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Welcome to WRIT 106!

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College Writing II

Please note that this syllabus also appears in full on Canvas

Required Texts and Materials

• Meyer, Michael. Literature to Go, 3rd Edition. Bedford/St. Martins, 2016. (note: can be found at the MSU bookstore OR online through the publisher OR on Amazon –you MUST purchase the textbook for this course and bring it with you to each class).

• Use the handbook that you purchased for your WRIT105 class

• A notebook of your choice devoted exclusively to this course

• A folder (paper or electronic) to hold drafts and peer review feedback

• Flash drive, pens, pencils, highlighter, computer paper

It is essential that you bring the texts to class. Be prepared to write in them, to make notations, and to underline or highlight.

Course Scope

College Writing II builds on the basic writing strategies taught in College Writing I and extends the goal of helping students to become effective writers of intellectual arguments in response to works of fiction, poetry and drama. Students continue to practice and develop as writers, but the focus in this course is on reading and interpreting literary texts. A minimum of 6000 words of formal writing, including at least one documented essay that engages students in their own process of academic research, is required. The central goal of WRIT 106, "College Writing II," is to help students expand upon their critical thinking and writing skills and build an appreciation of a diversity of intellectual texts. 

What We Will Do

This is a writing-intensive course designed to develop thinking and writing abilities through frequent writing assignments based on critical response to intellectually challenging questions and readings. Over the course of the semester, we will read a variety of texts by a fairly diverse group of writers, approaching them in three modules. Each module will begin with readings and proceed with a sequence of essay or project drafts, culminating in a final essay or project, due at the end of each module, one of which will involve outside research. During the reading portion of each module, you will have homework and in-class activities aimed at developing your reading and writing skills. You should expect to spend roughly eight hours a week outside of class time on your course work for this class. Expect to share your writing and your ideas with the class, so only write what you feel comfortable sharing. You will receive feedback on your writing from peers and from me and will revise your work based on this feedback. Your final course work will be the creation of a portfolio.

Course Outcomes

Students will develop competencies in first-year academic writing through specific attention to achievement in such areas as:

• Generating central claims about intellectual ideas that are of significance, interest, and distinction

• Supporting central claims with appropriate evidence and analysis

• Organizing prose in a sequence that maximizes rhetorical effectiveness

• Integrating ideas and information into one’s own prose using appropriate introduction, quotation, summary, and paraphrase

• Documenting sources in-text and in a works-cited list

• Analyzing the ideas of others with accuracy and insight

• Understanding and correcting surface-level writing problems related to appropriate pronoun use, agreement (pronoun and antecedent, subject and verb), transitions, and sentence structure

Course Requirements & Grading

Your course work will be weighted as follows (see below for exceptions):

• Course Citizenship, Live Lit, Homework: 15%

• Module 1 Final Draft: 15%

• Module 2 Final Draft: 20%

• Module 3 Final Draft: 25%

• Final Portfolio: 25%

Course Citizenship (15%)

Because this is not a lecture course, your active engagement is required. To be actively engaged in the classroom means being on time and prepared to discuss the day’s reading by having done the assigned work and having all necessary materials in class. Part of good course citizenship includes raising questions about the texts, responding to others' questions, proposing interpretations, and making connections between our assigned texts. In order to meet the requirement, you must contribute to the work of the day (including class discussion, peer review, group work, and in-class writing assignments). Texting or consulting your cell phone or other device—even briefly—takes you out of the class and negates participation for the day. Your active engagement is what will make our classroom meetings dynamic, interesting, and illuminating. You may not have your cell phone out during class, unless you need it for an emergency, in which case you should see me before class. Also, please be aware that the use of laptops is not permitted unless cleared by the professor for a particular activity. The completion of the course evaluation in the last weeks of the semester is also part of this grade.

Unit Essays (60%)

Three papers, varying in length but totaling roughly 5500 words of revised prose, will be written over the course of the semester. Individual essay assignments will provide all the details for each assignment. Please know that you cannot reuse papers you have written for another course.

Portfolio (25%)

The portfolio takes the place of a final exam and receives its own grade, but does not change the grades originally earned by the formal writing assignments. The portfolio will be due at a class meeting during our scheduled final exam period; the university requires us to have a full class meeting at that time. You will be required to hand in the newly revised version and the original, graded version of the essays you select for your portfolio, so be sure to save your work. Specific details will be provided in the portfolio assignment. Please note that your final portfolio will be due at the end of our final exam period (on course schedule). The final portfolio is worth 25% of your final grade.

Reading/Viewing

The reading load will vary depending on what is being read, but you should expect to read between 20 and 70 pages a week during the reading portion of units. The reading may include essays, journal articles, newspaper articles, as well as critical texts and other secondary sources. Since you will have the reading assignments well in advance, you can plan your reading schedule to balance out the weeks of heavier reading. You are expected to follow close-reading techniques when reading all assigned texts and to annotate them to facilitate class discussion. 

Class Cancellation Due to Emergency or Inclement Weather

Please note that I will make every effort to hold our class twice a week, every week, and you should expect that we hold class every week, twice a week. However, if I am extremely sick, or if there are dangerous driving conditions, class will not be held. In the event that this occurs, I will email you with ample notice. Please note that should this occur, you will have an assignment due in lieu of class that will count toward your participation and attendance grades for that day.

Class Etiquette

Let’s have our classroom be a model for how we would like the world to work. How we treat others demonstrates our respect for them. Our classroom and our shared Canvas site are collaborative spaces and the home of our writing community. In all communication with each other, respect is the order of the day. We will often disagree with one another but always respect the right of the other to hold a different opinion. However, even as regards opinions, no form of intolerance or hostility is allowed to enter our environment, including but not limited to racism, sexism, homophobia, ageism, or religious intolerance. Occasionally, although not often, immature “high-school” type behavior surfaces in the form of shared looks, eye-rolling, giggling, or otherwise making fun of someone in class. This type of behavior has no place in the college environment, and I will not ever tolerate it.

Further, the following rules are in place to keep our space safe and foster an atmosphere of intellectual growth and curiosity:

• Cellphones and other electronic devices are to be stored out of sight and turned to silent once our class begins.

• Arriving late to class is disruptive. If you feel you cannot make it to class on time given your other obligations (classes, transportation, etc.), please find a section that is better suited to your schedule before the add/drop period ends.

• Always come to class prepared to discuss the readings or to work on drafts. This means having your course text(s) and other required materials with you (pen/pencil/highlighter, peer review sheets, handouts, etc.). You will not be able to get full credit for attendance if you are unprepared.

• Know the names of your classmates! We will practice in the beginning but, if you find you do not know some names, please make the effort to find out. We will address each other by name in class.

• Talking to another while I am speaking or another student is speaking is blatantly rude. Please do not do it.

• Do not pack up before our class has ended.

Netiquette/Emails:

This course uses Canvas extensively for its course documents, submission of work, and any online discussions. You must have reliable access to the Internet, as schedules, assignments, handouts, and supplemental links for this course will be posted on Canvas. You must also have a “Plan B” in place for those times when your Internet stops working if you are off campus. If you experience any problems in using Canvas—issues with your computer and/or do not understand how to use a particular Canvas tool, please seek help from the Canvas tutorials or through OIT on the 5th floor of University Hall. All work must be sent using Microsoft Word (.doc), Microsoft Word 2007/2010 (.docx). If your work is sent in a format I cannot open, it will be counted as late. Be diligent about submitting your work on time and in the proper format.

I fully expect you to check your email (Montclair mail and Canvas) at least once every day, as part of your overall participation in this course. I will often send reminders for the week or decide to add a discussion post or other assignment, and it is therefore very important that you check your email regularly and give your full attention to each email that I send (read it carefully). If I offer a reminder, or send an assignment, or any other important information, “I didn’t get the email” or “I didn’t read the email” is not a valid excuse for missing important information or missing an assignment.

Additionally, I expect that when you send me an email, you compose it professionally. Emailing a professor is its own unique rhetorical situation that calls for the following: a) a clear subject line; b) a salutation (for instance: “Good Morning Professor,”) and signature (for instance: “Sincerely,”); and c) proper grammar, capitalization, and punctuation. I also ask that prior to sending an email, you check the syllabus, recent email communication, assignment instructions, and/or reach out to a peer for the answer to your question. If you are still stumped, please feel free to email me.

A final note on emails is that you might want to get used to emailing work to yourself, from on or off campus as an attachment. Many students (including me at one time) have fallen prey to nasty technology surprises that erase their work, delete programs, destroy hard drives, etc. Avoid this (and know that I will not view it as an excuse) by emailing work to yourself, so that you can easily retrieve it from anywhere and relieve yourself of that soul-crushing feeling of losing all the work that you’ve been working on for the last several hours. Trust me.

Homework

Both the reading and written homework assignments are important aspects of the course and are listed on the course schedule. Submit the written homework via Canvas, and make sure to have access to your work during class as well. Due by the beginning of class, the written assignments are a place for you to start thinking about the readings we will be discussing. For clarity, please follow standards for punctuation, capitalization, spelling, and paragraphing. I will grade homework responses using a point-based and offer a brief comment. You will be graded on how well you follow the instructions and meet the requirements of the assignment. Homework is due on the date indicated on the syllabus, by the beginning of class time, regardless of whether you are absent, class is cancelled due to an emergency, or campus is closed.

Live Lit Requirement

One of the requirements of this course is that you attend one Live Lit event at MSU. I have highlighted the Live Lit or Peak Performance events on the course schedule. Including both Montclair State University writers and visiting writers and artists that are published locally, nationally, and even internationally, Live Lit events provide the opportunity for the MSU community to experience literary performance and engage directly with writers about the creative process. At Live Lit events, typically two or three writers share a stage, first reading their work, and then responding to questions from the audience. Attending a Live Lit event is a wonderful way for students to gain perspective on the writing process. 

To check the schedule (which will be updated soon), please visit:

Live Lit Short Assignment:

As part of the Live Lit requirement for this course, you are also required to submit a ticket stub or other proof of attendance, and type a short (300-500 words, double spaced, in MLA format) summary and reflection paper discussing the nature of the event you attended, your reaction to the event, and how it relates to discussions, literature, or theory we have covered in class.

Formal Writing Assignments

Three formal assignments are required, one for each module on the syllabus. Each module assignment will ask you to develop an argument that grows out of your analysis of assigned readings and consideration of the topics covered; specific assignments will be distributed in advance. The first two will be traditional argumentative essays; the third will be a multimodal project that requires some outside research and appropriate integration of secondary sources, including digital materials. Each essay will undergo revision and rewriting, with the assistance of peer review, instructor feedback, and your own further thinking. All essays will adhere to MLA format for research papers, including documentation. Only final drafts receive a letter grade; however, credit for the rough drafts will be factored into the final essay grade. More specifically, there will be penalties for short, late, or missing drafts and for short or late essays, or for drafts that show minimal revision.

Meeting deadlines is an important part of our class and your overall academic success. Accordingly, I will deduct half a letter grade for each day that a final draft is late. If you are struggling with an assignment, please come discuss it with me before it is due. Telling me about any struggles you may be experiencing after the assignment is due will not change this policy. 

I will do my best to provide you with detailed, meaningful feedback during the draft process and beyond. I expect you to submit exploratory and middle drafts on the dates and times they are due, listed on your syllabus (course schedule) and on assignment pages. If you do not submit your exploratory and middle drafts (through Canvas, in the proper format) on time, you will not receive feedback from me on those drafts. Your final drafts will generally receive minimal feedback, as extensive feedback will have been provided on exploratory and middle drafts.

Drafts

Drafting and revising are critical to success in this class, and to that end, substantial work between drafts must be evident. If you were given notes during a peer review, or comments from me, their effect on your writing should be apparent. Spell-checking, addition, and format changes alone are not enough to constitute a revised draft. For a draft to receive full credit, it must meet the requirements outlined on the essay assignment (length, topic, format, and so forth). You should also keep and back up all drafts for work on your revisions and your final portfolio; keep all feedback received as well. You may decide to keep a folder (either paper or electronically) that contains all drafts and feedback, as this will help you as you begin to work on your final portfolio.

Grading Criteria & Grades

• See "Student Writing Assessment (Links to an external site.)" for grading rubric and descriptions of A, B, C, D, and F essays

• Your course grade will be calculated using the percentages described above with the following exceptions: excessive absence, missing work, and submitting plagiarized work (see detailed program policies below) 

Missing Work

First-Year Writing Program policy dictates that, in order to be considered for a passing grade in the course, students must submit all three final drafts, the midterm review, and the portfolio.

Tips for Doing Well in this Course:

• Stay connected! If you are having trouble with concepts discussed in class, homework, essay instructions, etc. please email me, and do so before you are completely stuck, not after. I do not know that you are having trouble unless you reach out to me.

• Exchange phone numbers/email addresses with a classmate so that if one of you is absent, you can catch up on any announcements or changes discussed in class. I cannot respond to emails asking what was missed.

• When typing up homework, drafts, and essays, save your work frequently. As previously mentioned (netiquette and emails), email work to yourself so that you can retrieve it easily from anywhere if it’s lost.

• READ!!!! Read all instructions carefully. Read assignments thoroughly well before any deadline and ask questions about anything you do not understand. Read and annotate all assigned texts, always being cognizant of what occurs to you during the process. You—the reader—are integral to the process of carrying on the intellectual conversation.

• Be present: When you are in class make a difference with your presence: add your voice to make class discussion dynamic and interesting; be fully “there” by having prepared and thought about the topic for discussion. Be punctual and treat absences as emergency situations, not holidays.

• Take chances: Don’t always go for the “safe” answer, probably the one you have previously heard. Take some risks with your thinking. Trust yourself, your brain, and your ideas.

And finally, please know that I am excited to read what you have written and to hear your ideas! I will be fully engaged with your writing. I consider my interactions with your writing to be an ongoing conversation that we will continue throughout the semester. We will also have the opportunity during the semester to have one-on-one conferences to discuss your progress, if you wish. I am here to help you succeed.

Course Schedule

I reserve the right to alter this schedule throughout the semester—please check Canvas frequently.

Key: LTG = Literature to Go; C/PDF = On Canvas as PDF or link; due dates highlighted

Module 1

Can the Caged Bird Sing? Race and Ethnicity

Class 1

In class: Syllabus review and course introductions; informal in-class writing exercise; discussion of close reading. Introduction to James Baldwin via brief bio and KQED video titled “Take This Hammer” and discussion of themes and theory. Theory “packet” available on Canvas under “Files” also discussed.

Homework: Readings: James Baldwin, “Going to Meet the Man” and “Sonny’s Blues” (both C/PDF); compose an email with at least question/concern about the syllabus, due by class time Monday, worth 2 points

Class 2– email with at least one question about the syllabus due by class time

In class: Introduction to Module 1 and discussion of post colonialism and representation in literature via Gayatri Chakravorty Spivak and Homhi K. Bhabha (“Can the Subaltern Speak?”, and “Cultural Hybridity”) brief Macat analysis videos and Canvas (PDF) theory packet files to support understanding. Watch Maya Angelou read “Still I Rise”. Discussion of Baldwin short stories and relationship to contemporary events such as the BLM movement.

Homework: Readings: W.E.B. DuBois, “On Being Crazy” (C/PDF); Langston Hughes, “Harlem” (LTG 545) and “I, Too, Sing America” (C/PDF); Claude McKay, “The Lynching” (LTG 548); Donald Justice, “Order in the Streets” (LTG 493); Charles Chesnutt, “The Wife of His Youth” (C/PDF)

Discussion Board: Complete a short post (minimum 300 words) answering the question(s): Do you feel that the subaltern can speak in the stories we have read thus far? Offer examples whether your answer is “yes” or “no”. Thinking about our current social and political climate, do we still see the type of hybridity, silencing, and substituted narratives that Spivak and Bhabha discussed in their works? (Detailed instructions appear in discussion board post on Canvas)

Class 3 – Your first discussion post is due today by class time

In class: Review Module 1 Essay assignment and requirements together, discuss the elements we may pay particular attention to as we work through the first module—view Purdue OWL’s site re: “Writing About Literature”; Edward Said “Orientalism” brief video and Canvas (PDF) files to support understanding.

Homework: Readings: Jhumpa Lahiri, “The Interpreter of Maladies” (C/PDF); Dagoberto Gilb, “Uncle Rock” (LTG 276); Cynthia Ozick, “The Shawl” (C/PDF); email me with any questions about the Module 1 essay.

Class 4

In class: Discussion of readings and how marginalized populations can be recovered and empowered through literature, perhaps especially through use of dialogue and character. Discussion of the elements of an effective proposal and discussion of how writing about literature differs from writing about nonfiction works and how writing about literature in college differs from writing about literature in high school.

Homework: Readings: Lydia Huntley Sigourney, “Indian Names” (LTG 551); Natasha Trethewey, “On Captivity” (LTG 490); Sherman Alexie, “The Lone Ranger and Tonto Fistfight in Heaven” (C/PDF); email me with any questions about the Module 1 Essay

Class 5 – Working proposal for Module 1 Essay emailed to me by class time

In class: Discussion of readings and theoretical applications. Sharing first paper proposals and working through questions and concerns regarding literary analysis and criticism. Looking together at what constitutes valid literary criticism using the Sprague Library website articles search.

Homework: Find one source of literary criticism for the work that you plan to write about for your Module 1 Essay. Compose your exploratory draft and list this source on your works cited page in proper format. You may choose to try to incorporate this source into your exploratory draft. Email me with any questions about your Module 1 Essay.

Class 6 – Module 1 Exploratory Draft due by class time

In class: Identification of struggles while composing exploratory draft. These struggles will constitute our in-class discussions for the next several class sessions until your final draft is due.

Homework: Revise your draft based on our in-class discussions and peer review.

Class 7

In class: Discussion of struggles with exploratory draft, specific focus on evidence and paragraph structure as well as use of quotes; guided peer review in previously formed groups.

Homework: Continue to revise your draft based on our in-class discussions and peer review. Your middle draft is due by next class.

Class 8 – Module 1 Middle Draft due today by class time

In class: Discussion of struggles with middle draft, specific focus on MLA format, transitions, etc.; guided peer review in previously formed groups.

Homework: Continue to work on your Module 1 draft based on in-class discussions and peer review.

Class 9

In class: Guided peer review centered around proofreading and polishing and/or any grammatical issues (consulting the Little Seagull), and one-on-one conferences

Homework: Continue to work on your Module 1 draft; your final draft is due by next class.

Class 10 – Module 1 Final Draft Due by class time

In class: Introduction to Module 2: why has the female experience been defined in such a way (slut, saint, size, bitch, bride, etc.…can we think of any more?)? Discussion of the portrayal of women in literature and art, videos of spoken word poetry by Blythe Baird, Warsan Shire, and Hayley Mosley.

Homework: Readings: begin Mary Wollstonecraft, “Vindication on the Rights of Woman”, Introduction and Chapters 2-4 (C/PDF); Charlotte Perkins Gilman, “If I Were a Man” (LTG 160). The completion of these readings will be due a week from today.

Module 2

Slut, Saint, Size, Bitch, Bride: The Female Experience

Class 11

In class: What is feminist literary theory? Overview and discussion of the lives and work of Mary Wollstonecraft and Charlotte Perkins Gilman, short video on Simone de Beauvoir from the BBC. Discussion and video supported by literary theory packet files on Canvas.

Homework: Readings: Finish reading Mary Wollstonecraft, “Vindication on the Rights of Woman”, Introduction and Chapters 2-4 (C/PDF); Charlotte Perkins Gilman, “If I Were a Man” (LTG 160)

Class 12

In class: Review Module 2 Essay assignment together, discuss feminist literary theory and questions we may ask ourselves as we read short stories, poetry, and drama.

Homework: Readings: Mary Wilkins Freeman, “The Revolt of Mother” (C/PDF); Gail Godwin, “A Sorrowful Woman” (LTG 38); Clarice Lispector, “Love” (C/PDF); James Joyce, “Eveline” (LTG 309); email me

Class 13

In class: Introduction to “Lysistrata” by Aristophanes, background, and elements of drama

Homework: Read all of “Lysistrata” over break AND

Discussion Post: (minimum 350 words) that answers the question(s): What is the theme of “Lysistrata” and how does it relate to contemporary life/culture? What is your reaction to the theme of the play? (Detailed instructions appear on discussion board post in Canvas); email me with any questions about your Module 2 Essay.

SPRING BREAK: NO CLASS; continue to read “Lysistrata” and email me with any questions about your Module 2 Essay

SPRING BREAK: NO CLASS; continue to read “Lysistrata” and email me with any questions about your Module 2 Essay

Class 14 - Discussion post due by class time

In class: In-depth discussion of the literary elements within “Lysistrata” such as metaphor and analogy, as well as plot and character(s); how might we apply feminist theory to this dramatic work?

Homework: Readings: Joyce Carol Oates, “Where Are You Going, Where Have You Been?” (C/PDF); Jamaica Kincaid, “Girl” (LTG 313); Stevie Smith, “How Cruel is the Story of Eve” (C/PDF); Marge Piercy, “Barbie Doll” (C/PDF); Sharon Olds, “Last Night” (LTG 367); Susan Minot, “Lust” (LTG 218; email me with any questions about your Module 2 Essay

Class 15 – Module 2 Exploratory Draft due today by class time

In class: Discuss Oates’ “Where are You Going” and what feminist concerns it addresses. Specifically discuss the significance of names, the ending, and the title, and how this story may be similar to other “cautionary tales” for girls and women. Remainder of class time dedicated to identification of struggles while composing exploratory draft. Again, these struggles will constitute our in-class discussions for the next several class sessions until your final draft is due; guided peer review, broken into groups according to text(s) chosen for analysis.

Homework: Work on your exploratory draft revisions in order to hand in your middle draft by next class.

Class 16 – Module 2 Middle Draft due today by class time

In class: Discussion of struggles with middle draft, specific focus on class identified issues; guided peer review in previously formed groups.

Homework: Continue to work on your draft using peer review and my feedback

Class 17

In class: Guided peer review centered on proofreading and polishing and/or any grammatical issues (consulting the Little Seagull), MLA format, and one-on-one conferences.

Homework: Work on your middle draft using the peer review suggestions and my feedback in order to hand in your final draft by our next class session

• Live Lit Event Requirement option (Dept. of Theatre and Dance): New Works Initiative: Michigan Murders: From 1966 to 1969, at the dawn of second-wave feminism, several young college women were murdered in the Ypsilanti/Ann Arbor Michigan area by a fellow student. Theater artists Meghan Finn and Julia May Jonas create a multi-disciplinary play with music based on real events surrounding the crime. Michigan Murders celebrates the exuberant chaos and quickly won freedom of the 60’s, pits that against the real and palpable terror of victimization facing women at that time, and reflects on the state of feminism today.

Class 18 – Module 2 Final Draft due today by class time

In class: Introduction to Module 3: what makes an outcast and an iconoclast, and what does social class have to do with it? View art, listen to music that aligns with these themes, asking for class input, using short, informal, in-class writing exercise.

Homework: D.H. Lawrence, “How Beastly the Bourgeois Is” (LTG 547) Jan Beatty, “My Father Teaches Me to Dream” (LTG 526); David Ignatow, “The Jobholder” (LTG 527); Joyce Sutphen, “Guys Like That” (LTG 527); Marge Piercy, “To Be of Use” (LTG 529); Katherine Mansfield, “The Doll’s House” (C/PDF)

Module 3

Class, Outcasts, and Iconoclasts

Class 19

In class: Introduction to Capitalism and Marxist literary theory, Adorno & Horkheimer (C/PDF) and short videos in class from “The School of Life” to support understanding, along with readings from theory packet on Canvas.

Homework: Readings on social class: Herman Melville, “Bartleby the Scrivener” (LTG 99)

Class 20

In class: Discussion of “Bartleby” and the weight/meaning of “I’d prefer not to” especially when considering our review of Marxist Theory. Discussion of several poems, TBA, that will be due for homework. Review Module 3 Essay assignment together with remainder of class time.

Homework: Readings on Outcasts and Iconoclasts: Mark Twain, “The War Prayer” (C/PDF); Sherman Alexie, “The Facebook Sonnet” (LTG 469); Tony Hoagland, “America” (LTG 524); David Hernandez, “All-American” (LTG 491); Philip Larkin, “This Be the Verse” (C/PDF)

Discussion Post: Meditating on both Marxist theory as well as Adorno & Horkheimer’s “culture industry” theory that we’ve discussed in class and reviewed on Canvas, explore the theme(s) and meaning(s) of any one short story or poem you’ve read thus far in Module 3 (minimum 350 words, detailed instructions also on Canvas discussion board). Email me with any questions about your Module 3 Essay.

Class 21 – Discussion Board post due by class time

In class: Discussion of the short stories and poems assigned for homework, identifying outcasts/iconoclasts in each. Application of Horkheimer and Adorno to these poems as we’ve addressed in discussion posts.

Homework: Readings on Outcasts and Iconoclasts, continued: Stephen Crane, “The Monster” (C/PDF); compose your Module 3 Exploratory draft, due by next class. Email me with any questions.

Class 22– Module 3 Exploratory Draft due today by class time

In class: Identification of struggles while composing exploratory draft. Again, these struggles will constitute our in-class discussions for the next several class sessions until your final draft is due. The remainder of class time will be devoted to guided peer review, broken into groups according to text(s) chosen for analysis.

Homework: Work on revising your draft based on in-class discussions and peer review.

Class 23

In class: Discussion of previously identified struggles (continued) and guided peer review in previously formed groups.

Homework: Continue to work on revising your draft based on our in-class discussions and peer review. Middle draft due by next class.

Class 24 – Module 3 Middle Draft due today by class time

In class: Discussion of struggles with middle draft; guided peer review in previously formed groups.

Homework: Continue to work on revising your draft based on in-class discussions and peer review.

Class 25

In class: Guided peer review centered around proofreading and polishing and/or any grammatical issues (consulting the Little Seagull) MLA format, and one-on-one conferences

Homework: Review and revise your middle draft to work toward your final draft, due next class

• Live Lit Event Requirement option (Dept. of Theatre and Dance) : Punk Rock: In a private school in Stockport, England, with hormones raging and little adult supervision, a group of seventeen year-olds navigate the pressures of their final year. Playwright Simon Stephens (The Curious Incident of the Dog in the Night-Time) takes us along on their ferociously funny and ultimately terrifying journey in a tale of teen-age angst that is tender and brutal. Inspired by the Columbine High School shooting, Punk Rock is an honest and provocative chronicle of contemporary adolescence at the breaking point.

Class 26– Module 3 Final Draft due today by class time

In class: Introduction to and discussion of final portfolio instructions and requirements; go over each element carefully on Canvas, discuss how to submit, etc.

Homework: Review the final portfolio instructions carefully and thoroughly several times, and email me with at least one question that you have.

Final Portfolio

Class 27- at least one question about the final portfolio due through email by class time

In class: Continued discussion of final portfolio requirements and instructions; one-on-one conferences

Homework: Work on your final portfolio revisions, email me with questions.

Class 28

In class: Continued discussion of final portfolio requirements and instructions as well as specific struggles; one-on-one conferences

Homework: Work on your final portfolio revisions and reflection, email me with questions until 5pm the day prior to our exam day (all other questions will have to be addressed during the exam period).

Exam Class

EXAM DAY, TBA; FINAL PORTFOLIO WILL BE DUE ON THIS DATE BY THE END OF CLASS TIME SUBMITTED THROUGH CANVAS. We will meet in class.

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