Comp\Post

Focal Point #1: Autobiographical Wreading

Week One: hidden intellectuals/hidden writers

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M 8/31

• First Class: Autobiographies–yours, mine, ours

Fill out cards: autobiographical information:

name/likely major or study areas

1]memorable writing or reading experience

2]your encounters with technology: where/how? [note from my exp--could be phg,not strictly computer]

3]some aspect of your writing you want or feel you need to work–on your to-do list

4]something I might help with or should know in order to help you learn

My autobiography

My interests as writer reader: began with autobiography, then photography and 19th; not extending to digital writing/reading technologies [part of what we will explore in reading and also in experiments with blog, etc]

Teaching: in addition to american literature, nonfiction (and redefining academic/school writing), writing pedagogy (my secondary background), environmental, digital humanities

Course autobiography

Syllabus, key information: course web for assignments and glog; blackboard for essays; some sort of notebook (print or digital or both) for class writing

Your autobiography

Example of where you engage ‘technology’, where you have engaged reading/writing

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W 9/2

• Due: Reading: Birkerts, The Gutenberg Elegies (GE), introduction and chapter 1.
• Consider: What is the premise of his book (the conversation we are entering)? Do you agree with any of his assumptions about reading or sympathize with the personal experiences that shape those assumptions? These are some things you can begin to consider as you interact with this book and start to think about your first glog due Friday.
  • You can set up your blog account by linking here to wordpress.com. Let me know in class if you have any problems. If you have a laptop, bring it to class and I can help you get set up.

Course Matters

–course objectives: the pedagogical version of showing you what’s behind the curtain–and what I want you to be able to do with the machinery of critical reading and writing by the end of the course.

–the glog/using the Blog

Format: can use hear/notice/wonder or some version of your own; can post all at once or in pieces–for Friday assignment, need at least one posting that will reflect your thorough reading and thinking. Note: this is in place of a quiz. [show my examples]

Make use of the medium: explore/connect with what others are reading/thinking; can even link out [example: click tag Birkerts on my post]

Set up wordpress account and copy your new address into a reply to  posting in category called Class Glogs. Set up different categories for posts: glog, compost,

Other questions?

Reading

Notebook: 5 min warm-up:

Go back into text and identify a description/passage that presents the argument–what he is focusing on; a place where you thought his argument thus far was most engaging; a question you need/want to ask about the reading

Discussion

Hear: what’s the argument/focus/’premise’–note how he sets it up in his introduction. [we will be paying attention to the how as well as the what]

Notice: where (and how) are you engaged–in other words, what is he doing as writer so far?

the way he foregrounds reading experience/style (p. 12)–something we will do in the course–look to foreground/demonstrate the writing process.

Wonder: Questions: ?

Mine: how he is defining book vs. technology? Are books a technology? Is writing a technology–before the computer age?

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F 9/4

• Due: Reading: Graff, “Hidden Intellectualism” (in They Say/I Say); Writing: first glog due–responding to the reading this week (posted to your blog)
• Consider: Description of the “glog” assignment.
• We will not be meeting as a class today. Instead, I invite/expect you to attend one of the sessions with the Graffs, the authors of They Say/I Say who will be visiting campus.
  • 10.30: Discussion for students in Writing Center about academic writing
  • 1.30: Discussion with students and faculty in Literary House about academic writing vs. creative writing
  • 3.30: Lecture in Litrenta Lecture Hall (in Toll Science Center): Demystifying the Academic Game

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Week Two: becoming a reader and writer

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M  9/7

• Due: Reading: Birkerts, GE chatper 2 (or most of it, and finish rest for Wednesday)
• Consider: How does Birkerts define reading? Which passage thus far do you find most and least compelling in the development of his argument? Why?

Notebook: 5 min writing–explore/compost some autobiographical memories you have with reading/writing.

Discuss; review from Friday: Graffs–his views of ‘hidden intellectuals’. Problems with the glog?

Writing focus:

–your first writing project: using autobiographical reflection to develop/support your focus [and trying to re-define more narrow views of academic writing and thesis]. See the assignment (writing projects). [one way I think of this: autobiographical understanding/reflection is a hidden intellectualism we can bring to academic writing]

–The model of SB: a strength of this text is his use of reflection on his experience to develop and justify and complicate his argument [in rhetorical terms: pathos and ethos and logos]–and as we began to note, other places where his writing is less compelling because it seems more nostalgia than reflection.

Other places from your reading where you see strong or weak reflection?

Strong examples: 12 (Woolf’s style) and 22 (reflection vs. nostalgia)–in both cases, note his use of ’metacommentary’–how he is talking to us about his own reading/writing, talking to us as readers, trying to explain what he means. An effective strategy to add to your writing/revision that we will discuss in workshop.

How do we apply this to our writing: [1]continue to compost–use composting and journal writing  to dig into the memory, uncover more, perhaps a different meaning, telling images, complications. [2]when revising: will start to be more self-conscious about stylistic choices and experiment. Can even build these into the writing (metacommentary: ‘When I first wrote about this experience… Now, however, I realize that something else was going on. My view has changed…’)

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W 9/9 | Machine Shop

• Due: Reading: They Say/I Say: Preface, Introduction and chapter 1
• Consider: Expand upon your Writing To-Do list. Consider my list of Strong Writing characteristics: which of these are strengths for you already? which are things you would like to strengthen?

Strong Writing/To-Do lists

• notebook: add/elaborate your to-do list–what you need to work on or want to explore (with some examples). Describe (based on your prior schooling): the academic essay or thesis essay–what is it? What is a thesis? Discuss further in writing groups.
  

   

  • they say: list characteristics you have been taught
  • we say: what Graffs emphasize; what I will emphasize (notice the strong writing characteristics–think moves you can use)
  • practice: Graff templates: page 14 (for overall structure of an essay); page 19 (thesis needs larger conversation)
    • Graff’s notion of ‘hidden intellectualism’: do you agree. can you see popular culture through intellectual eyes? do you already have experience with argument outside of academic settings?
      

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F 9/11

• Due: Reading: Hayles, opening of Writing Machines (reserve); Writing: second Glog due.
• Consider: How does Hayles’ experience with reading compare to your own, to Birkerts? Notice Hayles’ interest in the materiality of books and  in writing as a medium.

Glogs: Saunter

• saunter around what you are hearing, noticing, wondering; look for connections. Questions/problems with the blog? Again: make use of the medium (note about tags)

Reading focus

• Hayles: her definitions of technology and reading? how that compares/contrasts with Birkerts [remaining questions from Birkerts reading]
• style: note her use of autobiographical perspective; third person. What effect does this have for your reading, for her argument?
• thus far: three personal perspectives on being a reader (Birkerts, Graff, Hayles): connections? Which do you find most compelling–and why?

Compost for Monday (upcoming first project)

• read the assignment carefully (hand-out)
• to begin brainstorm: consider the basic template (p. 23):

Although I should know better by now, I cannot help thinking that [insert view of reading/writing that you will go on to respond to/challenge/complicate] or try the one on p. 27.

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Week Three: workshops

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M 9/14

• Due: Reading: Birkerts, GE chapters 3-7 (read two chapters of your choice; be prepared to report to class on both).
• Consider: Writing: begin to compost for first writing project; after reading through the assignment, begin to explore and experiment with what you might do. Can do this composting in your journal or on your blog.

[Wreading Groups]

Present to your group ideas from one of the chapters you focused on: what’s there, anything compelling; share some things you noticed, how it further develops the argument, etc. Something new? Focus their attention on a particular passage.

Decide upon/develop an insight or idea to share with the rest of the class regarding Birkerts and his vision of reading and the significance of books.

Share your composting: what are you likely to be getting into for the first writing project? what questions do you have about the project?

Discussion:

-Ideas/Interests/Questions for first writing project? Examples of how you might approach the assignment: remember to read the description and attend to the question I give you.

Suggestion for drafting: dig in to one or more specific memories/examples you are interested in, see where that takes you. Don’t spend so much at the beginning on getting a perfect introduction or ‘thesis’–think provisional thesis or hypothesis–likely to change as you draft and develop.

-Insights from Birkerts: where/how do the recent chapters develop the argument? Examples of compelling moments? Ineffective or weak points?

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W 9/16

• Due: Draft of essay.
  • Bring a print out of your draft to class (must be at least 2 pages, should be in paragraph form, not notes). For those wanting to revise directly on computer, bring your laptop (optional).
  • You must have a draft in class in order to attend this workshop; I will check at beginning.
• Consider: Skip over the introduction, or most of it, in order to dig into the focal point for the essay–developing the significance of the experience you are writing about.

Introduction to Writing Center

Peer reading: Hear/Notice/Wonder

Wrap-up: where to go from here? Examples where the reflection seems strong: what do you notice, what makes it strong?

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F 9/18

• Due: In class: editing workshop–have the latest version of your essay in hand to do some editing. The finished version of the essay is due by 8 P.M. in 2 places: blog and Blackboard.
• Consider:

Editing workshop: looking at and listening to our writing. Consult the Editing: An Introduction Post

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Focal Point #2: Intertextual Wreading

Week Four: workshop of filthy creation

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M 9/21

• Due: Reading: Frankenstein, through chapter IV (including Mary Shelley’s introduction)
• Consider: notice all the reading and writing that goes on in the novel (something we will be focusing on); also notice the way the author describes the origins of this novel in her introduction.

Notebook: [5min]. Pick a passage thus far (paragraph, up to a page) that you find particularly interesting and possibly significant–as text: in other words, not just for its plot detail, but for language, image, stylistic aspects. Why does it interest you, what do you see/hear in this texutal moment?

Passage samples–what are we seeing/hearing in this text? What does text mean/imply? [check OED]

Our next project: focusing on close reading of the text as a text–and in particular, its interest in textuality and intertextuality. We want to focus on the medium of this novel: language–as mediated through writing and through the text of a novel printed as a book. [think about the difference between text and book: something I argue Birkerts doesn't consider]

Examples of “textual intercourse”: the author’s introduction–note how she describes her book; note the origins of the story; all the letter writing; note how Victor’s ‘filthy creation’ is later described

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W 9/23 | Machine Shop

• Due: Respond to Writing Group #1
• Consider:

no class, conferences

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F 9/25

• Due: Reading: Frankenstein, through chapter XVI; Writing: Glog due.
• Consider:

1. Glogs: saunter
   1. 3 things we are hearing, noticing, wondering
2. Intertextuality: definition review; next writing project
   

    

   1. further examples of interest
   2. one thing interextuality does: foregrounds the writing/reading going on; potentially challenges or complicates the idea or plot.
      1. think of it as a ‘they say/i say’ within the text; or between the novel and another text
3. Styles in the novel: example of Walton’s style; of Victor’s; of the creatures.  What do we learn about them from this style?

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Week Five: finishing Frankenstein

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M  9/28

• Due: Reading: Frankenstein, through chapter XXIII
• Consider:

1. 1. Project 2: Intertextual Wreading (recall: intertextual–any text as amalgam of prior texts/stories through quotation, allustion, language)
      1. think of it as a they say/I say relation between shelley and other texts/ideas (Milton’s Paradise Lost, Genesis, Prometheus, Dante, Coleridge, P. Shelley, natural science…)
         
   2. 5 min. writing in journal: Initial idea for intertextual reading: pick a passage that has some sort of intertextual moment, that interests you, that could be insightful, have additional (not hidden) meaning. In other words, that offers some complication worth thinking/writing about. Reread and begin to note ideas.
      1. examples.
      2. Adam/Eve complication

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W 9/30 | Machine Shop

• Due: Reading: They Say/I Say, chapters 2 and 3
• Consider:

1. Art of summary and quotation.
   1. key points from the reading (summary of the art of summary)
   2. practice: summarize/quote in your journal the passage we worked on last class [use Electronic version]
2. Introduction: Close reading as slow reading. Getting ‘psycho’ with your text and passage and interpretation.
   

    

   1. Key is to move beyond review of the plot to what you see and want to say about: from what to how. Slow down and point your reader to what you notice.
      
   2. analogy: the shower scene–its meaning (its horror) is not in what happens but how filmed, edited, represented.

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F 10/2

• Due: Reading: finish novel; Writing: composting–have your intertextual passage selected
• Consider:

1. Writing Groups: share composting
   1. present your passage, what the intertext is, how you think (at this point) it complicates the novel–what you plan to say about that complication (a possible thesis).
   2. Ask questions.
   3. Report back an example (of passage, complication, possible thesis)
2. Initial drafting: focus on the close/slow reading of the passage (and its  intertext)–have that close-up lead you to a richer, stronger thesis
   1. think of the film analogy: not only getting ‘psycho’ with your passage; but also how the plot is not crucial in film, it is the turning point/surprise that sets familiar things in different context–opens up more complicated story.
      
   2. your template might be something like: Many readers think of Frankenstein this way (conventional views, influenced by film history, etc); Shelley challenges/complicates/undermines/reinforces this view in using her intertextual reference to ….

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Week Six: workshops

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M  10/5 | initial draft

• Due: Initial draft of your close reading–again, note just notes and at around 2 pages.
  • a draft is required for admission
  • bring laptop (if you have one)
• Consider:

Workshop with initial draft: slow reading, developing the how, not the what–moving beyond summary, getting ‘psycho’ with your interpretation.

1. Recall the lessons from Psycho scene–slowing down, building the follow-up to the quotation.
2. Writing Groups
   1. Exchange: focus on part of draft where the writer is doing a close reading of a passage/quotation–or at least starting on.
   2. help them get psycho with it–slow it down (go back to text and re-read); show writer where they might look more closely, read more slowly; help them complicate and clarify.
   3. exchange again–read each member of group.
3. Follow up: samples from class
   1. Peer readers: what did you see of strong close reading? what kinds of things did you see and suggest to develop weaker close reading?

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W 10/7

• Due: Further and Full Draft–where you close reading of text is being developed
• Consider:

Workshop: complicating/clarifying the thesis

1. Lesson: after digging into a close reading/developing from the inside of the essay (last workshop)–need to go back and re-vise your thesis, which probably has shifted. Find the ‘buried’ thesis that may be stronger. Also check for alignment: the paragraphs match up–look for the thread, make changes as needed.
2. Step 1: Exchange and read draft. Sketch out the thesis and an outline of the key examples (how the thesis is threaded through the body paragraphs).
3. Step 2: Follow up with writer. Work on re-building the thesis. Explore possibilities for a refined thesis statement.
   1. consider templates from they say/I say–and key words they suggest to signal your thesis.
4. Step 3: consider alternatives/possibilities for revising and strengthening the introduction around the thesis.
5. Class follow up: share examples of thesis statements; of introduction ideas.

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F 10/9

• Due: Second Writing Project due by 8 pm; will have editing workshop in class.
• Consider:

Editing Workshop: the rhythm (flow) of our writing

Lesson: rhythm and ‘flow’ controlled by sentence length (and variation): vary long and short; think about your sentences as a camera: the effectiveness of pulling back then moving in for a close up (right around a key point/statement of thesis). This is how the writing machine controls the ‘vision’ your reader sees.

1. Sentence length: look at 2 paragraphs and at sentence length (using word program: turn the paragraphs into a poem–hit return at the end of each sentence)
   1. improve the variation–combining several short ones into a longer; breaking up lots of longer into some shorter. [one key place where commas and punctuation come in]
      
   2. consider the power of moving from long to short–particularly with a thesis statement: like a film close-up
2. Drive-by quotings
   1. exchange and edit how the writer has incorporated quotations–for effectiveness. No ugly stitching.
3. Other items/questions from to-do list?
   1. remember list of 20 most common errors.
   2. remember the run-on problem from last project.

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Focal Point #3: Remediated Wreading

Week Seven: the medium is the massage/message

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M  10/12

• Due: McLuhan and Fiore, The Medium is the Massage, approximately first half of book.
• Consider:

[1]What kind of book is this?

• how would you characterize this book? in terms of its argument/critical vision (what’s the thesis)? but also in terms of its presentation?
• introduce concepts:
  • media specific analysis (Hayles)–so think medium (or multimedia) rather than just book
  • remediation: every new medium reuses/relates back to prior media

[2]film as a remediation of the Frankenstein novel–but also, in the sense that it highlights/shows that the message (or massage) of the novel is crucially about mediation.

• key place: the creation scene–in 1931, echoes of the machinery of film

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W 10/14 | Machine Shop

• Due: Respond to Writing Group #2
• Consider:

[1] Lessons/Insights from the second project: three suggestions of strengths you saw or ideas for how the writer might develop further in the final project.

[2] film: Brannagh–selected scenes: the creation as reproduction.

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F 10/16

• Fall Break: no class

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Week Eight: thinking and writing in the age of remediation

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M   10/19

• Due: Reading: finish The Medium is the Massage
• Consider:

The Medium: discussion

• 10 minutes: discuss and answer
  • what is the “thesis” of this book: paraphrase or directly quote
  • where is the thesis most effectively elaborated/developed? Point to some particular pages/section; how is it developed, what makes it effective?
  • could we write an essay like this book? what would that essay do that would be effective? what might be ineffective?
    • in other words: think of the way this text remediates the conventional essay/argument/book.
    • what would Birkerts say about this book?

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W 10/21

• Due: Reading: Walter Benjamin, “The Work of Art in the Age of Mechanical Reproduction” or Vannevar Bush, “As We May Think”
• Consider: you will be reporting/presenting to class on the essay your read, what the authors say, how these views of remediation might apply to our study.

Beck lab:

1]essay discussion (using social text): thesis/focus of each essay; key examples of ‘remediation’ it offers (how new media is changing old)

what to look for: pay attention to the ways that the what is tied to the how–ie, how things get your attention, not just what. {Benjamin mentions things like film close-ups}

or Bush: think how hypertext changes the experience of reading/writing (which is key to his argument):

2]Blade Runner

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F 10/23 [frankenstein play]

• Due: Frankenstein’s Futurity
• Consider:

1. Third Project: read through. Another way to think of it–you are also a director, pitching an idea for a new film in some way related to Frankenstein. What will you film do with Frankenstein–a key idea that it will borrow and remediate? How will it show/use that idea–what are ways that the film as film (a different medium) can do that?
   1. film examples.
2. Blade Runner: note the thesis from “futurity” essay. See the eyeball scene.

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Week Nine: filming frankenstein

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M  10/26

• Due:
• Consider:

1. Media Specific Analysis: idea from Katherine Hayles. Example: Wizard of Oz. Back to the creation scene (noticing the ways that the film, as film, represents/conveys/massages the ‘message’ of the scene.
   1. Material metaphors–images/ideas in a text where the materiality of the medium is apparent or presented, revealed. Think of the way Blade Runner focuses on the “eye” and on viewing/watching–including an earlier scene from the film.
2. Groups:
   

    

   1. present your film,
      
   2. your thesis at this point (what you will focus on–how the film remediates the novel),
      
   3. describe a specific scene that you will do some close, media specific reading,
      
   4. questions/help you need.

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W 10/28

• Due: Draft of Project 3
• Consider:

1]lesson: being materially specific

The specificity of our language (how we, in writing, convey our critical vision) matters in the effect of that vision. The relevant parallel: the specific and material resources of film matter in how the film’s critical vision is conveyed. The materiality of our writing is part of its content.

Take for example: Pinksy’s poem “Shirt”

A poem about material specificity, conveyed through the specificity of his poetic language. Important lesson here: we can use the language resources of the poet to be more material and specific, not less.

2]Writing partners:

Read drafts; complete response: directly on draft; follow up with discussion.

identify the thesis (the closest thing you can find), by summarizing it or quoting it in one or two sentences. After reading the draft, come back here and answer: is this thesis currently specific enough (given the focus of the rest of the paper)?

identify and comment on a place in the draft (outside of the introduction) where the essay is being specific (about its argument, a text, the medium, its use of language) in a way that is effective. describe why it is effective.

identify/comment on a place where the essay is, in your view, not as specific as it could/should be. describe why this is ineffective and suggest some ideas you have for making it more specific.

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F 10/30

• Due: Third project due
• Consider:

Editing: Less Monstrous, More effective Introductions and Conclusions

Preview Patchwork–starting it up.

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Focal Point #4: Digital Wreading

Week Ten: the body of the text

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M   11/2

• Due: Reading: Patchwork Girl, initial reading(s)
• Consider:

[1]Intro to Shelley Jackson: context for her interest in the body of text; and for some unconventional views of reading (playing a text?)

[2]Wreading Groups (10 minute stretching before full discussion)

• Present/Discuss responses from your initial reading–including specifics from the text thus far: show a particular chunk (lexia) or path you followed.
• Group: select one place or path from PG that seems to offer some insight into what this text is about, what it seems interested in.
  • initial encounters: the ‘interface’: consider the different views
  • some locations (note that we seem to talk about this text in terms of space/location: in fact, the software used is ’storyspace’–which suggests that in part this reading experience is more about space than time):
    • Sources (from title page): notice how the appropriation/quotation of voices (and confusion) is presented as appropriate to subject matter.
• For Friday: Hayles essay: some historical context as well as particular readings of PG–use to apply back to your own. Glog. My suggestion: try a specific section.
  

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W 11/4

• Advising Day: no class

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F 11/6

• Due: Reading: Hayles, “Flickering Connectivities” (linked here); Writing: Glog due
• Consider: in addition, spend some more time with PG (see if you can put some of Hayles’ insight to work for you)

[1]Wreading Groups (5 min stretch)

• Share insights from your glogs–where are you now with this text, where have you gone. Point to a specific location.

[2]Hayles: Critical Application

• this is the focal point for the next writing project (have Hayles, will have Birkerts and a bit from Shelley Jackson)
• Set Up: Hayles’ thesis: note how she has a clearly stated general thesis, then refines it at end of introduction with more specific focus (and application)–#15: and how her development is “showing” how the points apply to a reading of PG.
• questions about her 8 points?

One for me: the implications of points 7/8 [paragraph--or lexia?--12 and 13]: distributed cognitive environments that demand cyborg reading practices.

you have already a cyborg subjectivity (even before you started reading PG): do you agree? what is a cyborg?

• Critical insight: How is her critical vision applied/’mobilized’ to PG? Where does she offer us insight that we can apply to our reading of PG?

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Week Eleven: back to birkerts

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M  11/9

• Due: Reading: Birkerts, GE chapter 8 “Into the Electronic Millenium” + spend some more time with PG
• Consider:

Notebook: At this point in your thinking and reading, would you be likely to use Birkerts for critical insight in your fourth essay? Why or why not? where would you quote from?

Insights from Birkerts: what interests you, possible places to apply his critical insight (in agreement or disagreement).

Birkerts: argues that the “electronic future” means three things (p. 128ff): language erosion, flattening of historical perspective, waning of private self (replaced by social collectivization). Do you agree with any or all? Do you see this at work in PG? Are you persuaded by Birkerts?

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W 11/11

• Due: Respond to Writing Group #3
• Consider:

Focus: revising Introductions.

1. consider samples
2. re-imagine your introduction: don’t correct or fix, try something completely different. Try it with someone else’s essay.

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F 11/13

• Due: Reading: Birkerts, GE, chapter 11, “Hypertext” + Glog
• Consider: what would Birkerts say about PG? what (at this point) would you say in response?

Birkerts suggests a hypertex is a sophisticated Ninetendo game.

Let’s apply–play with this idea of playing rather than just reading PG

1. Critical insight/context: what does Birkerts mean, what are some specifics of his criticism from chapter?
2. PG: where can we see this ‘game’ (in Birkerts’ sense)?
3. Other (more positive) ways to think of the game, of playing this text?
   1. lessons from places you play (or interact with) rather than just read digital texts: what does it mean to play in the electronic/digital age?
      
   2. must this be separate from literature or reading?

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Week Twelve:

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M   11/16

• Due: Reading: Shelley Jackson, “Stitch Bitch”
• Consider: use her insight to go back into PG–anything open up?

Hypertext is bad writing: an insight from Jackson’s essay.

1. Before considering what she means, let’s define (and review) what we mean by good and bad writing (or strong and weak, as I prefer).
   1. notebook–5 minutes: make a list of the qualities of good/bad writing–from your perspective. Reflect on what you have encountered/worked on this term.
      
   2. examples of good writing: from this term
      
      1. elements of her essay that are good/strong?
2. Stitch Bitch: what does Jackson mean by bad writing–and why is it a good thing for hypertext?
   1. key characteristics of hypertext that we can apply to PG
   2. Normally when you read you can orient yourself by a few important facts and let the details fall where they may. The noun trumps the adjective, person trumps place, idea trumps example. In hypertext, you can’t find out what’s important so you have to pay attention to everything, which is exhausting like being in a foreign country, you are not native.

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W 11/18

• Due: no class meeting/attend metonymy lecture
• Consider:

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F 11/20

• Due: remainder of They Say/I Say
• Consider:

Practice/workshop ways to tie together the essentials of academic conversation. Work in pair: one reader, one writer

1. I Say (distinguishing what they say from what you say, chapters 4-5). Use paragraph from Stitch Bitch to practice in your notebook: a paragraph where you quote and respond to Jackson.
2. Naysayer: now build into that paragraph some counter-argument/objections.
   
3. Saying why it matters/meta-commentary–discuss what this means. Add this in to paragraph (might imagine this now as a introduction/conclusion, establishing/reinforcing a thesis.
4. Style: Take that paragraph and dress it down, using informal/colloquial language.
   1. Now create a paragraph that blends the two effectively.

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Week Thirteen:

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M   11/23

• Due: PG + glog; meet in Beck

Recall from Hayles: the idea that identity and thinking in hyertext (and our elecrtronic age) is distributed. She also emphasizes that identity and interpretation (how we understand a text or the world or ourselves) are emergent. So, think about your reading of this text as emergent (in progress, unfinished, but also, informed or influenced by other factors)

1. Patchwork groups:
   

    

   1. 10 minutes–group glog. Share notes/responses from reading; each person will identify one chunk or section of the text: cite, summarize, then begin to explain what caught your eye, how you might use this in the writing project (that is, begin to interpret it).
      
   2. 5 minute–group reading. Each group will present  one section that they will elaborate as an example, using the following template:
      1. A key issue in reading Patchwork Girl is _____________. This issue is most evident in the section __________ where we see __________. This can be compared/contrasted with the view of ________ [Birkerts, Hayles, Jackson] when s/he argues that _______. We agree/disagree with this critical view because _______.
         
2. Group presentations: key passages.
   1. remember that this is still an essential way you will be writing about this text: developing reflection (not generalizing), close and slow reading, being specific.
      
   2. critical guides: which critical perspective helps you make sense of this issue and develop the interpretation: Birkerts, Jackson, Hayles?

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W 11/25

• Thanksgiving: no classes

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Week Fourteen: workshops

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M   11/30

• Due: Coda + composting
• Consider:

1. Warm up/practice: Do you agree with his conclusion about “the wholesale wiring of America” and its effect on reading and ultimately on our identity?
   
   1. Pick out a particular sentence/paragraph where you do or don’t agree with his conclusion. Begin to use it (as you might in your essay): provide a summary of his basic argument, then where you do/don’t agree with it.
      1. remember your template/structure
         
2. Discussion: What does he conclude? Where does he leave us with his argument and writing (looking AT his conclusion)
   1. Notice how he uses and ‘borrows’ from the critical vision of Walter Benjamin–how is it effective?
      
      1. provides specificity; could even go further in opening up a counter-argument.
         
   2. Notice how he uses the idea/image of Faust/devil, brings it back in the final paragraph. Overall: are you persuaded as you leave this book?
   3. These are some things to work on as you draft for Wednesday.
      

Particular focal points:

–224: condition of connectedness: Do you agree that this is bad for reading/writing? bad for you (your self)? Notice the Frankenstein echoes here: amniotic environment; reproduction. Seems to me that Shelley Jackson is interested in this condition. Perhaps even Mary Shelley.

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W 12/2

• Due: Revision workshop: full draft due.
• Consider:

Workshop:Remember to be specific with your citation (of both primary and secondary text). Think about using a key phrase/word from one of your quotations, shaping it into a thesis, a title, a discussion for your introduction. For example: ‘distributed’ (Hayles); ‘distraction’ (Birkerts); ‘dispersion’ (Jackson)

Part 1: Hear/Notice/Wonder

1. Hear: Identify the thesis as it exists–and/or a stronger thesis somewhere in the essay. Write it out or mark it with a comment. Suggest ways to refine/strengthen the thesis–where and how the writer says why this matters.
2. Notice: Focus on the essay’s critical application–how effectively the writer brings in a critical perspective and uses it. Suggest (specific comments) where it can be strengthened. Recall the details from They Say/I Say.
3. Wonder: Where does this draft need to go next–overall, what are you left wondering and wanting more of?

Part 2: Basic citation format–MLA style.

1. parenthetical citation in text
2. works cited at end. See Purdue OWL for citation format.

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F 12/4

• Due: Fourth Writing Project due; editing workshop
• Consider:

Editing Workshop

1st read: Wordle: looking AT text (essay as graphic?). Ways to get at word frequency, key words, over-using words.

go back to your draft and look for ways to revise/change word usage and shift around some of your “is’ constructions

2nd read: Conclusions–work with peer. Evaluate, suggest an alternative (remember what Birkerts does; what Shelley does)

3rd read: citation format. Correct and effective.

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Week Fifteen: final project/further wreading

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M  12/7 | Machine Shop

• Due: Respond to Writing Group #4; Compost for Final Project
• Consider:

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W 12/9 [last class]

• Due: Revision Workshop
• Consider:

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