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2010 MWF, TTH 16 Week MLA Sections Kay Grosso, Instructor Course Catalog Description: First Year Composition, development of Standard English Writing skills. See McGraw Hill textbook, The GUIDE for all competencies. Prereq: ENG 091, with a grade of “C” or better. Instructor: Kay Grosso, M.A. Ed, Arizona State University, 1970 Help: Walk-ins okay; appointments best. Office: Bldg 05-131. REQUIREMENTS: Absences: I will drop students who miss FOUR (4) unexcused class meetings (in a row or total) from the course. If you anticipate an absence, please contact me immediately - before class - by phone or email. Students are encouraged to communicate to avoid being dropped. Excused absences include religious holidays, hospitalization, bereavement, and others. See GCC General Catalog. Tardiness: Tardiness is ordinarily unacceptable for college students. Help: First, get a “study buddy” and exchange phone numbers. Second, call the instructor: Campus message: 623.845.3865 or email me regarding attendance: Do not use gmail for me. NOTE the email here… Kay.Grosso@gcmail.maricopa.edu Help: Your GCC Writing Center is free and located in HT2, Room 107. Go to sign up for a 30 minute tutoring time in advance. Library homepage: <http://www.gc.maricopa.edu/lmc/> Librarian Support: Walk into our library! Librarians are specialists in research skills. They can help you locate what you seek in the databases. Connect Composition Plus: This section uses a new online feature called Connect Composition Plus from McGraw Hill Publishers. You will be assigned a Student Access Code to register at the following link: http://www.mhconnectcomposition.com/ Your will submit your work through this interactive website. Please register immediately so you can begin to do the assignments there for your class. Make certain to register as a “First Time Registration.” Use your GMAIL (Google mail) for all correspondence for MHConnect. Some tips: 1-Do NOT use lb sign (#) in labels, titles or subject lines of papers you create IN MHConnect. Use if you are attaching a WORD doc., or doc.x to a message within MHConnect with No problems! 2-Check your MHConnect daily for my feedback if assignments are in progress. I may send out a group email. 3-This class is NOT an online class. You must come to class to pass. We use the online Portal to assist with faster grading turnarounds and grammar assistance lessons. Quality of Work: All work completed outside of class will be word-processed, proofed, labeled, paginated, and ready to be graded before you send it into Connect Composition Plus. Grammar and English usage are to be at college level standards, which include punctuation, spelling, and sentence clarity at a minimum. You will be given additional assignments in grammar if needed and these will become part of your individualized grade. All grammar work is found online at MHConnect in the eHandbook. Independent Study: This class meets for group lectures on common ground for student learning. However, the actual accountability for each student is on an independent basis. So, when a class meeting or appointment is scheduled, each student is expected to be there. Instructor cannot re-teach by phone. Use your study- buddy, too. Study groups are helpful, especially for writing guidelines. Ownership and Plagiarism: Passing off another’s work as one’s own is against the ethics of the writing and publishing field. If a student does not use the Modern Language Association (MLA) documentation format, the student’s work may be seen as an example of plagiarism. Instruction will clarify documentation procedures, summarizing, and paraphrasing. Students found to use shoddy MLA skills will pay the price. Out and out plagiarism results in failure for the work and results in an “F” for the course. Don’t let that be your fate…! Class Diversity: Student values and diverse perspectives are important to respect. Any condemnation of another’s thinking, being, or writing as representative of an inferior culture or racial group perspective will be considered insufficient to support our transnational community here at Glendale Community College. Please respect each other’s differences, even when such differences conflict with your own. Motto: strive to be confused and respectful simultaneously. ALWAYS PRINT A HARD COPY of work DUE !!! WEEKLY ASSIGNMENTS English 101 – 16 Week Version, Grosso Text: Roen, Glau and Maid. The McGraw Hill Guide. GCC 2nd Edition. New York: McGraw Hill Companies, Inc. 2011. Print. Online Site: http://www.mhconnectenglish.com/ All Students are required to register as “First Time Registration” students at the website. You are not officially enrolled in the course until you have registered at MHConnect, so please do so right away. Although you will be given many handouts in class, there are important documents, assignments, and custom assignments for each of you that will happen ONLY at the onsite part of the course. The registration # for you is in your textbook on a card. Please register using your GCC Google email account so that all correspondence, whether from me or the main GCC enrollment Office will come to the same email account. Do not use yahoo or hotmail emails. Thank you. Email your Instructor: Use ONLY firstname.lastname@example.org Thank you! Note that this IS NOT a Google email. Class Meetings Dates Assignments Per Week and Homework Aug 23-27 Introduction to course syllabus and overview of MHConnect online. Log-in for GCC, MHConnect, and MEID are reviewed. *Read Dillard’s “Living Like Weasels” ( attached or view http://www.courses.vcu.edu/ENG200-lad/dillard.htm) for model rhetorical skills. *Write a personal reaction or reflection: react to Dillard’s descriptive essay and reflect on her purpose, tone, audience, and context in an ungraded writing sample which you upload into MHConnect by midnight on August 25th. Follow directions in MHConnect please. *Learn to read and interpret essays. *Follow the skills of writing in the genre called “creative non-fiction” and/or “rhetorical composition.” *Introduction to textbook, eHandbook, course expectations, instructor approaches, college writing assumptions and standards. NOTE: you will be asked to read chapters in both the Guide and the eHandbook. Do NOT DO writing activities unless they are assigned by the instructor. Homework Due Monday Aug 30 or Tues., Aug. 31: *Read Chapters 1, 2-Guide paying attention to the vocabulary of RHETORIC. *Create your own personal vocabulary list of terms from the texts that are important in writing, complete with definitions. You may collect these terms in an online Word document/journal for yourself. These documents will include the content for quiz questions. Read carefully pages 19-23 and then WRITE a rhetorical analysis (also called a critical response) on the following essay: http://www2.selu.edu/Academics/Faculty/scraig/gansberg.html for “Thirty-Eight Who Saw Murder Didn’t Call Police” by Gansberg. The author relies on his NARRATION and EXAMPLE SKILLS to accomplish his purpose. *Write a 5-7 paragraph rhetorical analysis (critical response) of Gansberg’s essay. Use at least three (3) exact quotes from his essay in your analysis and put quote marks around them to indicate they are WORD for WORD. You do not need to use MLA in this analysis even though you are quoting. This analysis is worth 50 points. Use 3rd person voice in your work. Label as “Assignment #1-Analysis of Gansberg’s Purpose.” For additional assistance, see the eHandbook, Chapter 7, especially sections 7c and 7e where a sample Critical Response is included on Nat Hentoff’s essay. This is your sample to follow when writing ANY critical response papers in the class. Aug 30-Sep 3 Hand in “Assignment #1-Analysis of Gansberg’s Purpose” using MHConnect no later than midnight on the due date. We will look at writings that show “WHAT.” *Intro to reading for examples, narrative and descriptive patterns and skills. *Annotation (pg. 19 text), a summary (pg. 30 text) and a synthesis (pg. 30 text). *A look at ETHOS, PATHOS, and LOGOS as we write to share what is on our minds with the readers. See Chapter 2-Guide, especially pages 19-31. *A short quiz on terminology. Homework Due Tues. Sept. 7 or Wed. Sept. 8: Annotate the essay by Vogt on pg. 29 in the text. Then, re-read the essay by Bangeman on pg. 19, text. Instead of writing a critical response or rhetorical analysis of what is on each author’s mind, you are to write ONE synthesis essay which includes BOTH authors’ ideas to support what the ETHOS issue is for you. Remember, you are to explain WHAT the problem is, not WHY it is a problem. Use examples, stories (narration) and description available in both authors’ essays to synthesize your remarks. Please use 3rd person voice again. Label this 5-7 paragraph essay: “Assignment #2-Synthesis on Ethos Issues.” In this synthesis, you will use MLA to identify the sources in a Works Cited List, and you will use the parenthetical references (I call them “tags”) to identify which essay is the source for each quotation you choose to use in your paragraphs. Please consult the eHandbook, Part 4, Chapter 23, format 9 in the MLA Documentation system section for two or more items from the same anthology as your model. Submit your Assignment via MHConnect as a WORD Doc. Attachment to an email. Please put Course Code in Subject line. Example: Assignment 2-17228. NOTE: Monday, Sept. 6th is a HOLIDAY!!!! Read http://www.nytimes.com/2002/04/21/travel/BPTRADE.html “Where Nothing Says Everything” or “Ground Zero” by Suzanne Berne who relies on DESCRIPTION to make her thesis and purpose clear to readers. Print off and annotate this essay and be ready to discuss it in class. Sept 7-10 Writing with Exemplification, Narration, Description Skills. Hand in “Assignment #2-Synthesis on Ethos Issues.” *Review of the essays and properties of exemplification, narration and description which tell “WHAT.” *Review of Berne’s essay and her skills. *Discussion and practice on explicit and implicit thesis opinions, grammar expectations in college, documentation requirements, voice and architecture of essays and compositions. *Review of effective thesis design. *Chapter 4, Guide overview. Getting ready for your first ESSAY using the skills that reveal WHAT is on your mind. It is called a memoir, a genre in creative non-fiction writing. Let’s go review samples from 439-449 in text. *Quiz on terminology and Berne’s essay. HOMEWORK due Sept 13-14: Read Chapter 4, text, pages 46-61. Then, go to http://thisibelieve.org/top/ and choose THREE of the narratives in the “most often read” list to read. You are now at the START LINE to write your first ESSAY using narration, description, and examples for this class. Using the lists on pages 55-56, map out your ideas for your memoir essay which will answer the question: What troubles you most about Americans? Make certain you have written the THESIS OPINION or PURPOSE as EXPLICIT or IMPLICIT as part of your mapping. Use the following architecture to organize your 1st person voice map: Possible Title. Introductory story, famous saying, descriptive anecdote. THESIS as explicit or implicit. Three to four supportive stories, examples, incidents, dialogue situations, crisis situations. Concluding or reflective segment with a potential “kicker” to keep reader. Also map the intended audience, context of your memoir, tone. *Need help planning? See eHandbook Chapters 2,3. Write out the map/outline for your essay on your word processing software and label as “Assignment #3-Preparation for Memoir Essay.” Assignment is DUE on MHConnect no later than midnight on due date. Sept 13-17 Hand in “Assignment #3-Preparation for Memoir Essay” via MHConnect. We will go over uses of examples, voice, and sensory writing skills. Analysis of skills used in essays that explain “WHAT.” See pgs. 57-68, and 439-449 in the text. Thesis and voice, essay architecture and organization, use of examples, description, dialogue, statistics, storytelling, personal accounts to carry out the essay’s purpose. See pages 70-87 for Jessica’s paper in development and to the Final Draft. * Practice writing your thesis for your first essay: What troubles you most about Americans? 1. Write your own thesis in your 1st person voice which uses dialogue by speaker to announce what troubles the writer. Sample: “I don’t want to join the Army,” yelled Tony. “I’m a pacifist now!” 2. 3rd person voice, three-pronged thesis. Sample: Young American males and females like Tony and Marla are choosing not to join the military because of religious values, family values, and social values. 3. 1st person voice of the author using personal insight. Sample: I haven’t answered “yes” to any Army recruiter’s invitation to volunteer and I probably won’t. 4. 1st person voice, plural where author speaks for Americans. Sample: We American women are not happy with the male leadership regarding reasons for war. We have a better way to resolve national squabbles. HOMEWORK DUE Sept. 20-21: Write your own essay which answers the question: What troubles you most about Americans? Requirements include: Essay must include 5 paragraphs at a minimum; rhetorical skills include description (dialogue, too) skills, 1st person voice narrative skills, exemplification skills, and architectural organizational skills. Grammar will be checked carefully. It is highly suggested that you double-space, use a works cited approach in MLA if you quote any other materials in your essay. Quoting is NOT required, but will earn you extra credit IF done carefully. This memoir is NOT a research paper; it is a personal essay on a point of concern. What troubles you? Do NOT try to fix it! Do NOT try to analyze it! Just show evidence in creative rhetorical skills that it exists for you! Label as “Essay 1-American Troubles Essay.” Sept 20-24 “American Troubles” ESSAY #1 is DUE!!! Techniques in effective introductions and conclusions in essay writing are covered. Special attention is given to allusion, analogy, symbolism to establish tone or provide ABSTRACTION to readers. Class time will practice on Intros- Conclusions. How to analyze essays is covered. See sample Interpretive Analysis. Contrast Analysis with Summary. Footnoting is covered. Intros and Conclusions: read http://homepage.smc.edu/zehr_david/Brent%20Staples.htm Brent Staples “Just Walk On By: A Black Man Ponders His Power to Alter Public Space” which uses personal EXEMPLIFICATION rhetorical skills. And, read http://lhsap11.wikispaces.com/file/view/ The+Human+Cost+of+an+Illiterate+Society,+Johnathon+Kozol.pdf Jonathan Kozol’s “The Human Cost of an Illiterate Society” which also uses public and personal EXEMPLIFICATION skills to show what’s on his mind. READ THESE TWO ESSAYS BEFORE YOU COME TO CLASS ON SEPT. 20. HOMEWORK due Sept. 27-28: Complete an INTEPRETIVE ANALYSIS or critical response using MLA for each essay mentioned above. Use the sample provided in the eHandbook on Nat Hentoff’s essay, Part 7. *These two reviews must also use three word for word support items each in them. Emphasize author’s uses of skills in Intros and Conclusions for good results! Label as “Assignment 4-Analysis of Staples’ Essay” and “Assignment 5-Analysis of Kozol’s Essay.” Please upload as attachments to your MHConnect email no later than midnight on the due date. Subject Lines should read: Assignment 3-17228, etc. Thank you! Sept 27-Oct. 1 TWO Interpretive Analyses Assignments are DUE! Introduction to rhetorical skills of Comparison/Contrast, Classification/Division, and Definition. What psychology is at work here? A look at essay skills in the text from Chapter 6-Writing to Inform. Also, we will read in text, 448-453. Please read the following essays BEFORE coming to class. Possible quiz! http://www.nytimes.com/2007/12/02/weekinreview/02wright.html? =1354251600&en=c2473774ee03ea2a&ei=5124&partner=permalink&exprod =permalink Alex Wright’s, “Friending, Ancient or Otherwise” which uses COMPARISON- CONTRAST skills. Bring a copy to class. *Also, read the attached essay entitled, “Stallone Vs Springsteen.” We will be annotating these two essays in class for their uses of the new rhetorical skills: comparison-contrast, definition, and classification skills. HOMEWORK FOR Oct. 4-5: Read Carol Ezzell’s Essay on pg. 143 in text. Write an Interpretive Analysis or Critical Response which CLEARLY identifies her uses of Comparison-Contrast, Definition, Classification, and Example skills to get her purpose or THESIS across. Label as “Assignment 6-Analysis of Ezzel’s Essay.” Use MLA to account for her essay as a publication in the Guide. Add her into the Works Cited format and use the proper “tags” when you quote her. Note how to use (qtd. in Ezzell) to quote a quote! Oct 4-8 “Assignment 6-Analysis of Ezzell’s Essay” is DUE!! Preparing for your second essay that explains “What a Real American Is.” How does comparison/contrast work; how does Classification/Division work; how does Definitional structure work? How do we write and include ALL the skills we have learned about that explore WHAT is on your mind?? Class discussion of Ezzell’s essay and a look at the skills needed to produce a complete essay that DEFINES while uses ALL the other skills. How does using sources effect the credibility or quality, tone, and voice of an essay? Analysis of Hafner’s essay in the text, pg. 147. HOMEWORK DUE Oct. 11-12: Write a 3rd person voice essay that attempts to engage the reader in your definition of “A Real American…” This essay will show skills of Classification, Comparison/Contrast, and Definition to leave the clear impression on the reader of WHAT is (or is NOT) a “Real American.” The essay needs to ALSO include at least one story, one example, and one clear area that is descriptive. The THESIS will carry out the title: “The Real American…” Use student example handout essay and the Introduction/Conclusion of “Stallone Vs Springsteen” as models for your skill layout. Sample essay titles might be: “A Real American Politician” “A Real American Mom” “A Real American Sports Hero” “A Real American Education” “A Real American Ecologist” Label this as “Essay 2-The Real American Essay.” Grading will emphasize uses of the rhetorical skills, architecture, grammar excellence, very skillful Introductions/Conclusions. This essay MUST use at least one source in the MLA system and may use up to three sources. You are encourages to use a photo or graphic, a cartoon or art form to assist your “Real American…” description! A photo is a “quote” and is “tagged” just as if it was a sentence. See samples. Please upload your essay as an attachment to a message in MHConnect. Subject Line should be: Essay 2-17228, etc. Oct 11-15 Essay 2-“The Real American…” is DUE!!! Academic vs. personal writing skills and purpose are contrasted. Quiz on terminology of rhetorical skills. *Intro to essays that analyze for “WHY.” Introduction to Evaluative writing and Causal Analysis Essay skills. Video clip on hip hop effects and causes. How does Causal Analysis work? Use of rhetorical skills we have learned already to answer “why?” not “what!” Review Chapter 9-Writing to Evaluate, pgs. 267-309. Annotate the essays by Burr and Bradshaw on 282-287. How is evaluation different from gossip? How is evaluation different from causal analysis? HOMEWORK due Oct. 18-19: Read Chapter 10, pgs. 311-326. Complete an Interpretive Analysis for Williams’ essay, pg. 321, text. Label your critical response/interpretive analysis: “Assignment 7-Analysis of Williams’ Essay.” Use the eHandbook sample in Chapter 7 as your model again. Please include MLA for Williams’ work as part of your text. Spend time on his skills to reveal his THESIS OPINION or PURPOSE for the essay. Then, make certain you show at least three skills he used to support his analysis. Please use three word for word quotes to support your critical responses. This assignment is due by midnight on the due date. Please upload into MHConnect as an attachment to a message. Subject line should be: Assignment 7-17228. Oct 18-22 “Assignment 7-Analysis of Williams’ Essay” is due. Analysis skills in writing essays. How do essays tell “WHY?” Note Academic skills vs. personal essays in voice, skills, audience, examples, purpose, thesis wording and skills in analogy, analysis with facts and stories. Review of Causal Analysis samples and homework. Introduction to Library Databases. A review of Summary and Synthesis. How academic papers work well. Read: Judith Ortiz Cofer http://jan.ucc.nau.edu/hdh9/e-reserves/Cofer_- _The_myth_of_the_Latin_women_PDF.pdf “The Myth of the Latin Woman: I Just Met a Girl Named Maria,” which uses NARRATION, DESCRIPTION, CAUSAL ANALYSIS, and DEFINITION. We will look at Schlegel’s Causal Analysis Research Essay to contrast with Cofer’s essay .*Read Chapter 10, pgs 332-355. *Choose a topic from this list for Essay 3: 1-Why do Americans love gossip? 2-Why are American males are discouraged from showing emotions? 3-Why do American women have to be so sexy? 4-Why are American children who commit murder often evaluated as adults? 5-Why do Americans love vampires? 6-Why is the film Avatar so popular in America? HOMEWORK for Oct. 25-26: Go to the LMC databases and locate one article on your topic for the upcoming Essay 3-Analysis Essay. Go to www.PewResearch.org to locate some research findings on your topic. Locate an online article from www.npr.org on your topic. Find at least one news article from CNN, MSNBC, Time, or Yahoo News on your topic, too. Using the MLA System in the eHandbook at MHConnect, locate the format for your online articles and essays; create a Works Cited list using the correct formats for the writings you found. Label as” Assignment #8-MLA Works list.” Bring copies of the articles with you to class, especially if you have trouble finding their MLA formats. Upload your Assignment 8 as a WORD doc. Attachment in MHConnect. Subject line: Assignment 8-17228. Oct 25-29 Why academic, analytical essays often use sources external to the author’s voice. How the MLA system works, how to create a Works page, how to cite in the essay to avoid plagiarism. Resolve MLA format skills. How to organize a Causal Analysis Essay. Use the handout as a guide. Go to MHConnect to get a copy of the Causal Analysis Planning Sheet. HOMEWORK DUE Nov. 1-2: Write a thesis for your Causal Analysis Essay. Use 3rd person voice. Create an Outline/Plan on your word processor that begins with the Thesis, and then lists clearly the plan for the following elements of the essay: Title? Voice? Audience and Reader Type? Introduction Skills? Analogy? First Support Segment of the essay? Content? Quote? Second Support Segment? Content? Quote? Third Support Segment? Content? Quote? Conclusion Skills? Wraps up Introduction? Works Cited page Label this work “Assignment 9-Essay Plan for Analysis.” All the works on your Works Cited list must be planned in at least one time or the source must be removed from the list. A total of three sources must be used in the paper. Nov. 1-5 “Assignment 9-Essay Plan for Analysis” is DUE!!! Class discussion on the Causal Analysis essay thesis and format with use of external sources to show “WHY.” MLA questions and answers. Putting a “why” paper together using external sources. Sharing plans with each other for feedback. Must you argue your theory why? Why? Read: http://www.nytimes.com/2006/08/15/science/sciencespecial2/15essa.html?ref=essay Lawrence Krauss’ “How to Make Certain Children are Scientifically Illiterate.” Make a copy and annotate it for rhetorical skills and \evaluate if you think the essay was done well. Come to class ready to discuss it on Nov. 1 or 2. http://topics.nytimes.com/topics/opinion/editorialsandoped/oped/columnists/bobherbert/index.html Bob Herbert’s columns are mostly CAUSAL ANALYSIS in approach. You may find one on your topic! HOMEWORK for Nov. 8-9 (Note: Nov. 11 is a HOLIDAY!): Write your Causal Analysis essay including no more than 3 external sources in the essay, and include the proper MLA skills and the Works Cited list. Grading Criteria: 1. Title that hints at the thesis. 2. Introduction that “grabs” interest using 2 skills for Intro taught in class. Your Voice is 3rd person only. 3. Your Thesis emphatically alerts reader to the cause or theory. 4. At least Three (3) support paragraphs use strong topic sentences, and employ comparison/contrast, exemplification, story-telling, definition, classification, description (photos) and documented accounts of other writer’s skillful work to support the thesis. 5. Your Conclusion echoes an Introduction skill and resolves the cause/effects and/or predicts the future while moralizing about the issue. Use a “kicker” if you wish extra points for skill. 6. Works Cited page lists no more than three (3) sources used sparingly in the essay in MLA format. Label as “Essay 3-Causal Analysis Essay.” Please upload as an attachment in WORD in MHConnect. Subject line: Essay 3-17228. Essay is due by midnight on the due date for your class. NOTE: THURSDAY, Nov. 11th is a HOLIDAY!! Nov 8-12 Essay 3 is DUE!!!! This week will be to review the skills that make essays effective, and coverage of MLA documentation and ways to avoid plagiarism in preparation for the final essay assignment. Grades for each student will be distributed so far. Let’s see how well you have learned the skills! HOMEWORK due Nov. 15-16: Read the text, the Persuasion Chapter 8 and Chapter 14. Go to the eHandbook, Chapter10 and review the Fallacies in argument, section 10b. Then, locate online a few advertisements that suggest that using a fallacy in advertising sells. See text, pg. 475 for another list of Common Flaws in Arguing. Be ready to explain to the class what flaws or fallacies seem to be in the advertisements. You may use magazine articles that you find at the dentist’s office… Nov 15-19 Fallacies in ads are due. Introduction to argumentation essay skills. A look at types of logic and false logic. Read Dr. King’s “Letter from Birmingham Jail,” http://www.africa.upenn.edu/Articles_Gen/Letter_Birmingham.html Are you uncomfortable with the Christian content of the essay? Why? Be ready to analyze your reaction to content and if you are using a logical fallacy to make your point? What is persuasion vs. argument in writing? Other arguments in text will be read for review of argument skills. What is refutation? What is false logical persuasion and why avoid it? What does an argument want the reader to do? HOMEWORK due Nov. 22-23: Read the following two sides of the immigration issue: http://www.nytimes.com/2006/03/30/opinion/30chavez.html?ex=1301374800&en=0351fee51a504f9b&ei= 5090&partner=rssuserland&emc=rss Linda Chavez’ “American Dreams, Foreign Flags.” http://www.americanthinker.com/2006/04/why_americans_hate_this_immigr.html Herbert Meyer’s “Why Americans Hate This Immigration Debate.” Find each writer’s THESIS which suggests what the argument is really about according to these two authors. SYNTHESIZE their efforts in both these essays and write an Interpretive Analysis/Critical Response using BOTH essays. Use Nat Hentoff’s Sample from the eHandbook, Chapter 7 as your model again, but rerfrain from using 1st person voice. Use THIRD PERSON VOICE.. This time, your Works Cited list will include two sources in MLA format. Label your analysis of the real immigration argument in the synthesis of these two author’s skills in argument as “Assignment 10-Synthesis of Arguments.” Please upload your assignment as an attachment to a message in MHConnect. Subject line: Assignment 10-17228. NOTE: HOLIDAY, Thanksgiving - Nov 25-28, 2010 Nov 22-24 “Assignment 10-Synthesis of Arguments” is due. The structure of three arguments are covered. Samples are in the Guide, pgs. 461-478. Review of the skills expected in argumentation rhetoric. Sample student paper will be annotated and reviewed for examples of false logic. See “Essay 4-Argumentation student Sample” provided. Topics for Argumentation Essay 4: Choose one from this list. No other topics will be approved. Choose carefully! 1-Read Emrich’s essay, “Slut-O-Ween” in the Guide on pg. 240. Argue a case for or against her concern. 2-Read DeRosa’s essay “The Objectification of Women: Whose Fault Is It?” in the Guide on page 259. Is DeRosa right? Argue a case for your answer. 3-Use your Causal Analysis Essay 3 and now revise the paper to include an argumentative THESIS instead of merely presenting a theory of why the situation exists. 4-Reread the sample Essay 4 entitled “The Teen S-Word Turns TVs On: SEX.” Do you agree with the author’s THESIS? Write an argument in response to the essay’s THESIS. HOMEWORK DUE Nov. 29-Nov., 30: Looking at your Essay 4 topic, it’s time to organize your controversial point about your argumentative opinion. Design an outline for the essay. Include the following in your outline. DO NOT WRITE THE ESSAY! Plan it out carefully: Title which hints at thesis. Introduction: involves audience with 1-3 “grabbers.” Use a source? Thesis is controversial, 3rd person academic, and sets up an argument. Essential background is covered for audience. (Optional.) Source? Each of three opposing concerns or misconceptions is refuted with examples, cases, stories, quotes, statistics, analysis, description, comparison/contrast, etc. Include the WORD FOR WORD support quotes and MLA “Tags” for each in outline. Conclusion follows Intro idea and may include moralizing, possible look at the future, and a “kicker” which will re-grab audience to help cinch the argumentative thesis. Source? Works Cited page lists 4 sources quoted word for word at least once in the body of the essay. Note: a photo may be considered a “quote” in this essay; source it. Label as “Essay 4 Final Exam-Argumentation Outline.” If you want your Argumentation Outline used as a possible example in class, email it as an attachment in WORD only NO LATER THAN Sunday, Dec. 5: email@example.com. Be prepared to defend or explain your outline if it is used! First come, first served. Nov 29-Dec. 3 Evaluation of Argumentation Outlines. What are good examples of essay argumentation skills? Which essays/articles were selected to support the refutations and why? A review of sample outlined arguments. One more look at MLA skills, too. A review of logical fallacies in outlines. HOMEWORK due Dec. 9, 10: Write the “Essay 4-Argumentation Essay” making certain to include the graded skills. Follow the requirements carefully: Title which hints at thesis. Introduction: involves audience with a “grabber” Thesis is controversial, 3rd person academic, and sets up an argument. Essential background is covered for audience. (Optional.) Each of three opposing concerns or misconceptions is refuted with examples, cases, stories, quotes, statistics, analysis, description, comparison/contrast, etc. Conclusion follows Intro idea and may include moralizing, possible look at the future, and a “kicker” which will re-grab audience to help cinch the argumentative thesis of your essay. Works Cited page lists 4 sources quoted word for word at least once in the body of the essay. Note: a photo may be considered a “quote” in this essay; source it in the Works Cited. Label as “Essay 4-Argumentation Final Essay Exam.” Dec. 6-10 FINAL ARGUMENTATION Essays ARE DUE by midnight on the due dates for your class section. Finals Week is Dec. 13-16, 2010. END of COURSE !!!! Congratulations! The Argumentation Essays will be your Final Exams and are worth 150 points. Check online at My.maricopa.edu for your grades. Living Like Weasels By Annie Dillard 1 A weasel is wild. Who knows what he thinks? He sleeps in his underground den, his tail draped over his nose. Sometimes he lives in his den for two days without leaving. Outside, he stalks rabbits, mice, muskrats, and birds, killing more bodies than he can eat warm, and often dragging the carcasses home. Obedient to instinct, he bites his prey at the neck, either splitting the jugular vein at the throat or crunching the brain at the base of the skull, and he does not let go. One naturalist refused to kill a weasel who was socketed into his hand deeply as a rattlesnake. The man could in no way pry the tiny weasel off, and he had to walk half a mile to water, the weasel dangling from his palm, and soak him off like a stubborn label. 2 And once, says Ernest Thompson Seton--once, a man shot an eagle out of the sky. He examined the eagle and found the dry skull of a weasel fixed by the jaws to his throat. The supposition is that the eagle had pounced on the weasel and the weasel swiveled and bit as instinct taught him, tooth to neck, and nearly won. I would like to have seen that eagle from the air a few weeks or months before he was shot: was the whole weasel still attached to his feathered throat, a fur pendant? Or did the eagle eat what he could reach, gutting the living weasel with his talons before his breast, bending his beak, cleaning the beautiful airborne bones? 3 I have been reading about weasels because I saw one last week. I startled a weasel who startled me, and we exchanged a long glance. 4 Twenty minutes from my house, through the woods by the quarry and across the highway, is Hollins Pond, a remarkable piece of shallowness, where I like to go at sunset and sit on a tree trunk. Hollins Pond is also called Murray's Pond; it covers two acres of bottomland near Tinker Creek with six inches of water and six thousand lily pads. In winter, brown-and-white steers stand in the middle of it, merely dampening their hooves; from the distant shore they look like miracle itself, complete with miracle's nonchalance. Now, in summer, the steers are gone. The water lilies have blossomed and spread to a green horizontal plane that is terra firma to plodding blackbirds, and tremulous ceiling to black leeches, crayfish, and carp. 5 This is, mind you, suburbia. It is a five-minute walk in three directions to rows of houses, though none is visible here. There's a 55-mph highway at one end of the pond, and a nesting pair of wood ducks at the other. Under every bush is a muskrat hole or a beer can. The far end is an alternating series of fields and woods, fields and woods, threaded everywhere with motorcycle tracks--in whose bare clay wild turtles lay eggs. 6 So, I had crossed the highway, stepped over two low barbed-wire fences, and traced the motorcycle path in all gratitude through the wild rose and poison ivy of the pond's shoreline up into high grassy fields. Then I cut down through the woods to the mossy fallen tree where I sit. This tree is excellent. It makes a dry, upholstered bench at the upper, marshy end of the pond, a plush jetty raised from the thorny shore between a shallow blue body of water and a deep blue body of sky. 7 The sun had just set. I was relaxed on the tree trunk, ensconced in the lap of lichen, watching the lily pads at my feet tremble and part dreamily over the thrusting path of a carp. A yellow bird appeared to my right and flew behind me. It caught my eye; I swiveled around—and the next instant, inexplicably, I was looking down at a weasel, who was looking up at me. 8 Weasel! I'd never seen one wild before. He was ten inches long, thin as a curve, a muscled ribbon, brown as fruitwood, soft-furred, alert. His face was fierce, small and pointed as a lizard's; he would have made a good arrowhead. There was just a dot of chin, maybe two brown hairs' worth, and then the pure white fur began that spread down his underside. He had two black eyes I didn't see, any more than you see a window. 9 The weasel was stunned into stillness as he was emerging from beneath an enormous shaggy wild rose bush four feet away. I was stunned into stillness twisted backward on the tree trunk. Our eyes locked, and someone threw away the key. 10 Our look was as if two lovers, or deadly enemies, met unexpectedly on an overgrown path when each had been thinking of something else: a clearing blow to the gut. It was also a bright blow to the brain, or a sudden beating of brains, with all the charge and intimate grate of rubbed balloons. It emptied our lungs. It felled the forest, moved the fields, and drained the pond; the world dismantled and tumbled into that black hole of eyes. If you and I looked at each other that way, our skulls would split and drop to our shoulders. But we don't. We keep our skulls. So. 11 He disappeared. This was only last week, and already I don't remember what shattered the enchantment. I think I blinked, I think I retrieved my brain from the weasel's brain, and tried to memorize what I was seeing, and the weasel felt the yank of separation, the careening splash- down into real life and the urgent current of instinct. He vanished under the wild rose. I waited motionless, my mind suddenly full of data and my spirit with pleadings, but he didn't return. 12 Please do not tell me about "approach-avoidance conflicts." I tell you I've been in that weasel's brain for sixty seconds, and he was in mine. Brains are private places, muttering through unique and secret tapes-but the weasel and I both plugged into another tape simultaneously, for a sweet and shocking time. Can I help it if it was a blank? 13 What goes on in his brain the rest of the time? What does a weasel think about? He won't say. His journal is tracks in clay, a spray of feathers, mouse blood and bone: uncollected, unconnected, loose leaf, and blown. 14 I would like to learn, or remember, how to live. I come to Hollins Pond not so much to learn how to live as, frankly, to forget about it. That is, I don't think I can learn from a wild animal how to live in particular--shall I suck warm blood, hold my tail high, walk with my footprints precisely over the prints of my hands?--but I might learn something of mindlessness, something of the purity of living in the physical sense and the dignity of living without bias or motive. The weasel lives in necessity and we live in choice, hating necessity and dying at the last ignobly in its talons. I would like to live as I should, as the weasel lives as he should. And I suspect that for me the way is like the weasel's: open to time and death painlessly, noticing everything, remembering nothing, choosing the given with a fierce and pointed will. 15 I missed my chance. I should have gone for the throat. I should have lunged for that streak of white under the weasel's chin and held on, held on through mud and into the wild rose, held on for a dearer life. We could live under the wild rose wild as weasels, mute and uncomprehending. I could very calmly go wild. I could live two days in the den, curled, leaning on mouse fur, sniffing bird bones, blinking, licking, breathing musk, my hair tangled in the roots of grasses. Down is a good place to go, where the mind is single. Down is out, out of your ever- loving mind and back to your careless senses. I remember muteness as a prolonged and giddy fast, where every moment is a feast of utterance received. Time and events are merely poured, unremarked, and ingested directly, like blood pulsed into my gut through a jugular vein. Could two live that way? Could two live under the wild rose, and explore by the pond, so that the smooth mind of each is as everywhere present to the other, and as received and as unchallenged, as falling snow? 16 We could, you know. We can live any way we want. People take vows of poverty, chastity, and obedience--even of silence--by choice. The thing is to stalk your calling in a certain skilled and supple way, to locate the most tender and live spot and plug into that pulse. This is yielding, not fighting. A weasel doesn't "attack" anything; a weasel lives as he's meant to, yielding at every moment to the perfect freedom of single necessity. *** 17 I think it would be well, and proper, and obedient, and pure, to grasp your one necessity and not let it go, to dangle from it limp wherever it takes you. Then even death, where you're going no matter how you live, cannot you part. Seize it and let it seize you up aloft even, till your eyes burn out and drop; let your musky flesh fall off in shreds, and let your very bones unhinge and scatter, loosened over fields, over fields and woods, lightly, thoughtless, from any height at all, from as high as eagles. ENG 101 Kay Grosso, Instructor Stallone Vs. Springsteen By Jack Newfield 1 Bruce Springsteen and Sylvester Stallone are the two great working-class heroes of American mass culture. Springsteen had the best-selling album of 1985 and Stallone had the second most successful movie. On the surface, they share stunning similarities of biceps, bandannas, American flags, Vietnam themes, praise from President Reagan, and uplifting feelings of national pride. Bumper sticker proclaim, BRUCE--THE RAMBO OF ROCK. 2 But beneath the surface--and between the lines--these two American heroes of the eighties are sending opposite messages. They are subtly pulling the 18-to-35-year-old generation toward two competing visions of the American future. 3 Stallone's Rocky and Rambo films--especially the latter--are about violence and revenge in a context of fantasy. Rambo never pays a price in body bags or pain or blood or doubt or remorse or fear. The enemy is stereotyped and therefore dehumanized. The emotions Stallone liberates are hostility and aggression: Audiences come out of the theater wanting to kick some Commie ass in Nicaragua. 4 By contrast, the essential human feeling Springsteen liberates is empathy-- compassion for the human man trapped in the dead-end world of the hourly wage. The realistic words of Springsteen's best songs are about the hurt of unemployed workers; about reconciliation with estranged parents through understanding their lives; about staying hopeful even though experience falls short of the American dream. 5 In Rambo Stallone depicts the Vietnam veteran as a killing machine, a deranged, rampaging executioner. In "Born in the U.S.A.," Springsteen depicts the Vietnam veteran as neglected--wanting to be reintegrated into society as a normal person but getting the brush-off from a bureaucrat at the Veterans Administration. Recall the misunderstood and misheard words of the Springsteen anthem: Got in a little hometown jam, So they put a rifle in my hand. Sent me off to a foreign land To go and kill the yellow man . . . Come back home to the refinery. Hiring man says, "Son, if it was up to me . . ." Went down to see my VA man; He said, "Son, don't you understand now?" I had a brother at Khé Sanh Fighting off the Viet Cong. They're still there; he's all gone. He had a woman he loved in Saigon-- I got a picture of him in her arms now . . . 6 The difference between Stallone and Springsteen is perhaps best illuminated by reading as essay George Orwell wrote in 1945, before either Stallone or Springsteen was born. In the essay, "Notes on Nationalism," Orwell makes a distinction between nationalism and patriotism and then suggests that they are, in fact, opposites: By "nationalism" I mean first of all the habit of assuming that human beings can be classified like insects and that whole blocks of millions or tens of millions of people can confidently be labeled "good" or "bad." But secondly--and this is much more important--I mean the habit of identifying oneself with a single nation or other unit, placing it beyond good and evil and recognizing no other duty than that of advancing its interests. Nationalism is not to be confused with patriotism . . . since two different and even opposing ideas are involved. By "patriotism" I mean a devotion to a particular place and a particular way of life, which one believes to be the best in the world but has no wish to force upon other people. Patriotism is of its nature defensive, both militarily and culturally. Nationalism, on the other hand, is inseparable from the desire for power . . . 7 It can be plausibly argued, for instance--it is even probably true--that patriotism is an inoculation against nationalism. 8 Stallone as Rambo snarls, "Damn Russian bastards" and kills a few more. Springsteen introduces "This Land is Your Land," the first encore at all his concerts, as "the greatest song ever written about America," and then reminds his fans, "Remember, nobody wins unless everybody wins." That's one difference between nationalism and patriotism. 9 Stallone manipulates Americans' feelings of frustration over the lost Vietnam war and helps create a jingoistic climate of emotion in which a future war might be welcomed. Springsteen asks us to honor the neglected and rejected Vietnam veterans, so that we won't glide gleefully into the next war without remembering the real cost of the last one. That's a second difference between nationalism and patriotism. 10 "It's a right-wing fantasy," said Stallone, talking to Time about last summer's big hit. "What Rambo is saying is that if they could fight again, it would be different." He added that he was looking for another "open wound" as a site for a sequel, possibly Iran or Afghanistan. 11 Ron Kovic is a paraplegic author and Vietnam veteran. As an honored guest at Springsteen's opening-night concert last August at the Giant's stadium in New Jersey, Kovic told reporters, "I've been sitting in this wheelchair for the past 18 years. And I can only thank Bruce Springsteen for all he has done for Vietnam veterans. 'Born in the U.S.A.' is a beautiful song that helped me personally to heal." The difference between looking for another open wound as a movie backdrop and creating music that is healing--that's a third distinction between nationalism and patriotism . . . 12 Nationalism, as defined by Orwell, is an intoxicating but essentially negative emotion, because it is, by its very nature, intolerant. It does not respect the rights of minorities or the dignity of neighbors. It is a will to power that negates complexity. Its most extreme avatars are monstrous lunatics such as Khomeini, Qaddafi, Botha, Farrakhan, and Kahane. 13 The milder form of nationalism, as represented by Stallone, is less harmful. Stallone doesn't have Governmental power, and he doesn't push the issue; he usually retreats behind his movie character and tells most interviewers he is nonpolitical. 14 But the messages his images communicate to masses of impressionable young people sometimes do have damaging consequences. For example, the week Rambo, with its negative stereotypes of Asians, opened in Boston last spring, there were two incidents in which Southeast Asian refugees were badly beaten up by gangs of white youths. 15 In the more recent Rocky IV--which Stallone wrote, directed, and starred in--the villainous foe is a Russian who fights dirty, takes illegal steroid injections, and wears a black mouthpiece. Cleverly named Ivan Drago, he is depicted as a robotlike extension of the Evil Empire. Critics have written that it is the most simplistic and one-dimensional of all the Rocky movies. It lacks the interesting subplots and realistic blue-collar atmosphere of the original Rocky, with its loan shark and neighborhood gym; this time, Stallone literally and figuratively wraps himself in the American flag--proving that sequel are the last refuge of nationalists. 16 The worst features of Stallone's nationalism are the values it enshrines and reinforces: racism, violence, militarism, and--possibly most subversive of all--simplicity. The convergence of these emotions can make war and foreign intervention seem like a sporting event. Or a movie. 17 Bruce Springsteen's patriotism is rooted in a different set of values, apparent in his songs: the old-fashioned virtues of work, family, community, loyalty, dignity, perseverance, love of country. His fundamental theme is the gap between America's promise and performance and his resilient faith in the eventual redemption of that promise. He sees America as it is, with all its jobless veterans, homeless people, and urban ghettos. And he retains his idealism in spite of everything, because his patriotism has room for paradox. At a Springsteen concert, one song wants to make you cheer for America; the next makes you want to cry for America--and then change it. 18 Springsteen conveys compassion for the casualty, for the ordinary person who may not be articulate. His empathy is for men with "debts no honest man can pay." From his immense pride in his home town comes an homage to closed textile mills and "Main Street's white-washed windows and vacant stores." Out of his populist patriotism comes his affection for people who feel "like a dog that's been beat too much" and his reconciling respect for his working-class father: Daddy worked his whole life for nothing but the pain. Now he walks up these empty rooms, looking for someone to blame. These songs are social, not political. They don't offer platforms, slogans, or rhetoric. They don't imply easy remedies and they don't endorse politicians. Springsteen himself says he has not voted since 1972, and he is enrolled in no political party . . . 19 Springsteen and Stallone, two messiahs of American mass culture, two muscular men--tugging the country's flag in different directions. 20 Sylvester Stallone, at bottom, is a faker, feeding us fantasies as therapy for our national neuroses. He is appealing to the dark side that exists in all of us, the part of us that wants to get even with everyone who has ever gotten the better of us, the part that finds it easier to understand a stereotype than an individual, the part that dreams of vengeance that never fails and never leaves an aftertaste of guilt. 21 Bruce Springsteen appeals to the best in all of us. His songs ask us to forgive the sinner but to remember the sin; to respect one another but to question authority; to refuse to compromise our ideals ("no retreat, no surrender"); to keep growing but to continue to love our parents and our home towns; to feel a responsibility for sharing with our countrymen who have less property and less power. 22 "I think what's happening now," Springsteen told one interviewer, "is people want to forget. There was Vietnam, there was Watergate, there was Iran--we were beaten, we were hustled, and then we were humiliated. And I think people got a need to feel good about the country they live in. But what's happening, I think, is that need--which is a good thing--is gettin' manipulated and exploited . . . 23 "One of the things that was always on my mind was to maintain connections with the people I'd grown up with and the sense of community where I came from. That's why I stayed in New Jersey. The danger of fame is in forgetting."
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