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  • 1. University of California at Santa Cruz Writing 2: Rhetoric and Inquiry: Writing about Fiction and Poetry Winter 2009 Dion N. Farquhar, Ph.D T/Th 8-9:45 am Office: Oakes, 314 This syllabus can be downloaded as a pdf file from: Course Description This course will focus on writing about poetry and fiction. We will read poetry by Jean Vengua and Ron Silliman, Joseph Conrad’s novella, Heart of Darkness, and Philip K. Dick’s novel, Do Androids Dream of Electric Sheep? Through weekly in-class freewrites and other writing assignments, this course will suggest strategies for critically analyzing arguments made by poetry and fiction texts. Students will analyze the writing strategies and formal properties of poems and stories, and they will practice writing clear and effective exposition and analysis. We will enhance reading awareness by exploring the rhetorical techniques written texts use to achieve effects on their audiences. This course will help students increase the power of their critical reading and writing by analyzing writing strategies for use in their own writing. Students will practice writing about the readings and go beyond them by finding their voices in response to them. This writing course will investigate how poetry and fiction texts create knowledge and forge identity. We will discuss the language, voice, style, and audience of each text. With practice, students will go beyond the texts themselves and bring their own ideas to the fore, judging their persuasiveness and responding to them with their own ideas and analysis. Course writing will include freewrites, response papers, note-taking, critical interpretation, essays, writing and researching a research paper, and drafting several versions of it. Students will receive help with thesis development and paper revision via small group discussion, teacher conferences, peer editing, revision, and library research. They will edit and revise their work and participate in peer editing workshops, and each class will include discussion in both large and small groups. By the end of this course, students will be better writers, editors, and thinkers. Finally, students will assemble a comprehensive writing portfolio, which will be the basis of their course grade. Course Requirements, General: • Class attendance is mandatory. 1
  • 2. • No lateness. Stragglers are distracting and interrupt class dynamics and cohesion. Habitual latecomers will be dropped. • Regular reading is essential to successful completion of any college course. The texts we are reading are springboards for writing as well as objects of analysis. Do not leave reading assignments for the night before, but pace yourself. Careful reading will aid your development as a writer. • Class participation. Come prepared to argue and defend your point of view as well as listen and engage viewpoints you disagree with. College is a challenging conversation among people who are committed to democratic disagreement and competition about ideas. • No late writing assignments. There are many paper due dates. Electronic submissions will not be accepted. Please, no printer problems or computer lab stories. Plan ahead. Lateness will affect your grade. • Final Portfolio Keep all drafts, revisions, free-writes, and Reading Response papers. All writing – both in-class and out – is to be saved and collected in your Writing Portfolio, due March 12. • If you experience problems completing the work, seek help. See me right away, and make an appointment with your Academic Advisor. S/he can help you with time management and referrals to tutoring or any other resource you may need. • Always reread, proofread, and spellcheck your written work before submitting it. Do not rush. Gross errors have no place in college work. Course Requirements, Specific (grade weight in parenthesis): • attendance and punctuality (priceless) • class participation in discussion, workshops, other activities (20%) • one Writer’s Autobiography • three (3-4 page) essays • first draft, Research Paper • second draft, Research Paper • final draft, Research Paper • Assorted cover sheets (to be distributed): Library Cover Sheet, Research Paper Cover Sheet • At least two consultations with me about your writing, academic progress, etc. Please make an appointment; sign-up sheets will be available. • Reading Response papers (see Weekly Assignments) • Final Portfolio containing all writing (in-class and at-home) you have done this quarter (80%). Portfolio Cover Sheet is found on the last page of this syllabus. 2
  • 3. Note: In accord with Writing Program policy, formal essays and other writing assignments will not receive a letter grade. Your final grade will be determined at the end of the quarter based on the quality of your overall work—as represented by your portfolio and your class participation. Office Hours: Tuesday, 10:00-11:30 a.m. or by appointment, Room 314, Oakes Reading/Discussion/Lecture Paper Schedule: A one-page Class Map (overview) is found on page 14 of this syllabus. Required Reading*: Keys for Writers, Ann Raimes, 5th ed. (Boston: Houghton Mifflin, 2008) Terry Eagleton, “How to Read a Poem,” from How to Read a Poem (Malden, MA: Blackwell Publishing, 2007), 102-142 (handout provided) Jean Vengua, Prau (San Francisco: Meritage Press, 2007) Ron Silliman, “Albany” (from ABC) and Under Albany (Cambridge, UK: Salt Publishing: 2004); selections to be Provided Joseph Conrad, The Heart of Darkness [1902] Philip K. Dick, Do Androids Dream of Electric Sheep [1968] Del Ray *Note: All books are available from The Literary Guillotine, 204 Locust Street; M-Sun 10-6 (open earlier and later during first week of quarter). Course Requirements • Class participation in discussion and peer-editing sessions (20%) • Regular attendance and punctuality 3
  • 4. • Completion of all writing assignments on time • Writing Portfolio (80%) • Completion of all reading assignments • More than two absences will lower your grade. Three absences will jeopardize your ability to pass the course. Please contact me if you have an emergency that necessitates your absence (illness, family emergency, etc.), and I will work with you to help you make up missed work and complete your assignments. Don’t just disappear. • At least two student-teacher conferences Recommendations  Regular writing is critical for success in this course. Pace yourself.  Write and take notes as you read. Mark the text; highlight, underline, or circle important words, phrases, or sections. Use the margins of the text or write on a separate piece of paper (or index cards, whatever). Find the method that works for you. Reviewing your notes or underlinings before class will refresh your memory.  Always come to class prepared to write about the reading and discuss it. Lectures will be geared to facilitating writing about key questions and themes raised by the readings. I expect you to participate actively in the discussion—exploring, questioning, and arguing with the text and each other—at the same time that you refer to your notes, journals, and drafts.  Your classmates are your best resource—for study groups, discussion, peer editing, and collaborative work. You constitute a unique, though temporary, community because share reading, discussing, and writing about the same texts for ten weeks.  A helpful, respectful, and collegial attitude toward your peers is a plus in this In class because of the amount of group work and collaboration required. Tutoring Resources Regular weekly appointments of up to an hour per week with a trained Writing Assistant. Students can sign up through the Online Tutor Sign-up System (OTSS) at after January 14 at 10 a.m. Drop-In Writing Tutoring at the ARC No weekly commitment. No appointment. Please consult the flier (received) by the second week of classes for hours, times, and locations. Students can also make an appointment for a single session up to a week in advance by calling the number on the flier. Course Calendar Note: Please keep all your freewrites, drafts, papers, and cover sheets in a notebook or folder so you can refer to them, and be prepared to share parts of them aloud in class. 4
  • 5. Save every piece of writing so it can be turned in at the last class as part of your Writing Portfolio. Week 1: Introductions/Poetry: (week 1 of 4) T, January 6 – Introductions; Mechanics of Course In class: Discuss: Introductions; course requirements and organization In class: Write: Freewrite: Writer’s Autobiography draft: Discuss your experience with writing, of being a writer. What kinds of writing have you done? Do you do? Do you enjoy writing? Why or why not? Describe your early and later experiences with writing—for school, for yourself, for any other activity or institution—prior to being in college. Do you read poetry? Fiction? Discuss why you like—or dislike—either of these genres? Why? (There is no “right” or “wrong” answer to these questions, just better- or worse-written narratives.) Writing due: See January 8 Th, January 8 – Poetry (week 1 of 4) Reading due: Terry Eagleton, “How to Read a Poem” handout, pp. 102-114 In class: Discuss: Eagleton’s view of meaning and subjectivity in poetry In class: Write: Freewrite (Tell what Eagleton’s most important point is; explain what he says.) Writing due: Writer’s Autobiography: (One-page typed max, or 250 words) Using your in-class freewrite, please edit and revise your discussion of your experience with writing. Week 2 – Poetry (week 2 of 4) T, January 13 Reading due: Eagleton, “How to Read a Poem” handout, pp. 114-124 In class: Discuss: Eagleton. After multiple rereading of a poem, do you like it better or less well? In class: Write: Freewrite on tone, mood, pitch, intensity, pace, texture, and syntax (Using your Reading Response paper, evaluate what Eagleton says about these qualities of poetry; pick one main idea, and write about what you think about what he says.) Writing due: 1-page Reading Response paper (Summarize what the reading said.) Th, January 15 Reading due: Eagleton, “How to Read a Poem”, pp. 124-142 In class: Discuss: Beginning a Research Project, Raines, pp. 97-103 In class: Write: Freewrite on ambiguity, punctuation, rhyme, rhythm, meter, imagery Writing due: Essay 1: How does Eagleton’s essay help the reader of poetry? What advice would you give a reader in picking up a book of poems? Did his writing about poetry serve your reading of it? Pretend that your audience does not know much about 5
  • 6. poetry. What should they look for when they read? Is poetry different enough from prose to require special rules or approaches? Either use Eagleton to support your position or use his article as a point you are arguing against. (2-3 pages typed) Week 3 – Poetry (week 3 of 4): Silliman T, January 20 Reading due: Silliman In class: Discuss: Silliman’s use of poetic form in “Albany” and in “Under Albany.” In-class: Write: Freewrite on who you think Silliman’s audience is. Are you part of it? Could you be? Writing due: see Jan. 29 Th, January 22 Reading due: Silliman, continued In class: Discuss: Class Go-around – Come prepared to discuss at least one section of Silliman’s gloss/memoir on a line of his poem, “Albany”—your choice—as to its themes, your interpretation, etc. In-class: Write: Freewrite on Silliman’s use of ambiguity, feeling, language, etc. Writing due: see Jan. 29 Week 4 – Poetry (week 4 of 4): Vengua T, January 27 Reading due: Vengua’s themes (Read and reread at least two poems—your choice.) In class: Discuss: Class Go-around (Come prepared to discuss at least one Vengua poem—its tone, mood, pitch, language, and feeling.) In-class: Write: Freewrite on one Vengua poem—your pick. Read it twice to yourself, closely. Why did you choose the one you did? Is its meaning stated directly or implied? How do you know? What clues are there in the language? Writing due: see Jan. 29 Th, January 29 Reading due: Vengua continued; reread Prau In-class: Discuss: Handout on Peer Editing In-class: Write: Peer editing workshop Writing due: Essay 2: Pick one poet—Silliman or Vengua. What significance do you find in the poems you’ve selected—and why? Be sure to quote the text to support your view. If it is helpful to you, feel free to use what you said in Essay 1 on what your principles of poetry interpretation are, and apply them to either Silliman or Vengua. (If nothing you wrote in Essay 1 is helpful to you [or if you’ve changed your view], don’t refer to it.) (3-4 pages, typed; four copies) 6
  • 7. Week 5 – Fiction: Heart of Darkness (Week 1 of 3) T, February 3 Reading due: Begin Heart of Darkness, approximately first fifteen pages (depending on edition). In class: Discuss: How does the language of H of D work to involve a reader? Who (or what group of people) is the audience? Does the fact that most of the story is told by a narrator matter? How? In-class: Write: Freewrite about H of D. How does Conrad establish mood? Describe the narrator, Marlow. What is his tone? His point of view? Who is his audience? How do you know when Marlow is talking or when Conrad is speaking? Writing due: 1-page Reading Response Paper: Summarize what the reading said, but this time, analyze what you think of it. Did it show you anything new? Give you a new way of seeing something? Pick one character and describe their tone, language, voice, and point-of-view. See Feb. 17. Th, February 5 Meet at Library: Bring Library Worksheet (see p. 18, syllabus) Week 6 – Fiction: Heart of Darkness (Week 2 of 3) T, February 10 Reading due: Finish H of D In class: Discuss: Preliminary ideas and approaches for Research paper; What’s the point? Narrative structure, character development, plot, audience. In-class: Write: Freewrite about one scene from H of D. How does it make the point of view of a character clear to readers. You can choose a scene involving a particular colonial white man, like Kurtz, or a relatively undifferentiated white man like a colonial soldier, etc. How does Conrad write that character so that he or she has a very specific and particular way of addressing his/her audience or other characters? Or, does the novella flag one character’s noting the relative inarticulateness and inability to represent him or herself? Writing due: Library Worksheet due; also, see Feb. 17 Th, February 12 Student conferences for A-L last names. Those whose last names begin with M-Z, please use time to begin to think about, outline, and research your Research Paper. Writing due: see Feb. 17 Week 7 – Fiction: Heart of Darkness (Week 3 of 3) 7
  • 8. T, February 17 Reading due: Reread Heart of Darkness In-class: Discuss: Peer editing workshop and Class Go-around: What, if anything, do you see on a second reading of this novella that is new for you? How does rereading this novella add to or change your view of it? Your interpretation? In-class: Write: Freewrite on whether your opinion of this story has changed now that you have read it for the second time? How? Writing due: Essay 3: First think about what does the text (or the author) want you to think about the people whose lives it narrates? How does it achieve this? What specific literary devices does it use to support its presentation of the characters’ personalities, actions, thoughts, and feelings – and their historical and cultural milieu? Then do an imaginative rewrite of one scene from Heart of Darkness from the point of view of a character. (You can choose a specific character like the narrator or the tribal black woman, or an undifferentiated character like a tribal black man or white colonial soldiers, etc.) Be sure to show how your chosen character speaks to or thinks about his/her fellow characters? What is his or her tone, voice, and point-of-view? (3-4 pages, typed, four copies) Th, February 19 Student conferences for M-Z last names. Those whose last names begin with A-L, please use the time out of class to research and write. Week 8 – Fiction: Do Androids Dream of Electric Sheep (Week 1 of 3) T, February 24 Reading due: Androids, pp. 3-26 In-class Discuss: Class Go-around: Student research paper presentations In class: Write: Revise and finish Cover Sheet for Research Paper Writing due: Research Paper Cover Sheet Th, February 26 Reading due: Androids, pp. 27-60 In-class: Discuss: Peer editing workshop In-class: Write: Freewrite on plot synopsis, characters, setting, assumptions, audience, style, literary devices used, etc. Writing due: Research Paper, first draft (6-7 pages, typed, four copies) Week 9 – Fiction: Do Androids Dream of Electric Sheep (Week 2 of 3) T, March 3 8
  • 9. Reading due: Androids, pp. 61-128 In-class: Discuss: Setting, tone, assertions about the nature of knowledge, the role of history, environment, etc. In class: Write: Freewrite on question, what is Dick suggesting about what constitutes humanness? Writing due: Reading Response paper Th, March 5 Reading due: Androids, pp. 129-184 In-class: Discuss: Peer editing workshop In-class: Write: Self-editing workshop Writing due: Research Paper, second draft (6-7 pages, typed one copy) Week 10 – Fiction: Do Androids Dream of Electric Sheep (Week 3 of 3) T, March 10 Reading due: Androids,185-244 In class: Discuss: Class Go-Around: novel review groups: critical disagreement In-class: Write: work on Portfolio Check-list Writing due: none Th, March 12 -- Last day of class: Summary and Review In-class: Write: Self-evaluation of writing progress: Has your experience in this class improved your writing. Please use specific examples of assignments, methods, or writing exercises that helped you make your writing better in some way. If it did not, what was lacking? What could have been improved? Writing due: Portfolio and Research Paper Plagiarism is the act of using another person's ideas, writings, or materials without giving specific credit, known as a citation. In an academic environment, plagiarism is considered theft. If you plagiarize any materials, you may fail the assignment, fail the course, or face other penalties, up to and including expulsion. More information regarding plagiarism and disciplinary policies can be found on the University's Academic Integrity website at the page: You are responsible for your own intellectual behavior and conduct, and you must cite sources for all referenced materials in course writings. Accusations of plagiarism can be easily avoided by properly citing all resources and materials you use in your assignments. For additional information on how to cite your sources, please see: 9
  • 10. The following website is another helpful source of information about plagiarism: Finally, there are many websites that can model correct citation format or even assist you in creating proper academic citations, such as the Landmark Project’s Citation Machine, found at: Students with Disabilities: If you qualify for classroom accommodations because of a disability, please get an Accommodation Authorization from the Disability Resource Center (DRC, 1476 Hahn Student Services Bldg.) and submit it to me in person before or after class or during office hours in the first two weeks of the quarter. For more information on the requirements and/or process, contact DRC at 459-2089 (voice), 459-4806 (TTY), or Writing Program Course Enrollment Information Writing 2 satisfies the C2 (Rhetoric and Inquiry) requirement. Students must have satisfied the Entry- Level Writing Requirement and the C1 (Introduction to University Discourse) requirement before enrolling. Students who did not pass their college Core class with a grade of C or better have not satisfied the C1 requirement. Writing 2 satisfies the C (Composition and Rhetoric) requirement for students who first enrolled at UCSC before fall 2005, only. Students must have satisfied the Entry-Level Writing requirement before enrolling. WRITING 2 GRADING POLICY & RUBRIC Adopted by the Writing Program 9/01 10
  • 11. Final grades given in Writing 2 are comprehensive. They account for all aspects of a student's work over the quarter -- the conceptual work of reading, thinking, and writing; the cooperative work of participating in a writing community; and the procedural work of completing reading and writing assignments, meeting deadlines, and attending class, writing group meetings, and conferences. Writing Program faculty members will determine a student's final grade by considering all of his or her work at the quarter's end. During the quarter, students will receive written assessment and advice concerning what their work has accomplished and how it can be improved rather than letter grades on individual assignments. Note: The final grade of D in Writing 2 grants credit towards graduation, but it does not satisfy the Rhetoric and Inquiry (C2) General Education Requirement. Students who receive the grade of either D or F must repeat Writing 2 to satisfy the C2 requirement. A (or P) The grade of A is appropriately given to students whose preparation for and execution of all course assignments (for example, reading, in-class discussions, presentations, group projects, informal writing, essay drafts, and revisions, etc.) have been consistently thorough and thoughtful. In addition, by the end of the quarter students who earn an A are consistently producing essays that are ambitiously and thoughtfully conceived, conscious of the demands of a particular assignment, purposeful and controlled, effectively developed, and effectively edited. B (or P) The grade of "B" is appropriately given to students who have satisfactorily completed all class assignments, although some of these efforts may have been more successful than others. By the end of the quarter, students who earn a B are consistently producing essays that are clearly competent in that they meet the demands of assignments, are controlled by an appropriate purpose, are sufficiently developed, and are accurately edited. A "B" performance may well reveal areas of strength that are not sustained throughout. C (or P) 11
  • 12. The grade of C is appropriately given to students who have fulfilled course requirements although, in some instances, minimally so. By the end of the quarter, students who have earned a C have provided sufficient evidence that they can produce focused, purposeful writing that satisfies the demands of an assignment, is adequately developed, and is carefully edited although, in some instances, achieving that standard depended on multiple revisions. D or (NP) The grade of D is appropriately given to students whose work has been unsatisfactory in some significant way: they have not completed all the course requirements and/or their essays have not yet achieved the level of competency described in the Writing Program's standard for passing work in Writing 2. Students receiving a D must repeat Writing 2 to satisfy the C2 requirement. F or (NP) The grade of F is appropriate for students whose work in Writing 2 is so incomplete or so careless that it does not represent a reasonable effort to meet the requirements of the course. 12
  • 13. Library Worksheet Due: Tuesday, February 10 We meet at McHenry Library for a Library Tour conducted by a reference Librarian. Please bring this worksheet with you so you can fill it out during your Library visit. Your topic or question: Keywords to help you search for information on your topic: Articles: Please find three scholarly articles that look helpful, and list them below Title _____________________________________ Issue (volume, date) ____________________ Journal name ________________________________________ Page span _______________ Title _____________________________________ Issue (volume, date) ____________________ Journal name ________________________________________ Page span _______________ Title _____________________________________ Issue (volume, date) ____________________ Journal name ________________________________________ Page span _______________ Books: Find five books that seem relevant, and list them below. Title_____________________________________________ Author ______________________ Title_____________________________________________ Author _______________________ Title_____________________________________________ Author _______________________ Title_____________________________________________ Author _______________________ Title_____________________________________________ Author _______________________ 13
  • 14. Class Map – Writing 2 – Spring 2009 -- Section 36 – Farquhar Tuesday Thursday Week 1 01/06 Introductions; freewrite 01/08 Writer’s Autobiography; Eagleton Writer’s Autobiography freewrite Week 2 01/13 Discuss Eagleton; Reading 01/15 Discuss Raines, ch. 6; Essay 1, Eagleton; response paper freewrite Week 3 01/20 Freewrite 01/22 Freewrite; Class Go-Around Week 4 01/27 Freewrite, Vengua poem; 01/29 Essay 2, Poetry; Peer Editing Workshop Class-Go-Around (bring four copies) Week 5 02/03 Writing Response Paper; 02/05 Library Tour Freewrite H of D Week 6 02/10 Library Worksheet; Freewrite 02/12 Student conferences, A-L Week 7 02/17 Freewrite; Essay 3, H of D; Peer 02/19 Student conferences, M-Z Editing Workshop (bring 4 copies) Week 8 02/24 Research paper Cover Sheet 02/26 Research Paper, first draft; Peer Editing Wkshp (bring 4 copies); freewrite Week 9 03/03 Freewrite; Reading response paper 03/05 Research Paper, second draft; Self Editing Workshop (one copy) Week 10 03/10 Class-Go-Around; no writing due 03/12 Writing Portfolio due; Research Paper due; Last class 14
  • 15. Portfolio Cover Sheet Check List Name________________________________ Section_______ Please make sure that every paper has your name, title, and date on it. ____ 01/06 -- Freewrite, Writer’s Autobio. ____ 01/08 -- 1-page typed, Writer’s Autobio. ____ 02/26 – Research Paper, first draft ____ 01/13 – Freewrite ____ 02/26 – Freewrite ____ 01/13 – Reading Response paper ____ 03/03 -- Reading Response paper ____ 01/15 – Freewrite ____ 03/05 -- Research Paper, second draft ____ 01/15 – Essay 1 ____ 03/12 -- Writing Portfolio; ____ 01/15 – Freewrite Research Paper ____ 01/20 – Freewrite ____ 01/22 – Freewrite ____ 01/27 -- Freewrite ____ 01/29 -- Essay 2 ____ 02/03 – Writing Response Paper ____ 02/03 -- Freewrite ____ 02/10 – Library Worksheet ____ 02/10 -- Freewrite ____ 02/17 – Essay 3 ____ 02/24 – Research Paper Cover Sheet 15