity. Do you want to live the rest of your years yearning to know what would have happened if you just jumped when you had the chance?"

Be Persuasive

Understanding the different aspects of rhetoric will make you more aware of what goes into creating a persuasive argument. The examples of ethos, logos, and pathos above should also help you construct your own arguments or appeals.

# data[].attributes.attachment_link.description
Aristotle's "modes for persuasion" - otherwise known as rhetorical appeals - are known by the names of ethos, pathos, and logos. They are means of persuading others to believe a particular point of view. They are often used in speech writing and advertising to sway the audience.

# data[].attributes.headline
What not to do in a conclusion Recap at 2:10

# data[].attributes.subject
What not to do in a conclusion Recap at 2:10

# data[].attributes.attachment_link.title
What Not to Do in a Conclusion by Shmoop

# data[].attributes.headline
Please read. *Note* You only need to list all of your research. 

# data[].attributes.subject
Please read. *Note* You only need to list all of your research. 

# data[].attributes.headline
Please read *Note* Three sources minimum for unit 3. 

# data[].attributes.subject
Please read *Note* Three sources minimum for unit 3. 

# data[].attributes.body
1. Work on Unit 3 portfolio. Label all drafts.
-Generative writing
-Initial draft
-1st revised draft
-2nd revised draft
-Final
-Annotated Bibliography
-Research Log
-Reflection (done in class)
2. Review guidelines for paraphrasing (below) and add citations where needed.
3. Keep on revising the annotated bibliography. Read research log and annotated bibliography handouts (above).

# data[].attributes.body
1. 2nd revised draft due Monday, please bring in a hard or electronic copy for peer revision.

2. Read any "Adding to the Conversation" SWA essay.
Questions:
Conclusions
-How does the author conclude and reinforce their ideas without seeming repetitive?
-How does their conclusion "raise the stakes" of the essay and make it feel more relevant?
Works cited
-Look at this author's work cited page. What do you notice about the sources they used? Compare and contrast to your own sources and citations.
-How does the author introduce and cite their work in their essay?

# data[].attributes.body
1. Peer review with 2 partners. (20 minutes)
2. Reflect on feedback and work on 2nd revised draft (20 minutes)
3. Questions on unit 3 (5 minutes)

# data[].attributes.body
On 11/3/17 we will peer editing your 1st revised draft.
(electronic or paper)
We will focus on quotes, paraphrasing, and summary.
We will work on editing our citations.

On 11/6/17 your second revised draft is due.
We will peer edit the annotated bibliographies and copy-edit.

We have class on 11/8/17, we will continue to revise our unit 3 assignments.

On 11/10/17 all of unit 3 is due through googledocs only please.
Please label drafts. I will introduce unit 4!

# data[].attributes.body
1. Revise draft based on teacher comments. 1st revised draft due. Make sure you using the quotation sandwich when introducing and discussing quotes. Also use paraphrasing and summarizing when needed.

2. Keep up with research log if you do any more research.

3. Keep revising annotated bibliography.

# data[].attributes.headline
10/27/17 Homework due at your conferences. Digital or paper is fine.

# data[].attributes.subject
10/27/17 Homework due at your conferences. Digital or paper is fine.

# data[].attributes.body
1. Using your outline write your initial draft (750 words), which develops your purpose and integrates at 2 sources.

2. Resource please read!

# data[].attributes.headline
Photo Scavenger Hunt! (Do as many as you can)

# data[].attributes.subject
Photo Scavenger Hunt! (Do as many as you can)

# data[].attributes.body
1. Using the database and the call number take out a book in the library!
2. Go to the magazine section (LL) and take a photo of one magazine you might use in your research and one you might read for pleasure!
3. Go to the 6th floor: Image Collection Library, Law, Media (Viewing/Listening), Music Scores & Monument and take a photo of one movie/CD you like or might want to see.
4. Draw an emoji on a post it and leave it on my office door, 1234.
5. Go to floor 5 | Quiet Study Area, Public Lockers and take a selfie.
6. While you hunt count how many students you see reading a BOOK.
7. Look at the flyers around the library for ideas.
8. Smile at someone working at the desk.
9. Smile at a stranger.
10. Check out the cafe, see the line is too long and leave. (you don't have time to get anything!)
11. Hum or whistle in the elevator.
12. Walk around LL and make yourself aware of: Academic Advising, Assistive Technologies Center, ATM, Calipari Library Instruction Room, Circulation / Reserves Desk, Current Newspapers and Magazines, FAX, Garden, Interlibrary Loan & Five College material pickup and return, Laptop and Multimedia Equipment Lending, Learning Commons, Learning Commons and Technical Support Desk, Microform (Viewing, Scanning, & Printing), Network Jacks, Reference & Research Assistance Desk, Writing Center

# data[].attributes.body
1. Watch last 20 minutes of "Exit Through the Gift Shop". (20 minutes)
2. Unit IV reflection (10 minutes)
2. Quote activity in partners/tables. (10 minutes)
3. Class discussion on: (5 minutes)

In the Art world, what qualifies as ART or an ARTIST? Was Theirry an "real" artist?

Compare and contrast the label of Art on Mr. Brainwash's work and the "Take Five" exhibit.

What gives Art fame, monetary value, influence in the art world?

Who makes these decisions?

4. Homework: None! :) Bring in reflections on Monday we will start Unit V!

# data[].attributes.attachment_link.title
My Country 'Tis of Thee by W. E. B. Du Bois

# data[].attributes.attachment_link.description
Of course you have faced the dilemma: it is announced, they all smirk and rise. If they are ultra, they remove their hats and look ecstatic; then they look at you. What shall you do? Noblesse oblige; you cannot be boorish, or ungracious; and too, after all it is your country and you do love its ideals if not all of its realities.

# data[].attributes.attachment_link.description
In this tutorial you will learn how to: 1. Conduct an advanced search 2. Use subject terms to find additional valuable materials 3. Request items for delivery to the UMass Amherst library of your choice from other Five College libraries or libraries from around the world.

# data[].attributes.headline
Du Bois. W. E. B. Du Bois was an American civil rights activist, leader, Pan-Africanist, sociologist, educator, historian, writer, editor, poet, and scholar. ... As a sociologist, Du Bois began to study and document the oppression of Black Americans and their striving for equality in the 1890s.

# data[].attributes.subject
Du Bois. W. E. B. Du Bois was an American civil rights activist, leader, Pan-Africanist, sociologist, educator, historian, writer, editor, poet, and scholar. ... As a sociologist, Du Bois began to study and document the oppression of Black Americans and their striving for equality in the 1890s.

# data[].attributes.body
How did Du Bois write to make something happen in the world? What was his exigence? Think back to the EW reading Writing to Make Something Happen in the World.

# data[].attributes.attachment_link.title
W.E.B. Du Bois - Civil Rights Pioneer | Biography

# data[].attributes.body
1. Free write on course. What does it mean to be a writer? Where and why do we learn to write? (5 minutes)

2.  Intro: Unit 5 assignment sheet, Look at course goals and unit goals. (copies). (5 minutes)

3. What did we learn? Create a list of writing skills/strategies practiced throughout course. Units group work and share. (20 minutes)

4. Look at Free write again, add ideas for structuring unit V. Reread Writing histories from week one if possible. (5 minutes)

5. Questions and homework.

Homework: Read 2 SWA unit 5 essays.

# data[].attributes.body
1. Free write about your library experiences and memories. How are libraries part of your life? How do you think the relevance of the library has changed? Share memories. (5 minutes)

2. Who was W.E.B Du Bois? Watch video and read poem. Answer questions and reflect.  (10 minutes)

3. Watch Discovery Search videos and try to find a book on your topic. If finished continue to do research. Draw your favorite emoji on post it. (15 minutes)

4. Library scavenger hunt, students explore the library and take out books. (15 minutes)

5. Come back and share pictures/stories/experiences with class. Pros and cons of libraries vs. digital research. Connect to IRL Fetish
(5 minutes).

# data[].attributes.attachment_link.title
How Library Stuff Works: MLA Citations (8th Edition)

# data[].attributes.body
NO NO NO NO NO

# data[].attributes.attachment_link.description
No Pomegranates! No Pomegranates Lady This video shows a community college professor yelling no Pomegranates! The reason why she hates pomegranates is still unclear Understand the rule No Pomegranates come on no pomegranates no pomegranates no no no no pomegranates no! I dont want them anyway near here am i clear Say it again No pomegranates!

# data[].attributes.body
1. Umass Academic Honesty Policy (5 minutes)
2. Crash course research (20 minutes)
3. Music appreciation (20 minutes)

# data[].attributes.headline
Writer, Reader, Topic (text in the middle) 

# data[].attributes.subject
Writer, Reader, Topic (text in the middle) 

# data[].attributes.body
1. Entire unit 2 portfolio due Friday. Hard copies of everything please.
Make sure you have your generative writing (the summary and response), initial draft, 1st revised draft, 2nd revised draft, and final! We will do the reflection in class on Friday.
2. Read any Adding to the Conversation SWA essay in either version.

# data[].attributes.body
Objectives/Goals: The goal of this exercise is to help students with sentence level peer revision.

Description/Instructions:

●  Ask students to find 5 sentences from their drafts that they think are awkward, wordy, long, or somehow not concise. If students struggle, ask them to find the 5 longest sentences.

●  Give the students the following directions:

○  Give these sentences to a partner.

○  Slash out any empty or unnecessary words until you are left with the bare minimum that still conveys the information of the original sentence. Indicate why you made those changes.

●  Switch sentences with another person. Make note of anything lost between the first

sentence and the slashed version (particularly as relates to tone). Also suggest places

where a more precise word could replace an empty one.

●  Return the sentences to their original authors. Ask the students to revise the sentences

based on the feedback they received. Have a few students share the changes they have made (and any suggestions they ignored) and a reason for that change.

# data[].attributes.body
An annotated bibliography is a list of citations to books, articles, and documents. Each citation is followed by a brief (usually about 150 words) descriptive and evaluative paragraph, the annotation. The purpose of the annotation is to inform the reader of the relevance, accuracy, and quality of the sources cited.

Example: https://owl.english.purdue.edu/owl/resource/614/02/

# data[].attributes.body
1. Importance of copy-editing. Why do we need to develop this skill? (5 minutes)
2. Switch and Slash exercise, write 5 sentences that need help. Pass them to someone else, keep passing. Look and share. (15 minutes)
3. Pair up and read essay aloud to partner, marking any other problem areas. Let partner then re-read and mark any problem areas. (15 minutes)
4. Using the common errors list and your top 10 list, look at your partner's paper and your own for other errors. (15 minutes)
5. Put together folder for Friday. ( 5 minutes)

# data[].attributes.body
1. Read Easy Writer on MLA format (write your citation) (p. 232), Coordination and Subordination (p.167), Semicolons (186), Quotation Marks (193) The Top Twenty (p.2-11) and Other Punctuation (196).
2. Make a list of 10 copy editing goals for Wednesday.
3. Work on essay off of peer review feedback.

# data[].attributes.body
1. Discuss SWA essay. What is effective about this interaction with text? How do they write for an academic audience?  (5 minutes)
2. Peer review worksheet (50 minutes)

# data[].attributes.headline
A critical response paper takes a position of full or partial agreement or disagreement on the points made in a work written by an author. The writer uses supporting statements from the work being written about and does additional outside research to show why the author's statement is valid or invalid.

# data[].attributes.subject
A critical response paper takes a position of full or partial agreement or disagreement on the points made in a work written by an author. The writer uses supporting statements from the work being written about and does additional outside research to show why the author's statement is valid or invalid.

# data[].attributes.body
*Please note that this Tuesday the 11th is a Monday schedule, therefore we will be meeting both Tuesday and Wednesday at our regular time. Wednesday we will have a copy-editing day.

1. Using peer revisions complete your second revised draft and bring in a hard copy on Tuesday 10/11/17.

2. Review attendance policy in syllabus. (can be found on this padlet if you scroll to the bottom.)

2. Read SWA essay Feminization, Education, Masculinity: A Response to Micheal S. Kimmel by Andy Marton (p. 70-74)
Take notes of response strategies (e.g complexity, use of sources, rhetoric)

# data[].attributes.body
1. Answer questions regarding the SWA essay Analizar Anzaldua/Analyzing Anzaldua by Louise Monroe in SWA (p. 75-80) in your groups of three. (15 minutes)
3.  Group share (10 minutes)
4. Peer review with small group using worksheet. Teacher addresses focus and complexity, peers address development and organization. If time allows share citations, compare them with each other and Easy Writer. (20 minutes)
5. Free write if time allows. (5 minutes)

# data[].attributes.headline
Unit 2: Interacting With Texts assignment sheet

# data[].attributes.subject
Unit 2: Interacting With Texts assignment sheet

# data[].attributes.body
Class will not be held on 10/2 or 10/4, we will be having conferences in my office Du Bois 1234.

1. Sign up for conferences on google doc.
2. Initial unit 2 draft due by Monday 10/2/17 morning please.
Integrate summary, paraphrase, quotations. 500 words min.

9/29/17 Homework due 10/6/17
1. First revised draft due, hard copy please.
2. Read Interacting with Texts preface on p. 64 of SWA.
3. Read Analizar Anzaldua/Analyzing Anzaldua by Louise Monroe in SWA (p. 75-80)
Answer these questions and be prepared to share them on 10/6/17
Hard copies please, can be hand written.
1. What's effective about this "interaction with text"?
2. Paraphrase one section that you find to be effective at communicating the author's purpose. Think about the author's critical summary and response.
3. How is this tailored to readers in an academic community?
4. Identify any response strategies you see the author using. Refer to Possible Ways of Responding to a Text handout.

# data[].attributes.body
1. Introduce unit two assignment sheet. Students pick essay (10 minutes)
2. Introduce quotation sandwich concept and example. (10 minutes)
3. Peer share summary and response to selected essay. Pick one quotation that could use the sandwich. If not quotes find a spot where your partner could use a quote to back up their ideas. (5 minutes)
4. Revise quotation, citations, and peer share again. (10 minutes)
5. Class share on quotation sandwiches. One partner from each group. (5 minutes)
6. Look at MLA Format for cited works as class. (10 minutes)

# data[].attributes.body
1. Read How to Tame a Wild Tongue by Gloria Anzaldua page. 34 in Opening Conversations.
2. Write a summary (1 page) and response (1 page) of the essay. Use one of the writing strategies for responding.
-Back up your response with evidence from the text, use short or long quotations and work on citing them. Refer to Integrating quotations, paraphrases, and summaries in Easy Writer (p. 93)
3. Cite essay in MLA format, use Easy Writer (p. 216)
4. Bring in copy for Friday.

# data[].attributes.headline
Possible Ways of Responding to a Text and MLA format

# data[].attributes.subject
Possible Ways of Responding to a Text and MLA format

# data[].attributes.body
1. Community guidelines review.
2. In partners, read each other's summary and response to The IRL Fetish.
-Come up with a brief thesis statement (one or two sentences) about what they are responding to. This will be shared with the class.
-Using the Possible Ways of Responding to a Text worksheet pick one writing strategy that the author is using or could help strengthen the response.
3. Open to page 214 of Easy Writing, read MLA Style and attempt to cite the reading The IRL Fetish using the MLA outline on page 216.
4. Class share of response.
5. Review correct MLA format.
6. Read as a class Disconnected By: Daniel Singer in The Student Writing Anthology, page 85. I will email pictures of text or please share.

# data[].attributes.body
1. Use free write completed in class write to a 500 word response to The IRL Fetish. Use reading to respond (above) document, you can make the columns in your notebooks.
Please bring hard copy for Wednesday.

# data[].attributes.body
I will giving you feedback on your 1st revised draft for Wednesday.

# data[].attributes.headline
Incorporate your free write into your essay's introduction.

# data[].attributes.subject
Incorporate your free write into your essay's introduction.

# data[].attributes.body
Pick one or two paragraphs to check for purpose and clarity.
Share with partner next to you.
Partners share what works well and what mind need more clarification.

# data[].attributes.body
1. Entire unit one portfolio due Friday. This includes ALL 4 drafts (initial, 1st revised, 2 revised, final), generative writing, and brainstorms. If needed take picture of writing in your notebook and send it to me.

2. Please proofread your essays. If you need support in this, please consult the Easy Writer handbook; page 2-11, The Top Twenty checklist.

Electronic copies only please. If possibly put all work in a PDF or one document. You may send me a google doc, PDF, or word document. Email to julianaward@umass.edu

Assessment Criteria (20 points each)

* Careful and complete writing process

* Insightful and imaginative analysis of your experiences

* Developed thinking, description, example, explanation

* Clear focus and coherent organization

* Correct syntax; effective, articulate language

I will email back your grades for Unit One: Inquiring into the Self as soon as possible but no later than October 6th.

# data[].attributes.body
1. Share homework responses with person next to you. Share out (10 minutes)
2. Look at teacher feedback on essay. Work on essay (15 minutes)
3. Split up into partners and fill out peer feedback responses. (15 minutes)
4. Continue to work on essay (15 minutes)
5. Go over grading rubric (5 minutes)

# data[].attributes.body
1. Write first revised draft based on peer response worksheet. No hard copies. Please email your draft after class. (700 words)

2. Read Wake Me Up When September Ends, student essay in The Student Writing Anthology in the Inquiring into Self section. (p. 45-63).

*Please bring laptops for Monday's class.

# data[].attributes.body
1. Read The Burden of Bliss by Kathleen Kilroe in SW. p. 55
(I will send class email)

Writers make choices about such issues as what words to use,
what details to emphasize, what order to retell events, and how to present one’s own thinking and actions to the audience(s) one is addressing. Each of these seemingly minor choices (e.g. choosing the verb “bumped” or “crushed” to describe one car hitting another) not only conveys the writer’s relationship to what he describes, but also affects how readers envision the events, persons, and/or places described.

1. Select one of the texts you have read and reread it, marking passages where the author describes self, another person, an event, and/or a place.
2. From these marked passages, choose three to focus on that relate to the same person, event, or place.
3. For each of these passages, list words/phrases/sentences that seem key to you in terms of how they convey a sense of the person/place/event. Then write a paragraph or two reflecting on the impact of these stylistic choices, using the following questions as
guides:

a. What similarities or differences are there in these passages? How do they differ in terms of word choice, syntax, imagery, etc.? Are there differences in point of view (e.g. first person vs. third person) or perspective?
b. How do these different choices reflect the overall message you think the writer seeks to communicate? What tone/mood/point of view is the author conveying in each passage/ Does this relationship change between the three passages?
c. How do these choices position the writer in relation to what she describes?
d. How do these choices position the reader in relation to what is described?

# data[].attributes.attachment_link.title
Unit 1 inquiring into the self assignmentsheet

# data[].attributes.body
Bell Hooks

Group activity

Description/ Instructions:

1. Make a list of all the “outside” influences on the author and/or topic of a pre-assigned reading. Be sure to define influence as broadly as possible to include other people, places, groups, institutions, or even cultural categories such as beliefs about gender, race, religion, and so on.

2. Once you have constructed your list, re-read the essay to see which of these influences has the most impact on what the author is describing (her actions, thinking, etc. in the essay).

3. Go back to your list and rewrite it to reflect a hierarchy of influences: What is most important? What is next? What is least important?

4. Finally, write a brief paragraph explaining why you ranked your list in the order you did.

# data[].attributes.body
1. Positive feedback to your partner. What do you like about their essay? What did you learn about their contexts? Be specific.

2. Constructive feedback to your partner. What do you still have questions about? Are they creating a beginning, middle, and end?

Peers partners can take notes at the bottom of the last peer review paper or on a separate sheet of paper.

# data[].attributes.body
1. Academic Honesty and Plagiarism . (p. 93-98)
2. Summarizing, quoting (193), paraphrasing (p.89) , citing.
3. Summary vs. Response. Why do these matter to the academic reader?
4. Begin response: Free write about one sentence that you found interesting. Discuss and respond to this sentence.

# data[].attributes.body
Office hours are Mondays from 11:30am-1:30pm or by appt.

# data[].attributes.body
1. Write your initial draft (500 words) for Unit 1: Inquiring into Self.
2. Read any ONE student essay in The Student Writing Anthology in the Inquiring into Self section. (p. 45-63).

*Optional homework
1. Read Easy Writer chapter one: A Writer's Choices (p. 14-20)
2. Read Easy Writer chapter two: Exploring, planning, and drafting (p. 20-35)

# data[].attributes.body
Subject to change but basic overview of assignments.
I will give out your due dates as they come up :)