Engl 208 03 essay ala bluets assignment sheet
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This document provides an overview and instructions for an assignment to craft a hybrid collage essay focusing on an obsession or passion of the student's choosing. Students are asked to narrow their topic to a specific obsession/passion and consider its catalyst. They should write the essay in short vignettes/fragments that weave together to challenge the reader's understanding, similar to Maggie Nelson's book Bluets. The essay must include specific craft elements like references, etymological definitions, personal experiences, cultural references, addresses to the reader, and manifestations of the obsession/passion. It should attempt to imitate Nelson's tone while making it their own. The goal is for students to push beyond their obsession/passion and complicate
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riting About LiteratureGenerally, the essays you write in lite.docx
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Generally, the essays you write in literature courses attempt to answer interesting questions about works of literature. These questions are interesting for at least two reasons: a) their answers are not obvious, and b) their answers (or at least the attempt to answer them) can enrich other readers’ understanding and experience of those works of literature. Often works of literature seem to be intentionally posing these questions to us; they require us to do some work to get them to work.
Readers have asked many different types of questions of works of literature, for example:
· What did the author want to communicate in this work?
· What does the work reveal about the author’s feelings, opinions, or psychology?
· What does the work reveal about the society in which it was written?
· What can we learn from this work about the issues or topics it deals with?
· What motivates the characters in the work to behave as they do?
· How are literary devices used in the work?
· How does the work create emotional or intellectual experiences for its readers?
· Is this work good or bad?
· Is this work good or bad for its readers?
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riting About LiteratureGenerally, the essays you write in litera.docx
riting About Literature
Generally, the essays you write in literature courses attempt to answer interesting questions about works of literature. These questions are interesting for at least two reasons: a) their answers are not obvious, and b) their answers (or at least the attempt to answer them) can enrich other readers’ understanding and experience of those works of literature. Often works of literature seem to be intentionally posing these questions to us; they require us to do some work to get them to work.
Readers have asked many different types of questions of works of literature, for example:
What did the author want to communicate in this work?
What does the work reveal about the author’s feelings, opinions, or psychology?
What does the work reveal about the society in which it was written?
What can we learn from this work about the issues or topics it deals with?
What motivates the characters in the work to behave as they do?
How are literary devices used in the work?
How does the work create emotional or intellectual experiences for its readers?
Is this work good or bad?
Is this work good or bad for its readers?
Some of these questions require information from outside the text itself; for example, to argue that a work reveals a writer’s psychological condition, it would be helpful to have some other evidence of that condition to corroborate your interpretation of the work of literature. Some of these questions ask about the world outside the work—about the author, his/her society, or our own society, for example—while others try to focus more on the features of the work itself.
Analyses which try to make statements about the work itself
is often called
formalist
criticism: it attends more to the structures and strategies employed in the work. Ultimately, such arguments generally do try to move beyond the work, to claim, for instance, that it is likely to create certain effects in its readers, or that readers will understand the writer’s intent more clearly if they pay attention to its formal characteristic.
In LIT 100, we are going to be paying attention primarily to these formal features of literary works. In fiction, some of these features include tone, point of view, setting, character, etc. We will be paying less attention to extra-textual features, such as the author’s biography or the historical contexts in which the literature was produced and/or read; these elements are not less important than formal features, but they naturally vary greatly from one work to another and often require in-depth study to truly appreciate. To understand how Shakespeare’s social situation in London in the 1590s might have been reflected in his plays would require a whole course in Elizabethan history. On the other hand, the formal features we will be studying in this course can be found in literature of all eras and genres, though they may often be used to different effect by different writers at different times. Almost all fict.
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1. Classify patients into 4 tiers based on number of claims. (6 po.docx
1. Classify patients into 4 tiers based on number of claims. (6 points)
a. Tier 1 (High-Risk) (75-100 percentile); Tier 2 (Rising Risk) (50-75percentile), Tier 3 (Med Risk)(25-50%) Tier 4 (Low Risk) (0-25%)
b. Add a new column to the Beneficiary table that indicates the tier of the patient
c. Add a new column to the beneficiary table that calculates patient age in 2019 (2019 – Year of birth)
d. For each tier identify ( using Pivot table )
i. Average and Median Claim count and claim amount
ii. Percentage of the population with each type of chronic condition
iii. Percentage of population in different age ranges (65 -74, 75-85, 85+)
e. Write a narrative description of each tier and Health IT recommendations for providing services that can reduce costs and improving quality of care (about 150 words)
File too large to upload – can I email it to you?
Writing Assignment 1
Self-Ethnography & Analysis of an Unfamiliar Space (5-8 pp.)
Description of Assignment Goals
An ethnography is a piece of writing that describes a particular group, community or subculture (this genre of writing is
most common in Anthropology, though other fields also perform ethnographic writing). Self-ethnography asks you to
analyze yourself in relation to someone or something, usually a broader societal context. For this assignment, you will
position yourself in an unwelcoming or unfamiliar space and aim to analyze and reflect on your own positionality and
sense of belonging.
Your goal with this assignment is to identify a place that you do not belong in because you do not belong to the
community who inhabits the space naturally. This can be high stakes (a community that you actively don’t belong to) or
low stakes (something merely unfamiliar), though the higher the stakes the more likely you’ll have something interesting
to write about.
The goal of you entering and inhabiting the space is to achieve productive discomfort; in other words, using your feelings
of a lack of belonging, and the discomfort that results, to think through yourself and others. Note: If it’s hard to find
someplace that you don’t belong, that’s something to reflect on in itself.
Do note that you may need to ask permission to access the space you choose. Please be mindful of those whose space
you’ll be visiting, and keep in mind that this is, at its core, an assignment aimed at self-reflection and not at describing
unfamiliar actions of others. In other words, you should approach this not as a means to describe unfamiliar or “alien”
others, but rather to reflect on how it feels to inhabit a space not meant for you. You are the main subject of description
and analysis, not the people you’re with.
Feel free to be active. Although it’s easy to think of this assignment as asking you to sit quietly and observe, you’ll likely
have more success if you engage with whatever activity is going on in the space. Furthermore, if appropriate, you’re
welcome to ask questions of t.
1. Classify patients into 4 tiers based on number of claims. (6 po.docx
1. Classify patients into 4 tiers based on number of claims. (6 points)
a. Tier 1 (High-Risk) (75-100 percentile); Tier 2 (Rising Risk) (50-75percentile), Tier 3 (Med Risk)(25-50%) Tier 4 (Low Risk) (0-25%)
b. Add a new column to the Beneficiary table that indicates the tier of the patient
c. Add a new column to the beneficiary table that calculates patient age in 2019 (2019 – Year of birth)
d. For each tier identify ( using Pivot table )
i. Average and Median Claim count and claim amount
ii. Percentage of the population with each type of chronic condition
iii. Percentage of population in different age ranges (65 -74, 75-85, 85+)
e. Write a narrative description of each tier and Health IT recommendations for providing services that can reduce costs and improving quality of care (about 150 words)
File too large to upload – can I email it to you?
Writing Assignment 1
Self-Ethnography & Analysis of an Unfamiliar Space (5-8 pp.)
Description of Assignment Goals
An ethnography is a piece of writing that describes a particular group, community or subculture (this genre of writing is
most common in Anthropology, though other fields also perform ethnographic writing). Self-ethnography asks you to
analyze yourself in relation to someone or something, usually a broader societal context. For this assignment, you will
position yourself in an unwelcoming or unfamiliar space and aim to analyze and reflect on your own positionality and
sense of belonging.
Your goal with this assignment is to identify a place that you do not belong in because you do not belong to the
community who inhabits the space naturally. This can be high stakes (a community that you actively don’t belong to) or
low stakes (something merely unfamiliar), though the higher the stakes the more likely you’ll have something interesting
to write about.
The goal of you entering and inhabiting the space is to achieve productive discomfort; in other words, using your feelings
of a lack of belonging, and the discomfort that results, to think through yourself and others. Note: If it’s hard to find
someplace that you don’t belong, that’s something to reflect on in itself.
Do note that you may need to ask permission to access the space you choose. Please be mindful of those whose space
you’ll be visiting, and keep in mind that this is, at its core, an assignment aimed at self-reflection and not at describing
unfamiliar actions of others. In other words, you should approach this not as a means to describe unfamiliar or “alien”
others, but rather to reflect on how it feels to inhabit a space not meant for you. You are the main subject of description
and analysis, not the people you’re with.
Feel free to be active. Although it’s easy to think of this assignment as asking you to sit quietly and observe, you’ll likely
have more success if you engage with whatever activity is going on in the space. Furthermore, if appropriate, you’re
welcome to ask questions of t ...
1.1 Connecting Entering Into a Literary ExperienceWhen you allo.docx
1.1 Connecting: Entering Into a Literary Experience
When you allow reading to unlock your imagination, your connection also sets the stage for intellectual engagement. It allows the experience of reading literature to include the pursuit of ideas and knowledge. Your literary experience—as the title of this book suggests—can become a personal journey, a quest for meaning. But connections to literature don't have to begin with deep intellectual quests. The stories themselves, those that strike a human chord, provide the greatest opportunity for connection.
From ancient times, in every culture, humans have told stories to explain their world, to honor people, to celebrate achievements, and to communicate human values. Stories are still essential in our lives: We share them with our children, look to them for entertainment, and read them because at the core of our being there's a powerful curiosity about human relationships and how to cope in the world in which we find ourselves.
This means you are already wired to explore literature. And the most immediate connection is through story. Allowing yourself to be drawn into a story—whether it's told by someone, printed in a book, or performed—unlocks your innate abilities to empathize, to laugh, to inquire, to learn, to wonder. Connecting with literature also allows you to reflect on the significance of common human experiences in your life.
For example, if you know what it's like to send your child off to school for the first time and remember how you felt when this happened, your connection to the emotions that Rachel Hadas, poet and former professor at Rutgers University, packs into "The Red Hat" will be instantaneous. Her poem captures the anxiety and disequilibrium parents feel when watching their young children drawn away from them to enter school and a world away from home. When the watching parent is described in the poem as one whose "heart stretches, elastic in its love and fear," you can feel those emotions because you have experienced them. And no one has to explain what "wavering in the eddies of change" means—you've lived through that uncomfortable experience when home seems strangely empty, routine is broken, and you are forced to accept that your child will not always be with you.
The Red Hat
Rachel Hadas (1994)
It started before Christmas. Now our son
officially walks to school alone.
Semi-alone, it's accurate to say:
I or his father track him on the way.
He walks up on the east side of West End, 5
we on the west side. Glances can extend
(and do) across the street; not eye contact.
Already ties are feelings and not fact.
Straus Park is where these parallel paths part;
he goes alone from there. The watcher's heart 10
stretches, elastic in its love and fear,
toward him as we see him disappear,
striding briskly. Where two weeks ago,
holding a hand, he'd dawdle, dreamy, slow,
he now is hustled forward by the pull 15
of something far more powerful than school.
The mornings we turn b ...
Thesis Statement Construction
Link here for the Google Slide version that is often updated: https://docs.google.com/presentation/d/1lfwqsbgxQ-6TDkiheTGGExNbOetYKg5MbmHuufXflpE/edit?usp=sharing
This is an updated version of my former thesis statement slideshow. It shows students how to begin developing a thesis statement and what to consider along the way.
Storizen Magazine - July Issue
This document provides a summary of the growing popularity of Indian English literature in recent decades. It notes that the number of publications in this genre has increased significantly, with fiction by Indian authors gaining particular popularity. Some of the key factors contributing to this rise include the growth of digital platforms that have encouraged more people to take up writing, as well as socio-economic changes that have expanded the market for published books. However, the document also argues that newer generations of media-savvy writers and publishers, who focus more on marketing, have an advantage over older authors who relied solely on the strength of their writing. It concludes by emphasizing the responsibility of readers, reviewers and organizations like Storizen to actively promote high-quality Indian English
Argumentative Essay
The document provides information on different types of essays:
- Argumentative essays show that an opinion is more truthful than others' by using reasoning, inferences, and addressing potential objections.
- Narrative essays tell a story from a point of view using sensory details and advancing the plot.
- Descriptive essays vividly portray a person, place, memory, or experience using details that engage the five senses.
Audience mattersWhen you’re in the process of writing a paper, i.docx
Audience matters
When you’re in the process of writing a paper, it’s easy to forget that you are actually writing to someone. Whether you’ve thought about it consciously or not, you always write to an audience: sometimes your audience is a very generalized group of readers, sometimes you know the individuals who compose the audience, and sometimes you write for yourself. Keeping your audience in mind while you write can help you make good decisions about what material to include, how to organize your ideas, and how best to support your argument.
To illustrate the impact of audience, imagine you’re writing a letter to your grandmother to tell her about your first month of college. What details and stories might you include? What might you leave out? Now imagine that you’re writing on the same topic but your audience is your best friend. Unless you have an extremely cool grandma to whom you’re very close, it’s likely that your two letters would look quite different in terms of content, structure, and even tone.
Isn’t my instructor my audience?
Yes, your instructor or TA is probably the actual audience for your paper. Your instructors read and grade your essays, and you want to keep their needs and perspectives in mind when you write. However, when you write an essay with only your instructor in mind, you might not say as much as you should or say it as clearly as you should, because you assume that the person grading it knows more than you do and will fill in the gaps. This leaves it up to the instructor to decide what you are really saying, and she might decide differently than you expect. For example, she might decide that those gaps show that you don’t know and understand the material. Remember that time when you said to yourself, “I don’t have to explain communism; my instructor knows more about that than I do” and got back a paper that said something like “Shows no understanding of communism”? That’s an example of what can go awry when you think of your instructor as your only audience.
Thinking about your audience differently can improve your writing, especially in terms of how clearly you express your argument. The clearer your points are, the more likely you are to have a strong essay. Your instructor will say, “He really understands communism—he’s able to explain it simply and clearly!” By treating your instructor as an intelligent but uninformed audience, you end up addressing her more effectively.
How do I identify my audience and what they want from me?
Before you even begin the process of writing, take some time to consider who your audience is and what they want from you. Use the following questions to help you identify your audience and what you can do to address their wants and needs.
· Who is your audience?
· Might you have more than one audience? If so, how many audiences do you have? List them.
· Does your assignment itself give any clues about your audience?
· What does your audience need? What do they want? What do they val ...
Texture Studies
The document discusses the purpose and benefits of critiques for artists. It states that critiques are meant to help artists grow, not make them feel like failures. Receiving objective feedback allows artists to see their work without biases and gain insight on how their art communicates. Analyzing and discussing art helps develop judgment skills to avoid mistakes and see how to improve one's own work. The document provides instructions for an assemblage critique activity where participants discuss each other's works using guided questions.
Literary Analysis Essay A good literary analysis essay will rete.docx
Literary Analysis Essay
A good literary analysis essay will retell the essential parts of a story for those that don't know it, explaining piece by piece the symbolism of the big events and smaller details. As far as symbolism goes, all events and details will be symbols of one message from the author.
In other words, your retelling will all be in support of one idea, your thesis, which states the main message of the author.
Below are
(1) a sample structure/how-to information for doing a literary analysis essay for my class -- including what I expect in the thesis;
(2) the score sheet I will use to score these papers, and you will use for peer editing; and
(3) three sample essays.
Literary Analysis Essay Sample Structure
Paragraph 1.
a. Grabber
b. Orient Reader to author, book and its context
c. Thesis
Body Paragraphs: In EVERY paragraph, include, in any order:
a. Evidence
(1) What happened (context)
(2) quotes
b. Commentary
(1) Connect evidence to thesis
Conclusion: End with a gift. Connect to something new and different.
Here’s what these terms mean, in more depth, along with a few other tips:
Grabber. Grab the reader’s attention with the first line. You can do this with action, a deep thought or question, vivid description, or dialogue.
Orient Reader. In 3-4 sentences, identify the title, author, and subject of the book. Don’t summarize the whole book in detail. But write just enough, as if to assume the reader knows nothing yet about the book.
Thesis. The thesis is your angle. It is what you will organize all your evidence around.
A thesis can’t be purely true; it has to be able to be argued one way or the other.
In a literary analysis essay, it should mention the author.
It should specifically identify what(specifically) the author is saying about a general subject, like life, relationships, gender, or class.
In other words, it should be a rewording of this formula: (Author’s name) is making a point about (general subject); the specific point s/he is making is that ____________.
It should suggest that the author is using the characters, setting, plot or voice to make that specific point about a general subject.
For example: “O’Neil uses the protagonist Sydney to argue that rich white men actually can find real happiness not in loving relationships, but in material possessions.”
(The general subject here is happiness.)
Evidence—on two levels: one, support your thesis with events that happened in the book (This is to show the context of your quotes). But stay focused: don’t summarize the book unless it’s as evidence for an idea of yours.
Two, use quotes (with page numbers) from the book. "Quotes" just means excerpts; they don't have to be dialogue. Try to incorporate them into your context, by having quotes and context share sentences. For example:
Not incorporated:
Janie’s images for romantic happiness come from nature. “Life should be more
like a pear tree in bloom, she thinks” (67). She thinks this when she is unhappy ...
Essay On My Hobby.pdf
Writing an essay about one's hobby poses several challenges. The writer must strike a balance between personal reflection and engaging the reader. They must also craft an introduction that grabs attention without using cliches. Additionally, the essay must have a coherent structure and flow with well-transitioning paragraphs. Selecting vivid yet understandable language to convey passion for the hobby is difficult. Overall, an essay on one's hobby requires careful consideration and navigation between creativity and precision at each step to ensure it resonates with readers.
Engl 208 syllabus
This document provides information about an English 208 personal and exploratory writing course at the University of Idaho for Fall 2019. The hybrid class will meet in person once a week and have online components. It will be taught by Brian Malone and focus on personal writing through journaling, essays, and a final portfolio assignment. Students will explore their experiences and different writing forms. The class aims to help students understand the role of writing in their lives and communicate their experiences to others.
Elit 48 c class 26
The document provides guidance for writing a literary analysis essay. It discusses the differences between convincing and persuading, with convincing relating to establishing truth and persuading relating to encouraging action. An example is given of friends persuading someone to take a vacation by pointing out they were overworked, rather than convincing them. The document also includes tips for writing essays, such as focusing on a topic with ample evidence, interpreting evidence rather than just quoting it, and ensuring claims support the thesis.
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Shakespeare Macking Codes
Shakespeare wrote Macbeth to explore themes of ambition, guilt, and the relationship between gender roles and power. Lady Macbeth's line "unsex me here" highlights how she rejects traditional expectations of femininity to pursue her ambitions of becoming queen, which would have challenged contemporary audiences. The word choices and contextual details in the play provide insights into Shakespeare's exploration of the corrupting influence of power and ambition.
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Week 6 lesson 6 slideshare presentation
The document provides guidance for students to analyze how an author contrasts different points of view in a text. It instructs students to identify two characters who experience an important event differently. Students are then directed to describe each character's feelings and perspective on the event based on clues from their words, actions, and language used. Finally, students are asked to explain how the author develops each point of view through word choices and tone and to consider why the author included multiple perspectives to communicate a central idea.
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How to write a poem
This document provides tips for how to write a poem intended to communicate with and generate an emotional response from readers. It advises poets to know their goal in writing, avoid cliches and sentimentality, use vivid images and concrete language, and employ metaphor and simile. Poets are encouraged to move away from simply expressing personal feelings and instead focus on crafting poetry that serves to engage the reader. The document outlines each tip in detail and provides examples to illustrate how to implement the suggestions when writing a poem.
riting About LiteratureGenerally, the essays you write in lite.docx
riting About Literature
Generally, the essays you write in literature courses attempt to answer interesting questions about works of literature. These questions are interesting for at least two reasons: a) their answers are not obvious, and b) their answers (or at least the attempt to answer them) can enrich other readers’ understanding and experience of those works of literature. Often works of literature seem to be intentionally posing these questions to us; they require us to do some work to get them to work.
Readers have asked many different types of questions of works of literature, for example:
· What did the author want to communicate in this work?
· What does the work reveal about the author’s feelings, opinions, or psychology?
· What does the work reveal about the society in which it was written?
· What can we learn from this work about the issues or topics it deals with?
· What motivates the characters in the work to behave as they do?
· How are literary devices used in the work?
· How does the work create emotional or intellectual experiences for its readers?
· Is this work good or bad?
· Is this work good or bad for its readers?
Some of these questions require information from outside the text itself; for example, to argue that a work reveals a writer’s psychological condition, it would be helpful to have some other evidence of that condition to corroborate your interpretation of the work of literature. Some of these questions ask about the world outside the work—about the author, his/her society, or our own society, for example—while others try to focus more on the features of the work itself. Analyses which try to make statements about the work itself is often calledformalist criticism: it attends more to the structures and strategies employed in the work. Ultimately, such arguments generally do try to move beyond the work, to claim, for instance, that it is likely to create certain effects in its readers, or that readers will understand the writer’s intent more clearly if they pay attention to its formal characteristic.
In LIT 100, we are going to be paying attention primarily to these formal features of literary works. In fiction, some of these features include tone, point of view, setting, character, etc. We will be paying less attention to extra-textual features, such as the author’s biography or the historical contexts in which the literature was produced and/or read; these elements are not less important than formal features, but they naturally vary greatly from one work to another and often require in-depth study to truly appreciate. To understand how Shakespeare’s social situation in London in the 1590s might have been reflected in his plays would require a whole course in Elizabethan history. On the other hand, the formal features we will be studying in this course can be found in literature of all eras and genres, though they may often be used to different effect by different writers at different times. A ...
riting About LiteratureGenerally, the essays you write in litera.docx
riting About Literature
Generally, the essays you write in literature courses attempt to answer interesting questions about works of literature. These questions are interesting for at least two reasons: a) their answers are not obvious, and b) their answers (or at least the attempt to answer them) can enrich other readers’ understanding and experience of those works of literature. Often works of literature seem to be intentionally posing these questions to us; they require us to do some work to get them to work.
Readers have asked many different types of questions of works of literature, for example:
What did the author want to communicate in this work?
What does the work reveal about the author’s feelings, opinions, or psychology?
What does the work reveal about the society in which it was written?
What can we learn from this work about the issues or topics it deals with?
What motivates the characters in the work to behave as they do?
How are literary devices used in the work?
How does the work create emotional or intellectual experiences for its readers?
Is this work good or bad?
Is this work good or bad for its readers?
Some of these questions require information from outside the text itself; for example, to argue that a work reveals a writer’s psychological condition, it would be helpful to have some other evidence of that condition to corroborate your interpretation of the work of literature. Some of these questions ask about the world outside the work—about the author, his/her society, or our own society, for example—while others try to focus more on the features of the work itself.
Analyses which try to make statements about the work itself
is often called
formalist
criticism: it attends more to the structures and strategies employed in the work. Ultimately, such arguments generally do try to move beyond the work, to claim, for instance, that it is likely to create certain effects in its readers, or that readers will understand the writer’s intent more clearly if they pay attention to its formal characteristic.
In LIT 100, we are going to be paying attention primarily to these formal features of literary works. In fiction, some of these features include tone, point of view, setting, character, etc. We will be paying less attention to extra-textual features, such as the author’s biography or the historical contexts in which the literature was produced and/or read; these elements are not less important than formal features, but they naturally vary greatly from one work to another and often require in-depth study to truly appreciate. To understand how Shakespeare’s social situation in London in the 1590s might have been reflected in his plays would require a whole course in Elizabethan history. On the other hand, the formal features we will be studying in this course can be found in literature of all eras and genres, though they may often be used to different effect by different writers at different times. Almost all fict.
Description
The document describes the patterns of paragraph and essay development for descriptive writing. Descriptive writing relies on details from the five senses to create a clear image of the subject for the reader. It uses vivid language and details to show rather than tell about the subject. There are three main types of descriptive writing: narrative description which tells a story, subjective description which relates details from a biased viewpoint, and objective description which factually describes a subject using sensory details. Effective descriptive writing techniques include using clear and vivid language, appealing to the senses, and leaving the reader with a clear impression of the subject.
1. Classify patients into 4 tiers based on number of claims. (6 po.docx
1. Classify patients into 4 tiers based on number of claims. (6 points)
a. Tier 1 (High-Risk) (75-100 percentile); Tier 2 (Rising Risk) (50-75percentile), Tier 3 (Med Risk)(25-50%) Tier 4 (Low Risk) (0-25%)
b. Add a new column to the Beneficiary table that indicates the tier of the patient
c. Add a new column to the beneficiary table that calculates patient age in 2019 (2019 – Year of birth)
d. For each tier identify ( using Pivot table )
i. Average and Median Claim count and claim amount
ii. Percentage of the population with each type of chronic condition
iii. Percentage of population in different age ranges (65 -74, 75-85, 85+)
e. Write a narrative description of each tier and Health IT recommendations for providing services that can reduce costs and improving quality of care (about 150 words)
File too large to upload – can I email it to you?
Writing Assignment 1
Self-Ethnography & Analysis of an Unfamiliar Space (5-8 pp.)
Description of Assignment Goals
An ethnography is a piece of writing that describes a particular group, community or subculture (this genre of writing is
most common in Anthropology, though other fields also perform ethnographic writing). Self-ethnography asks you to
analyze yourself in relation to someone or something, usually a broader societal context. For this assignment, you will
position yourself in an unwelcoming or unfamiliar space and aim to analyze and reflect on your own positionality and
sense of belonging.
Your goal with this assignment is to identify a place that you do not belong in because you do not belong to the
community who inhabits the space naturally. This can be high stakes (a community that you actively don’t belong to) or
low stakes (something merely unfamiliar), though the higher the stakes the more likely you’ll have something interesting
to write about.
The goal of you entering and inhabiting the space is to achieve productive discomfort; in other words, using your feelings
of a lack of belonging, and the discomfort that results, to think through yourself and others. Note: If it’s hard to find
someplace that you don’t belong, that’s something to reflect on in itself.
Do note that you may need to ask permission to access the space you choose. Please be mindful of those whose space
you’ll be visiting, and keep in mind that this is, at its core, an assignment aimed at self-reflection and not at describing
unfamiliar actions of others. In other words, you should approach this not as a means to describe unfamiliar or “alien”
others, but rather to reflect on how it feels to inhabit a space not meant for you. You are the main subject of description
and analysis, not the people you’re with.
Feel free to be active. Although it’s easy to think of this assignment as asking you to sit quietly and observe, you’ll likely
have more success if you engage with whatever activity is going on in the space. Furthermore, if appropriate, you’re
welcome to ask questions of t.
1. Classify patients into 4 tiers based on number of claims. (6 po.docx
1. Classify patients into 4 tiers based on number of claims. (6 points)
a. Tier 1 (High-Risk) (75-100 percentile); Tier 2 (Rising Risk) (50-75percentile), Tier 3 (Med Risk)(25-50%) Tier 4 (Low Risk) (0-25%)
b. Add a new column to the Beneficiary table that indicates the tier of the patient
c. Add a new column to the beneficiary table that calculates patient age in 2019 (2019 – Year of birth)
d. For each tier identify ( using Pivot table )
i. Average and Median Claim count and claim amount
ii. Percentage of the population with each type of chronic condition
iii. Percentage of population in different age ranges (65 -74, 75-85, 85+)
e. Write a narrative description of each tier and Health IT recommendations for providing services that can reduce costs and improving quality of care (about 150 words)
File too large to upload – can I email it to you?
Writing Assignment 1
Self-Ethnography & Analysis of an Unfamiliar Space (5-8 pp.)
Description of Assignment Goals
An ethnography is a piece of writing that describes a particular group, community or subculture (this genre of writing is
most common in Anthropology, though other fields also perform ethnographic writing). Self-ethnography asks you to
analyze yourself in relation to someone or something, usually a broader societal context. For this assignment, you will
position yourself in an unwelcoming or unfamiliar space and aim to analyze and reflect on your own positionality and
sense of belonging.
Your goal with this assignment is to identify a place that you do not belong in because you do not belong to the
community who inhabits the space naturally. This can be high stakes (a community that you actively don’t belong to) or
low stakes (something merely unfamiliar), though the higher the stakes the more likely you’ll have something interesting
to write about.
The goal of you entering and inhabiting the space is to achieve productive discomfort; in other words, using your feelings
of a lack of belonging, and the discomfort that results, to think through yourself and others. Note: If it’s hard to find
someplace that you don’t belong, that’s something to reflect on in itself.
Do note that you may need to ask permission to access the space you choose. Please be mindful of those whose space
you’ll be visiting, and keep in mind that this is, at its core, an assignment aimed at self-reflection and not at describing
unfamiliar actions of others. In other words, you should approach this not as a means to describe unfamiliar or “alien”
others, but rather to reflect on how it feels to inhabit a space not meant for you. You are the main subject of description
and analysis, not the people you’re with.
Feel free to be active. Although it’s easy to think of this assignment as asking you to sit quietly and observe, you’ll likely
have more success if you engage with whatever activity is going on in the space. Furthermore, if appropriate, you’re
welcome to ask questions of t ...
1.1 Connecting Entering Into a Literary ExperienceWhen you allo.docx
1.1 Connecting: Entering Into a Literary Experience
When you allow reading to unlock your imagination, your connection also sets the stage for intellectual engagement. It allows the experience of reading literature to include the pursuit of ideas and knowledge. Your literary experience—as the title of this book suggests—can become a personal journey, a quest for meaning. But connections to literature don't have to begin with deep intellectual quests. The stories themselves, those that strike a human chord, provide the greatest opportunity for connection.
From ancient times, in every culture, humans have told stories to explain their world, to honor people, to celebrate achievements, and to communicate human values. Stories are still essential in our lives: We share them with our children, look to them for entertainment, and read them because at the core of our being there's a powerful curiosity about human relationships and how to cope in the world in which we find ourselves.
This means you are already wired to explore literature. And the most immediate connection is through story. Allowing yourself to be drawn into a story—whether it's told by someone, printed in a book, or performed—unlocks your innate abilities to empathize, to laugh, to inquire, to learn, to wonder. Connecting with literature also allows you to reflect on the significance of common human experiences in your life.
For example, if you know what it's like to send your child off to school for the first time and remember how you felt when this happened, your connection to the emotions that Rachel Hadas, poet and former professor at Rutgers University, packs into "The Red Hat" will be instantaneous. Her poem captures the anxiety and disequilibrium parents feel when watching their young children drawn away from them to enter school and a world away from home. When the watching parent is described in the poem as one whose "heart stretches, elastic in its love and fear," you can feel those emotions because you have experienced them. And no one has to explain what "wavering in the eddies of change" means—you've lived through that uncomfortable experience when home seems strangely empty, routine is broken, and you are forced to accept that your child will not always be with you.
The Red Hat
Rachel Hadas (1994)
It started before Christmas. Now our son
officially walks to school alone.
Semi-alone, it's accurate to say:
I or his father track him on the way.
He walks up on the east side of West End, 5
we on the west side. Glances can extend
(and do) across the street; not eye contact.
Already ties are feelings and not fact.
Straus Park is where these parallel paths part;
he goes alone from there. The watcher's heart 10
stretches, elastic in its love and fear,
toward him as we see him disappear,
striding briskly. Where two weeks ago,
holding a hand, he'd dawdle, dreamy, slow,
he now is hustled forward by the pull 15
of something far more powerful than school.
The mornings we turn b ...
Thesis Statement Construction
Link here for the Google Slide version that is often updated: https://docs.google.com/presentation/d/1lfwqsbgxQ-6TDkiheTGGExNbOetYKg5MbmHuufXflpE/edit?usp=sharing
This is an updated version of my former thesis statement slideshow. It shows students how to begin developing a thesis statement and what to consider along the way.
Storizen Magazine - July Issue
This document provides a summary of the growing popularity of Indian English literature in recent decades. It notes that the number of publications in this genre has increased significantly, with fiction by Indian authors gaining particular popularity. Some of the key factors contributing to this rise include the growth of digital platforms that have encouraged more people to take up writing, as well as socio-economic changes that have expanded the market for published books. However, the document also argues that newer generations of media-savvy writers and publishers, who focus more on marketing, have an advantage over older authors who relied solely on the strength of their writing. It concludes by emphasizing the responsibility of readers, reviewers and organizations like Storizen to actively promote high-quality Indian English
Argumentative Essay
The document provides information on different types of essays:
- Argumentative essays show that an opinion is more truthful than others' by using reasoning, inferences, and addressing potential objections.
- Narrative essays tell a story from a point of view using sensory details and advancing the plot.
- Descriptive essays vividly portray a person, place, memory, or experience using details that engage the five senses.
Audience mattersWhen you’re in the process of writing a paper, i.docx
Audience matters
When you’re in the process of writing a paper, it’s easy to forget that you are actually writing to someone. Whether you’ve thought about it consciously or not, you always write to an audience: sometimes your audience is a very generalized group of readers, sometimes you know the individuals who compose the audience, and sometimes you write for yourself. Keeping your audience in mind while you write can help you make good decisions about what material to include, how to organize your ideas, and how best to support your argument.
To illustrate the impact of audience, imagine you’re writing a letter to your grandmother to tell her about your first month of college. What details and stories might you include? What might you leave out? Now imagine that you’re writing on the same topic but your audience is your best friend. Unless you have an extremely cool grandma to whom you’re very close, it’s likely that your two letters would look quite different in terms of content, structure, and even tone.
Isn’t my instructor my audience?
Yes, your instructor or TA is probably the actual audience for your paper. Your instructors read and grade your essays, and you want to keep their needs and perspectives in mind when you write. However, when you write an essay with only your instructor in mind, you might not say as much as you should or say it as clearly as you should, because you assume that the person grading it knows more than you do and will fill in the gaps. This leaves it up to the instructor to decide what you are really saying, and she might decide differently than you expect. For example, she might decide that those gaps show that you don’t know and understand the material. Remember that time when you said to yourself, “I don’t have to explain communism; my instructor knows more about that than I do” and got back a paper that said something like “Shows no understanding of communism”? That’s an example of what can go awry when you think of your instructor as your only audience.
Thinking about your audience differently can improve your writing, especially in terms of how clearly you express your argument. The clearer your points are, the more likely you are to have a strong essay. Your instructor will say, “He really understands communism—he’s able to explain it simply and clearly!” By treating your instructor as an intelligent but uninformed audience, you end up addressing her more effectively.
How do I identify my audience and what they want from me?
Before you even begin the process of writing, take some time to consider who your audience is and what they want from you. Use the following questions to help you identify your audience and what you can do to address their wants and needs.
· Who is your audience?
· Might you have more than one audience? If so, how many audiences do you have? List them.
· Does your assignment itself give any clues about your audience?
· What does your audience need? What do they want? What do they val ...
Texture Studies
The document discusses the purpose and benefits of critiques for artists. It states that critiques are meant to help artists grow, not make them feel like failures. Receiving objective feedback allows artists to see their work without biases and gain insight on how their art communicates. Analyzing and discussing art helps develop judgment skills to avoid mistakes and see how to improve one's own work. The document provides instructions for an assemblage critique activity where participants discuss each other's works using guided questions.
Literary Analysis Essay A good literary analysis essay will rete.docx
Literary Analysis Essay
A good literary analysis essay will retell the essential parts of a story for those that don't know it, explaining piece by piece the symbolism of the big events and smaller details. As far as symbolism goes, all events and details will be symbols of one message from the author.
In other words, your retelling will all be in support of one idea, your thesis, which states the main message of the author.
Below are
(1) a sample structure/how-to information for doing a literary analysis essay for my class -- including what I expect in the thesis;
(2) the score sheet I will use to score these papers, and you will use for peer editing; and
(3) three sample essays.
Literary Analysis Essay Sample Structure
Paragraph 1.
a. Grabber
b. Orient Reader to author, book and its context
c. Thesis
Body Paragraphs: In EVERY paragraph, include, in any order:
a. Evidence
(1) What happened (context)
(2) quotes
b. Commentary
(1) Connect evidence to thesis
Conclusion: End with a gift. Connect to something new and different.
Here’s what these terms mean, in more depth, along with a few other tips:
Grabber. Grab the reader’s attention with the first line. You can do this with action, a deep thought or question, vivid description, or dialogue.
Orient Reader. In 3-4 sentences, identify the title, author, and subject of the book. Don’t summarize the whole book in detail. But write just enough, as if to assume the reader knows nothing yet about the book.
Thesis. The thesis is your angle. It is what you will organize all your evidence around.
A thesis can’t be purely true; it has to be able to be argued one way or the other.
In a literary analysis essay, it should mention the author.
It should specifically identify what(specifically) the author is saying about a general subject, like life, relationships, gender, or class.
In other words, it should be a rewording of this formula: (Author’s name) is making a point about (general subject); the specific point s/he is making is that ____________.
It should suggest that the author is using the characters, setting, plot or voice to make that specific point about a general subject.
For example: “O’Neil uses the protagonist Sydney to argue that rich white men actually can find real happiness not in loving relationships, but in material possessions.”
(The general subject here is happiness.)
Evidence—on two levels: one, support your thesis with events that happened in the book (This is to show the context of your quotes). But stay focused: don’t summarize the book unless it’s as evidence for an idea of yours.
Two, use quotes (with page numbers) from the book. "Quotes" just means excerpts; they don't have to be dialogue. Try to incorporate them into your context, by having quotes and context share sentences. For example:
Not incorporated:
Janie’s images for romantic happiness come from nature. “Life should be more
like a pear tree in bloom, she thinks” (67). She thinks this when she is unhappy ...
Essay On My Hobby.pdf
Writing an essay about one's hobby poses several challenges. The writer must strike a balance between personal reflection and engaging the reader. They must also craft an introduction that grabs attention without using cliches. Additionally, the essay must have a coherent structure and flow with well-transitioning paragraphs. Selecting vivid yet understandable language to convey passion for the hobby is difficult. Overall, an essay on one's hobby requires careful consideration and navigation between creativity and precision at each step to ensure it resonates with readers.
Engl 208 syllabus
This document provides information about an English 208 personal and exploratory writing course at the University of Idaho for Fall 2019. The hybrid class will meet in person once a week and have online components. It will be taught by Brian Malone and focus on personal writing through journaling, essays, and a final portfolio assignment. Students will explore their experiences and different writing forms. The class aims to help students understand the role of writing in their lives and communicate their experiences to others.
Elit 48 c class 26
The document provides guidance for writing a literary analysis essay. It discusses the differences between convincing and persuading, with convincing relating to establishing truth and persuading relating to encouraging action. An example is given of friends persuading someone to take a vacation by pointing out they were overworked, rather than convincing them. The document also includes tips for writing essays, such as focusing on a topic with ample evidence, interpreting evidence rather than just quoting it, and ensuring claims support the thesis.
6.3 Narrative Writing Pattern Narration is storytelling f.docx
This document provides an overview of narrative writing and the key elements to include in a narrative. It discusses the purpose of narrative writing, which is often to entertain or engage readers but can also be to share a personal experience or teach a lesson. It outlines important narrative elements like plot, characters, setting, and creative tension. It also discusses organizing a narrative using chronological, spatial, or dramatic order. The document provides guidance on developing key parts of a narrative like the thesis, plot, dialogue, and maintaining a clear narrative structure.
Reflective essay
A reflective essay explores a topic using personal thoughts and experiences. By using the topic as a springboard, the writer reflects on world events, personal history, emotions, or facts. The goal is to weave reflections together to convey a new thought to the reader. Though seemingly flowing, reflective essays require planning and structure. They involve creating an outline from a mind map of experiences, facts, and events. The essay then shares specific personal experiences and weaves them together with reflections in cohesive paragraphs to broaden the point into a universal truth.
This essay should be 1,000 words and the instructions are below.
This essay should be 1,000 words and the instructions are below.
PART I. DESCRIBE in detail the art works from an objective standpoint. Act as if you are writing for an audience who hasn’t seen or experienced the artwork(s). Your reader (me) is only able to experience the work(s) through your words. It is your responsibility to look at the work(s) as objectively as possible and articulate these findings to me. Your reader depends on YOU to make the appropriate word choices, to consider what the artist may or may not be doing. Use descriptive words and significant details to create a mental picture for your reader. The more specific, objective, and clearer you are, the better. Avoid clichés (“beauty is in the eye of the beholder”) and sweeping generalizations. You should avoid reading anything about the work other than: the title, the artist’s name, and the material used (for visual art works). The whole purpose of this assignment is to help you to learn how to trust your own abilities to observe, using your own senses, and make conclusions as these are essential skills for any life work.
PART II. ANALYZE the aspects of the work(s) you choose to describe. Interpreting means that you attempt to understand what the work is communicating, using the elements from the work to back up your points. Basically, you are acting like detective who uses the clues to figure out what it means. Remember to be careful to not assume something that isn’t there. The evidence (aspects of the work) tells you what you think it is conveying. There is no perfect interpretation; however, you must be careful that the work described fits with your analysis. Think about the choices the artist made and why he/she did it that way. What may have been the point? To educate? To inspire? To make you feel a certain way? To get you to see better? To make you uncomfortable? To stimulate your imagination?
PART III. EVALUATE the work(s). Now, be subjective. Tell your reader how you felt or thought about the work(s). If you like or dislike some aspect of it, do not simply state this, give reasons for why the works of art affected you the way it did. In other words, think about how the artistic choices influenced your experience of the event. It is your job to convince the reader of your aesthetic judgment using evidence; mere statements of the experience being "bad" or "good" do not tell your reader why it is worth seeing or not. Remember, you are being responsible to your reader by considering that she does not have your same perspective, so you must consider that as well. This is an important aspect of the essay, so don’t forget to write about it!
PART IV. CONCLUDE with a paragraph or two that addresses the arts in general as agents of cultural change, as purveyors of ideas and emotional states, or as communicators of values. In YOUR OWN WORDS, tell your reader how any artist’s choices and actions (the work itself being an active form of ...
Elit 48 c class 24
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Engl 208 03 self-documentary assignment sheet
This document provides an overview of the "Self-Documentary" assignment. Students are asked to create a 5-7 minute film exploring a question they want or need answered about themselves, their family, or the world around them. They must include personal narratives and experiences related to the question through voiceovers, photos, or written text. Students are also required to interview at least one other person to gain additional perspectives. Films will be presented during the last two weeks of class, with presentations lasting 10 minutes for the film plus questions. Signups for presentation time slots will take place on April 17th.
Engl317 assignment sheet_project4
This project requires students to conduct a usability test of a product or website and write a technical white paper and screencast summarizing the results. For the test, students will observe themselves completing tasks to identify usability issues. The white paper will describe task results and analyze usability, while the screencast will demonstrate a specific finding. The goals are to evaluate ease of use and learn how to test and report on the user experience.
Engl317 project4 slidedoc1_about_usabilitytesting
This document discusses user-centered design (UX) and usability testing (UT). UX considers users' needs, wants, and limitations when designing products. UT finds out if a product works for users. There are five components of usability - a product should be effective, efficient, engaging, error tolerant, and easy to learn. Types of usability tests include lab based testing, survey testing, and cognitive walkthroughs where an evaluator completes tasks to understand the user experience. For this project, students will design and conduct a cognitive walkthrough usability test.
Engl317 project4 slidedoc2_stepsto_designux_test
1. The document outlines the steps to conduct a usability test, including deciding what to test, designing the test, conducting the test, and writing up the test findings.
2. Key steps in designing the test involve identifying users and test tasks, developing metrics to evaluate usability, and creating a data collection form.
3. Conducting the test involves playing the role of a new user, completing each task while collecting data, and taking screenshots to support findings.
Engl317 project4 slidedoc3_technical_whitepaper
This document provides guidelines for writing a technical white paper summarizing user experience (UX) test findings. It outlines the required structure, including a title page, table of contents, introduction, methodology, results, recommendations/conclusion, bibliography, and appendix. The methodology section should describe the tasks tested, test environment, and evaluation criteria. The results section needs clear descriptions of each task and visuals to support the findings. Recommendations should list suggestions for improving the product or website based on the results. The appendix must include the raw data collection forms. Overall, the white paper should present the test results and their implications in a clear, concise manner using the prescribed structure.
Engl317 project4 slidedoc4_screencasting_usability_testfinding
The document provides instructions for creating a screencast to demonstrate a usability test finding. It recommends writing a script that introduces the subject and purpose of the finding, focuses on 2-3 key points by walking the viewer through a feature or problem, and concludes in about 10 seconds. The screencast should capture the screen while narrating the script to clearly show the viewer a usable feature or usability problem found during user testing. Practicing with the script can help avoid rambling and ensure a clear presentation.
Engl317 project3 slidedoc1_graphic_designprinciplesfornondesigners
This document provides an overview of basic principles of graphic design for non-designers. It discusses Gestalt theories of visual perception, including the principles of proximity, closure, and similarity/anomaly. It also covers color theory concepts like color harmony, color wheels, and contrast. Specific color schemes like monochromatic, analogous, and complementary are explained. Guidelines are provided for using complementary colors and black backgrounds effectively. The document concludes with tips for combining different font styles like serif and sans serif fonts.
Engl317 project3 slidedoc2_howto_createyourinfographic
This document provides instructions for creating a mixed chart infographic, including choosing an audience and purpose, selecting a topic, writing an outline, creating a wireframe, and deciding on visual elements like charts and an isotype. The infographic must include at least three self-created charts, one visualized number, and one self-created isotype pictograph. Sources can be cited but no pre-existing visuals may be used except icons, which must be credited. Following these steps will help structure an informative data-driven infographic.
Engl317 project3 slidedoc3_screencasting_design_justification_
The document provides instructions for creating a screencast to justify design choices made in an infographic project. It outlines how to write a script focusing on the key points of connecting design choices to graphic design principles in 3 minutes or less. The script should have a 10-second introduction and conclusion and refer to specific parts of the infographic using the mouse cursor while narrating. Rambling and statements not related to principles should be avoided.
Engl317 project2 slidedoc1_about_technical_definitions_and_descriptions
This document discusses the differences between technical definitions and technical descriptions. Technical definitions answer the questions "what is x?" and "what does it mean?" by naming and categorizing a term within specific contexts. Technical descriptions answer questions about how something works or what it is like by focusing narrowly on explaining a thing. Both use descriptive language but have different purposes based on the questions they aim to answer and the context. The goal is to help audiences make decisions or better understand how something impacts them.
Engl317 project2 slidedoc3_how_to_create_the_slidecast
This document provides guidance on creating an effective slidecast presentation in 3 steps or less:
1) Choose a slidecasting tool that allows hosting your presentation online without downloading, such as Knovio. Limit slides to 6-12 and keep narration to 30 seconds per slide.
2) Write a script with an introduction, body, and conclusion. Use signposts to guide the audience. Keep sentences short for oral delivery.
3) Design slides for visual interest with minimal text. Choose images and fonts to engage the audience and use color, contrast, and layout principles for clarity. Record the narration with vocal variety, pauses, and clear diction.
Engl317 project2 slidedoc2_how_to_write_the_technical_documentation
This document provides guidance on writing technical documentation for Deliverable 1. It begins with an introduction to the two types of technical documentation: user-oriented and project-oriented. The document instructs the reader to write project-oriented technical documentation for this assignment. It outlines four planning steps: 1) identify the context and choose to write an extended definition or technical description, 2) plan how to develop the definition or description, 3) plan the number of slides and their order, and 4) choose an organizing pattern. Several examples are given for each step. Common organizing patterns like sequential, chronological, and parts-to-whole are defined. Formatting guidelines are provided, instructing the writer to use a memo format and
Engl317 project2 slidedoc4_optional_metaphors_similiesanalogies
1) Metaphors, similes, and analogies help readers understand unfamiliar concepts by comparing them to familiar concepts. Metaphors state one thing is another, while similes state one thing is like another. Analogies argue the relationship between two things is so close understanding one illuminates the other.
2) Examples show analogies used to explain the Federal Reserve and shell theory of the nucleus. Metaphors can also drive creative problem solving, as shown by Smeaton's use of ship and tree trunk metaphors in designing a lighthouse.
3) While metaphors facilitate understanding, they can also constrain thinking if they establish paradigms preventing other frames of reference.
F2 f project2_schedule_engl317_spring2019
This document outlines the schedule and deliverables for Project 2 of an English technical writing course over 3 weeks. It details the readings, in-class activities, homework assignments, and due dates which include drafting technical documentation, conducting peer reviews, creating a slidecast presentation, and submitting all work by the final due date. Students will choose a technical topic, write definitions and descriptions, get peer feedback, and develop a slideshow and script to be reviewed by peers and submitted for grading.
F2 f project3_schedule_engl317_spring2019
This document outlines the schedule and assignments for Project 3 of an English 317 Technical Writing course. It provides the due dates and requirements for each step of the project from weeks 7 through 9. The project involves creating an infographic to visualize and explain statistical data, including drafting an outline and wireframe, peer reviewing classmates' work, creating the infographic, justifying the design choices in a screencast, and submitting all deliverables by the final due date of March 10.
F2 f project4_schedule_engl317_spring2019
This document provides the schedule and requirements for Project 4 of an English technical writing course. It outlines the due dates and tasks to be completed over 4 weeks for designing and conducting a usability test, drafting a white paper report, and creating a screencast presentation of a usability test finding. All project deliverables, including a self-evaluation, white paper, and screencast URL, are due on Sunday April 14th by 11:59 PM. Students are expected to provide peer reviews of drafts on the assigned dates.
F2 f project5_schedule_engl317_spring2019
This document provides the schedule and requirements for Project 5 in an English technical writing course. It outlines that students must choose an internship, entry-level, or graduate program opportunity to use as the basis for a targeted resume or CV, cover letter, and e-portfolio website to be created over weeks 14 and 15 and due by April 28th. The schedule lists the daily in-class activities and assignments for each part of the project, including analyzing the opportunity, drafting documents, choosing a website builder, and populating the portfolio.
F2 f project1_schedule_engl317_spring2019
This document outlines the schedule and assignments for Project 1 of the ENGL 317 Technical Writing course over the first 3 weeks. It includes due dates for analyzing a writing sample, peer reviewing a memo report draft, creating and recording a podcast on a UI research topic, and submitting the final project deliverables which are a self-evaluation, podcast URL, and memo report. All homework and projects must be submitted by 11:59 PM on the listed due date.
Engl317 orientation about_technicalwriting
Technical writing is difficult to define precisely due to definitions being either too broad or narrow. It involves problem-solving to interpret writing situations and choose effective solutions to meet dynamic needs. Understanding writing as problem-solving helps develop transferable skills like rhetorical tools that can be applied to new workplace contexts. Rhetoric originally meant persuading through language but is now often used pejoratively in politics involving distortions; however, a modern definition acknowledges rhetoric informs any language use to elicit responses from audiences for various purposes, which is the definition used in the course to help students communicate successfully professionally.
Online project4 schedule_engl317_spring2019
This document outlines the schedule and deadlines for Project 4 of the ENGL 317 Technical Writing course. It details that over the course of Weeks 10-13, students will complete a usability test, draft sections of a white paper on the test, participate in peer reviews of drafts, and create and peer review a screencast explaining the usability test. All assignments are due by Sunday April 14th by 11:59 PM, and must include a self-evaluation, the final white paper, and the URL to the screencast. Students are responsible for verifying their submissions are complete.
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Engl 208 03 essay ala bluets assignment sheet
- 1. ENGL 208-03 Page 1 of 3 Essay ala Bluets Overview: For this assignment, you will craft a hybrid collage essay that focuses on your own obsession/passion. Consider how Maggie Nelson starts with falling in love with a color as an obsession/passion while detailing the changes she undergoes through her relationships to others and the world around her. Bluets pushes beyond the color blue and love by complicating what we know and feel, and you are asked to do the same. Much like how Maggie Nelson delves into and out of understandings of the color blue and love, you will also dive into the worlds that shape your experiences and the making of meaning. The first part of your assignment will require you to narrow down an obsession/passion you want to shape your essay around. A question to get you started can simply follow “What are you obsessed with?” and/or “What are you passionate about?” and build from there. Your obsession/passion can focus on concrete things/phenomena and/or abstractions, but you can also consider blurring the concrete and abstract. Keep in mind that your obsession/passion does not need to extend into where you are at now, but it could be something from your past, however temporary or lasting. Think of a focal point for obsession/passion. Or is it more of a hierarchy of a metaphor relating to the obsession/passion? What is at the top of this hierarchy? How does the fulcrum of obsession/passion lead to new directions and meaning? After narrowing down the main focus of your essay, you will also need to consider the catalyst for your obsession/passion. You should be digging into experiences, objects, and obsession/passion itself to give way to meaning. What prompts change for you considering your obsession/passion? How have you been drawn out of this obsession/passion? What events are meaningful you in light of this and other perspectives/lenses? Your essay should engage your reader with your experiences relevant to your obsession/passion while also drawing them into a world beyond through various lenses and perspectives. In order to do this, you will write in the form of short vignettes/fragments and organize them in a way that challenges and complicates your reader’s understanding of obsession/passion in a new way. Think back to our Adrienne Rich reading that discusses truth as an increasing complexity, “the pattern of the carpet is a surface.” Consider how your vignettes/fragments will weave together into a surface/space for your reader to grapple with truth. Necessary Craft Elements: --Exercise the art of meditation: include questions to the self, the reader, declarative statements about such things as love, longing, desire, need. --Include at least 3 references to a philosopher, psychologist, artist or associated theory. --Include at least 3 specific etymological definitions of specific words, phrases and/or idioms. These definitions will show the underpinnings, connotations, denotations, and history of language as it relates to and evolves from ideas/concepts/examples from your story. --Include at least 5 instances of personal history/experience told in exposition (versus scene).
- 2. ENGL 208-03 Page 2 of 3 --Include at least 3 recent things you have read/overheard/encountered, whether they are in class, in your apartment, your hometown, etc. Play/riff on these conversations and perspectives as you see fit. --Include at least one other correspondent for your obsession/passion. Who has something to say about your obsession/passion? Who is witness to you and others? --Include at least 3 direct addresses to the reader. --Include at least 5 manifestations/images/examples of your obsession/passion in everyday life. Where is this passion/obsession seen in culture/pop culture? The environment? Nature? Consider an objective correlative, or how “things” and “objects” intertwine with your story in a metaphorical or literal sense. How are you drawn to the qualities of things: what are you drawn to, what do you need from “things” as they relate to your experiences of the world? --Include at least 3 instances of “Perhapsing” or “Supposing” --Attempt to imitate the tone and style of Bluets throughout, but also take liberty to make it your own. Be honest! Take some risks!!! --You will need at least 50 total vignettes/fragments in your hybrid collage essay. Build off of the narratives, ideas, and questions from your journals! Due Dates: Rough Draft: Sunday, March 31st @ 11:59 pm. Final Draft: Sunday, April 14th @ 11:59 pm.