I think Chapter 10 of Curzan and Damour, as usual, provides some valuable practical advice for surviving the first year of teaching. I plan to use this summer extensively for the "frontloading" that they suggest. I'm going to read and re-read White Noise, immerse myself in The World is a Text, and polish my syllabus and class notes to an uncanny shine. I think I may even try to get a good deal of my handouts copied and filed before the semester ever begins. I feel that if I go into the semester with organized materials and a really clear idea of what I'm trying to do, then I will succeed (in not making a fool of myself, and wasting my students' time).
I also appreciated the fact that Curzan and Damour took the stigma off "sharing the burden." Personally, I plan to use a lot of activities that will shift the focus away from me as awkward spectacle and towards the group as interactive community. And if I can find anyone foolhardy enough to volunteer as a guest speaker, then I guarantee I will take him/her up on it. Diversity is conducive to learning, and, besides, I can guarantee there will be weeks that I just don't want to lecture for an hour straight. Actually, I hope to very rarely (if ever) rely on the traditional, marathon-lecture format for my classes. Such a structure seems both overly taxing and likely to induce rampant snoring.
Monday, April 30, 2007
Book Reviews
Brief Book Reviews
#1 Between Worlds, A Reader, Rhetoric, and Handbook. Pearson Longman. Susan Bachmann and Melinda Barth. 2007. Fifth edition. 626 pages. $66.00.
This is a promising textbook that might actually work well in the classroom for me. I have been looking for a text that would allow the students to explore the themes related to cross-cultural/intercultural communication. I wanted to use this topic area as a frame to explore argumentative writing. I think that I would be able to do that with this text in that it offers some specific readings that take up issues involving intercultural communication.
The book is nicely divided – very traditional I suspect – in the following manner:
Part I The Reader
Part II The Rhetoric
Part III The Handbook
There appears to be a substantial amount of cross-referencing going on between all areas of the text which I believe will help to make the book more of a piece to the students. I like the way the reader provides a variety of essays in many different genres in the following categories:
Chapter 1: Between Generations
Chapter 2: Between Genders
Chapter 3: Between Cultures
Chapter 4: Between Perceptions
Chapter 5: Between Values
Chapter 6: Between Screens
Chapter 6 above deals with visual culture – film as text, image as text. This section looks interesting and it looks like it would provide a real material change from the forgoing chapters. The chapters has activities and exercise that deal with six different films.
While this book does pick up and explore some of the topics that I am interested in exploring in the class, I am a little concern that it is really just to much book. It weighs a ton and goes over 600 pages. Do I, do my students, really need such a mighty tome. Physically and visually, I would like to find something a bit more elegant, something along the lines of Bri’s book, Everything Is An Argument.
#2 Frame Work, Culture, Storytelling, and College Writing. Gary Columbo, Bonnie Lisle, Sandra Mano. Bedford Books. Boston. 1997. $56.95
I continue in my adventure of learning what “culture” means in the United States and specifically what it means in English departments. In Japan, they tend think of Cultures as monolithic, i.e. the Japanese culture, the American Culture. When they talk of internationalization, they think of it in terms of learning more about other cultures, learning how to interact with other cultures, learning more about your own culture and what assumptions and values you carry with you – often unknown and un-reflected upon. Cultural anthropologists like Edward Hall speak about the importance of hidden culture – all the stuff below the surface – below our awareness - that informs and shapes much of way we interpret the world – the way we behave in it. Culture of this sort is a deep river baby. OK enough of that..
This book is disappointing, period. So, I really don’t want to say too much about it other than to explain what is disappointing. Culture in this book seems to refer to ethnicity, near as I can tell. I’m not saying that is a bad thing. I think there is a lot of truth to the notion that a classroom of university students brings with it a lot of “cultural” diversity, one hopes. My issue is this, the authors have decided on a “fresh new approach” to writing ( Yeah, like that SOUNDs fresh) and this new approach asks the students to focus on writing narrative stories as a way of developing their writing, and also as a way of social empowerment, I think. Hmm.
Now, I as a guy interested in non-fiction writing, I hope I don’t have a problem with narrative essays. My issue is this, are freshman university students really going to be well served by learning how to write narrative essays instead of argumentative/analytical essays? Apparently, the authors of this text believe so:
“Recent research in anthropology, linguistics, cognitive science, and women’s and ethnic studies suggests that our understanding of the world is mediated by story frames – culturally constructed narrative patterns that filter, organize, and interpret all of our experiences. The concept of the story frame offers a powerful alternative to pedagogies based on personal/academic or narrative/analytic oppositions.”
Well, I dunno, there you go. Maybe we need to dump this academic analytic stuff, especially in light of that “recent research.”
Seriously, I think I follow the argument they are making, and I believe there is something to be said for it. But I am troubled. I am thinking students need to learn “the language of the academy,” in a sense. I know that might sound rough – and I don’t mean to disparage the cultural histories of the students. I am really speaking here about how best we serve them, serve their needs? Don’t they need to develop their argumentive/analytic writing skills to survive in the university and beyond it?
The authors of this text in keeping with their over all purpose and design have included readings primarily from minority writers. “Most of the selections we’ve included are by authors who stand outside the dominant culture, and more than half are by women.” This is not a bad thing. One could easily argue that it is about time such an anthology was used in the class. My concern is with the somewhat implicit message in this i.e. writers outside the dominant culture write in narrative forms. Or, maybe it means that writers outside the dominant culture CAN’T write in academic argumentative form an by implication students outside that dominant form can’t either and therefore we are going to offer this new approach - take it down a notch and teach young writers (who are outside the dominant culture) this empowering narrative way of writing? Am I missing something here?
So you see, I am bothered by the science here and by the presuppositions the authors are making in deliberately privileging the narrative essay over the academic/analytical essay. They are doing all of this in the name of greater cultural sensitivity – diversity.
“Because the idea of cultural diversity lies at the heart of our approach to composition, Frame Work weaves a broad selection of readings into its cultural storytelling approach to college writing.”
What I have been reminded of in looking at textbooks is how political an act it can be to choose any text for class.
In closing, (I wasn’t going to say much about this book) this book bmight work for a different kind of college writing class, but I don’t think it is suitable for a class in argumentative writing. My hunch is that this would be an effective lead-in text to a class like ours.
#1 Between Worlds, A Reader, Rhetoric, and Handbook. Pearson Longman. Susan Bachmann and Melinda Barth. 2007. Fifth edition. 626 pages. $66.00.
This is a promising textbook that might actually work well in the classroom for me. I have been looking for a text that would allow the students to explore the themes related to cross-cultural/intercultural communication. I wanted to use this topic area as a frame to explore argumentative writing. I think that I would be able to do that with this text in that it offers some specific readings that take up issues involving intercultural communication.
The book is nicely divided – very traditional I suspect – in the following manner:
Part I The Reader
Part II The Rhetoric
Part III The Handbook
There appears to be a substantial amount of cross-referencing going on between all areas of the text which I believe will help to make the book more of a piece to the students. I like the way the reader provides a variety of essays in many different genres in the following categories:
Chapter 1: Between Generations
Chapter 2: Between Genders
Chapter 3: Between Cultures
Chapter 4: Between Perceptions
Chapter 5: Between Values
Chapter 6: Between Screens
Chapter 6 above deals with visual culture – film as text, image as text. This section looks interesting and it looks like it would provide a real material change from the forgoing chapters. The chapters has activities and exercise that deal with six different films.
While this book does pick up and explore some of the topics that I am interested in exploring in the class, I am a little concern that it is really just to much book. It weighs a ton and goes over 600 pages. Do I, do my students, really need such a mighty tome. Physically and visually, I would like to find something a bit more elegant, something along the lines of Bri’s book, Everything Is An Argument.
#2 Frame Work, Culture, Storytelling, and College Writing. Gary Columbo, Bonnie Lisle, Sandra Mano. Bedford Books. Boston. 1997. $56.95
I continue in my adventure of learning what “culture” means in the United States and specifically what it means in English departments. In Japan, they tend think of Cultures as monolithic, i.e. the Japanese culture, the American Culture. When they talk of internationalization, they think of it in terms of learning more about other cultures, learning how to interact with other cultures, learning more about your own culture and what assumptions and values you carry with you – often unknown and un-reflected upon. Cultural anthropologists like Edward Hall speak about the importance of hidden culture – all the stuff below the surface – below our awareness - that informs and shapes much of way we interpret the world – the way we behave in it. Culture of this sort is a deep river baby. OK enough of that..
This book is disappointing, period. So, I really don’t want to say too much about it other than to explain what is disappointing. Culture in this book seems to refer to ethnicity, near as I can tell. I’m not saying that is a bad thing. I think there is a lot of truth to the notion that a classroom of university students brings with it a lot of “cultural” diversity, one hopes. My issue is this, the authors have decided on a “fresh new approach” to writing ( Yeah, like that SOUNDs fresh) and this new approach asks the students to focus on writing narrative stories as a way of developing their writing, and also as a way of social empowerment, I think. Hmm.
Now, I as a guy interested in non-fiction writing, I hope I don’t have a problem with narrative essays. My issue is this, are freshman university students really going to be well served by learning how to write narrative essays instead of argumentative/analytical essays? Apparently, the authors of this text believe so:
“Recent research in anthropology, linguistics, cognitive science, and women’s and ethnic studies suggests that our understanding of the world is mediated by story frames – culturally constructed narrative patterns that filter, organize, and interpret all of our experiences. The concept of the story frame offers a powerful alternative to pedagogies based on personal/academic or narrative/analytic oppositions.”
Well, I dunno, there you go. Maybe we need to dump this academic analytic stuff, especially in light of that “recent research.”
Seriously, I think I follow the argument they are making, and I believe there is something to be said for it. But I am troubled. I am thinking students need to learn “the language of the academy,” in a sense. I know that might sound rough – and I don’t mean to disparage the cultural histories of the students. I am really speaking here about how best we serve them, serve their needs? Don’t they need to develop their argumentive/analytic writing skills to survive in the university and beyond it?
The authors of this text in keeping with their over all purpose and design have included readings primarily from minority writers. “Most of the selections we’ve included are by authors who stand outside the dominant culture, and more than half are by women.” This is not a bad thing. One could easily argue that it is about time such an anthology was used in the class. My concern is with the somewhat implicit message in this i.e. writers outside the dominant culture write in narrative forms. Or, maybe it means that writers outside the dominant culture CAN’T write in academic argumentative form an by implication students outside that dominant form can’t either and therefore we are going to offer this new approach - take it down a notch and teach young writers (who are outside the dominant culture) this empowering narrative way of writing? Am I missing something here?
So you see, I am bothered by the science here and by the presuppositions the authors are making in deliberately privileging the narrative essay over the academic/analytical essay. They are doing all of this in the name of greater cultural sensitivity – diversity.
“Because the idea of cultural diversity lies at the heart of our approach to composition, Frame Work weaves a broad selection of readings into its cultural storytelling approach to college writing.”
What I have been reminded of in looking at textbooks is how political an act it can be to choose any text for class.
In closing, (I wasn’t going to say much about this book) this book bmight work for a different kind of college writing class, but I don’t think it is suitable for a class in argumentative writing. My hunch is that this would be an effective lead-in text to a class like ours.
Sunday, April 29, 2007
Bean there, done that.
Considering that this is the last week of class, I couldn't resist one last pun on Bean's name. This week, I again found Bean's suggestions useful, particularly in his advice on how to make the most of the time we have with our students.
I appreciated his suggestion to use models feedback on some assignments (p. 236); I anticipate using this on some of my shorter assignments. For example, when they write their research paper, I intend to have them do an annotated bibliography beforehand. This seems like a good assignment to do models feedback on.
I thought the idea of group conferences (p. 234) was interesting, but I must admit that I can't really picture how this would work. Does anyone else have ideas? What kinds of "common writing problems" would be useful to work through in this way?
This is unrelated to our readings, but I wanted to mention it anyway, since I found it encouraging. I was talking to a couple of friends earlier today, and they both commented that their freshman writing classes were a couple of the most useful classes they'd ever taken--in preparation for both other classes and for life in general, according to one of them. One of my friends commented that he hated his writing teacher by the end of the semester but that, looking back, he's really grateful for all of the work she made him do. I'm kind of hoping that my students don't hate me, but I guess the moral of the story is that it's okay if they do.
I appreciated his suggestion to use models feedback on some assignments (p. 236); I anticipate using this on some of my shorter assignments. For example, when they write their research paper, I intend to have them do an annotated bibliography beforehand. This seems like a good assignment to do models feedback on.
I thought the idea of group conferences (p. 234) was interesting, but I must admit that I can't really picture how this would work. Does anyone else have ideas? What kinds of "common writing problems" would be useful to work through in this way?
This is unrelated to our readings, but I wanted to mention it anyway, since I found it encouraging. I was talking to a couple of friends earlier today, and they both commented that their freshman writing classes were a couple of the most useful classes they'd ever taken--in preparation for both other classes and for life in general, according to one of them. One of my friends commented that he hated his writing teacher by the end of the semester but that, looking back, he's really grateful for all of the work she made him do. I'm kind of hoping that my students don't hate me, but I guess the moral of the story is that it's okay if they do.
Saturday, April 28, 2007
Belated Textbook Reviews
Rebecca Richardson
EN 8010
Textbook Reviews
Sorry these are so delayed. I completely forgot to post them. Thanks for your understanding you guys. I am also sorry the first one is so long.
Writing in a Visual Age
by Lee Odell and Susan Katz
Bedford/St. Martins
This book is designed to aid students with reading visual texts as well as incorporating their own visuals into their assignments. Because of this claim, I was very excited to review this textbook. However, I was not overly impressed with the textbook itself once I perused it. At first glance, it seems very promising. The layout is colorful (although there seems to be no coding system behind the use of color) and provides many visual examples. The sections are clearly organized from the chapters themselves to the supplemental sections.
Throughout each chapter, a similar format is followed. They explain the topic thoroughly, give examples, and then outline the assignment. The prose has a natural, easy flow and a causal voice, which I think makes it reader friendly. Plus, the vocabulary/diction is well-rounded and strong. Content of each chapter is interesting and varied as well, with chapters on subjects such as profiles, position papers, and research. Also included are a glossary, an index, a quick reference menu, and a contents listing. These sections are very well organized, providing useful information. I especially like the honesty of the contents sections which implicitly emphasizes that one does not have to cover all sections in a single course. Plus, Bedford publishing usually has the option of customizing a textbook, printing only those chapters which an instructor will need for his/her course.
However, despite the positive layout, the overall content leaves much to be desired. In their effort to be visually appealing and contemporary, the designers have gone overboard, bombarding the reader with too many visuals, creating distraction and confusion. I even felt overwhelmed and unable to focus as I read through the book. Another negative for this book is the fact that the assignment section of each chapter is so long and detailed, students are guided through every possible step with so much information that the assignment is practically done for them, teaching them essentially nothing. The questions are leading instead of thought-provoking which does not allow critical thinking to develop. Also, the steps which are glossed over are usually the vital steps about computer programs, even information as to which programs should be used. I feel this neglect assumes too much technological knowledge on the part of both the students and the instructors. In fact, the only chapter I found to be completely useful for an EN 1000 course is chapter 9: Research. It provides much useful and detailed information. However, one chapter does not justify the cost of nearly $70.
I did, however, enjoy the supplements included with the textbook: CD Rom and Handbook. The handbook is well-organized and can be packaged with the textbook for only an additional cost of $2.60. Unfortunately, the packaging would force students to buy only the new text instead of procuring less expensive used copies. The CD Rom can be included at no additional cost. It is extremely user friendly and interesting, but I am not sure how useful it would prove for classroom use. I do not plan to implement this textbook.
Ancient Rhetoric for Contemporary Students
by Sharon Crowley and Debra Hawhee
Longman Publishing
I honestly looked forward to this textbook. Its title intrigued me, implying a modern approach to very complicated ideas. As a high school teacher, I often included basic rhetoric in my course when explaining persuasive arguments to my juniors. They always had a bit of trouble understanding logical terminology. Unfortunately, when this textbook arrived, I realized it would not serve my purposes.
To begin with, the textbook is extremely large and packed with mostly text. Visually, this type of book is intimidating to students who immediately conclude they will never be able to get through all this information. Plus, the assignments included within are not very creative or stimulating. All of this is unfortunate, though, since the text itself reads very smoothly. It really does explain the complicated rhetorical terminology competently. I found it to be a wealth of information and plan to use the information in lecture in order to help my students better understand the concept of argument. Perhaps this book would prove useful for an advanced class, but not an EN 1000 course.
Overall, as an average student, I would not want or use this textbook. As an instructor, I would utilize its explanations for myself in order to prepare for student questions about the subject of argument.
EN 8010
Textbook Reviews
Sorry these are so delayed. I completely forgot to post them. Thanks for your understanding you guys. I am also sorry the first one is so long.
Writing in a Visual Age
by Lee Odell and Susan Katz
Bedford/St. Martins
This book is designed to aid students with reading visual texts as well as incorporating their own visuals into their assignments. Because of this claim, I was very excited to review this textbook. However, I was not overly impressed with the textbook itself once I perused it. At first glance, it seems very promising. The layout is colorful (although there seems to be no coding system behind the use of color) and provides many visual examples. The sections are clearly organized from the chapters themselves to the supplemental sections.
Throughout each chapter, a similar format is followed. They explain the topic thoroughly, give examples, and then outline the assignment. The prose has a natural, easy flow and a causal voice, which I think makes it reader friendly. Plus, the vocabulary/diction is well-rounded and strong. Content of each chapter is interesting and varied as well, with chapters on subjects such as profiles, position papers, and research. Also included are a glossary, an index, a quick reference menu, and a contents listing. These sections are very well organized, providing useful information. I especially like the honesty of the contents sections which implicitly emphasizes that one does not have to cover all sections in a single course. Plus, Bedford publishing usually has the option of customizing a textbook, printing only those chapters which an instructor will need for his/her course.
However, despite the positive layout, the overall content leaves much to be desired. In their effort to be visually appealing and contemporary, the designers have gone overboard, bombarding the reader with too many visuals, creating distraction and confusion. I even felt overwhelmed and unable to focus as I read through the book. Another negative for this book is the fact that the assignment section of each chapter is so long and detailed, students are guided through every possible step with so much information that the assignment is practically done for them, teaching them essentially nothing. The questions are leading instead of thought-provoking which does not allow critical thinking to develop. Also, the steps which are glossed over are usually the vital steps about computer programs, even information as to which programs should be used. I feel this neglect assumes too much technological knowledge on the part of both the students and the instructors. In fact, the only chapter I found to be completely useful for an EN 1000 course is chapter 9: Research. It provides much useful and detailed information. However, one chapter does not justify the cost of nearly $70.
I did, however, enjoy the supplements included with the textbook: CD Rom and Handbook. The handbook is well-organized and can be packaged with the textbook for only an additional cost of $2.60. Unfortunately, the packaging would force students to buy only the new text instead of procuring less expensive used copies. The CD Rom can be included at no additional cost. It is extremely user friendly and interesting, but I am not sure how useful it would prove for classroom use. I do not plan to implement this textbook.
Ancient Rhetoric for Contemporary Students
by Sharon Crowley and Debra Hawhee
Longman Publishing
I honestly looked forward to this textbook. Its title intrigued me, implying a modern approach to very complicated ideas. As a high school teacher, I often included basic rhetoric in my course when explaining persuasive arguments to my juniors. They always had a bit of trouble understanding logical terminology. Unfortunately, when this textbook arrived, I realized it would not serve my purposes.
To begin with, the textbook is extremely large and packed with mostly text. Visually, this type of book is intimidating to students who immediately conclude they will never be able to get through all this information. Plus, the assignments included within are not very creative or stimulating. All of this is unfortunate, though, since the text itself reads very smoothly. It really does explain the complicated rhetorical terminology competently. I found it to be a wealth of information and plan to use the information in lecture in order to help my students better understand the concept of argument. Perhaps this book would prove useful for an advanced class, but not an EN 1000 course.
Overall, as an average student, I would not want or use this textbook. As an instructor, I would utilize its explanations for myself in order to prepare for student questions about the subject of argument.
Thursday, April 26, 2007
Everything's An Argument and Writing in the Works
Everything’s an Argument by Andrea A. Lunsford and John J. Ruszkiewicz, 4th Edition (2007)
$38 new $23 used (Amazon)
Sections and Chapters:
Part 1: Reading Arguments
Everything Is an Argument
Arguments from the Heart – Pathos
Arguments Based on Character – Ethos
Arguments Based on Facts and Reason – Logos
Thinking Rhetorically
Structuring Arguments
Part 2: Writing Arguments
Structuring Arguments (includes Toulmin section)
Arguments of Fact
Arguments of Definition
Evaluations
Causal Arguments
Proposals
Part 3: Style and Presentation in Arguments
Style in Arguments
Humor in Arguments
Visual Arguments
Presenting Arguments
Part 4: Conventions of Argument
What Counts as Evidence
Fallacies of Argument
Intellectual Property, Academic Integrity, and Avoiding Plagiarism
Evaluating and Using Sources
Documenting Sources
It is relatively inexpensive, given that it is printed in full color. It is a new edition, which means that it is newly updated and relevant to today. It integrates some popular and somewhat recent events and topics (the 2004 elections, info about the Bush administration, Terri Schiavo, Freedom Tower, Lil’ Kim) but balance them with classic and less timely things about body image, patriotism, ML King, etc. It is particularly nice that it is so small and is rather light. I think the smaller the book, the more students will be likely to bring it with them to class (or at least they won’t be able to use its size as an excuse). Because the text claims that everything is an argument, it really emphasizes visual arguments and new media stuff. There are tons of examples, both blunt and subtle, of visual arguments and the text encourages students to grapple with them.
The text does not abandon classic argumentation for visual, however. There is a decent-sized section on Toulmin which includes diagrams of these representations. It is really strong, I think, in presenting argument and has a chapter devoted to fallacies.
Its weakness, however, is with the writing process. There is very little about revision at all. While they briefly talk about revising a warrant, they don’t really talk about revising a whole paper. They especially don’t go so far as to offer side-by-side or sequential student drafts and revisions. That is the one thing that I think is really missing from this text. They do, however, have guides to writing (not unlike our Guide to Revision) that give students things to look for in their own and their peers’ writing. They also show have commentary written in the margins of the essays printed in the book, showing examples of components of argument and summarizing what the paragraphs accomplish in the grand scheme of the argument as a whole.
The “If Everything’s an Argument” sections really encourage students to question even the textbook itself. For example, in the citation section, the authors point out that they have not used any formal citation methods in the text (and they explain what they have done). They then encourage students to consider why they didn’t formally cite their sources and what they (and other textbook authors) gain from that technique. In another of these sections, the authors encourage students to verify their (the authors’) credentials. Are they really from Stanford and
The textbook also has a companion website. Many of the resources do not even require signing in. Those that do don’t require an activation code or anything, at least not for students. They only have to input their names and email addresses, meaning that this feature won’t be lost if students purchase used copies of the text.
All in all, I think that this textbook rocks. It isn’t perfect, but I think that it is the one that I’m going to use. I think that it might mean sort of restructuring my class a bit to fit into the textbook, but that isn’t necessarily a bad thing.
Writing in the Works by Susan Blau and Kathryn Burak, 1st edition (2007)
$55 new, $22 used (Amazon)
Sections and Chapters:
Part 1: The Writer’s Craft
The Writer’s Process
Part 2: Assignments
Short Articles: Writing Exposition
Application Essays: Writing for a Specific Audience
Memoirs: Writing a Narrative
News Stories: Writing the Public Record
Editorials: Writing Arguments
Proposals: Writing for Your Community
Public Service Messages: Writing Appeals
Websites: Writing for Electronic Media
Film Reviews: Writing Evaluations
Profiles: Writing about Others
Research Articles: Analyzing Trends
Part 3: Research and Documentation
Research
Documentation
Part 4: Grammar Handbook
Grammar Refresher
Punctuation
Common Errors
Trouble Spots for Nonnative Speakers
This text is comprehensive and all encompassing. Including sections on writing narratives, editorials, profiles, etc, it could serve as a nice sourcebook for students’ use throughout their college careers, or, in its words, it provides instruction for “Writing for a Lifetime.” The text includes over 100 readings on everything from Med Schools to Genetics to the movie Whale Rider. It has an introduction for instructors and an introduction for students and comes with an online component and several teaching resources, including their own classroom management software, eduspace, with “more than 2.000 grammar and writing exercises, a series of diagnostic tests, and access to an easy-to-search digital handbook” (xliv).
The text forefronts the idea of writing as a process, a cycle of brainstorming, composing, and revising. It includes details about different types of freewriting activities, including concept mapping to bring in the visual. The text then goes through forming and shaping a thesis, organizing the paper, writing the first draft, and revising. The revising section is particularly nice since it shows several examples of types of revision—refocusing, reordering, adding, cutting, and editing and proofreading. There is also a section on peer editing. The textbook then takes readers through a student’s complete writing process—from freewriting through peer review to final submission. In order to keep its broad focus, however, the text also includes an example of a professional first draft and final draft as well as a visual depiction of revision.
The section on reading is really nice, also. It takes students through active reading, describing and showing examples of underlining, paraphrasing, summarizing, annotation, outlining, analyzing, and synthesizing. Like the chapter above, the reading chapter does not lose sight of visual arguments (no pub intended) and it even brings in ways of understanding irony, metaphors, means of distinguishing opinions from facts, and determining biases presented in texts.
While these two chapters are awesome, however, most of the rest of the text is not necessary for English 1000. I’m not sure that it is worth the price, given how little is actually necessary. Because the first two chapters are a brief section of a pretty long text, however, they make up less than 10% of the work itself. That’s all I will say about that.
...and Textbook Costs
While I'm at it, here's information from the National Association of College Stores (NACS) on how the "textbook dollar" breaks down (how much of every dollar spent goes where). It's industry-produced (that may or may not be a good thing). The first slice you see is for author income, but as it says, that includes what's used to cover expenses. I went to this presentation at the 2006 NACS conference and they broke it down further and the actual profit that authors make is closer to 5 cents per dollar.
Court
----------------
1. Author Income : 11.8 ¢
Author's royalty payment from which author pays research and writing expenses.
2. Publisher's Paper, Printing & Editorial Costs : 32.8 ¢
All manufacturing costs from editing to paper costs to disctribution, as well as storage, record keeping, billing, publisher's offices, employee's salaries and benefits.
3. Publisher's Income : 7.2 ¢
After-tax income from which the publisher pays for new product development, author advances, market research, and dividend to stockholders.
4. Publisher's General and Administrative : 10.2 ¢
Including federal, state and local taxes, excluding sales tax, paid by the publishers.
5. Publisher's Marketing Costs : 15.6 ¢
Marketing, advertising, promotion, publisher's field staff, professors' free copies.
6. Freight Expense : 1.0 ¢
The cost of getting books from the publisher's warehouse or bindery to the college store. Park of cost of goods sold paid to freight company.
7. College Store Personnel : 11.0 ¢
Store employee's salaries and benefits to handle ordering, receiving, pricing, shelving, cashiers, customer service, refund desk and sending extra textbooks back to the publisher.
8. College Store Operations : 6.3 ¢
Insurance, utilities, building and equipment rent and maintenance, accounting and data processing charges and other overhead paid by college stores.
9. College Store Income (pre-tax*) : 4.1 ¢
* Note: The amount of federal, state and/or local tax, and therefore the amount and use of any after-tax profit, is determined by the store's ownership, and usually depends on whether the college store is owned by an institution of higher education, a contract management company, a cooperative, a foundation, or by private individuals.
Please Note
The statistics in this illustration reflect the most current 2002-2003 financial data gathered by the National Association of College Stores and financial data provided by the Association of American Publishers. These numbers are averages and do not represent a particular publisher or store.
Court
----------------
1. Author Income : 11.8 ¢
Author's royalty payment from which author pays research and writing expenses.
2. Publisher's Paper, Printing & Editorial Costs : 32.8 ¢
All manufacturing costs from editing to paper costs to disctribution, as well as storage, record keeping, billing, publisher's offices, employee's salaries and benefits.
3. Publisher's Income : 7.2 ¢
After-tax income from which the publisher pays for new product development, author advances, market research, and dividend to stockholders.
4. Publisher's General and Administrative : 10.2 ¢
Including federal, state and local taxes, excluding sales tax, paid by the publishers.
5. Publisher's Marketing Costs : 15.6 ¢
Marketing, advertising, promotion, publisher's field staff, professors' free copies.
6. Freight Expense : 1.0 ¢
The cost of getting books from the publisher's warehouse or bindery to the college store. Park of cost of goods sold paid to freight company.
7. College Store Personnel : 11.0 ¢
Store employee's salaries and benefits to handle ordering, receiving, pricing, shelving, cashiers, customer service, refund desk and sending extra textbooks back to the publisher.
8. College Store Operations : 6.3 ¢
Insurance, utilities, building and equipment rent and maintenance, accounting and data processing charges and other overhead paid by college stores.
9. College Store Income (pre-tax*) : 4.1 ¢
* Note: The amount of federal, state and/or local tax, and therefore the amount and use of any after-tax profit, is determined by the store's ownership, and usually depends on whether the college store is owned by an institution of higher education, a contract management company, a cooperative, a foundation, or by private individuals.
Please Note
The statistics in this illustration reflect the most current 2002-2003 financial data gathered by the National Association of College Stores and financial data provided by the Association of American Publishers. These numbers are averages and do not represent a particular publisher or store.
Costs for course packets
Straight from the horse's mouth....
---------------
Hi Court,
Thanks for thinking about doing a packet. I don't have a brochure with prices necessarily, but here is how my costs breakdown:
Production:
$0.03 per copied page (double sided or single sided doesn't matter I get charged per copy)
$0.14 for front & back cover in cardstock
$0.60-$2.00 depending on binding and size of packet
Royalties:
Average permission is $0.15 per page - there are always differences so what we do is stay in contact with you letting you know the costs of the various items, that way you can add/delete items along the way. Permissions typically take 4-6 weeks to secure and the closer we get to the start of a semester the longer they can take. We won't print a packet until we have the final OK so if you just wanted to create a "wish list" of items for a packet and edit based upon cost as we go along that is entirely OK.
Price Markup/Margin on Packets:
The more a packet costs me the lower the margin added.
$0.00-$7.00 will have a 40% margin
$7.01-$30.00 will have a 30% margin
$30.01 - + will have a 20% margin
I will be happy to meet with you about specifics if you want, just let me know.
Heather Tearney
Mizzou Media - University Bookstore
University of Missouri-Columbia
Columbia, MO 65211
Ph: 573-882-9547
Fax: 573-882-6422
100% of University Bookstore profits support our MU campus!
---------------
Hi Court,
Thanks for thinking about doing a packet. I don't have a brochure with prices necessarily, but here is how my costs breakdown:
Production:
$0.03 per copied page (double sided or single sided doesn't matter I get charged per copy)
$0.14 for front & back cover in cardstock
$0.60-$2.00 depending on binding and size of packet
Royalties:
Average permission is $0.15 per page - there are always differences so what we do is stay in contact with you letting you know the costs of the various items, that way you can add/delete items along the way. Permissions typically take 4-6 weeks to secure and the closer we get to the start of a semester the longer they can take. We won't print a packet until we have the final OK so if you just wanted to create a "wish list" of items for a packet and edit based upon cost as we go along that is entirely OK.
Price Markup/Margin on Packets:
The more a packet costs me the lower the margin added.
$0.00-$7.00 will have a 40% margin
$7.01-$30.00 will have a 30% margin
$30.01 - + will have a 20% margin
I will be happy to meet with you about specifics if you want, just let me know.
Heather Tearney
Mizzou Media - University Bookstore
University of Missouri-Columbia
Columbia, MO 65211
Ph: 573-882-9547
Fax: 573-882-6422
100% of University Bookstore profits support our MU campus!
Liz's Textbook Reviews
I'd like to apologize in advance for the length of these reviews. I think I went a little too review-happy (which I suppose is what happens when you drink coffee for the first time in 3 weeks and sit down to write). The first one is actually comparatively short, and my computer mysteriously ate the first draft and I had to compose another one this morning. Sorry guys.
Textbook Review
Rhetorical Visions: Reading and Writing in Visual Culture
Ed. Susan Delagrange, et al.
Pearson/Prentice Hall, 2007
I was initially attracted to this text for one simple reason—I like the cover. Silly as that sounds, the textbook is designed very well. It’s definitely an aesthetically pleasing book, one sure to engage the reader (for a little while, at least). Each page is well crafted, making excellent use of white space, bullets, boxes with quotes or charts/graphs, and a variety of photographs, in color and black and white. Important concepts are always in bold, and usually collected throughout the text in colorful and practical lists.
RV approaches writing by addressing a visual component first, an approach I’m considering now for my own classroom. I like that the textbook jumps right into bridging the connection between visual and written argument. For example, chapter 2 uses the example of a student-made map, and then explains how the student’s essay might evolve from constructing such a map. The chapter incorporates multiple drafts of the thesis and the subsequent paper, something I found particularly useful. Not only does it contain drafts at various stages of completion, there are also instructor’s comments. Thus, students can see how they might use instructor’s comments as an aid in revision. It also demonstrates to the student what I expect of them, and what sorts of comments they might receive in return.
The ensuing chapters address some interesting issues and provide a range of tools for the analysis of visual argument. Each chapter contains key rhetorical concepts, listed initially on the first page and bolded throughout. I was happy to see that the textbook explains each concept thoroughly, drawing on historical background to explain the concept’s significance. Each rhetorical concept is given it’s own explanatory box, moreover, with student exercises for additional practice understanding and implementing the concept. Each chapter also has a variety of texts, both verbal and visual, that address the theme of that particular section. I really like the diverse assortment of texts, from old ads, to contemporary photos, to poetry. Many of the poems are penned by contemporary writers, ones that I think might prove more easily accessible to the incoming freshman (i.e. Denise Duhamel’s “Oriental Barbie” and “Buddhist Barbie”).
There are also a series of questions at the end of each chapter, divided into three sections. The first, “Re-reading/Conversations with the Text”, address the readings in detail. The second, “Re-seeing and Re-writing”, are writing prompts for analyzing written or visual arguments through the framework of personal experience, history, etc. The last, “Intertext”, links concepts across sections. While I think there are many interesting and potentially useful questions, this highlights my major concern with RV: there is almost too much information. The plethora of images, boxes, and colors is sometimes overwhelming. RV is also unfortunately very long, over 600 pages. For example, the student doesn’t encounter the terms logos, pathos, and ethos until Chapter 6, after 369 pages of reading. RV is also quite expensive at $61.33, though there are used copies available on Amazon.com. While the companion website has an incredible amount of intriguing supplementary material, access is limited. Student access is redeemable one time only, so students will have to purchase website access with a used book.
Textbook Review, Numero Dos
Good Reasons With Contemporary Arguments: Reading, Designing, and Writing Effective Arguments (Third Edition)
Lester Faigley and Jack Selzer.
Pearson/Longman, 2007
I chose this text primarily because I was interested in examining a more traditional rhet/comp textbook. While I didn’t expect to be enthused over this textbook (I was more attracted to the other, prettier RV), it actually contains a lot of wonderful, practical material. The book is divided into four sections:
Part 1: Persuading with Good Reasons: What Do We Mean by Argument?
Part 2: Putting Good Reasons into Action: Options for Argument
Part 3: Making Effective Arguments: Designing, Presenting, and Documenting
Part 4: Contemporary Arguments
The textbook begins with the most basic questions and moves forward from there, a strategy that I often employ when tutoring. In fact, this book would have been handy as a WL tutor this year. I’m still not sure if I’ll use it in the classroom as a primary text, but I think excerpts from the book would be very useful (especially from Parts 1 and 2).
Pros:
Some of the more general positive qualities of the text:
o Language: Chapters are set up with common questions about writing and argument in casual language—makes the whole business of composition seem a little less intimidating
o Emphasis on writing as a tool to understand “long-term issues that will affect you after your college years”—good justification why writing matters
o “Argument as a social act”—might spark more interest in writing with this approach
o There are some pictures, little boxes with main points throughout—helps break down text into manageable chunks
o Highlights key words in bold
o Different sorts of examples, from written to oral discussions
o Each chapter has an introduction, samples from professionals, samples from students, then steps to analyzing that particular medium
o Has a wide selection of readings. Each topic, moreover, has specialized articles, poetry, book excerpts, political cartoons, stills from TV shows (like “The Simpsons”) from that that field. There are also charts, others websites to visit on the subject, etc., scattered throughout. There are sections at the end of each chapter titled “From Reading to Writing”, which have writing topics related to or inspired by the readings. Questions vary—students can analyze a particular article, visual argument, etc from the textbook, or write on a related topic, i.e. pick a newspaper article about the environment, or write about something from their personal experiences.
o The readings also explore many of the issues in the field. For example, Chapter 18, “Negotiating the Environment”, contains articles article on conservation, vegetarianism, global warming, and animal extinction.
o Has a helpful and free website for students. My favorite features are the additional web resources and writing activities for each chapter. There are also sample syllabi for instructors.
Here are some more detailed positive aspects of the chapters that concern argument and writing:
(Chapter 1) “What to Argue About”
o Takes a page from Rachel Carson’s book and demonstrates, visually, how the argument works
o Not a lot of jargon (only pathos, ethos, and logos, page 12)
o Begins with tips on becoming a critical reader, which I think is essential an essential component good writing
(Chapter 2) “Finding Arguments”
o Has the “Basics of Arguments”, which breaks argument down, step by step, and offers many sound tips (many of the tips we’re encouraged to use by Bean and C&D)
o i.e. Read assignment carefully, make lists, freewrite, brainstorm, make an idea map, think about your audience, how to evaluate your thesis (with examples)
(Chapter 3) “Finding and Supporting Good Reasons”
o Lists different ways to find good support for your argument, and while these reasons can be slightly vague, it provides a lot of concrete examples, including sample essays.
o Discusses appropriate voice.
o Encourages students to start at the very basic level, something I’ve found works well in the WL.
(Chapter 4) Understanding Written Arguments: Rhetorical Analysis
o Gives a brief explanation of rhetoric, then examples from a reading in book, a student essay, and then step-by-step process of how to go out implementing this.
o While the step-by-step process may seems simplistic, I think it’s a good outline for students to consider
Cons:
o Surprisingly expensive! It’s $67.73, though Amazon.com has used copies starting at a measly $0.01.
o Design: Looks like a pamphlet in the doctor’s office—black and white photos, little to no color, not very visually stimulating
(Chapter 1) “What to Argue About”
o While I like jumping into environmental issues using Rachel Carson as an example, I realize many students just don’t care about the topic. I worry this might disinterest students from the start.
(Chapter 5) “Understanding Visual Arguments
o The pictures are in black and white! Not very effective demonstration of how color can function in a visual argument
o Also, this chapter is only included in this edition, so students with used copies will be without.
(Part 2) Options for Argument
o Found this a bit overwhelming, though I could see how it could be useful to jumpstart the writing process.
o Just seemed like too many options, many of which overlap: Definition Arguments, Causal Arguments, Evaluation Arguments, Narrative Arguments, Rebuttal Arguments, Proposal Arguments
(Chapter 12) Revision: Putting It All Together
o Paltry, esp. since English 1000 puts so much emphasis on revision
(Chapter 13) Effective Visual Design, (Chapter 14) Effective Oral Presentations,
o Both pretty short, probably not applicable to English 1000, but might be handy as a brief overview
(Chapter 15) Effective Research
o Not very substantial, wouldn’t be nearly as helpful as an intro to Ellis Library resources, like the tour we took in 8005
(Chapters 16) MLA Documentation (Chapter 17) APA Documentation
o Both brief, probably need supplementary information. I utilize so many parts of the MLA handbook; I can’t imagine this short chapter would really suffice.
Textbook Review
Rhetorical Visions: Reading and Writing in Visual Culture
Ed. Susan Delagrange, et al.
Pearson/Prentice Hall, 2007
I was initially attracted to this text for one simple reason—I like the cover. Silly as that sounds, the textbook is designed very well. It’s definitely an aesthetically pleasing book, one sure to engage the reader (for a little while, at least). Each page is well crafted, making excellent use of white space, bullets, boxes with quotes or charts/graphs, and a variety of photographs, in color and black and white. Important concepts are always in bold, and usually collected throughout the text in colorful and practical lists.
RV approaches writing by addressing a visual component first, an approach I’m considering now for my own classroom. I like that the textbook jumps right into bridging the connection between visual and written argument. For example, chapter 2 uses the example of a student-made map, and then explains how the student’s essay might evolve from constructing such a map. The chapter incorporates multiple drafts of the thesis and the subsequent paper, something I found particularly useful. Not only does it contain drafts at various stages of completion, there are also instructor’s comments. Thus, students can see how they might use instructor’s comments as an aid in revision. It also demonstrates to the student what I expect of them, and what sorts of comments they might receive in return.
The ensuing chapters address some interesting issues and provide a range of tools for the analysis of visual argument. Each chapter contains key rhetorical concepts, listed initially on the first page and bolded throughout. I was happy to see that the textbook explains each concept thoroughly, drawing on historical background to explain the concept’s significance. Each rhetorical concept is given it’s own explanatory box, moreover, with student exercises for additional practice understanding and implementing the concept. Each chapter also has a variety of texts, both verbal and visual, that address the theme of that particular section. I really like the diverse assortment of texts, from old ads, to contemporary photos, to poetry. Many of the poems are penned by contemporary writers, ones that I think might prove more easily accessible to the incoming freshman (i.e. Denise Duhamel’s “Oriental Barbie” and “Buddhist Barbie”).
There are also a series of questions at the end of each chapter, divided into three sections. The first, “Re-reading/Conversations with the Text”, address the readings in detail. The second, “Re-seeing and Re-writing”, are writing prompts for analyzing written or visual arguments through the framework of personal experience, history, etc. The last, “Intertext”, links concepts across sections. While I think there are many interesting and potentially useful questions, this highlights my major concern with RV: there is almost too much information. The plethora of images, boxes, and colors is sometimes overwhelming. RV is also unfortunately very long, over 600 pages. For example, the student doesn’t encounter the terms logos, pathos, and ethos until Chapter 6, after 369 pages of reading. RV is also quite expensive at $61.33, though there are used copies available on Amazon.com. While the companion website has an incredible amount of intriguing supplementary material, access is limited. Student access is redeemable one time only, so students will have to purchase website access with a used book.
Textbook Review, Numero Dos
Good Reasons With Contemporary Arguments: Reading, Designing, and Writing Effective Arguments (Third Edition)
Lester Faigley and Jack Selzer.
Pearson/Longman, 2007
I chose this text primarily because I was interested in examining a more traditional rhet/comp textbook. While I didn’t expect to be enthused over this textbook (I was more attracted to the other, prettier RV), it actually contains a lot of wonderful, practical material. The book is divided into four sections:
Part 1: Persuading with Good Reasons: What Do We Mean by Argument?
Part 2: Putting Good Reasons into Action: Options for Argument
Part 3: Making Effective Arguments: Designing, Presenting, and Documenting
Part 4: Contemporary Arguments
The textbook begins with the most basic questions and moves forward from there, a strategy that I often employ when tutoring. In fact, this book would have been handy as a WL tutor this year. I’m still not sure if I’ll use it in the classroom as a primary text, but I think excerpts from the book would be very useful (especially from Parts 1 and 2).
Pros:
Some of the more general positive qualities of the text:
o Language: Chapters are set up with common questions about writing and argument in casual language—makes the whole business of composition seem a little less intimidating
o Emphasis on writing as a tool to understand “long-term issues that will affect you after your college years”—good justification why writing matters
o “Argument as a social act”—might spark more interest in writing with this approach
o There are some pictures, little boxes with main points throughout—helps break down text into manageable chunks
o Highlights key words in bold
o Different sorts of examples, from written to oral discussions
o Each chapter has an introduction, samples from professionals, samples from students, then steps to analyzing that particular medium
o Has a wide selection of readings. Each topic, moreover, has specialized articles, poetry, book excerpts, political cartoons, stills from TV shows (like “The Simpsons”) from that that field. There are also charts, others websites to visit on the subject, etc., scattered throughout. There are sections at the end of each chapter titled “From Reading to Writing”, which have writing topics related to or inspired by the readings. Questions vary—students can analyze a particular article, visual argument, etc from the textbook, or write on a related topic, i.e. pick a newspaper article about the environment, or write about something from their personal experiences.
o The readings also explore many of the issues in the field. For example, Chapter 18, “Negotiating the Environment”, contains articles article on conservation, vegetarianism, global warming, and animal extinction.
o Has a helpful and free website for students. My favorite features are the additional web resources and writing activities for each chapter. There are also sample syllabi for instructors.
Here are some more detailed positive aspects of the chapters that concern argument and writing:
(Chapter 1) “What to Argue About”
o Takes a page from Rachel Carson’s book and demonstrates, visually, how the argument works
o Not a lot of jargon (only pathos, ethos, and logos, page 12)
o Begins with tips on becoming a critical reader, which I think is essential an essential component good writing
(Chapter 2) “Finding Arguments”
o Has the “Basics of Arguments”, which breaks argument down, step by step, and offers many sound tips (many of the tips we’re encouraged to use by Bean and C&D)
o i.e. Read assignment carefully, make lists, freewrite, brainstorm, make an idea map, think about your audience, how to evaluate your thesis (with examples)
(Chapter 3) “Finding and Supporting Good Reasons”
o Lists different ways to find good support for your argument, and while these reasons can be slightly vague, it provides a lot of concrete examples, including sample essays.
o Discusses appropriate voice.
o Encourages students to start at the very basic level, something I’ve found works well in the WL.
(Chapter 4) Understanding Written Arguments: Rhetorical Analysis
o Gives a brief explanation of rhetoric, then examples from a reading in book, a student essay, and then step-by-step process of how to go out implementing this.
o While the step-by-step process may seems simplistic, I think it’s a good outline for students to consider
Cons:
o Surprisingly expensive! It’s $67.73, though Amazon.com has used copies starting at a measly $0.01.
o Design: Looks like a pamphlet in the doctor’s office—black and white photos, little to no color, not very visually stimulating
(Chapter 1) “What to Argue About”
o While I like jumping into environmental issues using Rachel Carson as an example, I realize many students just don’t care about the topic. I worry this might disinterest students from the start.
(Chapter 5) “Understanding Visual Arguments
o The pictures are in black and white! Not very effective demonstration of how color can function in a visual argument
o Also, this chapter is only included in this edition, so students with used copies will be without.
(Part 2) Options for Argument
o Found this a bit overwhelming, though I could see how it could be useful to jumpstart the writing process.
o Just seemed like too many options, many of which overlap: Definition Arguments, Causal Arguments, Evaluation Arguments, Narrative Arguments, Rebuttal Arguments, Proposal Arguments
(Chapter 12) Revision: Putting It All Together
o Paltry, esp. since English 1000 puts so much emphasis on revision
(Chapter 13) Effective Visual Design, (Chapter 14) Effective Oral Presentations,
o Both pretty short, probably not applicable to English 1000, but might be handy as a brief overview
(Chapter 15) Effective Research
o Not very substantial, wouldn’t be nearly as helpful as an intro to Ellis Library resources, like the tour we took in 8005
(Chapters 16) MLA Documentation (Chapter 17) APA Documentation
o Both brief, probably need supplementary information. I utilize so many parts of the MLA handbook; I can’t imagine this short chapter would really suffice.
Andrew's textbook reviews
Ruszkiewicz, John, Daniel Anderson, and Christy Friend. Beyond Words: Reading and Writing in a Visual Age. New York: Pearson, 2006.
New $57.73 (on Amazon)
The majority of Beyond Words, it seems to me, is dedicated to helping students do analysis. The book’s greatest strength is that it gives students tools to analyze visual as well as alphabetic texts. To this end, the book presents a variety of interesting, unconventional examples of traditional and nontraditional texts to be seen, read, and analyzed. The book aims to teach literacy by holding up the ways people talk about themselves, their communities, and their world to scrutiny. Mixing bright, color pictures with fascinating articles, Beyond Words includes hundreds of examples of texts that seem relevant to the experiences of college freshmen in 2007, (hopefully) making reading the book less of a chore. Learning to analyze is meant to be an enjoyable task, as well; throughout each chapter, the book includes questions and activities to lead students to use and develop the analytic skills to compose texts themselves.
The biggest weakness of this book is that it spends only a few pages giving students the tools necessary to compose an English 1000 essay. The last of the book’s eight chapters is the only one to present any kind of direction to students who have already done analysis and wish to compose an argument. Having worked in the writing lab, I know that students need to know how to write a thesis statement, how to organize an argument, and how to develop evidence, as much as they need to know how to analyze a text (if not more so). Therefore, I do not think I will use this textbook in my class because it does not help students as much to develop the fundamental skills that I think are essential for writing the college essay.
Latterell, Catherine G. Remix: Reading + Composing Culture. Boston, Bedford/St. Martin’s, 2006.
New $53.13 (on Amazon)
I read this book after I completed my work with Beyond Words. At first glance, I appreciated the fact that Remix includes similarly engaging articles that are in-line with the readings in Beyond Words. Like Beyond Words, Remix aims to lead students to develop tools to read and analyze American pop culture, leading me to believe that both books will seem not-as-relevant in a few years unless they each undergo revision. These books differ in the sense that Beyond Words explicitly states that it aims to teach students to analyze visual as well as alphabetic texts; Remix seems more concerned with analyzing culture, without focusing on differences in the medium of a particular text within that culture.
Remix is a less colorful book; while Beyond Words used color on nearly every page, Remix’s page use only black, white, and shades of grey.
Remix even leads students through the same steps as Beyond Words, teaching students to “ask questions,” to “identify cultural assumptions,” to “test assumptions by considering context,” and to “write critically (remix).” The book is divided into seven chapters:
I. Identity
II. Community
III. Tradition
IV. Romance
V. Entertainment
VI. Nature
VII. Technology
Each chapter of Remix begins with a set of assumptions about the topic. Students are encouraged to question these assumptions through analyzing the set of readings following the assumptions. A vast majority of this book is composed of more than 50 engaging, interesting articles that deal with relevant topics to college freshmen. I found that I couldn’t stop reading some of the articles once I started because they were so fascinating. Each chapter concludes with a section of questions and activities, leading students to think and write critically about these topics and about culture in general.
As much as I liked the content of Remix, I can’t see myself using it in my class. I did not find much instruction concerning the composition of an argumentative paper. This book dedicated an even smaller portion to this topic than Beyond Words.
However, I did really like the organization of Remix. For my class, I would like to focus on American college culture instead of American culture in general. In my class, I might teach my students to use the same process as they analyze college culture as the book uses to analyze American culture.
New $57.73 (on Amazon)
The majority of Beyond Words, it seems to me, is dedicated to helping students do analysis. The book’s greatest strength is that it gives students tools to analyze visual as well as alphabetic texts. To this end, the book presents a variety of interesting, unconventional examples of traditional and nontraditional texts to be seen, read, and analyzed. The book aims to teach literacy by holding up the ways people talk about themselves, their communities, and their world to scrutiny. Mixing bright, color pictures with fascinating articles, Beyond Words includes hundreds of examples of texts that seem relevant to the experiences of college freshmen in 2007, (hopefully) making reading the book less of a chore. Learning to analyze is meant to be an enjoyable task, as well; throughout each chapter, the book includes questions and activities to lead students to use and develop the analytic skills to compose texts themselves.
The biggest weakness of this book is that it spends only a few pages giving students the tools necessary to compose an English 1000 essay. The last of the book’s eight chapters is the only one to present any kind of direction to students who have already done analysis and wish to compose an argument. Having worked in the writing lab, I know that students need to know how to write a thesis statement, how to organize an argument, and how to develop evidence, as much as they need to know how to analyze a text (if not more so). Therefore, I do not think I will use this textbook in my class because it does not help students as much to develop the fundamental skills that I think are essential for writing the college essay.
Latterell, Catherine G. Remix: Reading + Composing Culture. Boston, Bedford/St. Martin’s, 2006.
New $53.13 (on Amazon)
I read this book after I completed my work with Beyond Words. At first glance, I appreciated the fact that Remix includes similarly engaging articles that are in-line with the readings in Beyond Words. Like Beyond Words, Remix aims to lead students to develop tools to read and analyze American pop culture, leading me to believe that both books will seem not-as-relevant in a few years unless they each undergo revision. These books differ in the sense that Beyond Words explicitly states that it aims to teach students to analyze visual as well as alphabetic texts; Remix seems more concerned with analyzing culture, without focusing on differences in the medium of a particular text within that culture.
Remix is a less colorful book; while Beyond Words used color on nearly every page, Remix’s page use only black, white, and shades of grey.
Remix even leads students through the same steps as Beyond Words, teaching students to “ask questions,” to “identify cultural assumptions,” to “test assumptions by considering context,” and to “write critically (remix).” The book is divided into seven chapters:
I. Identity
II. Community
III. Tradition
IV. Romance
V. Entertainment
VI. Nature
VII. Technology
Each chapter of Remix begins with a set of assumptions about the topic. Students are encouraged to question these assumptions through analyzing the set of readings following the assumptions. A vast majority of this book is composed of more than 50 engaging, interesting articles that deal with relevant topics to college freshmen. I found that I couldn’t stop reading some of the articles once I started because they were so fascinating. Each chapter concludes with a section of questions and activities, leading students to think and write critically about these topics and about culture in general.
As much as I liked the content of Remix, I can’t see myself using it in my class. I did not find much instruction concerning the composition of an argumentative paper. This book dedicated an even smaller portion to this topic than Beyond Words.
However, I did really like the organization of Remix. For my class, I would like to focus on American college culture instead of American culture in general. In my class, I might teach my students to use the same process as they analyze college culture as the book uses to analyze American culture.
Tuesday, April 24, 2007
Mindfulness
The reading for this week was practical and useful. Despite the fact that I have been teaching for some time, I found the tips and advice outlined here to be well worth remembering as I gear up for teaching a freshman writing class. One section I liked in particular was the section in Chapter One called, “What You Should Be Thinking after Class.” I thought it was a nice tie-in to what we were discussing in the mindfulness seminar last week. (You know – don’t get too hung up on the past, nor the future, come back to the present)
Some lessons go well and some lessons don’t - and that seems to be the way things work. I’ve seen fellow instructors get real high emotionally when things worked well, and I’ve seen them cry when they didn't, really cry. I think the advice in the book to sort of roll-with-the-punches is sound and healthy: “a bad class session does not make a bad course.”
This is easy to say but hard really to put into practice. Can you really imagine walking out of a class that went poorly and not being upset by that? Can you have the presence of mind to extract the productive lesson from the experience and not dwell on the negative, destructive, critical, and fault finding side? It is my observation that a lot of teachers are real good at blaming and criticizing themselves in unproductive ways when class plans don’t work out in practice. With this in mind, I think the advice to “be kind to yourself and to remember that you are still learning” to be sound advice. I think it is a mindset that we would all do well to develop through a kind of mindfulness practice.
Some lessons go well and some lessons don’t - and that seems to be the way things work. I’ve seen fellow instructors get real high emotionally when things worked well, and I’ve seen them cry when they didn't, really cry. I think the advice in the book to sort of roll-with-the-punches is sound and healthy: “a bad class session does not make a bad course.”
This is easy to say but hard really to put into practice. Can you really imagine walking out of a class that went poorly and not being upset by that? Can you have the presence of mind to extract the productive lesson from the experience and not dwell on the negative, destructive, critical, and fault finding side? It is my observation that a lot of teachers are real good at blaming and criticizing themselves in unproductive ways when class plans don’t work out in practice. With this in mind, I think the advice to “be kind to yourself and to remember that you are still learning” to be sound advice. I think it is a mindset that we would all do well to develop through a kind of mindfulness practice.
What's beta than meta?
Sorry I'm so late, all.
Here are just some random thoughts in response to Chapter 9:
Yay, Meta.
I'm planning on using anonymous feedback. I really wanted to use 1-minute papers as a way to do that, but I really want the feedback to be as anonymous as possible. While I like the idea of getting feedback after every class, I think that I would rather have the feedback be honest and as untraceable as possible. Therefore, I'm going to do something digital. I need to check and see if Blackboard will allow for anonymous feedback and if so, I will use that. Otherwise, I will build something into my course website to allow for that.
I really liked what they said about reading evaluations. I really expected all my writing lab evaluations to be awesome last semester. When I went in to read them, though, I left feeling awful. There were some that praised my services and rated them as excellent, but there were a surprising number that didn't. Similar C&D's example, I got one that said that my services were poor and that I had made her feel stupid and that I was obviously ridiculing her. It's as if that one bad evaluation canceled out all the good ones. Uggh
Anyway, Court's post got me thinking about the Theater of the Oppressed and I thought I would share this with you guys. The troupe came to my College Teaching class last week and did the same skit. Only, this time we picked up from where the instructor left off, rather than replacing the instructor. It was awful! I tried to diffuse the situation by having the students move their chairs into a circle and discuss what had happened. I apologized for my inappropriate behavior and asked that we construct a shared vocabulary to use (trying to get around to discussing the "Indian" vs "Native American" vs "American Indian" vs "Indigenous North American") and the entire thing flopped horribly. The April character was way too upset to want to talk about it, the Davy Joe character still didn't seem to really understand what he said, and the other two really didn't care about it at all. I had said before that in any other class I would have made it a teaching moment but when I actually tried to, the students weren't really interested in it.
This experience has coupled with my attempts to put together a semester's worth of material
to actually make me really scared of teaching. I have been really looking forward to it for a long time, but now I'm really nervous.
Here are just some random thoughts in response to Chapter 9:
Yay, Meta.
I'm planning on using anonymous feedback. I really wanted to use 1-minute papers as a way to do that, but I really want the feedback to be as anonymous as possible. While I like the idea of getting feedback after every class, I think that I would rather have the feedback be honest and as untraceable as possible. Therefore, I'm going to do something digital. I need to check and see if Blackboard will allow for anonymous feedback and if so, I will use that. Otherwise, I will build something into my course website to allow for that.
I really liked what they said about reading evaluations. I really expected all my writing lab evaluations to be awesome last semester. When I went in to read them, though, I left feeling awful. There were some that praised my services and rated them as excellent, but there were a surprising number that didn't. Similar C&D's example, I got one that said that my services were poor and that I had made her feel stupid and that I was obviously ridiculing her. It's as if that one bad evaluation canceled out all the good ones. Uggh
Anyway, Court's post got me thinking about the Theater of the Oppressed and I thought I would share this with you guys. The troupe came to my College Teaching class last week and did the same skit. Only, this time we picked up from where the instructor left off, rather than replacing the instructor. It was awful! I tried to diffuse the situation by having the students move their chairs into a circle and discuss what had happened. I apologized for my inappropriate behavior and asked that we construct a shared vocabulary to use (trying to get around to discussing the "Indian" vs "Native American" vs "American Indian" vs "Indigenous North American") and the entire thing flopped horribly. The April character was way too upset to want to talk about it, the Davy Joe character still didn't seem to really understand what he said, and the other two really didn't care about it at all. I had said before that in any other class I would have made it a teaching moment but when I actually tried to, the students weren't really interested in it.
This experience has coupled with my attempts to put together a semester's worth of material
to actually make me really scared of teaching. I have been really looking forward to it for a long time, but now I'm really nervous.
The Teaching Persona
Regarding Liz's comment about our Voice and Persona seminar, I have to say I kept thinking about the advice in Chapter 1 of Curzan & Damour in terms of the literary concept of persona. We have spent a great deal of time looking into the etymological roots of "persona" -- which actually means "mask" and refers back to the dramatic masks of Greek drama (which were used both to conceal the human face and to amplify the voice). In literature, the mask is a fascinating phenomenon:
The mask permits the poet to say things that for various reasons she could not say in her own person or could say only with a loss of artistic detachment; it permits the poet to explore various perspectives without making an ultimate commitment; it is a means for creating, discovering, or defining the self; it prevents the poet from being hurt by self-exposure or being led astray by the limitations of her own vision; it is a means for expressing anxieties and frustrations, or ideals that the poet may not be able to realize in her own life but to which she is committed (class notes).
What happens if we substitute "teacher" in this passage for "poet?"
Except, perhaps, for that first claim regarding "things that for various reasons she could not say in her own person," this seems like a possibly valid definition of the teaching persona. The adoption of a persona is not necessarily an attempt to escape from the self, but can actually be a means of amplifying the self (as the voice of the Greek actor is amplified by the mask). Perhaps we can see the role of teacher (it is a role, after all) as an opportunity "for creating, discovering, or defining the self," rather than an obstacle or an obligation. Ultimately, it seems to me, we are always playing various parts: "All the world's a stage," after all. Given the artificiality of the teaching situation, we may as well play the part to the best of our ability.
The mask permits the poet to say things that for various reasons she could not say in her own person or could say only with a loss of artistic detachment; it permits the poet to explore various perspectives without making an ultimate commitment; it is a means for creating, discovering, or defining the self; it prevents the poet from being hurt by self-exposure or being led astray by the limitations of her own vision; it is a means for expressing anxieties and frustrations, or ideals that the poet may not be able to realize in her own life but to which she is committed (class notes).
What happens if we substitute "teacher" in this passage for "poet?"
Except, perhaps, for that first claim regarding "things that for various reasons she could not say in her own person," this seems like a possibly valid definition of the teaching persona. The adoption of a persona is not necessarily an attempt to escape from the self, but can actually be a means of amplifying the self (as the voice of the Greek actor is amplified by the mask). Perhaps we can see the role of teacher (it is a role, after all) as an opportunity "for creating, discovering, or defining the self," rather than an obstacle or an obligation. Ultimately, it seems to me, we are always playing various parts: "All the world's a stage," after all. Given the artificiality of the teaching situation, we may as well play the part to the best of our ability.
Curzan and Damour, the Tenzing Norgays of Teaching
"Few great accomplishments are achieved single-handedly, Wrigley. Most have their Tenzing Norgays." --Miles Massey, Attorney at Law
Like most everyone else it seems, I found the chapters this week to contain some great practical advice and some needed cheerleading. One thing that I appreciated was the reminder that "your students are not worrying about your class as much as you are" (9). That might seem obvious to us, but teaching tends to skew perceptions about what students actually care about, as the Rebekah Nathan book we've talked about in class (My Freshman Year) details. They're not going to be too worried about how the class is working, per se, and it's up to the instructor to "think about what went right so that you can repeat it" and to resist kicking yourself when things go badly ("just fix it"). I also liked Curzan and Dafour's assertion that "Fundamentally, most of your students assume you are qualified and do not necessarily care too much about your official qualifications as a teacher. What they do care about is your interest in and knowledge of the subject you are teaching" (16). Of course, that begs the question as to whether I'm interested and knowledgeable, but I'm going to hope like hell that I am.
Chapter 9 had some great ideas and like others have said, I plan on incorporating meta-teaching and mid-semester evals (through MoCat) into my courses. I like Curzan and Dafour's assertion that "Feedback always needs to be a two-way street" (166), as well as their comment that meta-teaching puts instructors and students on the "same team in figuring out... what can be done to improve... class dynamics" (168). To me, these techniques do the work of critical pedagogy, helping to level the roles of students and teachers so that the latter take on more of the role of facilitator (Bean uses the word "coach") and gives everyone an investment in how the course is conducted. As they put it, letting students give you feedback is actually conducive to teaching: "This move (and your willingness to make it) will reinforce your authority in the classroom" (ibid). This echoes what good ol' George Justice and ET@MO said at the "What Do You Wish You Had Known about Teaching?" seminar last Thursday. Their point was that using MoCat to do mid-semester evals is great for teachers because students appreciate being able to give feedback when it can affect the course while they themselves are still in it, rather than only after the fact. Claire's comments toward the end of her post are a testimonial to that.
One thing in the reading that kind of bothered me--and this is totally tangential, and it's probably because it came up before with the Theatre of the Oppressed skit, as well--is the example Curzan and Dafour give about potentially offensive behavior (18). They say that "If you suspect that" offensive behavior is "a result of ignorance, use your role as a teacher to provide students with important information. For example, you might try to catch a student after class or write a note on their paper letting them know that most Native Americans prefer not to be referred to as 'Indians.'" My problem is that while it's true "Indians" alone is typically offensive (unless you're talking about people from India), "Native Americans" is problematic, too. The 1996 and 2000 census data reveals that "American Indian" edges out "Native American" as the preferred term among those who identify as having that ethnicity.
A similar problem arises in advocating the use of "African American" over "black," which is what everyone in my neighborhood growing up--a predominantly black neighborhood--used. "Black" was reported as preferred over "African American" by something like 45 to 28%. But I had classes early on in my college career where I was corrected for using "black" and there was an implication that I was being insensitive or even offensive. When I went back and told my friends back home about it, their response was that it was just one more reason why college is overrated. I guess my point is that often our reflexes--while well-intentioned--don't necessarily provide the whole picture. Things are often a lot more complex and that's something I'm going to try and keep in mind when I encounter these "teaching moments."
Like most everyone else it seems, I found the chapters this week to contain some great practical advice and some needed cheerleading. One thing that I appreciated was the reminder that "your students are not worrying about your class as much as you are" (9). That might seem obvious to us, but teaching tends to skew perceptions about what students actually care about, as the Rebekah Nathan book we've talked about in class (My Freshman Year) details. They're not going to be too worried about how the class is working, per se, and it's up to the instructor to "think about what went right so that you can repeat it" and to resist kicking yourself when things go badly ("just fix it"). I also liked Curzan and Dafour's assertion that "Fundamentally, most of your students assume you are qualified and do not necessarily care too much about your official qualifications as a teacher. What they do care about is your interest in and knowledge of the subject you are teaching" (16). Of course, that begs the question as to whether I'm interested and knowledgeable, but I'm going to hope like hell that I am.
Chapter 9 had some great ideas and like others have said, I plan on incorporating meta-teaching and mid-semester evals (through MoCat) into my courses. I like Curzan and Dafour's assertion that "Feedback always needs to be a two-way street" (166), as well as their comment that meta-teaching puts instructors and students on the "same team in figuring out... what can be done to improve... class dynamics" (168). To me, these techniques do the work of critical pedagogy, helping to level the roles of students and teachers so that the latter take on more of the role of facilitator (Bean uses the word "coach") and gives everyone an investment in how the course is conducted. As they put it, letting students give you feedback is actually conducive to teaching: "This move (and your willingness to make it) will reinforce your authority in the classroom" (ibid). This echoes what good ol' George Justice and ET@MO said at the "What Do You Wish You Had Known about Teaching?" seminar last Thursday. Their point was that using MoCat to do mid-semester evals is great for teachers because students appreciate being able to give feedback when it can affect the course while they themselves are still in it, rather than only after the fact. Claire's comments toward the end of her post are a testimonial to that.
One thing in the reading that kind of bothered me--and this is totally tangential, and it's probably because it came up before with the Theatre of the Oppressed skit, as well--is the example Curzan and Dafour give about potentially offensive behavior (18). They say that "If you suspect that" offensive behavior is "a result of ignorance, use your role as a teacher to provide students with important information. For example, you might try to catch a student after class or write a note on their paper letting them know that most Native Americans prefer not to be referred to as 'Indians.'" My problem is that while it's true "Indians" alone is typically offensive (unless you're talking about people from India), "Native Americans" is problematic, too. The 1996 and 2000 census data reveals that "American Indian" edges out "Native American" as the preferred term among those who identify as having that ethnicity.
A similar problem arises in advocating the use of "African American" over "black," which is what everyone in my neighborhood growing up--a predominantly black neighborhood--used. "Black" was reported as preferred over "African American" by something like 45 to 28%. But I had classes early on in my college career where I was corrected for using "black" and there was an implication that I was being insensitive or even offensive. When I went back and told my friends back home about it, their response was that it was just one more reason why college is overrated. I guess my point is that often our reflexes--while well-intentioned--don't necessarily provide the whole picture. Things are often a lot more complex and that's something I'm going to try and keep in mind when I encounter these "teaching moments."
C & D Continued
Some nice bits of advice in these chapters. Although the first bit of advice, the quote about erasing the chalkboard vertically to avoid butt wiggling, is intended to illustrate how unprepared most TAs are, it is actually good advice. We tend not to give much thought to the little actions we take in front of a classroom which may undermine our authority. It's a horrible feeling to turn to the class, and see a few faces lit up in amusement, and wonder what the hell they think is so damn funny. You begin to get incredibly self-conscious, you wonder if your fly is undone, or if there is chalk in your hair, and after class you go immediately to the restroom to look yourself in the mirror to solve the mystery of what was causing the students to laugh at you. When you see nothing obvious in the mirror, you think back on the way you were standing, the movements you were making at the time, and then you start to realize that you're being much too self-conscious-- maybe the students were laughing at something else entirely.
You have to learn not to read too much into the expressions on your students' faces. You assume every expression made is in regard to something you are doing or saying, since you are the main focal point in the room. However, in that vast sea of faces, overwhelming the first time you teach, there are people who may look bored but are actually paying close attention, people who look amused but are not laughing at you, and people who look as if they are scrutinizing you but are actually deep in thought. Of course, there are students who are actually bored, laughing at you and scrutinizing you, but sometimes these students are actually good at hiding these feelings, and you may actually believe they like you and love coming to your class.
But there's nothing you can do about this but to get used to it. Tell yourself not to worry so much about what your students think of you. Just do your job, teach them as well as you can, be as prepared as you can be. Some days it will work out, some days it won't.
You have to learn not to read too much into the expressions on your students' faces. You assume every expression made is in regard to something you are doing or saying, since you are the main focal point in the room. However, in that vast sea of faces, overwhelming the first time you teach, there are people who may look bored but are actually paying close attention, people who look amused but are not laughing at you, and people who look as if they are scrutinizing you but are actually deep in thought. Of course, there are students who are actually bored, laughing at you and scrutinizing you, but sometimes these students are actually good at hiding these feelings, and you may actually believe they like you and love coming to your class.
But there's nothing you can do about this but to get used to it. Tell yourself not to worry so much about what your students think of you. Just do your job, teach them as well as you can, be as prepared as you can be. Some days it will work out, some days it won't.
Teaching as Performance
I liked Curzan and Damour’s parts about teaching persona. Having little experience of teaching I already thought about it but did not fully realize that teaching as a kind of acting is actually the general situation for any instructor. C&D say, “Your teaching persona may turn out to be an unexpected side of you” (6). Or may not, I would add. I mean you never know in advance how it is going to turn out. And I think with different classes one may be a little different teacher.
This chapter also brought me recollections about the good teachers I had. It is absolutely necessary for a good teacher to be enthusiastic. The problem here may be that you are more enthusiastic about some material of your course than about other, and you have to deal with that. Another thing I remember about good instructors is their …energy, I would say, that lets one person hold the attention of 20 or more other persons.
I found the idea of getting feedback during the semester very useful. It establishes contact with students. I myself as a student always appreciate that.
More C&D
I appreciated C&D’s list of joys. Especially at this time of year, many current English 1K instructors seem to be utterly burnt out, and not really loving their jobs. It seems like staying positive and remembering to enjoy yourself are key to surviving. The reminder that teaching makes you a better student (7) resonated particularly with me. Since I won’t be teaching next year, I think the most immediately helpful thing about 8010 for me was learning about strategies to help students learn better. I’ve been trying to apply those strategies to my own studies, and I think it’s really been helpful. If I try to practice what I preach, I hope I’ll be able to stay on track and have fun.
I liked the constant reminder to avoid dwelling on the negative. They write, “do not kick yourself about it; just fix it” (9). That’s so hard to put into practice but it really seems to fit in with the mindfulness presentation last week.
Asking students to respond to written comments sounds very effective but emotionally very frightening. I’m not sure how to do this in a way that results in constructive change, but I think I want to try it. When I was a primary tutor for Shelley Ingram’s class last semester I learned a lot about working with students. She had a policy that students were not allowed to talk to her after class on the day she gave them back their graded papers. They could e-mail her the next day, but she required them to sit on their reaction to their grade for 24 hours. I liked that; she said it’s been really effective for managing concerns in a respectful and professional way.
I definitely want to do midterm evals. This semester I’ve been lucky to be in two classes where the instructors asked for midterm feedback, and then made changes to facilitate learning. Not only did the changes help the class dynamic, but the instructors’ respect for the class and flexibility to envision change made me realize how important this is in teaching.
(Insert Clever Title Here)
So I was a bit perturbed by the teaching persona described in Chapter 1. I don’t know if it’s my frustration stemming from the term (thanks to a seminar class on the topic that I have this semester—Tim, you understand, right?) or my general distrust of personae, period. I really don’t like the idea of adopting a teaching ‘persona’—it seems completely antithetical to any sort of real relationship to my students. The greatest moments I’ve experienced in the WL are those when I feel like I’ve really, truly connected with a tutee. Now I’m not trying to sound too New Agey—you know, spirit animals, healing crystals, find yourself by wandering in the desert sort of thing—but I really think that striving for a genuine connection with students is the best way, in my limited experience, to teach. Now I’ve only really worked with younger children, where bonding over SpongeBob SqarePants and macaroni and cheese was enough, but I nonetheless consistently found that a more intimate, personal rapport was the most effective method of teaching. The adoption of a persona seems to undermine that sort of bond. Maybe I’m just too naïve and need a semester of apathetic freshmen to toughen me up. We’ll see. Stay tuned.
As long as I’m on the sappy notes, I’d like to share what I highlighted and starred this week in Chapter Nine—the advice to turn to ones you care about when you receive a student’s less-than-stellar reviews. I hope that next semester we all still turn to each other with teaching frustrations/problems/questions. I feel that our cohort is an invaluable resource, people. As you all know too well, I’ve been so stinking sick this semester, but it’s been support and encouragement of my cohort and instructors that has made these past months bearable. I hope you all understand that all the get-well wishes, cards, hospital visits, and gentle reminders of due dates have been of tremendous help. I hope that we continue to assist each other next year!
As long as I’m on the sappy notes, I’d like to share what I highlighted and starred this week in Chapter Nine—the advice to turn to ones you care about when you receive a student’s less-than-stellar reviews. I hope that next semester we all still turn to each other with teaching frustrations/problems/questions. I feel that our cohort is an invaluable resource, people. As you all know too well, I’ve been so stinking sick this semester, but it’s been support and encouragement of my cohort and instructors that has made these past months bearable. I hope you all understand that all the get-well wishes, cards, hospital visits, and gentle reminders of due dates have been of tremendous help. I hope that we continue to assist each other next year!
Monday, April 23, 2007
Soon to be teaching
Here I am, living the final days of my college career as simply a student. When I come back to school in the fall, I will be a student and an instructor—taking classes and leading classes. This is not a particularly insightful revelation on my part; it’s just very exciting (I’ve never taught a class) and very scary (I’ve never taught a class). Even though I think I lack enough experience to teach effectively, I know that I cannot gain that experience without teaching my first class. I also know that I have more teaching experience than any of my English 1000 students (or even than I did at the beginning of this semester), having sat in class meetings for years and having taken English 8010. Therefore, I might perceive my own preparedness more disparagingly than my students will. I appreciate Anne Curzan and Lisa Damour for making this point—that “students will generally respect your authority no matter how you feel about your qualifications as a teacher” (6). I also appreciate Curzan and Damour for suggesting how to improve teaching before the end-of-the-semester evaluations come out—through midterm evaluations. I think this could be a good idea, and I might use it in my section. It might work well if students know the week prior that they should come to class ready to evaluate the course thus far. I question whether students will be comfortable evaluating my performance, knowing I grade their work. Can they be candid in this situation? How can I come closer to ensuring that my students evaluate the course honestly? Any thoughts?
Heavy Meta
I agree with Katie, anything that starts with "meta" is bound to be fun. I like the idea of a midterm survey; I think Bean mentioned that teachers who use these usually get better results on final evaluations. The midterm conference also is appealing, though I'm resistant to requiring conferences for all students. I think the meta examples foster a sense of collaborative learning- that the students are contributing to the course, that we are teaching with them instead of just at them.
As far as classroom as argument goes: I wonder what argument I'll present in my class? I don't plan to dress too formally (one reason I'm pursuing this career is the dream of never wearing a suit to work). I do plan to present a serious front at the beginning of the course, then slowly break out the Homer Simpson impressions. I think I'll add some levity to the syllabus (pictures, font variation?, streamline some of the legalese). One thing I want to consider seriously is classroom organization. Many of the students who sit in the back row will be those who will refuse to engage with the course, and will sullenly and silently receive their D. The circle formation is inimical to blackboard/projector presentation, but keeps students from hiding in the back. Any thoughts? Also from my management days at the bookstore I understand the importance of projecting authority even when you don't necessarily feel it; preparation is key here. I think I'll probably review class plans this summer if not before, to get some more sennse of what preparation I'll need.
P.S. I blame George Lucas for this - but I can't hear the word "mindful" without immediately hearing the phrase "of the living force" following it, as spoken by Liam Neeson.
As far as classroom as argument goes: I wonder what argument I'll present in my class? I don't plan to dress too formally (one reason I'm pursuing this career is the dream of never wearing a suit to work). I do plan to present a serious front at the beginning of the course, then slowly break out the Homer Simpson impressions. I think I'll add some levity to the syllabus (pictures, font variation?, streamline some of the legalese). One thing I want to consider seriously is classroom organization. Many of the students who sit in the back row will be those who will refuse to engage with the course, and will sullenly and silently receive their D. The circle formation is inimical to blackboard/projector presentation, but keeps students from hiding in the back. Any thoughts? Also from my management days at the bookstore I understand the importance of projecting authority even when you don't necessarily feel it; preparation is key here. I think I'll probably review class plans this summer if not before, to get some more sennse of what preparation I'll need.
P.S. I blame George Lucas for this - but I can't hear the word "mindful" without immediately hearing the phrase "of the living force" following it, as spoken by Liam Neeson.
everybody's got something to hide 'cept for me and my meta
I really liked the idea of meta-teaching that C&D introduce in the Feedback chapter. Particularly, I think that written response to your written responses on essays would be really useful to assess what is going well or what isn't. I have been talking with one of my friends in another department who doean't really know what to do with marginal comments because she feels that the students are not addressing her suggestions. It reminds me of (I think it was) Bean's list of really resistant comments to teacher comments: one of them was something along the lines of the teacher said "you need to explain more" and the student responded "no you need to explain more."
Of course, the examples C&D provide of how or how not to use meta-teaching seem like there is a very fine line to tread. I guess the trick is not to use meta-teaching to make value judgments, but to reveal that you recognize something has gone wrong without placing the blame. I have seen this technique used very effectively in undergraduate- and graduate-level courses. (And I'm pretty sure meta-teaching is the reason we're now required to write one blog post per week.)
I don't know about anybody else, but I really plan to use MoCAT in my course. I had been discussing with some of you whether or not I plan to write out my entire schedule for the course, or whether I will hand out a new calendar when we reach a new unit/essay assignment. I see the benefits of waiting being that you can change what is working or not working, but I can also recognize that a student would feel a little apprehensive, like "my teacher doesn't know what we're doing in this course." Is there any way any of you can think of that would involve having a fully developed schedule that still leaves room for change if something isn't working? I'm thinking you could have the assignments and due dates all written out, but the lesson plans (which students wouldn't have to see) could change as needed.
Of course, the examples C&D provide of how or how not to use meta-teaching seem like there is a very fine line to tread. I guess the trick is not to use meta-teaching to make value judgments, but to reveal that you recognize something has gone wrong without placing the blame. I have seen this technique used very effectively in undergraduate- and graduate-level courses. (And I'm pretty sure meta-teaching is the reason we're now required to write one blog post per week.)
I don't know about anybody else, but I really plan to use MoCAT in my course. I had been discussing with some of you whether or not I plan to write out my entire schedule for the course, or whether I will hand out a new calendar when we reach a new unit/essay assignment. I see the benefits of waiting being that you can change what is working or not working, but I can also recognize that a student would feel a little apprehensive, like "my teacher doesn't know what we're doing in this course." Is there any way any of you can think of that would involve having a fully developed schedule that still leaves room for change if something isn't working? I'm thinking you could have the assignments and due dates all written out, but the lesson plans (which students wouldn't have to see) could change as needed.
Unsolicited Advice
I really enjoyed the readings this week, especially since they reiterated a lot of points I have been afraid I've forgotten in the past two years. My biggest fear for next year is that I have forgotten how to teach since I have been out of the classroom for two years. I needed the quick and reassuring overview offered in these chapters. Many of their observations and advice are helpful. The biggest aspect that I highlighted is about the copying. It never fails that the copier in any building anywhere will not work if you wait until the last minute. It is Murphy's law! I also agree with them about remembering student names. I was constantly called by my sister's name through elementary, middle, and high school. Nothing is more frustrating than that! I made a point when teaching high school to never make that mistake (I only did once, which isn't bad for 6 years). But, seriously, it is important to the students to be remembered, especially since this campus is so large and our classes will be so small. I think Bri's idea of using facebook may be very helpful in this respect, especially if you have trouble with names.
Another point with which I agree is the value of student feedback. It really diminishes your authority, in my opinion, if you are unwilling to listen to student concerns and adapt class as necessary. They feel that you are honest and caring if you are willing to budge a little. However, I am not saying that you should be a push-over, only aware of needs. And, like Leta, I want to stress the importance of the fact that you CANNOT PLEASE EVERYONE!! I really struggled with this fact the first couple of years. I had to flunk a senior, who did not graduate ever then (I was not the only one though). Sometimes, students do not make changes and sometimes they do take their own failures out on you. You have to grow some thicker skin and learn to distinguish honest criticism from the angry hate mail. It is hard to deal with, but a necessary fact of teaching. I had a student complain that I had only 5 or 6 dressy outfits. Oh well. I was poor. I just played along and said I would wear them in the same order every week. I don't necessarily suggest sarcasm in every instance. I knew she would react well because I had taught her for two years (junior, senior English). Kids try to make you feel bad, but you can't let them.
Anyway, now that I have rambled advice for a while, I should move on. Basically, I agree with much that C and D had to say. Student feedback is essential and beneficial, dress is important (no matter how many outfits you own), gender plays a role in your classroom even if you don't want it to, and copying must be done in advance!!!! However, I also think it is easy to become overwhelmed the first year or so. They really didn't discuss this aspect and I want to stress relying on your peers. There is not a feeling you will have that they will not either share or understand.
Another point with which I agree is the value of student feedback. It really diminishes your authority, in my opinion, if you are unwilling to listen to student concerns and adapt class as necessary. They feel that you are honest and caring if you are willing to budge a little. However, I am not saying that you should be a push-over, only aware of needs. And, like Leta, I want to stress the importance of the fact that you CANNOT PLEASE EVERYONE!! I really struggled with this fact the first couple of years. I had to flunk a senior, who did not graduate ever then (I was not the only one though). Sometimes, students do not make changes and sometimes they do take their own failures out on you. You have to grow some thicker skin and learn to distinguish honest criticism from the angry hate mail. It is hard to deal with, but a necessary fact of teaching. I had a student complain that I had only 5 or 6 dressy outfits. Oh well. I was poor. I just played along and said I would wear them in the same order every week. I don't necessarily suggest sarcasm in every instance. I knew she would react well because I had taught her for two years (junior, senior English). Kids try to make you feel bad, but you can't let them.
Anyway, now that I have rambled advice for a while, I should move on. Basically, I agree with much that C and D had to say. Student feedback is essential and beneficial, dress is important (no matter how many outfits you own), gender plays a role in your classroom even if you don't want it to, and copying must be done in advance!!!! However, I also think it is easy to become overwhelmed the first year or so. They really didn't discuss this aspect and I want to stress relying on your peers. There is not a feeling you will have that they will not either share or understand.
Sunday, April 22, 2007
No butt wiggling from now on...
In accordance with the rest of the blog, this week’s readings did offer some great and rather practical advice, such as the proper way to erase the board. I appreciate the section on maintaining perspective because I already feel that I’m going to be obsessing over if my students got the most that I wanted them to get out of class. Call it self-consciousness, but I can see this becoming a reality for me. Hopefully after the first week I’ll let go and just let it flow… we’ll see.
On another note, the issue of (my) race, class and gender has been on my mind throughout this entire process, and making sure that these aspects don’t become a distraction while I attempt to teach them. I feel like I’ve stated this before on the blog, but I think that C & D offered practical solutions if you aren’t teaching a course surrounding r,c and g but if you are… where does that leave you?
The only solution I’ve reached thus far is emphasizing immediately a learning space that is more like a community. Everyone is entitled to their 1st amendment right as long as they articulate themselves well and have the facts to back up their argument. Any other suggestions let me know ☺
On another note, the issue of (my) race, class and gender has been on my mind throughout this entire process, and making sure that these aspects don’t become a distraction while I attempt to teach them. I feel like I’ve stated this before on the blog, but I think that C & D offered practical solutions if you aren’t teaching a course surrounding r,c and g but if you are… where does that leave you?
The only solution I’ve reached thus far is emphasizing immediately a learning space that is more like a community. Everyone is entitled to their 1st amendment right as long as they articulate themselves well and have the facts to back up their argument. Any other suggestions let me know ☺
You can't please everyone...
I found Curzan and Damour's advice for reading students' evaluations of your teaching to ring true to my experiences as a middle school teacher last year, so I imagine that they'll also be applicable for teaching English 1000. Too bad I didn't read this book before I started teaching!
I think feedback about teaching is a valuable tool for improving teaching. At the same time, though, students' evaluations often reveal more about the student than they do about the teacher. I agree that it is good to give students a chance to tell you how they think the class is going and that you should consider those evaluations, but I also agree that it's important not to take evaluations too seriously.
My 8th grade class last year (all 9 of them) presented me with a list of complaints fairly early in the first semester. Some of the other teachers I showed it to didn't think it really merited a response, since some of their demands were rather ridiculous, but I decided that, since they'd presented their complaints in a relatively mature manner, they deserved a respectful reply. So I wrote them a letter in response, and we discussed each of their suggestions as a class. I didn't give in to their demands (being able to use calculators was one of them, I believe), but I spent time explaining why I'd made the choices that I had in structuring the class. Even though they would have preferred that I agreed to all of their suggestions, a couple of them did then say that they now understood my reasoning and were ok with that. Of course, that didn't make the rest of the year go by without problems (they were in middle school!), but I think that it made them realize that I did care about their concerns.
So I think that listening to and responding to students' feedback can be a very useful tool. In some situations, it can help to see things that aren't working and fix them, and, in others, it can show an area where you might want to clarify the reasons for your actions.
But I also think it's important to remember that students (and their parents, in the case of middle school) don't always give accurate evaluations. There will always be students who blame you for their failures, and they are pretty good at finding weak spots in your armor to try to make their comments hurt.
My homeroom class (6th grade) last year had had problems for years and years; when they were in second grade, one set of parents sued another set of parents about something one of the kids had said to the other in class. No one bothered to tell me this, of course, until problems started erupting. On one side of the battle was one of the smartest girls in school who happened to be from an indigenous family; on the other side was one of the smartest, richest, whitest boys in the school (and in the whole country). Basically, through trying to be fair to both parties, I got accused of favoritism by both sides (the parents were involved in this finger-pointing). There was literally no way for me to make everyone happy. Life would have been a lot easier if I had learned sooner that you really can't please everyone.
So, like Curzan and Damour say, listen to what your students say, but, at the same time, be sure you don't over-value negative comments.
I think feedback about teaching is a valuable tool for improving teaching. At the same time, though, students' evaluations often reveal more about the student than they do about the teacher. I agree that it is good to give students a chance to tell you how they think the class is going and that you should consider those evaluations, but I also agree that it's important not to take evaluations too seriously.
My 8th grade class last year (all 9 of them) presented me with a list of complaints fairly early in the first semester. Some of the other teachers I showed it to didn't think it really merited a response, since some of their demands were rather ridiculous, but I decided that, since they'd presented their complaints in a relatively mature manner, they deserved a respectful reply. So I wrote them a letter in response, and we discussed each of their suggestions as a class. I didn't give in to their demands (being able to use calculators was one of them, I believe), but I spent time explaining why I'd made the choices that I had in structuring the class. Even though they would have preferred that I agreed to all of their suggestions, a couple of them did then say that they now understood my reasoning and were ok with that. Of course, that didn't make the rest of the year go by without problems (they were in middle school!), but I think that it made them realize that I did care about their concerns.
So I think that listening to and responding to students' feedback can be a very useful tool. In some situations, it can help to see things that aren't working and fix them, and, in others, it can show an area where you might want to clarify the reasons for your actions.
But I also think it's important to remember that students (and their parents, in the case of middle school) don't always give accurate evaluations. There will always be students who blame you for their failures, and they are pretty good at finding weak spots in your armor to try to make their comments hurt.
My homeroom class (6th grade) last year had had problems for years and years; when they were in second grade, one set of parents sued another set of parents about something one of the kids had said to the other in class. No one bothered to tell me this, of course, until problems started erupting. On one side of the battle was one of the smartest girls in school who happened to be from an indigenous family; on the other side was one of the smartest, richest, whitest boys in the school (and in the whole country). Basically, through trying to be fair to both parties, I got accused of favoritism by both sides (the parents were involved in this finger-pointing). There was literally no way for me to make everyone happy. Life would have been a lot easier if I had learned sooner that you really can't please everyone.
So, like Curzan and Damour say, listen to what your students say, but, at the same time, be sure you don't over-value negative comments.
Thursday, April 19, 2007
Katie Z. book reviews
Perhaps these will be slightly more comprehensive/coherent than I was in class.
Alfano, Christine L. and Alyssa J. O’Brien. Envision: Writing and Researching Arguments. 2nd ed. New York: Longman, 2008. (368 pp., $40.40)
Alfano and O’Brien’s book has a very helpful structure that seems particularly applicable to the English 1000 goal of teaching the writing process. I really appreciated that they addressed how to analyze texts and how to understand argument and persuasion. This approach seems to lend itself to application of self-critique in the classroom. That is, if the students are not just being told how to argue, but how to read argument, they will learn more about how effectively their own writing is progressing.
One of my favorite things about this book is that it uses not only traditional texts, but visual ones as well. For example, each chapter has excerpts from various essays, but different sections of the book focus on political cartoons, advertisements, magazines, web sites, and films. It seems very necessary to address these concerns, particularly since I intend to structure my class to include a number of nontraditional, nonliterary texts.
I did gravitate to this book based on the authors’ use of visual media as a touchstone for examples of argumentation throughout the book. However, I think it might be difficult early on in the course to convey to my students exactly how “reading” a visual argument can help them craft better written arguments. It also seemed like a conflicted use of these media—that is, the authors do recognize the importance of visual media, but it also seems like they are trying to make their book “sexy” enough for student consumption. Also, some of the visual rhetoric they are using might be difficult to adapt in future editions. For example, many of the political cartoons that have been selected are concerned with September 11th, and this seems very applicable to current students and what is immediately understood as political for them, but ten years from now it might not work. The authors’ decision to juxtapose these images with political posters from World War II seems to be the best way to set the works into a larger context.
Hairston, Maxine and Michael Keene. Successful Writing. 5th ed. New York: Norton, 2002. (310 pp., $37.50)
Hairston and Keene have compiled a comprehensive text on how to craft an argument that seemed to limit the process of writing to the actual time spent composing the essay. There is some information on analyzing source material and brainstorming, but these stages of writing did not seem very important to the authors. My favorite features of this book are the sections near the end of each chapter. The authors have included frequently asked questions that students might have, a few exercises to help the students identify techniques in example writings, and exploratory assignments on that are designed to help students incorporate the information into their own writing.
In ways, I found the organization of this book a little confusing. For example, the chapter on “Drafting” comes before the chapters on “Writing Clearly” and “Crafting Paragraphs.” I guess that is where the burden falls to me as an instructor so I could assign readings in the order I think makes the most sense. Also, the excerpted passages from other works seem like they might be confusing to students. The authors include primarily fiction and non-fiction sources to demonstrate argument, but many of the passages do not present an argument that is immediately apparent. Of course, the analysis of argument is going to be a primary goal of an English 1000 classroom, but this book also does not give a lot of emphasis to analyzing other arguments as much as to the student’s need to create an argument. The opening chapters of the book address “What Makes Writing Successful” and “How Writers Write,” but these seem like pretty standard lists of criteria that do not address how to effectively analyze someone else’s work.
One of the weaknesses I noted in this book was the limited information on nonliterary sources. Of course, this might not matter to someone who does not plan to use a lot of nontraditional texts in a course. I think this may have to do with this being the fifth edition of a book originally published in 1981. The chapters on “Considering Design” and “Sending Electronic Communication” seem as if they were added in recent editions in an attempt to keep up with technological advances and the rise of media studies.
Alfano, Christine L. and Alyssa J. O’Brien. Envision: Writing and Researching Arguments. 2nd ed. New York: Longman, 2008. (368 pp., $40.40)
Alfano and O’Brien’s book has a very helpful structure that seems particularly applicable to the English 1000 goal of teaching the writing process. I really appreciated that they addressed how to analyze texts and how to understand argument and persuasion. This approach seems to lend itself to application of self-critique in the classroom. That is, if the students are not just being told how to argue, but how to read argument, they will learn more about how effectively their own writing is progressing.
One of my favorite things about this book is that it uses not only traditional texts, but visual ones as well. For example, each chapter has excerpts from various essays, but different sections of the book focus on political cartoons, advertisements, magazines, web sites, and films. It seems very necessary to address these concerns, particularly since I intend to structure my class to include a number of nontraditional, nonliterary texts.
I did gravitate to this book based on the authors’ use of visual media as a touchstone for examples of argumentation throughout the book. However, I think it might be difficult early on in the course to convey to my students exactly how “reading” a visual argument can help them craft better written arguments. It also seemed like a conflicted use of these media—that is, the authors do recognize the importance of visual media, but it also seems like they are trying to make their book “sexy” enough for student consumption. Also, some of the visual rhetoric they are using might be difficult to adapt in future editions. For example, many of the political cartoons that have been selected are concerned with September 11th, and this seems very applicable to current students and what is immediately understood as political for them, but ten years from now it might not work. The authors’ decision to juxtapose these images with political posters from World War II seems to be the best way to set the works into a larger context.
Hairston, Maxine and Michael Keene. Successful Writing. 5th ed. New York: Norton, 2002. (310 pp., $37.50)
Hairston and Keene have compiled a comprehensive text on how to craft an argument that seemed to limit the process of writing to the actual time spent composing the essay. There is some information on analyzing source material and brainstorming, but these stages of writing did not seem very important to the authors. My favorite features of this book are the sections near the end of each chapter. The authors have included frequently asked questions that students might have, a few exercises to help the students identify techniques in example writings, and exploratory assignments on that are designed to help students incorporate the information into their own writing.
In ways, I found the organization of this book a little confusing. For example, the chapter on “Drafting” comes before the chapters on “Writing Clearly” and “Crafting Paragraphs.” I guess that is where the burden falls to me as an instructor so I could assign readings in the order I think makes the most sense. Also, the excerpted passages from other works seem like they might be confusing to students. The authors include primarily fiction and non-fiction sources to demonstrate argument, but many of the passages do not present an argument that is immediately apparent. Of course, the analysis of argument is going to be a primary goal of an English 1000 classroom, but this book also does not give a lot of emphasis to analyzing other arguments as much as to the student’s need to create an argument. The opening chapters of the book address “What Makes Writing Successful” and “How Writers Write,” but these seem like pretty standard lists of criteria that do not address how to effectively analyze someone else’s work.
One of the weaknesses I noted in this book was the limited information on nonliterary sources. Of course, this might not matter to someone who does not plan to use a lot of nontraditional texts in a course. I think this may have to do with this being the fifth edition of a book originally published in 1981. The chapters on “Considering Design” and “Sending Electronic Communication” seem as if they were added in recent editions in an attempt to keep up with technological advances and the rise of media studies.
Visual Argument
I stayed late last night setting up and organizing the EGSA booksale. While doing this I was thinking about the visual argument I wanted to create. About 8pm I realized that I had just created a visual argument--the booksale set up itself. I wanted to take a picture but don't have a camera. Lots and lots of people helped set up and organize the books so it's definitely more of a collaborative effort. Go down and check it out. My argument goes something like: Next year, think critically about dropping off all of your free, out of date composition handbooks, text books, and writing guides, because we have more than we could ever need or sell!
Wednesday, April 18, 2007
Another Visual Argument
Here is my visual argument. I think there is noting complicated about it. Our world is so complex that even the simplest words are connected with various cultural associations. I often feel overwhelmed with the amount of information we have to deal with. Visual arguments seem to express exactly this type of thinking.There are some questions concerning this kind of arguments. Can any or almost any image be read as a visual argument?
My another interest is the connection between textual and visual modes. Images are very often accompanied with texts. So visual argument is inclusive because it unites different types of messages while text is homogenic. How important are alphabetic texts as a part of visual argumentation? It seems like eventually we cannot get away from them.
Tuesday, April 17, 2007
Formal Reconnection
Well, I second Claire's call for more reading on new approaches to reading and "teaching the visual aspects of texts" (Wysocki 149). Actually this is the cluster I'll be researching now, so we'll see what I find. I was hoping Wysocki would have more answers to the questions she raises, but that might be outside the scope of her chapter. I've said this before, but I hope to assign a paper on visual arguments, specifically those involving the body, so I'll need some background material.
I like Wysocki's call to "be generously and questioningly reciprocal in our designings" and address of visual texts. This ties in nicely with my general course theme of challenging texts, of being in dialogue with whatever is being read (visual or otherwise). I'll want my students to be able to see their image in the cold, clinical way, but also to see it in the emotional way Wysocki describes. Just as Ferry (and others) could admire Riefenstahl's aesthetics and deplore the content, I'd like the students to see the effectiveness of an objectionable image - to understand why such images can become prevalent and accepted.
The idea of a "formal reconnection" of concepts of beauty, of reclaiming an idea of "particular beauty" as opposed to that of disembodied bodies, really strikes home to me because of my fiancee (Kelsey)'s work in photography. Her MFA project as a fine art photographer sought to explode the conventional notions of the "beautiful" body, especially in the fashion world, through a series of black-and-white nude self-portraits of her own zaftig shape. Most of the images are cropped to show only fragments of the body, often disorienting the viewer, suggesting landscape or other subjects. Anyway, it's this idea of creating a new idea of "beauty" that she's getting at- Wysocki's argument, particularly at its end, often reminded me of Kelsey's thesis. Tomorrow I'll see if I can get an image uploaded here.
I like Wysocki's call to "be generously and questioningly reciprocal in our designings" and address of visual texts. This ties in nicely with my general course theme of challenging texts, of being in dialogue with whatever is being read (visual or otherwise). I'll want my students to be able to see their image in the cold, clinical way, but also to see it in the emotional way Wysocki describes. Just as Ferry (and others) could admire Riefenstahl's aesthetics and deplore the content, I'd like the students to see the effectiveness of an objectionable image - to understand why such images can become prevalent and accepted.
The idea of a "formal reconnection" of concepts of beauty, of reclaiming an idea of "particular beauty" as opposed to that of disembodied bodies, really strikes home to me because of my fiancee (Kelsey)'s work in photography. Her MFA project as a fine art photographer sought to explode the conventional notions of the "beautiful" body, especially in the fashion world, through a series of black-and-white nude self-portraits of her own zaftig shape. Most of the images are cropped to show only fragments of the body, often disorienting the viewer, suggesting landscape or other subjects. Anyway, it's this idea of creating a new idea of "beauty" that she's getting at- Wysocki's argument, particularly at its end, often reminded me of Kelsey's thesis. Tomorrow I'll see if I can get an image uploaded here.
Shaping Relationships
I liked what Wysocki had to say in this article. It was a stimulating read. I must confess, however, that I did have difficulty following her line of reasoning at times, and I’m not sure I fully grasp fully what she is trying to say as regards the ultimate answer to the problems she puts forward, the answer to how best teach the designing of visual arguments to our students. At the end of the essay for example, she tells us what she does not do in the classroom and what she does do. The second part of the sentence was not very clear to me:
“I do not start my teaching with design principles, then, but … by asking people in classes to collect and sort through and categorize compositions of all kinds, to try to pull “principles” out of those compositions and their experiences.”
***
In general, however, I got the drift of what she was saying, and the essay gave me a greater appreciation for the complexities involved in teaching visual argument. Wysocki argues for a visual argument that achieves genuine communication between the composer and audience. She calls for a “shaping relationship,” and is concerned with how this might be taught in the classroom. Clearly she feels it must be – needs be taught – in order to help the students from falling into serious pitfalls that have far reaching implications for the student composer, the viewer (audience), society, and culture. Wysocki is at great pains to outline the consequence of visuals that fail in this way, referring to them as one-sided, sterile, and ultimately untrue because they lack the complexity of life:
“The desire for abstract formality we have learned – the Kantian universal formalism embodied in the layout of the Peek ad as well as in the vocabularies of Williams, Arnheim, and Ban – separate us from our histories and places, and hence from each other. If we believe that to be human is to be tied to place and time and messiness and complexity, then, by so abstracting us, this desire dehumanizes us an dour work and how we see each other. This is dangerous.”
***
Her exploration of Kant and its limiting interpretations of the world also made for some instructive reading.
“I do not start my teaching with design principles, then, but … by asking people in classes to collect and sort through and categorize compositions of all kinds, to try to pull “principles” out of those compositions and their experiences.”
***
In general, however, I got the drift of what she was saying, and the essay gave me a greater appreciation for the complexities involved in teaching visual argument. Wysocki argues for a visual argument that achieves genuine communication between the composer and audience. She calls for a “shaping relationship,” and is concerned with how this might be taught in the classroom. Clearly she feels it must be – needs be taught – in order to help the students from falling into serious pitfalls that have far reaching implications for the student composer, the viewer (audience), society, and culture. Wysocki is at great pains to outline the consequence of visuals that fail in this way, referring to them as one-sided, sterile, and ultimately untrue because they lack the complexity of life:
“The desire for abstract formality we have learned – the Kantian universal formalism embodied in the layout of the Peek ad as well as in the vocabularies of Williams, Arnheim, and Ban – separate us from our histories and places, and hence from each other. If we believe that to be human is to be tied to place and time and messiness and complexity, then, by so abstracting us, this desire dehumanizes us an dour work and how we see each other. This is dangerous.”
***
Her exploration of Kant and its limiting interpretations of the world also made for some instructive reading.
standing visual argument on its head
This may be familiar to those of you who were West Wing fans. We sold these maps at my old bookstore in California.
My Pathetic Attempt at Visual Argument
My argument is in reaction to the poor treatment for wounded soldiers from Iraq. In my visual, the Pentagon, inspired by the chick with the gun-leg from the Grindhouse movie, has decided to send all the wounded soldiers back into action.
Textbook Reviews
The World is a Text: Writing,
--Jonathan Silverman and Dean Rader
I have to say up front: I love this book. It does nearly everything that I would want a rhetoric to do and does it well. The authors state their approach fairly clearly near the beginning: “All reading we do, perhaps anything we do, is backed up by various ideas or theories – from the simple idea that the acts we undertake have consequences both good and bad to the more complex theories about relativity and gravity. In this book, we rely on a theory that the world itself is open to interpretation, that we can make meaning out of just about anything” (3) And the book aspires to cover nearly everything – which is great. It begins with a brief (but informative) introduction to semiotics, then moves onto the particulars of writing the academic essay and reading creatively. The balance between reading and writing strategies remains stable throughout: each of the subsequent chapters focuses on one particular area (poetry, television, race and ethnicity, etc.), but focuses on both reading and writing about that subject area. The chapter subjects include all of the following:
1.) Poetry
2.) Television
3.) Public and Private Space
4.) Race and Ethnicity
5.) Movies
6.) Images
7.) Gender
8.) Art
9.) Advertising, Journalism, and the Media
10.) Relationships
11.) Music
12.) Technology
Perspectives on Argument (5th Edition)
--Nancy V. Wood
Cost: New --$67, Used --from $22
It is safe to say that this book dedicates a good bit more time to the formal aspects of logic and argument than The World is a Text, but I find the prose to be rather pompous, lacking the engaging, almost conversational quality of the Silverman and Rader book. Further, instead of analyzing culture (which can actually be fun), this book focuses primarily on hot-button social issues, such as the treatment of criminals, stem cell research, the inevitability of war, etc. I’m not the type who would avoid these types of debates if they were to arise naturally, but I don’t think I want to base my class around them – too much sound and fury, if you know what I mean. On top of this, the book is visually a giant block of text with blue borders (except a single, small chapter on Visual and Oral Argument near the center of the book, which contains some interesting, full color images). Honestly, I think it’s the kind of layout design that turns a book into a doorstop fairly early in the semester.
However, on the positive side, the book could – in a certain kind of course – be used to spark some interesting ethical discussions (but it seems almost to have been designed for an introductory Logic or Ethics class rather than English 1000). Another plus (from a certain perspective) is that there are long sections dedicated to Toulmin and Rogers. I think this information will be valuable for me (as one concerned with the nature of argument), but maybe a bit “high-jargon” for an introductory English course. The one area where this book definitely trumps The World is a Text is in its MLA and APA style chapter. The coverage is just much more thorough here. But this information is all available online for free, anyway, so its inclusion is not particularly significant by my lights. All in all, this seems like a book for someone else. I could definitely see it being useful in a course more focused on formal argumentation, logic, and social debates than mine. If your course moves in this direction, definitely give it a look. But I’m afraid the conservative design and high jargon content may rule it out for my purposes.
Here are the primary chapter subjects for the “Reader” section of the book:
1.) Traditional American Family
2.) Personal Relationships
3.) Computers and the Internet
4.) Stem Cell Research
5.) Genetic Engineering and Law
6.) Treatment of Criminals
7.) Race and Culture
8.) Cultural Assimilation
9.) Responsibility for the Disadvantaged
10.) Social Responsibility
11.) Poverty
12.) War and Peace
Subscribe to:
Posts (Atom)