ENG 208 FALL 2016Fri. Sept. 9 Week 2-2

"The art we make will send its message to our human future...

Make your decisions in the interest of language and literary art...

Write as if someone will find it..."CAROLYN FORCHÉ in conversation at Tabula Poetica Visiting Writers event, 9.10.15

Daft Punk Radio

daft - "senseless, silly, foolish"punk - "a young, inexperienced person...a punk rock musician"

Source: Merriam Webster, online dictionary

Round Robin Discussions:

1:What is personal writing?What is academic writing?Be prepared to define these two terms as working definitions for our class.

2:"Songlines for Future Culturewalkers" by Robert Farid Karimi.

If you were Karimi's publicist, and posting a 20-30 page excerpt from this story in an effort to get readers to click on a link and read the whole piece, pull out the passage that might most engage you as audience.

Tell what it is that most resonates with you.

3:"Writers of Color: Your Voice Matters" by Vanessa Martir

Who is Martir's primary audience?How do you know?

What is VONA?

If you were to turn this essay in to the teacher of your last writing class, what rules would you know you were breaking?

How can you link any of Martir's concepts to "Other Selves" by Spencer Lenfield?

4:"What's in a Number: " by Camille Rankine

- Who is Rankine's primary audience?- How do you know?

- What is VIDA? -Summarize Rankine's main point.

- Consider this definition of "The Literary Canon"...the idea of a literary canon... implies some...official status. To enter the canon, or more properly, to be entered into the canon is to gain certain obvious privileges. The gatekeepers of the fortress of high culture include influential critics.. and far more lowly scholars and teachers.

To appear in the Norton or Oxford anthology is to have achieved, not exactly greatness but what is more important, certainly -- status and accessibility to a reading public. And that is why, of course, it matters that so few women writers have managed to gain entrance to such anthologies.

Belonging to the canon confers status, social, political, economic, aesthetic... Belonging to the canon is a guarantee of quality, and that guarantee of high aesthetic quality serves as a promise, a contract, that announces to the viewer, "Here is something to be enjoyed as an aesthetic object. Complex, difficult, privileged, the object before you has been winnowed by the sensitive few and the not-so-sensitive many, and it will repay your attention. You will receive pleasure; at least you're supposed to, and if you don't, well, perhaps there's something off with your apparatus... it immediately stands forth, different, better, to be valued, loved, enjoyed. It is the wheat winnowed from the chaff, the rare survivor, and it has all the privileges of such survival.

Source:" The Literary Canon" by George P. Landow, The Victorian Web

-Is Rankine's point valid, in light of what it means to be in the "literary canon?"

REPORT BACK TO THE GROUPWhat’s the difference between relatability and resonance? Whose language do you reflect? Where is your “self” reflected to you?