Exploring Writing Strategies

Review Questions: 

What is strong reading?
What does it mean to read with the grain?
What does it mean to read against the grain?
Explain the difference between what an author is saying and what the author is doing?

Wallowing in Complexity

Wallowing in Complexity takes time. We sometimes wallow in sadness, but this is unproductive wallowing--we want to productively wallow. To "wallow" is also to 'dwell', to not jump to conclusions/to the end. To wallow in the complexity of a text or a thought is to keep it OPEN rather than close it down. As Bartholomae and Petrosky put it, "Think of yourself, then, as a writer intent on opening a subject up rather than closing one down" (B&P 17).

Exploratory Strategies

• Free-Writing
• Idea Mapping
• Dialectic Talk (i.e. "conversation")
• Believing and Doubting

Activity: Free-writing and Conversing about "next to of course god america i" 

  "next to of course god america i
love you land of the pilgrims' and so forth oh
say can you see by the dawn's early my
country 'tis of centuries come and go
and are no more what of it we should worry
in every language even deafanddumb
thy sons acclaim your glorious name by gorry
by jingo by gee by gosh by gum
why talk of beauty what could be more beaut-
iful than these heroic happy dead
who rushed like lions to the roaring slaughter
they did not stop to think they died instead
then shall the voice of liberty be mute?"


He spoke. And drank rapidly a glass of water


Everyone had some great insights into this poem. Many reader's saw the poem as "sarcastic," although perhaps the better way to put it is "ironic" or "satirical." The class pretty much got that the author seems to be commenting on the confusion of patriotism and the defense of country.

One interesting point we got at in third period was the last line. Rather than looking at it from the perspective of tone or attitude, a student usefully pointed out how the author stylistically separates it from the poem. The line has both punctuation and capitalization. We did not "wallow" in the complexity of this for very long (due to time constraints) but there is much to say about this.

The Take-Away Point

Because many of you have had to take literature courses in high school, you are used to analyzing literature and poetry (at least to a certain extent). The same strategies we use to read literature can be applied to academic essays, particularly the type in Ways of Reading.  All the rhetorical strategies we find in poetry will be used in these essays. We also need to take into account the essay's structure. We will look at the figurative language of these essays as well as discuss the topics at hand. We want to look at these essays in terms of their style and structure and try and imitate it, much in the same way you might write in the style of an author or a poet.

Conservative Manifesto

Micole Kaye posted a great piece on her blog called "No Things Considered – The Conservative Perspective Micole Kaye and Natalie Riusech." It can be found here: 

http://micolek.blogspot.com/2011/08/no-things-considered-conservative.html?showComment=1314632016666#c8489876295948010152

Strong Reading

As I pointed out in class, the author's introduction is itself an example of the type of writing you will encounter int the text. B and P offer many ways to think about reading and writing, but primarily, they want to think of it as a a "social interaction," that is, like a conversation. One of the imaginative ways B and P frame reading is in terms of speaking/silence: 

the pages before you will begin to speak only when the author's are silent and you begin to speak in their place--sometimes for them--doing their work, continuing their projects--and sometimes for yourself following your own agenda" (1).

In my third period class, we discussed the ambiguous line between "subjective" reading and objective reading. A student pointed out this passage: "If ten of us read his essay, each would begin with the same words on the page, but when we discuss the essay (or write about it), each will retell and interpret Rodriguez's story differently" (2). Although this is legitimate, one's reading needs to be supported by evidence, that is, the words on the page.

B&P's emphasis on "different" interpretations prompted the counter-claim that we need to be faithful to what the author "wanted" to say. Whereas this may be easy in close formed prose, texts that, in Bartholomae's words, "announce their own meaning with little effort and ask little from the reader," the essays that we are going to read are on the continuum line between "closed" and "open" prose. We are less sure what the author "wanted" to say.

To illustrate, a student argued that all 11 pages can be summarized as the author's desiring that we "put it in our own perspective." While this is part of what B&P mean, there is much else to get from the essay. For instance, its not so much that we put it in "our own perspective" in the sense of "experience," but rather that we put it in the perspective of another author or thinker (we will do this in the 'synthesis' portion). Furthermore, we need to inquire into what this interpretation--what does it mean to "put something in one's own perspective?"  In my second period class, we focused on a different passage:

To get a better sense of what we mean by 'working with difficulty,' it might be useful to look at an example. One of the selections in Ways of Reading is a chapter from a book titled Pedagogy of the Oppressed, by the Brazilian educator, Paulo Freire. The chapter is titled "The 'Banking' Concept of Education," and the title summarizes the argument at its most simple level. The standard forms of education, Freire argues, define the teacher as the active agent and the student as the passive agent. The teacher has knowledge and makes deposits from this storehouse into the minds of students, who are expected to receive these deposits completely and without alteration--like moving money from a wallet to the bank vault. And this, he argues, is not a good thing. (11)

 One of my students found this conception of education problematic. To paraphrase her, "I like memorizing things and think that it is a good way of education." In order to see how her objection can be taken care of, I suggested we look back at the text and make sure we are getting Freire's argument correct. B&P say that his form of education "define the teacher as the active agent and the student as a passive agent" (11). I suggested to this student that though memorization and a communication of facts may be necessary, perhaps we should not believe this is the only way (the only "right" way) we can educate someone. Or, again, that we may need to memorize facts, but that this is not the end point.

Another student brought this up--that its what you do with the facts that matters. I suggested that we think about the essays in this book in a similar manner--what do we do with these essays? "Doing" involves argumentation and persuasion--this will be the point of our essays. B&P put it this way:

In every case, then, the material we provide to direct your work on the essay, story, or poem will have you constructing a reading, but then doing something with what you have read--using the selection as a frame through which you can understand (through which you can 'read') your own experience, the examples of others, or the ideas and methods of other writers. (17)

 Perhaps an example is in order. Let us return to the passage on Freire. What is B&P doing with this example/essay? Are they arguing for the same thing Freire is arguing for? What is their purpose for citing Freire? Their main purpose is to get a "better sense" of "working with difficulty" (11). So, they are using the example for their own purposes!

Similarly, B&P interpret a passage from Ralph Waldo Emerson to re-inforce their point: "In 'The American Scholar,' Ralph Waldo Emerson says, 'Meek young men grow up in libraries [. . .]' What Emerson offers here is not a fact but an attitude" (9). In other words, B&P are trying to find the significance of Emerson's examples. The phrase "What Emerson offers here" signals to the reader that this is B&P's interpretation of Emerson's quotation. The essay from which B&P quotes is trying to make the argument that books should be used in a certain way: "Books are the best of things, well used; abused, among the worst. What is the right use? What is the one end, which all means go to effect? They are for nothing but to inspire" (Emerson). B&P seem to agree with Emerson's way of thinking: these essays are meant to inspire your own projects rather than to merely distribute information.


Strong Reading: Reading With and Against the Grain

There are "tools" in B&P's essay--distinctions that they make that can be useful, distinctions that will allow us to "do" something with this essay.

Reading with the grain is to "read generously, to work instead someone else's system, to see your world in someone else's terms" (9). Thus, returning to an earlier argument, it is not the case that B&P merely want us to "put it in our perspective," but rather that they want us to put our own experience in the perspective of the essay. Its a two way street.

Reading against the grain, in contrast, is to find examples or arguments that challenge an essay's argument or perspective. Thus, as B&P put it, reading "requires a difficult mix of authority and humility" (9).

Saying and Doing

Another useful distinction that we can use to guide our reading is the difference between "saying" and "doing." An author may be saying one thing, but they are doing something in the context of the essay (there is a reason why it is there and not another place--or not there at all) (see B&P page 18). What the author is "doing" usually refers to the persuasive aspects of their argument--its rhetoric.

 

Shamelss self-serving plug

This is me playing Johnny Cash's Folsom Prison Blues at Loosey's bar last Thursday. The crowd's a bit loud:

Also, Zack posted a great video of him doing some dancing to Mr. Roboto:

Writing as Technology

So, I know that class lecture seemed a bit messy, so I want to type up the major points you should have gotten from the lecture. Furthermore, my third period class got some information that I need to relate to my second period class.

Plato

Plato/Socrates' critique of writing: writing does not help improve memory, but actually makes us rely on "external marks" "alien" to ourselves. Writing is framed as derivative knowledge in comparison to the dialectician, who gives the interlocutor the chance to respond and talk back, since words are "silent."

The problem with this is that, as we showed in class, Socrates doesn't really alllow students to "talk back," but usually just asks for consent.

Plato vs. Sophists
True knowledge (episteme) vs. sophistry

Plato and Contemporary Technology

In class, I pointed out that the argument that technology makes us "dependent" and "lazy" is present in Plato. I also made the point that by reading Plato we complicate our initial arguments about technology. We engage Plato in terms of our own question, complicating the straightforward prompt.

Writing and Critical Thinking (Allyn and Bacon)

• Good Writers ask useful and interesting questions. Good research questions cannot be answered with a yes/no answer (like the prompt); rather, good research questions complicate the way we usually think about a topic
• Writing is the process of thinking. We think through writing. 

• Good academic writing  has a purpose and an audience. 

Allyn and Bacon and our Technology Prompt

• Our prompt "Has technology made us smarter?" is a yes/no question--a bad research question. Yes, there can be non-productive (a euphemism for 'stupid') questions

•  Purpose/Audience -- The audience of this prompt is me in the role of "the teacher." The audience is so general that it could not possible contribute knowledge to an academic community, which will call for different (more specific, more complex) questions. 

• Genre--A genre is defined by Allyn and Bacon as " categories of writing that follow certain conventions of style, structure, approach to subject matter, and document design" (AB 21). I made the argument in class today that the "5-paragraph-essay-on-a-prompt-question-for-a-generic teacher" is its own genre of writing we are all ALREADY familiar with (I should note that Anis Barwashi's book Genre and the Invention of the Writer is responsible for my insight). It limits you because YOU are not asking the question--and the question will come from your purpose and audience. 

Technology Prompt and Academic Disciplines

In the third period class, we brain stormed how we could make "Has technology made us smarter" into a valid research question. For one, we could simply change the "has" to a "how," but this still does not direct the question to a specific audience.

Instead, let us ask a question about technology from the perspective of your discipline

• Economics: How has information technologies improved the standard of living in the United States?
• Politics/Ethics: How has information technology's distribution among first world countries disenfranchised the third world? How has it empowered the third world? Why? etc. 
• Philosophy: What is the essence of technology? (see Heidegger, "Question Concerning Technology")
• Health Science: How has medical technologies changed the relationship between doctors and patients in the 20th century? (this could also be a philosopher question--Michel Foucault takes this up in some of his writing) What specific technologies are responsible for such and such advancement
• Engineering: How has CAD programs affected urban design? 

etc. etc. These are just off the top of my head. "Technology" is a large abstraction as is "smarter" (or "intelligence"). We need to move beyond yes/no questions!

The take home "moral" of the story

If there is one thing I want you to think about it is the difference between demonstrating your knowledge to me (as a teacher) as if your papers are tests and contributing to the knowledge of a particular community you hope to enter as a professional. Research should not only be gathering support (though it is that too) but you need to research to figure out what the community is talking and writing about. What is a current question for your discipline?

I would argue (and this is not an original argument to me) that writing lays the foundation for democratic participation in constituting knowledge (the internet puts this into hyper-drive)

Plato on Writing

 

Socr. I have heard it said, then, that at Naucratis in Egypt there lived one of the old gods of that country, the one whose sacred bird is called the ibis; and the name of the divinity was Theuth. It was he who first invented numbers and arithmetic, geometry and astronomy, dicing, too, and the game of draughts and, most particularly and especially, writing. Now the King of all Egypt at that time was Thamus who lived in the great city of the upper region which the Greeks call the Egyptian Thebes; the god himself they call Ammon. Theuth came to him and exhibited his arts and declared that they ought to be imparted to the other Egyptians. And Thamus questioned him about the usefulness of each one; and as Theuth enumerated, the King blamed or praised what he thought were the good or bad points in the explanation. . . . When it came to writing, Theuth said, "This discipline, my King, will make the Egyptians wiser and will improve their memories: my invention is a recipe for both memory and wisdom." But the King said, "Theuth, my master of arts, to one man it is given to create the elements of an art, to another to judge the extent of harm and usefulness it will have for those who are going to employ it. And now, since you are father of written letters, your paternal goodwill has led you to pronounce the very opposite of what is their real power. The fact is that this invention will produce forgetfulness in the souls of those who have learned it. They will not need to exercise their memories, being able to rely on what is written, calling things to mind no longer from within themselves by their own unaided powers, but under the stimulus of external marks that are alien to themselves. So it's not a recipe for memory, but for reminding, that you have discovered. And as for wisdom, you're equipping your pupils with only a semblance of it, not with truth. Thanks to you and your invention, your pupils will be widely read without benefit of a teacher's instruction; in consequence, they'll entertain the delusion that they have wide knowledge, while they are, in fact, for the most part incapable of real judgment. They will also be difficult to get on with since they will have become wise merely in their own conceit, not genuinely so." . . . Then any man who imagines that he has bequeathed an art to posterity because he put his views in writing, and also anyone who inherits such an "art" in the belief that any subject will be clear or certain because it is couched in writing such men will be utterly simple-minded. They must be really ignorant of Zeus Ammon's method of delivering prophetic truth if they believe that words put in writing are something more than what they are in fact: a reminder to a man, already conversant with the subject of the material with which the writing is concerned.  

 

Phaedr. Quite right.  

 

Socr. Writing, you know, Phaedrus, has this strange quality about it, which makes it really like painting: the painter's products stand before us quite as though they were alive; but if you question them, they maintain a solemn silence. So, too, with written words: you might think they spoke as though they made sense, but if you ask them anything about what they are saying, if you wish an explanation, they go on telling you the same thing, over and over forever. Once a thing is put in writing, it rolls about all over the place, falling into the hands of those who have no concern with it just as easily as under the notice of those who comprehend; it has no notion of whom to address or whom to avoid. And when it is ill-treated or abused as illegitimate, it always needs its father to help it, being quite unable to protect or help itself.

 

Phaedr. You're quite right about that, too.

 

Socr. Well then, are we able to imagine another sort of discourse a legitimate brother of our bastard? How does it originate? How far is it better and more powerful in nature?  

 

Phaedr. What sort of discourse? What do you mean about its origin?

 

Socr. A discourse which is inscribed with genuine knowledge in the soul of the learner; a discourse that can defend itself and knows to whom it should speak and before whom to remain silent.  

 

Phaedr. Do you mean the living, animate discourse of a man who really knows? Would it be fair to call the written discourse only a kind of ghost of it?  

 

Socr. Precisely. Now tell me this: take a sensible farmer who has seed he is anxious to tend properly and wants it to yield him a good full crop: would he seriously plant it during the summer, and in forcing-areas at that, and then take pleasure in the spectacle of a fine crop on the eighth day? If he ever did such a thing, wouldn't it be just for fun or to meet the needs of a special festival? But with seed that he was really serious about, wouldn't he make full use of scientific husbandry and plant it in suitable soil and be perfectly satisfied if it came to maturity in the eighth month?  

 

Phaedr. As you know, Socrates, the latter would be a serious act, the former quite different, and motivated as you say.

 

Socr. Shall we suppose that a man who has real knowledge of justice and beauty and goodness will have less intelligence about his own seeds than a farmer does?  

 

Phaedr. By no means.  

 

Socr. Then he will not, when he's in earnest, resort to a written form and inscribe his seeds in water, and in inky water at that; he will not sow them with a pen, using words which are unable either to argue in their own defense when attacked or to fulfill the role of a teacher in presenting the truth. . . . In this regard, far more noble and splendid is the serious pursuit of the dialectician, who finds a congenial soul and then proceeds with true knowledge to plant and sow in it words which are able to help themselves and help him who planted them; words which will not be unproductive, for they can transmit their seed to other natures and cause the growth of fresh words in them, providing an eternal existence for their seed; words which bring their possessor to the highest degree of happiness possible for a human being to attain. (Phaedrus 67-71) 

 

from: http://people.ucalgary.ca/~dabrent/webliteracies/platowri.htm

Syllabus

ENC 1102: RHETORIC AND ACADEMIC RESEARCH

SECTION 1723 MWF 3, MAT 116

Instructor: Jacob T. Riley

Email: jtriley@ufl.edu

Phone: 734-368-8015

Office Hours: TBA

This section uses E-learning in Sakai:   http://lss.at.ufl.edu (use your Gatorlink ID & password)

ENC 1102: Rhetoric and Academic Research focuses on the essential stylistics of writing clearly and efficiently within the framework of argumentative research writing. You will learn how to formulate a coherent thesis and defend it logically with evidence drawn from research in your various fields. You will also learn how to work through the stages of planning, research, organizing, and revising your writing.

ENC 1102 will introduce you to techniques and forms of argument in a broad range of disciplines, including the humanities, social sciences, business, and natural sciences. To ground your investigations for the semester, the course will focus on a particular seminal theme.  This course encourages students to investigate the relationship between writing and knowledge, and to discover how writing can create, rather than merely transmit, knowledge. Class discussions will reveal the complementary relationship between writing and research and demonstrate how persuasive techniques and genres vary from discipline to discipline. You will learn how writing effectively and correctly in your fields will help to integrate you as professionals into your “knowledge communities.”

Course Structure

In ENC 1102, we’ll cover the essential elements of writing clearly and persuasively. We’ll spend roughly the first third of the term focusing on persuasive writing principles, and then build incrementally towards a full research paper, from writing a summary, to an annotated bibliography, which will expand into a synthesis of critical sources, and then a full-scale research paper. Along the way, you will learn efficient library research techniques, correct documentation styles, and ways to avoid plagiarism. While the course does emphasize academic research and writing skills, assignments and discussions in ENC 1102 are designed to demonstrate that writing classes do not exist in a vacuum and that writing is not solely an academic enterprise. The critical thinking skills and efficient writing habits learned in this class will help to ensure your success both at college and in your future careers.

Required Texts

Ramage, John D., John C. Bean, and June Johnson. The Allyn and Bacon Guide to Writing.  New York: Pearson, 2009.

Bartholomae, David. and Anthony Petrosky.  Ways of Reading. 9th  ed. Boston: Bedford/St. Martin, 2011.

ASSIGNMENTS AND GRADING

Summary and Analysis (1000 words)                                                                                     150

To demonstrate critical reading and analysis, students will write a brief

summary followed by a detailed analysis of the same document.

Synthesis of Literature (1200 words)                                                                                     150

To demonstrate the skill of synthesizing information, students will analyze three essays and

then synthesize them to demonstrate how they have reached an enlarged perspective on a specific topic.

Research Exploration Blog I: Idea development, Freewriting                                              50

Research Exploration Blog II: Research Prospectus/Presentations (400 words)          75 

As a part of topic and thesis development, students write a brief proposal and present preliminary findings to the class.

Annotated Bibliography of 15-20 sources (1200 words)                                                        150

In preparation for the Research Paper, students will gather and annotate sources emphasizing

their value for a particular research project.

Partial Draft of Essay (1500 words)                                                                                         150

This partial draft will allow you to get detailed feedback from me on your work. See assignment for more particular details. 

Research Paper (2700 words)                                                                                                  250

As the culmination of the course, the research paper will incorporate the skills of

argumentation, summary, analysis, and synthesis that students have refined during the

semester. In the paper, students will make a clear, specific, narrow argument about an arguable topic. The argument will be logos-based and supported with evidence in the form of facts, statistics, and/or quotations from experts in the field.

Revisions                                                                                                                                   100

Late semester, you will revise the Synthesis paper. The revisions must be accompanied by a reflective letter that addresses your thinking through the revising process.  You will be graded on both the revisions and the letter.

Blog (5 posts) x 20 pts. =                                                                                                          100

Throughout the semester, you will be asked to compose blog posts on readings, visuals and/or questions raised in class. Create a blog using Google’s blogger service: www.blogger.com.

                                                                                                                 TOTAL                        1150  pts.                                                                                                                                                             

Grading Scale

ENC 1102 Syllabus         Page    3

A	4.0	93-100%	1162-1250	C	2.0	73-76 %	912-961
A-	3.67	90-92%	1125-1161	C-	1.67	70-72%	875-911
B+	3.33	87-89%	1087-1124	D+	1.33	67-69%	837-874
B	3.0	83-86%	1037-1086	D	1.0	63-66%	787-836
B-	2.67	80-82%	1000-1036	D-	0.67	60-62%	750-786
C+	2.33	77-79%	962-999	E	0.00	0-59%	0-749

General Education Learning Outcomes

You must pass this course with a grade of C or better to receive credit for the 6,000-word University Writing Requirement (E6). You must turn in all papers to receive credit for writing 6,000 words. A grade of C or better satisfies the University's General Education Composition (C) requirement. You must pass with a grade of C or better if this course is to satisfy the CLAS requirement of a second course in Composition (C). If you

are not in CLAS, check the catalog or with your advisor to see if your college has other writing requirements.

COURSE POLICIES

Attendance & Tardiness

ENC 1102 is a participation-oriented, skills-based writing course, which means that you will build your skills incrementally and systematically in each class throughout the semester. Much of the learning that takes place is spontaneous and difficult to reproduce outside of class.

Please do not come late to class; arriving late disrupts the entire class. If you are more than 15 minutes late, you will be marked absent. Being tardy three times will equal one absence.

Consequently, the University Writing Program policy is that attendance is required. If you miss more than six periods during the semester, you will fail the entire course. The UWP exempts from this policy only those absences involving university-sponsored events, such as athletics and band, and religious holidays. Absences for illness or family emergencies will count toward your six allowed absences.  If you are absent, it is still your responsibility to make yourself aware of all due dates. You are still responsible for turning assignments in on time. Save your absences for when you’re really ill.

Preparation

You are expected to be prepared for every class, including completing all reading and writing assignments on time. Failure to be prepared for or to contribute to in-class activities and discussion will affect your grade. Papers and drafts are due at the beginning of class. Late work, if accepted, will incur a grade penalty.

Mode of Submission

All papers must be in 12-point Times New Roman or Calibri font and double-spaced. All final drafts will be submitted via E-Learning.  Your final drafts should be polished and presented in a professional manner. On all papers write your name, the assignment, and the word count at the top of the paper. When submitting a document, please name the file like this:  NameAssignmentDraft#.doc (or .rtf). If it is the final draft, write “Final” instead of “Draft#”.  For example, SmithRAdraft3.doc or SmithSynthFinal.rtf.

Plagiarism

ENC 1102 Syllabus         Page    4

Plagiarism is a serious violation of the Student Honor Code. The Honor Code prohibits and defines plagiarism as follows:

Plagiarism: A student shall not represent as the student’s own work all or any portion of the work of another. Plagiarism includes (but is not limited to):

a. Quoting oral or written materials, whether published or unpublished, without proper attribution.

b. Submitting a document or assignment which in whole or in part is identical or substantially identical to a document or assignment not authored by the student. (University of Florida, Student Honor Code,

15 Aug. 2007 <http://www.dso.ufl.edu/judicial/honorcode.php>)

University of Florida students are responsible for reading, understanding, and abiding by the entire Student

Honor Code.

All acts of plagiarism will result in failure of the assignment and may result in failure of the entire course. They will also be reported to the University. Plagiarism can occur even without any intention to deceive if

the student fails to know and employ proper documentation techniques. Unless otherwise indicated by the instructor for class group work, all work must be your own. Nothing written for another course will be accepted.

Academic Honesty

As a University of Florida student, your performance is governed by the UF Honor Code, available in its full form at http://www.registrar.ufl.edu/catalog/policies/students.html. The Honor Code requires Florida students to neither give nor receive unauthorized aid in completing all assignments. Violations include cheating,

plagiarism, bribery, and misrepresentation. Visit http://www.dso.ufl.edu/judicial/procedures/academicguide.php for more details. All acts of academic dishonesty will result in failure of the assignment and may result in failure of the entire course.   They will also be reported to the University.

Graded Materials

Students are responsible for maintaining duplicate copies of all work submitted in this course and retaining all returned, graded work until the semester is over. Should the need arise for a re-submission of papers or a review of graded papers, it is the student's responsibility to have and to make available this material.

Classroom Behavior

Please keep in mind that students come from diverse cultural, economic, and ethnic backgrounds. Some of the texts we will discuss and write about engage controversial topics and opinions. Diverse student backgrounds combined with provocative texts require that you demonstrate respect for ideas that may differ from your own.

Students with Disabilities

The University of Florida complies with the Americans with Disabilities Act. Students requesting accommodation should contact the Students with Disabilities Office, Peabody 202. That office will provide documentation to the student who must then provide this documentation to the instructor when requesting accommodation.

Weekly Schedule

Week/Date	Lesson	Readings for Today	Assignments
1 8/22, 24, 26	Diagnostic Essay
	Syllabus, get to know each other
	Model Reading	WR p.1-21, AB ch.1, ch.6 p. 109-117
2 8/29, 31, 9/2	Wallowing in complexity
	wallowing in complexity, coming up with ideas	AB ch.2
	Intro to Research Exploratory Blog, assign part I	AB ch. 8 p.175-186, ch.9 p.208-225
3 9/5, 7, 9	Persuasion, Visual Argument
	Persuasion, visual argument	AB ch.3, ch.11
	[Summary/Analysis unit]
4 9/12, 14, 16		AB Ch. 5	RE Blog I DUE
		AB ch. 5 continued	Blog 1 "Why Bother?" DUE
		"The Pain Scale" WR pg. 170-182
5 9/19, 21, 23	Assign Research Prospectus	AB ch. 19 p.517-522;	Blog 2 "Pain Scale" DUE
		WR, Richard Rodriguez "The Achievement of Desire," pgs. 513-536
	S/A Peer Review	AB, ch. 17 p. 498-505
6 9/26, 28, 30	Topic development workshop	AB ch. 13	S/A due
	Topic development workshop		Blog 3, "The Achievement of Desire"
	Present Research Prospectus (sm. gps)		Res. Exploratory Blog II (Prospectus)
7 10/3, 5, 7	[Synthesis unit]	AB ch. 12; “The Banking Concept of Education” WR pg 316-330	Blog Response 4 Due
		DFW--"Commencement to Kenyon College"	Blog Response 5 DUE
8 10/10, 12, 14		Synthesis Activities
		Synthesis Activities
9 10/17, 19, 21	Talking to group about papers, asking questions about synthesis, looking over examples of summary/analysis
	[Annotated Bibliography unit] (Lecture)	AB ch.7. pgs 164-166
	Style Exercises/Lecture		Synthesis due
10 10/24, 26, 28		AB22, 23 (not necessarily this day); WR pg. 187-214
		WR pg 214-233
		AB. Ch. 20 Library day
11 10/31, 11/2, 11/4		AB Ch. 21
		AB Ch. 23
	Annotated Bibliography Peer Review
12 11/7, 9, 11		TBA
	Titles, Introduction, Conclusions (Prezi)	TBA	Annotated Bibliography due
		TBA
13 11/14, 16, 18		TBA
			Partial Draft of Essay (at least 1500 words)
14 11/21, 23, 25
	Research Paper Peer Review
15 11/28, 11/30	Research Paper conferences
	Wrap-up		Research Paper due