THE CHALLENGE OF LARGER CLASS SIZE 1 THE CHALLENGE OF LARGER CLASS SIZE 2 The Challenge of Larger Class Sizes Dave Angel Grantham University 10-3-2016 Directions in completing Part II Dave. Great topic, and you just about have your entire essay completed already! Keep in mind to avoid writing in the first person in your essay and to add research and citations as well. Part II: Research Outline Larger class sizes offer a variety alternatives to tutors in selecting students with talents and skills that match a variety of specifications in school management and extracurricular activities. School managers can assess individual skills and recommend the best-suited learners to be assigned specialized tasks. However, the large classes present some challenges to both the tutor and student body, including overcrowding and absence of personal connections with respective faculty. In many cases, administrators only focus on the financial implications associated with bigger numbers and neglecting core objective of producing accomplished scholars. The major drawback of attending a bigger high school is the overcrowding issue. School administrators enroll more students to the already full learning institutions, causing a possible strain on the available social amenities. This will, in turn, create a habit of a struggle for existence and eventually leading to stiffer competition for the available resources. Right from the classroom situation to the halls of residence, learners who may not withstand the struggle in sourcing for the available tools of learning will lose out. With crowded hallways, students become overwhelmed and experience delays while moving to and from classes. While in the large classes, students will also struggle with cramped desk space while competing with fellow students for attention. Secondly, students in large classes easily get lost in classroom shuffle. Administrators, teachers and support staff, are bound to interact with tens of hundreds or thousands of learners all year and may find it more difficult getting to recognize individual students than their fellow small school professionals. Students who do not feel a personal touch to one or more their teachers or staff members might miss the sense of brotherhood that small schools often deliver. This evident lack of tutor-student engagement may eventually cause students to feel like none cares about them or their life in school, which demotivates their performance in academics. Highly extroverted students who miss out on classroom activities may achieve notoriety to gain recognition in the competitive environment. The bulk of students, who might either blend in or even isolate themselves from other, may vanish into the shadows of the large classroom. Lack of personal recognition impacts both the academic and social experience of the students and this may eventually impede their success in school. In a class with the lesser student ...

1. THE CHALLENGE OF LARGER CLASS SIZE
1
THE CHALLENGE OF LARGER CLASS SIZE
2
The Challenge of Larger Class Sizes
Dave Angel
Grantham University
10-3-2016
Directions in completing Part II
Dave. Great topic, and you just about have your entire essay
completed already! Keep in mind to avoid writing in the first
person in your essay and to add research and citations as well.
Part II: Research Outline
Larger class sizes offer a variety alternatives to tutors in
selecting students with talents and skills that match a variety of
specifications in school management and extracurricular
activities. School managers can assess individual skills and
recommend the best-suited learners to be assigned specialized
tasks. However, the large classes present some challenges to
both the tutor and student body, including overcrowding and
absence of personal connections with respective faculty. In
many cases, administrators only focus on the financial
implications associated with bigger numbers and neglecting

2. core objective of producing accomplished scholars.
The major drawback of attending a bigger high school is the
overcrowding issue. School administrators enroll more students
to the already full learning institutions, causing a possible strain
on the available social amenities. This will, in turn, create a
habit of a struggle for existence and eventually leading to stiffer
competition for the available resources. Right from the
classroom situation to the halls of residence, learners who may
not withstand the struggle in sourcing for the available tools of
learning will lose out. With crowded hallways, students become
overwhelmed and experience delays while moving to and from
classes. While in the large classes, students will also struggle
with cramped desk space while competing with fellow students
for attention.
Secondly, students in large classes easily get lost in classroom
shuffle. Administrators, teachers and support staff, are bound to
interact with tens of hundreds or thousands of learners all year
and may find it more difficult getting to recognize individual
students than their fellow small school professionals. Students
who do not feel a personal touch to one or more their teachers
or staff members might miss the sense of brotherhood that small
schools often deliver. This evident lack of tutor-student
engagement may eventually cause students to feel like none
cares about them or their life in school, which demotivates their
performance in academics. Highly extroverted students who
miss out on classroom activities may achieve notoriety to gain
recognition in the competitive environment. The bulk of
students, who might either blend in or even isolate themselves
from other, may vanish into the shadows of the large classroom.
Lack of personal recognition impacts both the academic and
social experience of the students and this may eventually
impede their success in school. In a class with the lesser student
population, there will be fewer distractions, which are
beneficial for not only students but also the classroom teacher.

3. The teacher will never have the burden of addressing the
distractions and instead direct more time to tutor. With fewer
students, it does not mean that every student will be well
behaved, but there will be better chances of the students not
engaging in classroom vices like talking to each other during
learning sessions.
Furthermore, large classes face the danger of losing their
students since they tend to experience much higher dropout
rates. Personal touch with tutors and school administrators is
key to building a reputable learning environment where
instructors and students get to interact at a personal level. With
the well-nurtured interactive setting, students get to open up on
their concerns, with the tutors creating a more personalized
touch to guide and counsel the individual learner. However, if
the environment is never conducive enough, the students might
feel isolated and thus feel that getting out of the system would
offer a solution to their predicaments. The teacher-student
relationship is a key factor that determines whether a student
will successfully graduate or repeat a particular grade. With a
smaller class, a teacher will be able to spend more attention and
individually with every student. This may help the students
have a better understanding of the subject concepts.
In conclusion, school administrators should consider the pros
and cons associated with bigger classes to avoid overcrowding,
unnecessary strain on available social amenities or to even lose
their treasured students in the classroom scuffles. They should
wake up to the fact that a manageable classroom creates a
personalized touch between tutors and respective learners hence
creating a conducive environment that favors learning, and
eventually producing a population of highly scoring learners.
Sungjoong Kim

4. Assignment #1
The topic I have chosen for the first main assignment is why
people in the U.S are much relaxed or slower compared to
people in Korea. I will focus on my writing to explain people
who never visit the U.S but will visit soon such as international
students like me about where these differences came from with
using my experiences in the U.S.
Since I have not been in other states, I can't talk about people in
other states, however, at least in California what I feel from
people is that they are much relaxed in every situations than
Korean. This difference gave me good and bad impression at the
same time.
I will use my experience at DMV, Safeway and a local park to
describe why I feel peoples are much relaxed or slower in the
U.S or at least in California. I will ask people around me about
how they feel when they are in situations which should be done
faster from my point of view. Comparing government
institutions in the U.S to Korea may be also required to explain
relatively slower progress at DMV in the U.S. To explain more
people relaxing themselves with their family in a local park
compared to Korea, I will search the information about effect of
weather to human behavior and working patterns. These
research are not able to be perfect in given time. However, If
the information I will find is understandable and acceptable
from my point of view, I will apply the information to support
my idea.

5. *** I want my writing starts like a story with my experience. (
Check Exmaple#1.Doc)
**
Some characteristics of Korea ( My opinion)
1. Hate waiting.
2. Many people are asked to work for extra hours at their work.
3. Acting like they in hurry in many situations either they are
really in hurry or not.
4. Not many parks
5. Small country, many people.
6. places are very crowded on Weekend or Holidays.
7. Very Competitive society. ( 70% of students go to the college
or university, Small country...)
8. people compares themselves to others ( relative happiness is
low )
1
UWP 101: Fall 2016
Prof. Liz Constable
TAKE-AWAY POINTS FROM YOUR DISCUSSION OF
REBECCA SOLNIT, GLORIA ANZALDÚA AND LOUISE
DESALVO
Here are some “take-away” points about what we can learn
about successful and effective writing from the three writers
you presented and we all discussed yesterday in class. I’m
summarizing some points you made, and adding a little more
explanation sometimes. Just a brief overview for you.
Rebecca Solnit’s Take-Away Points

6. 1. Maintain a balanced and fair-minded writing persona
especially when you’re writing prompted by a strong negative
feeling, e.g., ANGER!
Notice that since she’s writing from a feeling of anger and
outrage, she is also very careful to create a balanced writing
persona so that we trust her as a reliable narrator, and not an
irrational person with a grudge against men. Her credibility as a
writer rests on this balanced writing persona. See page 2, where
she writes, “Here, let me just say that my life is sprinkled with
lovely men, with a long succession of editors who have, since I
was young, listened to and encouraged and published me.”
2. Use language that appeals to our SENSES: sight, touch,
sound, smell, taste.
Notice that just as Anzaldúa does, Solnit sometimes uses
language that draws on the BODY and that helps us
VISUALIZE an idea. See page 4, where she looks back on the
moment when a pompous man becomes speechless, and she
writes, “I like incidents of that sort, when forces that are
usually so sneaky and hard to point out slither out of the grass
and are as obvious as, say, an anaconda that’s eaten a cow or an
elephant turd on the carpet.” Now, we know that she could
simply have written that it was satisfying to see this man’s
pomposity exposed. BUT, how much more effective it is to
make us SEE it as “an elephant turd on the carpet”
3. If you’re going to discuss the meanings of a concept or idea
(justice, equity, friendship), lead in with concrete examples
before you present the abstract concept.
Notice that Solnit’s main theme---credibility and the misogynist
tendency to discredit women’s voices---is introduced through
her story-telling about an incident. This helps us, as readers, to

7. relate to the more abstract topic she will later address.
Gloria Anzaldúa’s Take-Away Points
1. Use the ideas and concepts you’re writing about and
“translate” them into the way you write
Notice that Anzaldúa’s starting point for her writing is her
borderlands experience, growing up between the US and
Mexico, between Spanish and English, among other differences.
She writes in both languages, and the form of her essay
embodies the ideas she’s discussing: living and writing in
between cultures.
2. Describe explicitly how you understand your role as writer,
especially if you are adopting a role that your readers may not
be familiar with.
Notice how Anzaldúa re-defines her role as a writer in very
interesting ways. “I like to think of [my stories] as
performances and not as inert and “dead” objects [ . . .] the
work has an identiy; it is a “who” or a “what” and contains the
presences of persons . . .” (page 67). Now, you may not be
defining yourself as a writer whose identity is communal, and
whose writing is a living act as Anzaldúa does. BUT, take a
lesson from her very explicit introduction of her take on her
role as a writer. Think about how you will define your role in
specific writing tasks.
3. Write with language that allows readers to VISUALIZE,
FEEL, TOUCH, TASTE, SMELL, and HEAR your writing.
Anzaldúa gives us extraordinary examples of the power of
writing that uses the five senses to convey her ideas and
feelings. Read the way she writes about her own writing: “It is
a rebellious, willful entity, a precocious girl-child forced to

8. grow up too quickly, rough, unyielding, with pieces of feather
sticking out her and there, fur, twigs, clay.” We can SEE this
ungainly child, and it helps us picture the messy process of
writing because she visualizes this for us.
4. The “bones” or the overall shape and architecture of your
writing may only emerge close to the end of the writing process.
i.e., outlines often come last, after writing, not before!
Although many of us are accustomed to thinking that we
“ought” to plan our writing with an outline or a skeleton of our
writing, Anzaldua reminds us that since the process of writing
entails thinking, often the “bones” or the skeleton of our final
draft will emerge only as we write. As she writes, “The problem
is that the bones often do not exist prior to the flesh, but are
shaped after a vague and broad shadow of its form is discerned,
or uncovered during beginning, middle and final stages of the
writing” (66)
Louise DeSalvo’s Take-Away Points
1. Vary sentence length, and create rhythm in your writing to
communicate the “feelings” that you’re writing about.
As you discussed, DeSalvo writes out of rage and pain, rage at
her father, and in the early sections of the essay, her sentence
structures convey the rage she feels because she uses choppy,
short, staccato sentences. We end up “feeling” her despair and
rage; as you commented, her sentences generate an anxiety in us
readers. Think about ways you can vary sentence structure to
convey mood, feelings, atmosphere in your own writing.
2. Use creative ways of organizing your writing: repetition with
variation.

9. Notice the way that DeSalvo repeats a similar structure three
times in organizing her essay. She gives a date (1956, 1957,
1986) and then writes in a diary-entry style. With each new
date, she creates a tension and sense of suspense because we
know that she is leading up to something, and she very
creatively generates a crescendo effect.
2
UWP 101: Fall 2016
Professor Liz Constable
Assignment # 1: Uncovering the Story in a World You Inhabit
[Don’t be confused by my inclusion of a Henri Matisse painting.
Blank black and white pages seem dreary to me without art, so
here is a visual “situation”: Aicha and Laurette, Matisse, 1917)
LENGTH: Approx. 1500 – 2000 words
** means that I will provide feedback on the writing
DUE DATES:
Wednesday Sep 28, 6 pm. Upload your1-page Description
of your Proposed Topic to SS by 6 p.m. **
Monday Oct 10th First Draft of Assignment #1 (Bring 3 hard
copies to class; upload your draft to SS BEFORE class on that
day
Wednesday Oct 12thUpload your revised draft of Assignment #1
to SS by 11: 59 p.m. **
Wednesday Oct 19thUpload your final draft of Assignment #1
to SS by 11:59 p.m.

10. TOPIC:
This assignment asks you to explore a situation you’ve
experienced in one of the many worlds you inhabit. Some of the
most dynamic writing will emerge if you select a situation that
perhaps puzzles you; or marked you deeply, yet you’re not sure
why; or that you feel you’ve experienced again and again
without quite understanding it. In other words, choose a
situation that prompts you to ask yourself a question either
about its meaning for you, and/or about what it might mean to
others. If you start with a problem to work through, or a
conflicted view that you want to explore, you’ll generate lively
writing and some fresh perspectives!
In your writing, you will narrate the situation---that is, find the
story in the situation as Gornick puts it---and then analyze the
meaning of your story in relation to larger social contexts:
class, culture, family, race, gender, immigration, education,
politics, art, the environment, music, and/or any of the many
concerns embedded in each of these large areas.
EXAMPLES: You might, for example, start from a very simple
observation from your everyday life that has needled you, or
prompted you to ask questions. E.g., I have a male friend who
bemoans the limited range of colors for men’s clothing
compared to the wide range of colors in women’s clothing.
He’s always asking himself: “How does this make me feel? Why
is it this way? Does it have to be this way? Can it be changed?
What does this say about gender norms? Do other people feel
the same way as I do about this?” Or, if you’ve lived a
significant part of your life outside of the US, you may look
with the eye of an incisive observer and ask yourself about a
behavior that seems completely normalized here: e.g., eating
while driving. “How does this make you feel? Why is it this
way? Does it have to be this way? What social factors bear on
this habit? What are the consequences of this? What does it
mean?”
With the first example, you may need to ask other people
questions, interview somebody who is knowledgeable about the

11. fashion industry and/or gender studies. And with the second
example, you also would want to think about people to talk to,
an interview to conduct to broaden and deepen your
understanding of your question.
PREPARING TO WRITE:
Remember as you start the process of free-writing and drafting
that you want to keep in mind the RHETORICAL SITUATION
and use the elements of the rhetorical situation to shape your
choices and decisions as you write:
Who do you see as your intended AUDIENCE? (Your parents’
generation? Your peers? College Students? Etc.,)
Be sure to work out what your PURPOSE is in writing? Can you
feel and articulate what your main points are going to be?
Related to your purpose, how do you see your ROLE as a writer
for this piece? Think about Gornick’s emphasis on the need for
creative non-fiction writers to engage in self-examination. She
writes that they need to define themselves and to think about the
persona they adopt in the process of writing non-fiction. Do you
want to use humor to prompt people to think differently about a
serious topic? Do you see yourself as an advocate for an activity
or the use of a particular object?
And finally, you come back to your starting point (the
SITUATION or CONTEXT) that led you to want to write about
your topic.
The Essay Itself:
The essay needs to include both a narrative---a story---
contextualizing your topic, and one that enables readers to
understand the significance for you of the situation you’re
writing about and also to see why it’s worth their time to ponder
its meaning along with you.
And you will also analyze what you think it means, for you, for
others. So, you’re working with two basic strategies in this
essay: narration and interpretation (analysis). How does your
perspective on the situation you’ve chosen help us understand
larger social/cultural contexts? What does the story reveal about
you that perhaps you didn’t understand so well before writing?

12. Remember that the noun “essay” comes from the French verb
“essayer” [to try] and Michel de Montaigne, the Renaissance
essayist, wrote to try to understand both himself, his
relationship to the world, and the world he lived in. Your essay
is also such an exploration and attempt at self-knowledge and
interpretation of a situation in the world(s) you inhabit.
Reflection: Being a Creative Non-Fiction Writer
At the end of the essay, in a separate section, write a reflection
of approximately 500 words, in which you explain the process
of writing this essay and what you learned from it. How did you
discover your topic? Did your find that the topic changed in the
process of writing about it? How so? Did you learn anything
that you didn’t know before? What decisions did you have to
make about how to present the story?
How to Get Started? And a Proposal for Breaking the Task
Down into Manageable Steps
1. First, read the assignment prompt at least 2 – 3 times and if
anything is unclear, do please ask me a question ;-)
2. Think about the essayists we’ve read together: none of them
tried to answer a giant question in their essays. Instead, each
writer started from their everyday lives.
3. Start with your everyday lives.
4. E.g., you might think about a part-time job you held or still
hold. Close your eyes, and think about a typical day at the job.
Then, before you lose the memory, write down what you see,
hear, smell, feel, say and think. Read through what you’ve
noted, and do you find something in your observations that
surprised you, or confused you. E.g., the honesty of employees
when they had the opportunity to cheat others? Or the
dishonesty of employees? When you figure out what point you
want to make about
your job, go back, and re-write the scene, adding details that
make your point, including dialogue, and adding descriptions.
5. You can use this approach to finding a topic in all kinds of
ways. E.g., you might think about a time when you felt both
angry and perplexed. Close your eyes. Focus on that situation.

13. OR, you might think about an object in your everyday life that
you have strong opinions about (hair extensions; wearable
technology; mountain bikes; Blue Apron home deliveries of
meals to make at home) Repeat the exercise. OR, you might
think about an event that you experienced, and can’t get out of
your mind because you need to understand it better. Repeat the
exercise.