Course Outline – F2016

On this page, you’ll find due dates for major assignments and the daily schedule for College Reading and Writing I, Fall 2016.

The daily schedule will develop over the term, with updates taking place here on the course website.  Be sure to use the course website schedule as your reference for assignments and due dates!

The process-oriented approach of College Reading and Writing allows for flexibility.  We can – and will – make adjustments over the term.  Smaller assignments will be added as we move along. I’ll let you know what’s coming, but use this page as your key reference.

Expect to have both a reading and a writing assignment for each class meeting.  After all, this is a reading and writing class.

Due Dates for Major Assignments

First Week Writing Assignment – Sept. 12

Literacy Narrative Draft – Sept. 26

Literacy Narrative Revision – Oct. 3

Literacy, Discourse, and Community Draft – Nov. 7

Remediated Literacy Narrative – Nov. 16

Literacy, Discourse, and Community Revision – Nov. 21

Draft Eportfolio – Dec. 7

Daily Schedule

Plan to keep an electronic or paper notebook with all homework assignments, drafts, revisions, and printouts of readings in it.  Bring your notebook with all assignments and readings in it to class every time.

Please bring Habits of the Creative Mind, They Say/I Say, and all other assigned readings to class each time. Students will be required to print articles on paper for the purpose of annotating them.  I recommend that you print at the library or a computer lab since most articles will be multiple pages.

Please bring a laptop or tablet to class with you each time.  If you don’t have access to one, please let me know, so that I can provide one for you to use in class.

Week 1 – Introductions

August 31 – Welcome to College Reading and Writing

• Who are we, and what are we going to be doing, writing, saying, valuing here?
• Setting a baseline: First Week Writing Assignment.
• In class writing activity: Send an email to edrown@une.edu telling me a story about a memorable reading or writing experience you’ve had – including IRL, online, or any where/when else.
• For next class:
  • Spend 90 minutes writing on UNE Docs in response to the First Week Writing Assignment prompt.  Prof. Michael Cripps has written a Google Docs Quick Start guide.
  • In Habits of the Creative Mind, read “On Habits of Mind: A Letter to Students and  Other Readers.”  As you read, think about what Miller and Jurecic mean by “writing-to-learn.”  Take some notes towards figuring out what does “writing-to-learn” means, and why it matters?  Also, What is creativity?  And why does cultivating creativity matter to us as a society?

Week 2 – Getting Going

September 5 – Labor Day Holiday; No Class

September 7 – Review and Revise; Why You Must Believe You Can Improve

• Peer Review: First Week Writing Assignment
• Party Talk: Describe a boring moment in a high school class; what could you have done at that moment to me more engaged and learn?
• Academic Integrity as a community value v. Plagiarism as a crime
• Rules of Writing? (in class activity moved to homework)
• Introduction to UNE Portfolio
• For next class:
  • Create a new copy of the draft of your First Week Writing Assignment UNE Doc, share the copy with Eric (edrown@une.edu), then make your revisions on the new copy of the First Week Writing Assignment on the  (Due Next Class) – Do not hide or resolve peers’ comments.
  • Spend 10 minutes writing an email to me at edrown@une.edu with the Subject Line Rules of Writing.  In the email, teach me the “rules” of writing you have inherited from teachers, parents, fellow students, and others.
  • Watch Carol Dweck’s TED Talk, “The Power of Believing That You Can Improve“
  • Print the Interactive Transcript, read and take notes on it, and bring it to class and Writing Lab.
  • Log in to your UNE ePortfolio site at http://uneportfolio.org/wp-login.php, customize its theme if you like, and create a Welcome post (not page) that includes your initial description of the purpose of your site and a profile of who you are.

Week 3 – Telling Stories About Reading and Writing

September 12 – Defining a genre; Defeating Writer’s Block Once and For All

• Due at the start of class: Draft and Final Version of the First Week Writing Assignment
  • share UNE Docs with Dr. Drown: edrown@une.edu
  • bring printouts (printed on one side of the page only) of both docs
  • send an email to edrown@une.edu with the URL of your UNE ePortfolio.
• Habits of Mind Survey (handout)
• In class:
  • Copy and paste your “Rules of Writing” email to me into a comment on my Rules of Writing post.
  • Using the results of your survey, your experience and what you learned from viewing the Dweck video, post a comment on my Growth Mindset post: To what degree do you think you currently possess the habits of a creative mind? What’s your best advice to someone seeking to develop a growth mindset?
• What is a Literacy Narrative?  View the Assignment Here.
• Using PreWriting for Inquiry
• For next class:
  • [Recommended – but could be put off for a few days]: Visit the Norton Field Guide’s “Writing a Literacy Narrative” page to get a better understanding of what a literacy narrative is and to see some examples.  Student Written Sample 1 | Student Written Sample 2
  • Many of you missed the instruction to Print your draft and final of your First Week Writing Assignment.  Please be sure to review the instructions from last class and get them printed and brought to class for Wednesday.
  • Do 30 minutes of prewriting towards your Literacy Narrative.  Here’s a descriptive list of prewriting strategies.
  • In Habits of the Creative Mind, read “On Unlearning.”  In your notebook, list all of the habits of the creative mind; then, define each habit as you understand them from your own experience.
  • On my Rules of Writing post, create a comment and write for 10 minutes about how the habits of mind you defined in “On Unlearning” relate to the “Rules of Writing” you wrote about on Sept. 7.  In what ways do and don’t the “Rules of Writing” you wrote about foster the habits of the creative mind?
  • Print Sherman Alexie, “Superman and Me,” Los Angeles Times, April 19, 1998.
  • Preview Practice Session 2 (Habits, p. 19).  Then read and mark up “Superman and Me” in a way that helps you complete Practice Session 2.  Then spend 30 minutes doing the “Reading” activity part of Practice Session 2 on “Superman and Me.” 
  • Create a new post (not page) on your ePortfolio site called Reading Superman and Me. Take photos of a few marked up pages of “Superman and Me” that demonstrate your best mark ups.  Post these photos on your ePortfolio site.  Explain at least two of the comments you’ve made on that page. What is your annotation helping you do?
  • Create a free Padlet account to participate in next class’s Crowdsourced Annotation activity.

September 14 – Unlearning; Swapping Stories

• Discuss: In light of “On Unlearning,” how have your ideas about “Rules of Writing” changed?
• Discuss: Where does, Sherman Alexie, the writer of “Superman and Me” display the habits of the creative mind?  Be prepared to point to specific passages in “Superman and Me” that display one or more of the habits, and explain what you see in them.  Turn on your voice recorders: As a group, exchange stories about your own literacy experiences that relate (for better or worse) to some of these habits.
• Crowdsource Read and Annotate excerpts from Deborah Brandt, “Sponsors of Literacy”
• For next class:
  • Do 35-45 minutes of pre-writing towards your Literacy Narrative.
  • In Habits of the Creative Mind, read and mark up “On Confronting the Unknown.”  In your notebook, write for 10 minutes about how writing can enable you to confront the unknown, and what characteristics such writing tends to have.
  • Read and mark up pp. 25-37 (pp. is an abbreviation for “pages”) of Mike Rose’s “I Just Wanna Be Average” with the aim of writing for 20 minutes about how Rose confronts his experience to find meaning in it.  Then, in your notebook, write for 20 minutes about the moments, in “I Just Wanna Be Average,” where Rose displays the characteristics needed to confront experience and find meaning in it.  Then write in your notebook for 10 minutes about the questions your own literacy experiences raise, and what they might mean to you and others interested in literacy.
  • Create a post on your ePortfolio site and display a selection of your best prewriting this week.
  • For help with any ePortfolio assignments visit Miranda Hall, the Digital Literacy Consultant, in the DigiSpace in Marcil 217AB. The DigiSpace is open Monday-Thursday 5-8PM.  So plan ahead.

Week 4 – What Else Can Be Said?; Introduction to Constructive Feedback

September 19 – Making Meaning

• Discuss: Using your notes and writing from your reading of “On Confronting the Unknown,” respond to the question on my “On Confronting the Unknown” post.  Then, discuss with your group concrete ways you can use writing to “bring you to the edge of your understanding (Miller and Jurecic 23) and therefore figure out what you want to say about your literacy experiences. What attitudes about writing and the world do you need to bring to this “confrontation.”  What existing beliefs about writing or writing habits might make it challenging to confront the unknown in writing?
• Discuss: Make a comment on my “Excerpting ‘I Just Wanna Be Average’” post.  Be prepared to point to specific passages in “I Just Wanna Be Average” where you see the writer trying to make sense of his or her experiences, and explain what you see in them.  Turn on your voice recorders: As a group, exchange theories about the meaning of your own and one another’s literacy experiences that might tell us something about the complex ways we come to be literate.
• For next time:
  • Go back to your PreWriting post on your ePortfolio and use the feedback I gave to improve your reflection on prewriting.
  • Write for 60-80 minutes towards your Literacy Narrative. Try to move beyond listing, freewriting, and other prewriting activities and try to write some connected story telling paragraphs in dramatic scenes.  Read the “Moving from Prewriting to Exploratory Drafting” section of the Literacy Narrative Assignment Guide for suggestions on how to move on from pre-writing.  See if you can figure out a way to use summary, quotation or paraphrase to connect your experiences to those in the Literacy Narratives you’ve read over the last few weeks.
  • In Habits of the Creative Mind, read “On Looking, and Looking Again.”  Starting today, Sept. 19, do the “Writing” section of the Practice Session on p. 44, but instead of writing about an organic object, write for at least 10 minutes every day for 7 days about one important event in your literacy history.  In order for this exercise to do its work, you must write about the same event each day.  As you complete each day’s 10 minutes of writing post it as a separate blog post (not as a page) on your ePortfolio.

September 21 – Writing Day; Intro to Peer Review

• Come to class with whatever you need to write towards a draft of a Literacy Narrative.  Earbuds, computer, notepads….  We’re going to create a single-tasking environment, so, please, set your phone on “Do Not Disturb,” turn off notifications on your computer, close all tabs and windows not related to your projects, and settle down to write.  If you’re one who fiddles around with fonts and spell-check instead of writing, try downloading Focus Writer, a free, no-frills piece of writing software that will help you keep your focus on your writing.  If you’re going to try Focus Writer, please download and install it before coming to class.
• Peer review practice using the guide here and the sample here.
• For next class: over at least three days and four writing sessions, each lasting at least 60 minutes, write a complete draft of your Literacy Narrative, upload it to UNE Docs, print out a copy (double-spaced, one-side only) and bring it to class. Consider making a text-to-self connection in your literacy narrative.
• Bring Habits of the Creative Mind to Class.

Week 5 – Every Piece of Writing Can Be Improved

September 26 – Literacy Narrative Draft Due; The Gift of Feedback

• Bring Habits of the Creative Mind to Class.
• Read, comment on, and, after turning on your voice recorders, discuss the Literacy Narratives in your group.  Be sure to talk about global concerns first, and discuss how you might solve them.  Decide which one or two local concerns are most important to address.
• In-class writing activity: In Habits of the Creative Mind, read “On the Miracle of Language” (pp. 133-135) and respond to the prompt on my On the Miracle of Language post.
• For next class:
  • Review the comments on your draft, and listen to the advice you received in discussion; in a short video, summarize the global and local feedback you received during class, and your plans for addressing them. You might want to make some notes before shooting the video.  Post the video to your YouTube account using the “unlisted setting,” then embed it on a “Revision Plan” page of your ePortfolio site.
  • Create a copy of your Literacy Narrative draft on UNE Docs and add the word “revised” to the filename. Do your revisions on this document and preserve your draft intact for portfolio purposes.  Please, do not resolve or delete your peers’ comments in the draft.  You’ll need them for your portfolio.
  • Start the work of revising your Literacy Narrative.  Spend at least 70 minutes revising your draft before coming to class on Wednesday.

September 28 – Writing Day

• Finish your On the Miracle of Language comment.
• Come to class with whatever you need to revise your Literacy Narrative.  Earbuds, computer, notepads….  We’re going to create a single-tasking environment, so, please, set your phone on “Do Not Disturb,” turn off notifications on your computer, close all tabs and windows not related to your projects, and settle down to write.  If you’re one who fiddles around with fonts and spell-check instead of writing, try downloading Focus Writer, a free, no-frills piece of writing software that will help you keep your focus on your writing.  If you’re going to try Focus Writer, please download and install it before coming to class.
• For next class: finish revising your Literacy Narrative over at least two sittings of at least 70 minutes each spread out over at least two days.
• Bring The Little Seagull Handbook to class on Monday.

Week 6 – Writing is Meant to Be Shared; Learning to Read as a Writer

October 3 – Revised Literacy Narrative Due

• Revised Literacy Narrative Due: Create a Page on your ePortfolio for your revised literacy narrative.  Copy and paste the text of your literacy narrative in and clean up the formatting, add the Category “Literacy Narrative” to your page.
• Download a copy of your archived draft of your literacy narrative in MS Word or RTF format, include comments in the download.  Name the file using this protocol: YourLastName_LiteracyNarrativeDraft.  Email it to Eric at edrown@une.edu.
• Bring The Little Seagull Handbook to class
• Clean and Polish: Use The Little Seagull to help you improve one or more of the following stigmatizing errors: a) subject-verb agreement (S-5), b) plural/possessive mixups (P-5), c) sentence fragments (S-2), d) run-on, comma-splice, fused sentences (S-3, P-1).
• Share: Visit a classmate’s portfolio and read their literacy narrative, leave some text-to-self, text-to-world, or text-to-text comments.
• Reflect/Conference signup.
• For next class:
  • Print James Paul Gee, “Literacy, Discourse and Linguistics: An Introduction” (this page is password protected: you’ll need the password to access this page) and bring it to class.
  • In Habits of the Creative Mind, read and markup “On Reading as a Writer” with an eye towards understanding how experienced writers, like Susan Sontag, read.  As you read, make a list in your notebook of the strategies that experienced writers, like Sontag, use to get the most out of their reading time.
  • Print Francine Prose’s essay “Close Reading: Learning to Write by Learning to Read.” You’re going to do the reading and writing activity in the “Reading” section of Practice Session 1 (Habits, p. 189) on Prose’s essay (not Sontag’s).  So review the instructions in Practice Session 1, and use some of the reading strategies you identified from “On Reading as a Writer” to read and mark up Prose’s essay.
    **Note: Prose’s essay was printed in The Atlantic, one of the most interesting magazines about ideas being published today.  If you’re interested in culture, politics, sports, or current events, I encourage you to visit The Atlantic frequently.  You can find more fascinating things to read at Longform, FiveThirtyEight, Vibe , and Longreads.  There’s some really smart sports writing at The Ringer, The Undefeated, and Sports on Earth.
• Bring They Say/I Say to class.

October 5 – Pre-Reading and Reading Strategies; How to Approach a Complex Text as a Writer

• Bring They Say/I Say to class.
• Discuss: Start your voice recorder: What reading strategies did you use to read “Close Reading?” What was striking about the ways Prose chose to approach her topic?  Which parts drew you in? Why?  Which parts confused you? Why? What can a writing class teach writers? What can’t it teach writers? How do writers really learn how to write? Prose is making a point about learning how to be creative.  In what ways would Miller and Jurecic agree with her?  In what ways would they disagree, or want to revise her ideas?
• Voice markers, Ventriloquy, and Identifying Who is Saying What:  They Say/I Say, “And Yet” (p. 68).
• Pre-reading Gee, “Literacy, Discourse and Linguistics.”
• For next time:
  • Use your internet search skills to compile the information you’d need to write a profile of James Paul Gee.  Who is he?  What are his credentials? What problems, issues, phenomena, behaviors or objects does he study?  What does he usually write about? What are some of the key terms that keep showing up in search results that include his name? What kinds of things are his ideas used to explain?
  • Scan, don’t read, pp. 5-8 (remember, pp. is an abbreviation for “pages”) of “Literacy, Discourse and Linguistics.”  In your notebook, compile a list of keywords, passages that caught your eye, questions that pop up in your head, and problems you encounter as your scan.  Write for 5 minutes: What seems to be interesting about this piece of reading?  What difficulties do you have making sense of it?
  • Read, don’t scan, pp. 5-8 of “Literacy, Discourse and Linguistics.” As you read, make notes in the margin summarizing the gist of his ideas, defining key terms in your own words, answering or asking questions, coming up with your own examples for his ideas, making text-to-text or text-to-self or text-to-world connections, and anything else that seems to help.  Do NOT use a highlighter to highlight passages.
  • Make a Reading Gee page on your ePortfolio.  Take photos of your marked-up pages of Gee, and post them to your Reading Gee page.  Explain your markup strategies and how the pre-reading strategies you experimented with worked for you.

Week 7 – Making Sense Of and With Gee; Learning to Read as a Writer II; Learning to Write as a Reader

October 10 – Making Sense of/with Gee

• Use the information you discovered, to work with a partner to write a one paragraph profile of James Paul Gee. Here is an example of a typical author profile. Yours needn’t be quite so long and detailed, but you should try to give your profile readers a good sense of Gee’s authority and the substance of his ideas.  Post your profile of Gee on your Reading Gee page of your ePortfolio.  Be sure to credit your co-author.
• Mark-up strategies: Chunking, annotating, gisting, paraphrasing, noticing a writer’s moves (claims, support, explanations, forwarding and countering) and habits of mind (curiosity, persistence, openness, reflection, engagement, responsibility, flexibility, and creativity).
• Discuss: Start your voice recorder:  Use specific passages on pp. 5-8 to work your way through these questions.  Make sure that you do more than identify the correct passages, be able to explain what they mean to someone who hasn’t read Gee:  What passages were hard to understand?  What is a Discourse?  What examples does Gee give to help explain the concept of Discourse?  How do those examples work? How do we acquire Discourses? Make a text-to-self connection: What Secondary Discourses have you acquired? How?  Which passages in Gee help you answer to these questions?
• For next class:
  • Re-read Gee, pp. 5-8.  Add to your mark-up in light of class discussion and your re-reading. Use a different color pen to distinguish “first-read” notes from “re-read” notes.
  • After re-reading, make a short video explaining which of Gee’s ideas were clearer or more understandable this time through.  Explain the difficulty you  had on your first read, and what exactly you understand better on a second read.  You might also explain what you noticed this time through that you overlooked last time.  Finally, explain what remains harder to understand.
  • Post the video to your YouTube account using the “unlisted setting,” then embed it on your Reading Gee page.

October 12 – Making Sense of/with Gee; Re-reading

• As a group, view your re-reading Gee videos.  As you watch, take notes to identify shared understandings and shared areas of difficulty.  Then turn on your voice recorders and work with one another to improve your collective understanding of these pages of Gee.  Experiment with paraphrasing key passages in your own words, noticing and defining key words, coming up with your own examples, looking up Gee’s sources and examples, “talking back to the text,” playing the doubting game or the believing game, and other slow-reading strategies to improve your understanding of the text.  Also, discuss the benefits of re-reading and discussing your reading with others.
• Pre-reading Gee, pp. 9-13 (including the end of the paragraph that finishes on p. 14).  Work with a partner.  Start creating a list of keywords, passages that catch your eye, questions that pop up in your head, and problems you encounter as you scan pp. 9-13 of “Literacy, Discourse and Linguistics.”  Use metacognitive reading strategies and tools (Metacognitive Bookmark and Word Detective strategies) to help you read actively and meet the challenges of this complex reading.
• For next class:
  • Finish making your pre-reading list of keywords, passages that catch your eye, questions that pop up in your head, and problems you encounter as you scan “Literacy, Discourse and Linguistics.”  Post your pre-reading list to your Reading Gee page.
  • Read, don’t scan, pp. 9-13 (including the end of the paragraph that finishes on p. 14)  of “Literacy, Discourse and Linguistics.” As you read, make notes in the margin summarizing the gist of his ideas, defining key terms in your own words, answering or asking questions, coming up with your own examples for his ideas, and anything else that seems to help.  Do NOT use a highlighter to highlight passages.
  • Take photos of your marked-up pp. 9-13 of Gee, and post them to your Reading Gee page.
  • Bring They Say/I Say and The Little Seagull to class on October 17.

Week 8 – What is Literacy and Why Does it Matter?; Joining the Conversation

October 17 – What is Literacy and Why Does it Matter?

• Bring They Say/I Say and The Little Seagull to class.
• Compose a response to my Using Gee’s Keywords post. [Framing quotes, signal phrases.]
• In a group, compare your pre-reading lists and reading notes for Gee, pp. 9-13.  As you compare, take notes to identify shared understandings and shared areas of difficulty.  Then turn on your voice recorders and work with one another to improve your collective understanding of the these pages of Gee.  Experiment with paraphrasing key passages in your own words, noticing and defining key words, coming up with your own examples, looking up Gee’s sources and examples, and other slow-reading strategies to improve your understanding of the text.
• [SKIP]Discuss:  Turn on your voice recorders: Why does Gee’s page 9 redefinition of the term “literacy” matter? Make a text-to-self or text-to-world connection: can you think of examples in which being literate or illiterate in a particular Discourse makes a difference?  As you think of your own examples, point to the passages in Gee’s text to which they’re connected, and explain how they confirm, complicate, or challenge his views.
• In They Say/I Say, read “Yes/No/Okay, But” to prepare for reading Lisa Delpit.
• For next class:
  • Re-read Gee, pp. 9-13.  Add to your notes on those pages. Use a different color pen to distinguish “first-read” notes from “re-read” notes. 
  • Print Lisa Delpit, “The Politics of Teaching Literate Discourse.” This page is password protected.  Enter the password to access the reading.
  • Preview/preread Lisa Delpit, “The Politics of Teaching Literate Discourse” using the guidelines here.
  • Read the “Reflecting” section of the Practice Session on p. 30 of Habits.  Use the questions and instructions there to read and mark up Lisa Delpit’s “The Politics of Teaching Literate Discourse.”  Pay particular attention to how she uses her sources.  Which sources motivate her to write?  Which help her get the tenor of the conversation around Gee’s idea of Discourse?  Which are her “allies” in her project to complicate or counter Gee?  Also, pay attention to the way she uses voice markers (They Say/I Say, ch. 5, “And Yet…”) to distinguish what Gee says from what she says.
  • [NOT REQUIRED] In Habits of the Creative Mind, read “On Joining the Conversation.”  Make a short video explaining how the kind of writing you’re learning to write can be understood as a “conversation.”  What’s the value of thinking of this kind of writing as conversational?  What are some of the different ways Michael Pollan uses sources in his written conversation with Peter Singer?
  • [NOT REQUIRED]Then, after reading and marking-up Delpit, take 30 minutes to write in your notebook about same questions that Miller and Jurecic ask about Michael Pollan’s use of sources, only use them to write about how Delpit uses her sources.

October 19 – Making Connections

• Working to clarify terms: “Politics,” “Mushfaking a Discourse,” “Metaknowledge,”
• Discuss: Turn on your audio recorder: To what degree, and about what, does Delpit agree with Gee (locate passages in both articles to show agreement)? Why is Delpit so intent on undermining two of Gee’s claims? How does reading Delpit alter your view of Gee? Make a text-to-self or text-to-world connection with Delpit: In what ways have you or others successfully been taught a Discourse that others thought would be exceedingly difficult for you to acquire?
• Big-D Discourse, On the Screen
• For next time:
  • In They Say/I Say, read “Introduction: Entering the Conversation,” “Her Point Is: The Art of Summarizing,” and “As He Himself Puts It: The Art of Quoting.”
  • Use your notes, audio recording, and readings, write for 45 minutes working towards answering the questions you discussed in class on Oct. 19.  Use some of the templates from the summarizing and quoting chapters of They Say/I Say in your writing.
  • Start the work of choosing a film to work on for this project.  Click here for a list of approved films. If you think other films might work, please let me know, and I’ll take a look.
    • To choose a film to work on, you should pre-view it in light of the conversation between Gee and Delpit.  I’ve offered some questions to consider in the Big D Discourse Assignment Prompt that might help you get started.
    • As you look at these films, consider the degree to which they stage characters in situations where they are acquiring a Discourse, struggling to acquire it, performing it badly, faking a Discourse, or having two or more Discourses in conflict.  You might look to see if characters acquire or lose social “goods” (“money, prestige, status”) because of their fluency (or lack of) in a Discourse, or whether they have “solidarity” because of their participation in a Discourse community.
    • To write about a film, you should be able to identify at least two or three scenes in it that are worth writing about in terms of Gee’s theory of Discourse and Delpit’s criticism of Gee.
  • Come to class with two or three candidate films you might write about, and a list of two or three scenes from each film that seem relevant to Discourse.  It would be really useful if you can find pre-existing clips of those scenes and be ready to share them with your group.  Or use Quick Time Player to make clips.  The DigiSpace consultant can help with this.

Week 9 – Gathering Materials; Making and Testing Connections: Text-to-text, text-to-self, text-to-world

October 24 – Gathering and Evaluating the Materials You’ll Use to Build your Paper

• Make a comment on my Entering the Conversation post.
• Share clips and discuss: what makes the clips you’ve chosen good examples for testing Gee’s theory and addressing Delpit’s criticism?
• Pair: Start the work of going through the readings and identify the passages in Gee and Delpit that seem to be relevant to each clip.  Likely, more than one passage from the readings will be relevant to each clips.
• For next class:
  • Choose one of the topic questions on the last section of the Big D Discourse assignment page to give focus to your work.  Then, go back through your notes and annotations on each reading, and for each clip, make a list of passages from both articles that seem to be relevant to each clip.
  • For each passage, write a few sentences explaining the connection using key words and concepts drawn from Gee and/or Delpit (be sure to include specific page references in your sentences):  for example, you might write:  “This clip is a good example of a character gaining social prestige as they get more fluent in a dominant Discourse (Gee 8) because it shows __________.”

October 26 – Evaluate Materials

•  Share clips and discuss: what makes the clips you’ve chosen good examples for testing Gee’s theory and addressing Delpit’s criticism?
• Practice using the TRIAC and Barclay’s Formula paragraph structures by making a comment on my Experimenting with Barclay’s Formula and TRIAC post.
• For next time,
  • In Habits of the Creative Mind, read “On Working with the Words of Others” (pp. 119-127).  In your notebook, record the different kinds of “work” sources and citations do for experienced writers.  Also, look for one or two strategies experienced writers, like Jill Lepore, use to make sure that the words they borrow from other writers do the work they intend.
  • Do the “Reading” portion of Practice Session 2 (p. 128) on Delpit or Gee.  Post your answers to the questions in Practice Session 2 on your ePortfolio under the title “Experienced Writers Working with Sources”
  • Schedule and write at least two 80-90 minutes sessions in which you write an exploratory draft of your Big D Discourse paper.  Experiment with the TRIAC and Barclay’s Formula paragraph structures.

Week 10 – Writing Workshop; Drafting Gee

October 31

• Writing Day
• For next time:  Work for 80-90 minutes on a draft of your Big D Discourse paper

November 2

• Writing Day
• For next time:  Work for at least three 80-90 minute sessions on a draft of your Big D Discourse paper

Week 11 –

November 7. Draft of Paper 2 Due

• Draft Big D Discourse Paper Due: Create a Page on your ePortfolio for it.  Post it to your page.
• Peer Review
• For next time:  nothing

November 9 – Fun Day

• Arrive at 9:10 if you want to see the start of the film.

Week 12 – Revisit Literacy Narratives in Light of Big D Discourse

November 14

• Reply to my Big D Discourse and Me post:  How does your work on the concept of Discourse and literacy shape your view of your own literacy experiences? What aspects of your story would Gee or Delpit be most interested in? How would Gee or Delpit write about events in your literacy history?  How does your literacy history fit or not fit with Gee’s theory (or Delpit’s revised version of it)?  What lessons would Gee or Delpit derive from your history as viewed through the lens of Big D Discourse theory? What changes or additions could you make to your literacy narrative to reflect what you’ve learned since you finished the last draft of your literacy narrative?
• Self-Assessment: Peer Review
• Revisit Deborah Brandt, “Sponsors of Literacy” and our Padlet.
• For next class: continue revising your Discourse paper.

November 16

• In class: Sign Up for a Medium account.
• Writing Day: Revise your Literacy Narrative.
• For next class: continue revising your Discourse paper.

Week 13 –

November 21.  Revised Paper 2 Due

• Partner Read Aloud: Polish and Proofread
  • Efficiency
  • Wrong Words
  • Compelling Title
  • In Text References: signal phrases + parenthetical references with page numbers
  • Works Cited
• Publish
  • Email a copy of your paper to me at edrown@une.edu
  • Create a new Post for your Big D Discourse paper on your ePortfolio site.  Copy and paste your paper into the body of the post, use your paper title as the post title, and be sure your post is available on your ePortfolio.
• Reflect
  • Create a new post on your ePortfolio titled “Progress Report – Big D.”  Use the criteria on the Evaluation Report Form to assess your growth on a selection of the course learning outcomes.  Besides circling pieces of the bullet points on the form and marking your self on the Novice-Master scale, write a paragraph or two explaining why you placed yourself where you did.  The  paragraphs you write should use and expand on some of the language you’ll find in the bullet-pointed “markers” of learning for each learning objective. Please assess yourself in paragraph form on the following learning outcomes.
    • Writing as a Recursive Process
    • Integrate Ideas with Others
    • Engagement
    • Document Work Using Appropriate Conventions

November 23 – No Class – Thanksgiving Break

Week 14 – ePortfolio – Collect, Select, Reflect

November 28.

• ePortfolio/Medium work
• Reflection
• For Next Time
  • In Habits of the Creative Mind, read “On Self-Curation”
  • Work on your reflection and ePortfolio

November 30

• ePortfolio work
• Reflection
• For Next Time
  • Read pp. 342-344 of Bronwyn T. Williams, “Heroes, Rebels and Victims“
  • Put together a full “draft” of your ePortfolio.
  • Expectations:
    • menu structure in place, logical and functioning
    • “near-final” text and evidence on each of the learning objectives pages
    • draft and final pages for each of the writing projects have all text in place

Week 15 -Categorizing the Archive

December 5

• Sponsorship work
• Tagging work

December 7