MONSTERS!Writing I, ENG 2100 KTRB

Prof. Stephanie HershinowT/Th 2:55-4:35PM, 23-1203

Email: stephanie.hershinow@baruch.cuny.eduOffice: NVC 7-256 Office phone: 646-312-4009

Drop-in hours: 12:00PM-1:00PM Tuesday/Thursday (or email to make an appointment)

course website: blogs.baruch.cuny.edu/monsters2014

COURSE DESCRIPTION: In 1735, a New Jersey woman gave birth to a baby that sprouted bat-wings and a forked tail, ate the midwife, then flew up the chimney. At least, that’s what the legend says. But while monsters like the Jersey Devil may be figments of the popular imagination, there is nothing imaginary about the social and cultural anxieties they embody. What do these creatures tell us about the cultures that create them? And when we label someone a “monster,” what shared values, fears and fascinations do we reveal? In this class, we’ll analyze the meanings of monstrousness in art and society, ancient and modern.

This course is about monsters. But it is, first and foremost, a course about academic writing. This course is intended to help you learn how to

write college-level essays. Through regular reading, in-class discussion, writing, and rewriting, you will learn to be a critical writer and reader, able to express an opinion in a clear, engaging, and analytical way. You will learn to identify arguments in your reading and make arguments in your writing. You will learn to carefully construct an essay by compiling evidence and thoughtfully analyzing the implications of your argument. You will learn to consider your audience and to ensure that what you’re writing is not only factual or based on evidence, but is interesting to you and to your audience.

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COURSE OBJECTIVES:After completing ENG 2100 and 2150, students should be able to:

identify the key ideas and techniques used in a variety of articles, essays, and literary works, and subject these works to logical analysis;

undertake writing as a process requiring the outlining of ideas, multiple drafting, and revision of complete essays;

create an original and cogent thesis and develop an imaginative argument in unified and coherent paragraphs;

observe sentence boundaries, punctuate correctly, vary sentence structures, and employ the conventions of standard English grammar and usage;

engage with different genres of writing, including the short story, the novel, the essay, poetry, and drama, and comprehend and use appropriate vocabulary in interpreting the material by paying close attention to language and style;

identify, analyze, and synthesize multiple sources as support for written arguments;

gauge the value of different strategies for argumentation, including the use of counter-arguments;

produce researched essays that incorporate sources and that effectively evaluate multiple (and even conflicting) points of view;

avoid plagiarism and understand why it is unacceptable, at the same time learning how to appropriately document your research and ideas;

imagine the needs of one’s reader when writing in different rhetorical modes and social contexts and take audience and occasion into account when writing.

REQUIRED MATERIALS:

You must purchase They Say, I Say: The Moves that Matter in Academic Writing, by Gerald Graff and Cathy Birkenstein (Third edition; ISBN: 978-0-393-93584-4). This book is available at the campus bookstore and online. All other readings will be available either from me (as class handouts) or through our course blog (blogs.baruch.cuny.edu/monsters2014). You must print out, read, and annotate these readings, bringing them with you to class for our discussion. Always read with a pen or pencil in hand.I recommend keeping a reading binder, with the syllabus in the front, in order to keep your many printed readings and handouts organized. We’ll often return to handouts, so you want to be able to access them easily. Not having the texts with you means that you are not prepared for class and will therefore affect your participation grade.For unit two, we’ll be focusing on a film (David Lynch’s The Elephant Man) that you’ll need to be able to review outside of class. It is currently available

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on Amazon Prime instant streaming (which you can get free access to using your student email) and on youtube.com.

Finally, you must have a notebook (or extra, loose-leaf paper in your binder) dedicated to this class that you bring to every class session and that you carry with you often to jot down and refine ideas. I’ll ask you to keep track of monsters you encounter in everyday life and to reflect on their meaning. (You are also free to interpret the prompt as you wish; for example, a newspaper article about a crime wherein the perpetrator is referred to as a monster may be inspirational for you, even if the perpetrator isn’t, say, a werewolf.) For these entries, you should describe the monster thoroughly and draw out a couple of important points or questions about it that are worthy of further investigation. (You don’t need to do any research for your entry, however.) These entries make up your monster journal. From time to time, I’ll ask you to post your favorite entries to the course blog (but you can always post extra entries, especially if you want to bring something—like a cool thing you found on the internet or a movie that’s just come out—to everyone’s attention). The entries on the course blog should be around 300-350 words, should have a title, and may include links and images. Your final research paper may (but need not) follow through on an issue you first explored in a monster journal entry.

In addition to these entries, be prepared to write in class frequently, even if I haven’t previously mentioned an in-class writing assignment. You should also be prepared to read your in-class writing out loud. We will do this regularly and everyone is required to participate.

POLICIES:

AttendanceYour active engagement in writing workshops and other in-class activities is integral to the experience of this composition course, which is grounded in a strong community of readers and writers. For this reason, you are normally expected to attend every class. After two absences, your final course grade will be lowered (for example, a B+ becomes a B) and your grade will likely be otherwise affected simply because of the activities and work that you’ll miss. If you miss class more than 4 times, you will be subject to a WU grade, which counts as an F on your transcript. (This is a Baruch College policy.)

Come to class on time; this is respectful not only to me but also to your classmates. A late arrival to class of more than 10 minutes will count as an absence. If you have a conflict that will regularly make you late for class or require you to leave early, you should find another course that fits your schedule.

Conferences

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We will have three conferences during the semester to discuss your writing and ideas. The first will be a 30-minute individual draft conference with me on your first draft of essay 1. The second will be a 60-minute group conference, where you will meet with one other student and me to discuss each other’s drafts for essay 2. This group conference intends to give you expanded feedback on your draft by having an additional set of eyes read and comment upon your work. It also will familiarize you with reading other student writing and giving constructive feedback on it, which is a crucial component of this class. We will build on this experience in the third unit, where we will hold a 90-minute group draft conference with two other students and me.

I expect you to be prepared for these conferences. This means you should review your writing before coming in, and you should try to have specific ideas or questions about how you hope to address the appropriate revisions. In addition, for the group conferences, it means you should read your groupmates’ drafts and come ready to give detailed feedback on the strengths, weaknesses, and most promising ideas in the papers.

Missed ConferencesConferences will not be rescheduled except in cases of documented illness or family emergency. When signing up, please be aware of any reason that might prevent your attendance in a given time slot, and please notify me in advance should an unavoidable conflict arise.

PlagiarismDO NOT PLAGIARIZE. Plagiarism is a serious offense that, if done knowingly and depending on the severity and other factors, can result in a failing grade (or worse) and a mark on your permanent academic record. I’ll expect you to compose your projects ethically, meaning that if you use the work of others you cite that work, and that all work in this course is original, composed for the first time for this course, and is entirely your own, to the degree that anything we write is entirely our own. All students enrolled at Baruch are expected to maintain the highest standards of academic honesty, as defined in the Baruch Student Handbook. Cheating and plagiarism are serious offenses. The following definitions are based on the College's Academic Honesty website:

Plagiarism is the act of presenting another person's ideas, research or writing as your own, such as:

• Copying another person's actual words without the use of quotation marks and footnotes (a functional limit is four or more words taken from the work of another)

• Presenting another person's ideas or theories in your own words without acknowledging them

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• Using information that is not considered common knowledge without acknowledging the source

Remember, you can always draw on the ideas of others with proper attribution. If you ever have any questions or concerns about plagiarism, please ask me.

In this class, any evidence of plagiarism, however minute it may be, will earn you an F grade on the work in question and will result in your being formally reported to the Office of the Dean of Students. Sloppy note taking can easily lead to plagiarism, so be sure to clearly mark the words and ideas of others in your notes. Ignorance of the meaning of plagiarism is no excuse for plagiarism, so be sure to read the information on the Baruch plagiarism tutorial (http://newman.baruch.cuny.edu/help/plagiarism/default.htm) and ask me if you have questions.

You will submit your essays through a program that detects plagiarism called TurnItIn.com. This is not because I suspect any of you in advance – rather, it is a reminder that I take plagiarism seriously, as does our university.

ScreensWe have a lot of material to cover in a very short amount of time, so we don’t have time for distractions. This means no screens (phones, laptops, etc.) unless you are explicitly asked to bring them to class for a particular activity. Let this class be a bit of a break from that constant glow!

YOUR WRITING:Paper FormatYou should compose your papers in a word processing program like Word, Pages, or Google Docs. For drafts and revisions, please see the sample paper on pages 9-10. Drafts and revisions that deviate from this format will not be accepted. Also, always:

• Use Times 12 or its close equivalent.

• Set your margins at 1” and don’t “justify” your right-hand margin.

• Use your word-processing program’s automatic pagination function to number your pages. Tip: Your first page will be a cover letter, so set this page number to 0 (in Word, select “Page Numbers” from the “Insert” menu, and click on “Format”).

• Proofread your writing for typographical, grammatical, and punctuation errors. If you consistently make these kinds of errors, your grade will drop.

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• Avoid computer disasters by regularly saving your work. Get in the habit of saving your work to a file hosting service like Dropbox or Google Drive, which stores your files in a cloud where they’re always accessible.

Cover LettersEach time you turn in a rough or final draft of an essay, you must provide a cover letter (one single-spaced page, addressed to your readers and signed by you), in which you summarize your argument, let us know what you value about what you’ve done in this draft (using specific examples), tell us what you think you still need to work on, and (in the case of rough drafts) let us know what you would like us to help you with.

Extensions and Late AssignmentsAll deadlines in this writing course are firm. Except in the case of medical or family emergency or religious observance, I give no individual extensions. If, due to such an emergency, you cannot meet a deadline, please contact me as soon as possible so that we may work out an alternative schedule of due dates and times. In the event of a medical emergency, you must produce a note from your health provider. In the event of a family emergency, please ask your advisor or Dean of Students to contact me by e-mail.

There are serious consequences to missing deadlines. A late pre-draft assignment will receive no written feedback. There is simply not enough time in the schedule for me to read a draft in time to comment on it thoroughly, and in addition, it is not fair to the other students. You must submit your draft of each assignment (with my written feedback) in order to receive a grade on the final version, so be sure to submit drafts on time.

Late revisions are marked one grade lower (a B becomes a C). Revisions more than a week late will not be accepted.

These policies have two concrete benefits for everyone in the class: (1) you may be less likely to fall behind if you know that your actions (and inactions) have real consequences, and (2) you can count on being treated the same as your classmates, which is another way of saying that no one will receive preferential treatment (by, for example, having immunity to overrun a deadline in order to work longer on a piece of writing).

Final GradesThe majority of your final grade comes from the major writing assignments. They are weighted more significantly as the semester goes along in order to reward your improvement and acknowledge the assignments’ increasing complexity. Here is the grade breakdown:

15% Paper #1 (Cyclops Analysis) 25% Paper #2 (Understanding The Elephant Man)

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30% Paper #3 (Research Essay on the Monster of Your Choice)5% Research Proposal for Paper #315% Monster journal and pre-draft assignments10% Good citizenship (class participation, cover letters and draft

responses, and participation in writing groups)

Citizenship Grade This grade not only reflects your class participation (which is required in any college course, but especially a small, discussion-based course like ours); it also includes your thoughtful responses to pre-draft assignments and your participation in your writing groups. You have a responsibility to prepare properly for class and to participate regularly. The good citizenship grade, therefore, includes not only your participation in class, but also your response to other student writing, your preparation for individual and group conferences, and the attitude of respect you display toward your classmates and me.

Students with DisabilitiesBaruch College is committed to making individuals with disabilities full participants in the programs, services, and activities of the college community through compliance with Section 504 of the Rehabilitation Act of 1973 and with the Americans with Disabilities Act (ADA) of 1990. It is the policy of Baruch College that no otherwise qualified individual with a disability will be denied access to any program, service, or activity offered by the university. Individuals with disabilities have a right to request accommodations. If you require any special assistance or accommodation, please contact the Office of Services for Students with Disabilities at (646) 312-4590, and let me know as soon as you can, ideally during the first three weeks of the semester. I encourage persons with disabilities or particular needs that impact course performance to meet with me to co-design accommodations. For additional information see: http://www.baruch.cuny.edu/facultyhandbook/DisabilitiesInformation.htm

Writing CenterAs a writer you’ll want to seek feedback from many different readers. Writers at all levels of experience get feedback on their writing. Asking for and receiving feedback is not a sign of weakness and it does not equal weak writing; it’s actually a sign of wisdom and makes your writing much stronger. You’ll give feedback to and get feedback from your fellow writers in your writing groups in this class throughout the semester and at all stages of your projects. I also encourage you to get feedback on your writing from your peers at Baruch at the Student Academic Consulting Center and from professional writing consultants (some of whom also teaching first-year writing courses) at the Writing Center.

The Writing Center offers free, one-to-one (in-person and online) and small-

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group workshop writing support to all Baruch students. The Center’s consultants work collaboratively with you to deepen your writing and English language skills. At any step in the process, they’ll help you become a more confident and versatile writer. I encourage you to schedule your appointment well in advance of when your writing is due. You can schedule an appointment at: https://bc.mywconline.com/. Visit the Writing Center in NVC 8-185 or at the Newman Library Reference Desk, or log on to their website, writingcenter.baruch.cuny.edu, to learn more.

Grading Standards on RevisionsWhen grading, I evaluate the words on the page. Although neither effort nor improvement is factored into the essay grade, writing does tend to improve through revision. Effort and engagement are accounted for in the course citizenship grade. Below are the common standards to which papers are held in the Writing Seminars. Pluses and minuses represent shades of difference.

A paper in the A range demonstrates a high degree of command in the fundamentals of academic writing: it advances an interesting, arguable thesis; establishes a compelling motive to suggest why the thesis is original or worthwhile; employs a logical and progressive structure; analyzes evidence insightfully and in depth; and draws from well-chosen sources.

A B-range paper resembles an A-range paper in some ways, but may exhibit a vague or inconsistently argued thesis; establish a functional but unsubstantial motive; employ a generally logical but somewhat disorganized or underdeveloped structure; include well-chosen but sometimes unanalyzed and undigested evidence; or use sources in a limited fashion; confusing prose may at times obscure the argument.

A C-range paper resembles a B-range paper in some ways, but may also feature a confusing or descriptive thesis; provide a simplistic motive or none at all; lack a coherent structure or rely on an overly rigid structure like the five paragraph essay; fail to present enough evidence, or present evidence that is insufficiently analyzed; and drop in sources without properly contextualizing or citing them.

A D paper resembles a C-range paper but lacks a thesis or motive. It may have an undeveloped structure and draw on little analyzed evidence and sources. A D paper has trouble engaging with the assignment and may not show awareness of the conventions of academic discourse. It does, however, show signs of beginning to engage with the issues, topics, and sources of the assignment.

An F paper is similar to a D paper but is half the assigned length and addresses the assignment superficially.

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A 0 paper is less than half the assigned length and does not fulfill the basic expectations of the assignment (for example, in a research paper, there is evidence of little or no research). Unlike an F paper, a 0 does not count as successful completion of the assignment and puts the student in jeopardy of failing the course.

Good job getting to this part of the syllabus! There isn’t much left, but I do recommend that you look over the course schedule to have a sense of the semester ahead. The deadlines are unlikely to change, so you can mark them in your agenda or calendar to have a sense of when the busiest times of the term will be. I asked you to read the full syllabus before the next class, so to show me that you read this, send me an email (stephanie.hershinow@baruch.cuny.edu) saying hello and asking at least one question about the syllabus or the class in general. Looking forward to hearing from you!

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[Student’s Name]ENG 2150Professor Hershinow[Date]

Twenty Years of Fear, Twenty Years of Laughs:

America’s Changing Attitude Toward the Soviet Union

Few events infected the consciousness of Americans in the twentieth

century as did the Cold War. The rivalry between the Soviets and the

Americans, indeed, had the potential to become one of the most significant

clashes the world had seen between superpowers since the time of the

ancient Greeks. Justifiably, people were frightened at the prospect of what

could happen. World War II had ended with uncertainty as to the

entitlements of the victorious parties, setting the stage for this 42-year-long

Cold War. Compounding this situation was the perfection of the

thermonuclear bomb. This new technology unlocked the potential for man-

made destruction on a scale never witnessed before. It was a period of angst

that captured the public’s attention for nearly a half century.

Or did it? Most general histories have the Cold War lasting roughly

from 1949 to 1991 when the Soviet Union crumbled; a well-regarded history

of the conflict by Martin McCauley is titled Russia, America and the Cold War,

1949-1991. As late as June of 1982, Ronald Reagan said in a speech, “We

see around us today the marks of our terrible dilemma--predictions of

doomsday, antinuclear demonstrations, an arms race in which the West

must, for its own protection, be an unwilling participant” (Ronald Reagan

Heritage). And in the late 1980s, historian John Gaddis recalled going to an

Sample Formatting

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official government meeting to discuss the Soviet threat and hearing others

say, “It hadn’t occurred to any of us that it [the Cold War] would ever end”

(Gaddis vi). But despite the rhetoric of the era, the battle cries from Reagan,

and the history books that declare the Cold War as extending into the late

1980s and early 1990s, the Cold War that existed after the late 1960s was a

wholly different entity than it was in the years preceding.

Works Cited

Brodie, Bernard. Strategy in the Missile Age. Princeton, NJ: Princeton University, 1959.

Day, Robert J. “Shelter Manor.” Cartoon. The New Yorker 5 Aug. 1961. Rpt. in Mankoff, ed. Disk One (1961): 509.

Dunn, Alan. “Fifth Orbit.” Cartoon. The New Yorker 25 Apr. 1966. Rpt. in Mankoff, ed. Disk Two (1966): 254.

---. “Suspicion.” Cartoon. The New Yorker 13 Sept. 1947. Rpt. in Mankoff, ed. Disk One (1947): 525.

Friend, Tad. “What’s So Funny?” The New Yorker Magazine. 11 Nov. 2002. pg. 78

Gaddis, John L. The United States and the End of the Cold War: Implications, reconsiderations, provocations. Oxford, GB: Oxford University, 1992.

Gillon, Steven M. and Diane B. Kunz, eds. America During the Cold War. New York: Harcourt, 1993.

Higgs, Robert. “U.S. Military Spending in the Cold War Era: Opportunity Costs, Foreign Crises, and Domestic Constraints.” Cato Institute. 30 Nov. 1988. Retrieved 30 Apr. 2005. http://www.cato.org/pubs/pas/pa114.html

Hodgson, Godfrey. “America in Our Time.” America During the Cold War. Gillon, Steven M. and Diane B. Kunz, eds. New York: Harcourt, 1993. 74-86.

Mankoff, Robert, ed. The Complete Cartoons of The New Yorker. CD-ROM. New York: Black Dog & Levanthal Publishers, Inc., 2004.

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McCauley, Martin. Russia, America and the Cold War, 1949-1991. London and New York: Longman, 1998.

Medhurst, Martin J., Robert L. Ivie, Philip Wander, and Robert L. Scott, eds. Cold War Rhetoric: Strategy, Metaphor, and Ideology. New York: Greenwood, 1990.

Mirachi, Joseph. “Just for Kicks.” Cartoon. The New Yorker 24 Aug. 1963. Rpt in Mankoff, ed. Disk One (1963): 492.

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COURSE SCHEDULEBelow is an outline of readings and assignments for the course. Some things will change as we see what skills we need to work on most and where the interests of the class lie. I will only even make changes to the syllabus in writing (on the course blog and/or over email).

NOTE: Assignments (including reading) are listed on the day that they are due.

ESSAY 1 (an argument using a critical lens, 5 pages)Assignment: Analyze either Homer’s or Theocritus’ representation of the Cyclops through the lens of Carroll’s theory about monsters. By using your chosen Cyclops to reflect on and scrutinize Carroll’s work, you should develop an argument of your own which complicates, challenges, extends, or otherwise revises some aspect of his theory. (5 pages)

Thur. Aug. 28 In-class :

Introductions to each other and to the topic. College writing: what to expect. “Thriller” and the Meaning of Monsters.

Week 1Tues. Sept. 2

Reading Assignment : Read the ENTIRE syllabus, making note of relevant due

dates and marking them on your calendar. “Reading Critically” handout. Homer, from The Odyssey; and Theocritus, Idylls 6 and 11. They Say/I Say pgs. 1-15 (“Introduction”) [This is on the

course blog if you don’t have your book yet, but try to get it as soon as possible.]

Writing Assignment : Annotate the texts as you read, noting questions or

difficulties, and circling or underlining words or sentences you find particularly interesting, surprising, or puzzling.

Post your favorite monster journal entry on the course blog. (Give yourself plenty of time to register to post on the blog, and email me if you have any problems.)

In-class : Asking analytical questions. “A Writing Lexicon” handout. Introduction to the lens essay, preparing for Pre-draft 1.1.

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Thur. Sept. 4 Reading Assignment :

Carroll, “The Philosophy of Horror” Look back over “Reading ‘Critically’” handout “A Writing Lexicon” handout They Say/I Say pgs. 55-77 (“Yes/No/Okay, But” and “And

Yet”) Writing Assignment :

Pre-draft 1.1 due in class. (Please bring me a printed copy.) In-class :

Moving from pre-draft to draft. The qualities of a strong, arguable thesis statement. “The Jersey Devil” video.

Week 2

Tues. Sept. 9 Reading Assignment:

Review Carroll. They Say, I Say, pgs. 92-102 (“So What? Who Cares?”)

Writing Assignment: Work on your draft of Essay 1. Bring your thesis

statement to class. Be prepared to share, but you won’t need to turn it in.

Post a monster journal entry on the blog. In-class:

Thesis statement workshop. Motive (“So what?”).

Thur. Sept. 11 Reading Assignment:

They Say, I Say, pgs. 19-29 (“They Say”) Writing Assignment:

Bring a printed copy of the beginning of your essay (which should include your thesis and motive) to class. Keep working on your draft.

In-class: Workshop on beginnings and openers.

Week 3

Tues. Sept. 16 Reading Assignment:

They Say, I Say, pgs. 42-51 (“As He Himself Puts It”). Writing Assignment:

Keep working on draft of Essay 1 (due next class).

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In-class: Using evidence and quoting correctly.

Thur. Sept. 18 Reading Assignment:

None. Writing Assignment:

Draft of Essay 1 (and cover letter included in the same document) due in class (bring two printed copies) and to turnitin.com by midnight.

In-class: Peer review workshop. Sign up for draft conferences.

NOTE: Withdrawal period begins today.

Week 4 Our class doesn’t meet this week! (Tuesday, Sept. 23rd follows a Friday schedule; there are no classes on

Thursday, Sept. 25th.)We will, however, schedule individual writing conferences early this week

to discuss drafts and plans for revision.

ESSAY 2 Drawing on two secondary sources we’ve read together, plus an additional source you find on your own, make an argument about some interesting aspect of David Lynch’s representation of monstrousness in The Elephant Man. Your argument should be grounded in a close analysis of carefully chosen scenes from the film. 6-7 pages.

Week 5

Tues. Sept. 30 Reading Assignment:

Student drafts (to be assigned). “Getting and giving feedback” (handout). They Say/I Say pgs. 163-166 (“I Take Your Point”)

Writing Assignment: Response to draft writers. (Bring two printed copies: one

for me and one for the draft writer.) Work on revision (due next class).

In-class: Draft workshop Academic integrity.

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MLA citations check-up.

Thur. Oct. 2 Reading Assignment:

Look over the “How to Write About Film” handout, especially the glossary of film terms, making note of any you find confusing.

Writing Assignment: Revision of Essay 1 due (printed) in class and to

turnitin.com by midnight. (Don’t forget your cover letter, included in the same document.)

In-class: How to write about film.

Week 6

Tues. Oct. 7 Reading Assignment:

“Thriller” handout. Writing Assignment:

Post a favorite monster journal entry on the blog. In-class:

The Elephant Man screening, part 1. Summary vs. analysis.

Thur. Oct. 9 Reading Assignment:

None. Writing Assignment:

Make sure to bring your notes from the first screening. In-class:

The Elephant Man screening, part 2.

Week 7

Tues. Oct. 14 Reading Assignment:

Secondary sources. They Say, I Say, pgs. 30-41 (“Her Point Is”)

Writing Assignment: Summarize each essay in a paragraph in your notes (not

to be turned in). In-class:

Key terms, sources, evidence.

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Thur. Oct. 16 Reading Assignment:

Review secondary sources. They Say/I Say, pgs. 173-183 (“ What’s Motivating This

Writer?”) Strategies for engaging secondary sources handout.

Writing Assignment: Work on draft of Essay 2. Post a monster journal entry on the blog.

In-class: Finding and entering a conversation.

Week 8

Tues. Oct. 21 Reading Assignment:

None. Writing Assignment:

Brainstorming list of outside sources (not to be turned in).

Bring a printed copy of your beginning. In-class:

Finding sources at Baruch. Beginning workshop.

Thur. Oct. 23 Reading Assignment:

“Close reading” handout. They Say/I Say pgs. 184-201 (“ On Closer Examination”)

Writing Assignment: Pre-draft 2.1 (scene analysis) due (printed) in class.

In-class: Close reading, descriptive vocabulary.

Week 9

Tues. Oct. 28 Reading Assignment:

None. Writing Assignment:

Essay 2 draft due (printed) in class and to turnitin.com by midnight. (Don’t forget your cover letter, included in the same document.)

In-class: Peer review.

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Thur. Oct. 30 Reading Assignment:

Student drafts (to be assigned). They Say/I Say, pgs. 78-91 (“Skeptics May Object”)

Writing Assignment: Responses to draft writers.

In-class: Draft workshops. Structure.

Week 10 Tues. Nov. 4

Reading Assignment: Student drafts (to be assigned). They Say/I Say, pgs. 129 (“But Don’t Get Me Wrong”)

Writing Assignment: Response to draft writers. (Bring two copies.) Post a monster journal entry on the blog.

In-class: Draft workshops. Transitions.

Thur. Nov. 6Poetry reading from 2-4PM (details to be announced later). We’ll also be scheduling group conferences this week. Make sure to read your groupmates’ essays in advance so that you’ll be prepared to discuss them.You might want to start reading the Cohen essay for next Tuesday.

ESSAY 3 The third essay will be a research paper (8-10 pages) on an aspect of monster culture of your choosing.

Week 11

Tues. Nov. 11 Reading Assignment:

Bring your additional Essay 2 secondary source to class and be prepared to discuss it.

Cohen, “Seven Theses on Monster Culture”

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Writing Assignment: Revision of Essay 2 due (printed) in class and to

turnitin.com by midnight. (Don’t forget your cover letter, included in the same document.)

In-class: Discussion of Cohen. Brainstorming possible research topics. Discussion of proposal and annotated bibliography.

Thur. Nov. 13 Reading Assignment:

Read back over your monster journal for promising topics. Start using them to generate new, stronger ideas and to follow leads for research questions.

Writing Assignment: Pre-draft 3.1 (two possible research topics) due

(printed) in class. In-class:

Library exploration session.

Week 12

Tues. Nov. 18 Reading Assignment:

Sample essay (to be assigned). Writing Assignment:

Proposal and annotated bibliography for Essay 3 due (printed) in class.

In-class: Entering a conversation. Structuring a longer argument.

Thur. Nov. 20 Reading Assignment:

Your sources. Writing Assignment:

Work on draft of Essay 3 (due next class). In-class:

Plagiarism prevention workshop. Proposal pitching

Week 13

Tues. Nov. 25 Reading Assignment:

None.

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Writing Assignment: Draft of Essay 3 due (two copies, printed) in class and

to turnitin.com by midnight. (Don’t forget your cover letter, included in the same document.)

In-class: Peer review workshop. Pie? Yeah, probably pie.

Thanksgiving! (No class Thursday, November 27th.)

Week 14

Tues. Dec. 2 NO CLASS.We’ll schedule group conferences for early this week. Be sure to read your groupmates’ drafts in advance of the conference so you’ll be prepared to discuss them.

Thur. Dec. 4 Reading Assignment:

Student drafts (to be assigned). They Say/I Say pgs. 105-120 (“As a Result”)

Writing Assignment: Responses to draft writers.

In-class: Draft workshops. Conclusions.

Week 15

Tues. Dec. 9 Reading Assignment:

They Say, I Say, pgs. 139-59 (“He Says Contends”), and pgs. 121-128 (“Ain’t So/ Is Not”)

Your research materials. Writing Assignment:

Keep working on revision. Bring a printed copy to class (not to be turned in).

In-class: Polishing workshop. Style and voice.

Thur. Dec. 11 Reading Assignment:

None. Writing Assignment:

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Revision of Essay 3 due in class (printed) and to turnitin.com by midnight. (Don’t forget your cover letter, included in the same document.)

In-class: Party!

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