fsem 1111-27 graphic writing across cultures syllabus, fall 2014
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8/11/2019 FSEM 1111-27 Graphic Writing Across Cultures Syllabus, Fall 2014
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fsem 1111-27 ! ! graphicwriting.blogspot.com/
tr 10:002:50 ! !margery reed 106
.
john tiedemann! ! john.tiedemann@du.edu
office: anderson academic !!office hours: tues. and thurs. 24,
commons 380U. .. and by appointment
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8/11/2019 FSEM 1111-27 Graphic Writing Across Cultures Syllabus, Fall 2014
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!the class
The humble comic book, once derided as a frivolous form of adolescent
entertainment, has in recent decades given rise to an array of innovativeartistic forms that address themes formerly reserved for high culture and
academia. The mysteries of sex and death, the ambiguities of history and
politics, the arcana of philosophy and pure mathematics: all this and
more can be found in the pages of todays graphic novels, manga,
webcomics, and motion comics. In this course, we will examine the
unique opportunities for cross-cultural meaning-making afforded by the
combination of words and pictures in contemporary graphic writing.
We will consider how the mixed medium of graphic writing enables its
creators to tell stories that cut across boundaries of race, nation, gender,
class, religion, and sexuality.
In addition to reading and writing about graphic texts, students will
create a piece of graphic writing of their own, visit with working artists
and writers, and present their own work at a class colloquium.
(Please note that you do not need to be able to draw to take this
course.)
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!course texts
Craig Thompson, Blankets.
Adrian Tomine, Shortcomings. Alison Bechdel, Fun Home: A Family Tragicomic.
Art Spiegelman, Maus: A Survivors Tale.
Mat Johnson and Warren Pleece, Incognegro.
Gilbert Hernandez, Human Diastrophism.
You can purchase our course texts via this Amazon list:
http://goo.gl/qAIfK(or, of course, you via another online or local
bookseller, such as the Tattered Cover (http://www.tatteredcover.com/).
Please purchase all of your books right away. You need to have them in
time for us to discuss them, and My copy hasnt arrived yet isnt an
excuse to be unprepared for class.
Supplementary readings will be made available on Blackboard:
https://blackboard.du.edu/.
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!major projects
In addition to completing weekly readings and informal writing
assignments, initiating class discussions, and taking part in ourconversations in and out of class, students will undertake two major
projects:
In the first, students will create a piece of graphic writing of their own,
combining words and pictures to tell a story of cultural difference.
In the second, students will write a critical analysis of a piece of
graphic writing, applying concepts learned from our scholarly
readings to a graphic text of their choosing.
Students will design their projects in consultation with me and will
complete them in stages, drafting and revising in response to feedback
from their teacher and classmates. Students will exhibit their work at a
class colloquium open to the University community.
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!course goals and expectations
The goals of the First-Year Seminars are:
1. To discover what it means to be an active member of an intellectual
community by meeting rigorous academic expectations through
critical reading, discussion, research, and/or writing.
2. To practice newly acquired skills in an active learning environment.
3. To foster a strong academic advising relationships between teacher
and students.
To those ends and per our Discoveries Week discussions, you will:
1. Aim to be able to teach what youve learned in class.
2. Help your classmates to develop and present their ideas by leading
class discussion and participating actively in in-class workshops and
off-campus outings.
3. Meet regularly with me to discuss your work in our class and your other
classes and to plan for your future at DU.
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!policies
Engagement
I expect you all to be active learners and thoughtful collaborators,
committed to the material, your work, and your peers learning. Your
level of engagement is made manifest in a number of ways, including
participation in class discussions, in workshops, in homework assignments,
and in your efforts to improve not only your own learning experience and
that of the class. I will assess your engagement as follows:
Superior engagement means that the student is always prepared,
often adding additional insights to online discussion and providingextensive feedback to writing. S/he demonstrates active learning via
consistently perceptive and energetic engagement with the material,
his or her peers, and the teacher.
Average engagement means that the student generally seems
prepared. Generally, his or her participation in discussion seems to
encourage and support others in the class. The students presence is
productive.
Weak engagement means that the students participation is listless,
lackluster, or only intermittent.
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Attendance
Because interaction with others is a vital part of learning, I expect you to
attend every class meeting and scheduled conference. You are allowed
two absences without penalty; for each absence after the second one,your engagement grade will drop by a letter (e.g., from an A to a B, a B
to a C, etc.). If I determine that excessive absences have prevented you
from meeting the goals of the course, you may fail. If you miss a class,
you are personally responsible for learning about any missed material or
assignments, either from classmates or from our blog. I make no
distinction between excused and unexcused absences, so save yours for
illness or emergency.
Late Work
Assignments are due when they are due. I will accept late work only if you
have cleared the lateness with me in advance, and then only under the
most extenuating circumstances. An assignment that is turned in late
without clearance will be graded down a third of a letter grade (e.g., from
an A to an A, from an A to a B+) for each day its late.
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Civility and Tolerance
This class affirms DUs Code of Student Conduct
(http://www.du.edu/ccs/code.html), which in part expects students to
recognize the strength of personal differences while respectinginstitutional values. Because writing courses rely heavily on interactions
between all members of the class, students and faculty must act in a
manner respectful of different positions and perspectives. A student who
behaves in an uncivil or intolerant manner will be asked to stop and/or
formally reprimanded and/or subject to action by the Office of
Citizenship and Community Standards.
Becoming educated requires encountering new ideas and information,
some of which may conflict with an individuals existing knowledge orperspectives. I expect students to engage such materials thoughtfully, in
ways that reflect the values and mission of the University of Denver
Accommodations for Students with Disabilities
I will provide reasonable accommodations to any student who has a
disability that has been documented by The University of Denver Disability
Services Program (www.du.edu/disability/dsp or 303.871.2455).
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Plagiarism
I follow the Council of Writing Program Administrators policy Defining
and Avoiding Plagiarism, which states: In an instructional setting,
plagiarism occurs when a writer deliberately uses someone elseslanguage, ideas, or other original (not common-knowledge) material
without acknowledging its source (http://wpacouncil.org/node/9). DUs
Honor Code also maintains that all members of the University must
responsibly use the work of others. Students who have plagiarized a
project will receive an F on that project, and I will inform the Office of
Community and Citizenship Standards, which may take further action.
Any documented acts of plagiarism after the first may be subject to more
severe actions.
Using digital devices
Students should bring laptops to class when were scheduled to work on
papers. They are free to bring them to class on other days, too. However,
students are not to check email, play games, check Facebook, etc., as
such behavior disrupts learning. Also, students are not take audio
recordings, videos, photos, or other digital recordings of class without
obtaining my permission in advance, as this, too, can inhibit learning.
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!grades
For each of your projects, you will share a draft with your peers to solicit
their feedback, revise in response to that feedback, and then turn in adraft to me. I will make suggestions for revision and assign a provisional
grade. That provisional grade will rise, fall, or stay the same depending
upon how effectively you revise.
Final drafts of both projects are due to me via Google Drive by noon on
Friday, Nov. 21.
Your final grade will be calculated as follows:
Project 1: 40%
Project 2: 40%
Engagement: 20%
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!course calendar
T Sept. 9: Read Craig Thompson, Blankets, chapters IIII, and watch the
Scott McCloud video on the blog.R Sept. 11: Read Craig Thompson, Blankets, chapters IVV, and Moore,
Writing for Comics, chapters 13 (on Blackboard).
T Sept. 16: Thompson, Blankets, chapters VIX, and Moore, Writing for
Comics, (on Blackboard), chapter 4 and W. J. T. Mitchell,
Beyond Comparison (on Blackboard)
R Sept. 18: Read Adrian Tomine, Shortcomings (TBA) and Jared Gardner,
Same Difference: Graphic Alterity in the Work of Yang,
Tomine, and Kim (on Blackboard).
T Sept. 23: Read Adrian Tomine, Shortcomings (TBA.
R Sept. 25: Read Alison Bechdel, Fun Home, chapters 13, and Chute,
Comics Form and Narrating Lives (on Blackboard).
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!course calendar (contd.)
T Sept. 30: Read Bechdel, Fun Home, chapters 4 and 5, and Watson,
Autographic Disclosures and Genealogies of Desire in AlisonBechdels Fun Home.
R Oct. 2: Read Bechdel, Fun Home, chapters 6 and 7.
T Oct. 7: Workshop: Project 1.
R Oct. 9: Workshop: Project 1.
T Oct. 14: Read Art Spiegelman, Maus, Book I, and Chute, "History and
Graphic Representation in Maus" (on Blackboard).
R Oct. 16: Read Spiegelman, Maus, Book II, chapters 1 and 2.
T Oct. 21: Read Spiegelman, Maus, Book II, chapters 35.
R Oct. 23: Read Mat Johnson and Warren Pleece, Incognegro, Part I,
and Nelson, Studying Black Comic Strips: Popular Art and
Discourses of Race (on Blackboard).
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!course calendar (contd.)
T Oct. 28: Read Johnson and Pleece, Incognegro, Parts II and III.
R Oct. 30: Read Gilbert Hernandez, Human Diastrophism, pp. 1122.
T Nov. 4: Read Hernandez, Human Diastrophism, pp. 123194.
R Nov. 6: Read Hernandez, Human Diastrophism pp. 195250.
T Nov. 11: Workshop: Project 2.
R Nov. 13: Workshop: Project 2.
Final drafts of both projects are due to me via Google Drive by noon on
Friday, Nov. 21.
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