Rich Shivener Teaching Portfolio

TABLE OF CONTENTS TEACHING PHILOSOPHY 2 SUMMARY OF TEACHING EVALUATIONS 3-4 RECENT OBSERVATION LETTERS 5-8 SAMPLE SYLLABI 9-35 SAMPLE ASSIGNMENTS AND STUDENT WORK 36-59

Rich Shivener Teaching Philosophy

When I finish teaching for the day, I often scribble in a journal, reflecting on what happened

in my courses and wondering about the future. Essay writing and digital design––did students find the common ground? Maybe I need to push unit three’s research project back a week. I should invite a journal editor to be guest speaker. And when I look back on several journals of such scribblings, I see a teaching philosophy driven by my commitment to quality and engaging instruction across courses. My commitment is guided by three concepts: responsive teaching, rhetorical flexibility, and community building. Responsive Teaching. As I have learned from teaching first-year seminars and writing courses, students arrive to classes with diverse literacies, interests and abilities (in the broadest sense of the word). Responsive teaching means welcoming possibilities by asking for student input on readings, designing lessons that usher in several modes (e.g., alphabetic, visual, aural) and adjusting a course schedule when students needs more or less time on a project. How should I rework an upcoming lesson plan when I know students are struggling with rhetorical analyses, for example? My responsiveness might begin with a classroom conversation––what worked, what didn’t and what should happen next. What I learn about and from students is just as powerful as what they learn from me. It’s a reciprocal exchange that can make every course unique. Rhetorical Flexibility. In classrooms and social media platforms, students enact rhetorical thinking and genre knowledge when they compose texts, navigating contexts and audience expectations. Rhetorical flexibility emphasizes assignments for which students think critically about styles, materials, formats, and sensory appeals (e.g., sight, sound) that shift between projects. It also emphasizes roles that many students are expected to embody in the digital age: writer, arranger, designer, curator. In recent iterations of composition and professional writing courses, for example, I have assigned a project that invites students to remix two seemingly disparate genres and texts. When a student remixes a lab report with a digital comic book, what are the implications for format and writing style? What is lost and gained in the process, and how does it affect her understanding of genres—or, in broader terms, the values, audiences, and conventions embedded within them? Put differently, remix projects invite cross-cultural dialogue and heighten a student’s awareness of rhetorical choices across genres. To succeed at a range of rhetorical tasks is to integrate genre knowledge and available means of persuasion. Community Building. Every semester I interact with a number of students and colleagues, and our connections amount to a network of teaching and learning. A constructive, one-on-one conference with a student can illuminate issues obstructing her success. A day of playing board games in the classroom can bond teams of learners, who at times learn more from each other than from me. A coffee hour with a fellow faculty can lead to an interdisciplinary collaboration, coordinated “learning communities,” or courses networked by faculty, themes, and lessons. By and large, the relationships I form in and outside of the classroom are vital to my teaching and research. When I look once again at my journal and reflect on the aforementioned concepts, I see myself as a teacher who treats a course schedule as an artifact always under construction; who views classrooms as spaces for challenging rhetorical and genre expectations; and who values supportive relationships with students and faculty.

Summary of Teaching Effectiveness from the portfolio of Rich L. Shivener

As the following excerpts from student evaluations across technical and professional writing courses as well as composition courses indicate, my teaching evaluations call attention to specific qualities of my teacher-identity: responsive teaching (attending to students’ needs and interests); rhetorical flexibility (emphasizing everyday and future writing situations), and community building (creating a supportive environment). Responsive Teaching: Student in Technical and Scientific Writing (ENGL 4092): “Prof Shivener was an invaluable resource throughout the term. He was open to trying new things and getting feedback from students and really connected with the class. His obvious experience with the topic at hand made his feedback very thorough and legitimate.” Student in Desktop Publishing (ENGL 3070): “I felt that I came into the class with little to no information about Adobe products and ended up learning and greatly expanding my portfolio. I am not only interested in the subject matter but am more confident in what I can do. Rich made us work very hard and that is a good thing.” Student in Intermediate English Composition (ENGL 2089): “Professor seems very intelligent. Definitely knows what he is talking about. He also is very available to the student. I try to be a proactive learner when I'm enrolled in classes and never fall behind, so I found myself exchanging emails with Prof Shivener from time to time and he was always very understanding and good at explaining things if I asked for supplemental instruction.”

Rhetorical Flexibility Student in Technical and Scientific Writing (ENGL 4092): “Rich was helpful, understanding, and informative during the course and provided lots of different activities that felt relevant to an eventual job I may take.” Student in English Composition (ENGL 1001): “Before this course, I always spent so much time on the first draft to ensure that it was "perfect" but in reality there are no perfect first drafts so I was just putting in too much time and effort into a paper that wasn't finalized. Another important aspect or lesson that I've learned about writing from taking this course is that our writings can be changed into other mediums for other audiences to read and enjoy our pieces.” Student in Intermediate English Composition (ENGL 2089): “The activities that integrated images, audio, etc. into the text were very helpful, because they stimulated my thinking about using more than just words to tell a story. Also, assignments that required some tie-in to the assigned readings were helpful, because they challenged me to really comprehend what I was reading and apply it.”

Community Building Student in Technical and Scientific Writing (ENGL 4092): “Great overall. Very supportive & positive environment. I was surprised that I enjoyed a writing class every time I showed up.” Student in Desktop Publishing (ENGL 3070): “I loved this course! Rich liked for us to explore programs and try to understand them before showing us specific demonstrations. I enjoyed this because it didn’t stunt our creativity.” Student in English Composition (ENGL 1001): “I enjoyed that the class was largely discussion and analysis based. I felt very confident and able to share my thoughts and opinions, and there was no hatred or judgement for differing thoughts and opinions.”

1

PARTICIPANT RESPONSES Yes 11No 1

PARTICIPANT RESPONSESOne of the 2 or 3 best 2Better than most 6As good as most 3Not good as most 0One of the 2 or 3 worst 0

PARTICIPANT RESPONSES Yes 11No 0Maybe 1

ENGL 2005: Topics in Rhetoric: Beer and Cincinnati

Would you recommend this course even if it were not a requirement?

ENGL 3070: Desktop Publishing

ENGL 4092: Technical and Scientific Writing

Teaching Effectiveness by the NumbersRich Shivener

Should Technical and Scientific Writing be required for your major?

How would you rate this instructor and Desktop Publishing relative to others you have had?

92%

8%

Requirement?

Yes

No

18%

55%

27%

Instructor and Course?

One of the 2 or 3 best

Better than most

As good as most

Not good as most

One of the 2 or 3 worst

92%

8%

Recommendation?

Yes

No

Maybe

An affirmative action/equal opportunity institution

Department of English & Comparative Literature College of Arts & Sciences University of Cincinnati PO Box 210069 Cincinnati, OH 45221-0069 248 McMicken Hall 2700 Campus Way (513)556-6503

This letter reports my observation of Richard Shivener’s Desktop Publishing class on the evening of February 12, 2018. Although Rich has taught other English courses at the University of Cincinnati, this was his first semester teaching Desktop Publishing. I regularly teach the course, and Rich had consulted with me the previous semester as he prepared to teach it for the first time. Desktop Publishing covers wide ranging material and technology that can be challenging to teach, but after visiting Rich’s class, I was impressed with how well he met these challenges. Rich began the class by having students log into the course Blackboard site. He then checked in with students by previewing what they would be doing for the night’s class and by reviewing what they had already done. From the start, it was apparent that Rich runs an organized class and has a good rapport with his students. After this quick check-in, Rich introduced a learning activity that would “take a deeper dive into Photoshop: a Photoshop battle.” Rich then gave students a quick overview of a similar contest on Reddit where users manipulate a stock image for upvotes. Rich provided students with an image which they could manipulate and/or add text. Later the students would vote on a winner, who would receive bonus points on the night’s quiz. Students were given half an hour to complete the assignment, which didn’t seem like much time, but Rich stressed a focus on creativity rather than mastery. The students responded well to the challenge and got right to work. Rich played some low background music and walked around encouraging students as they worked. The class environment, even during this competition, seemed very positive as students were seen helping one another and reaching out to Rich as well. Next, Rich told students to take the Photoshop quiz posted to Blackboard. For the next twenty minutes, students completed the quiz while Rich downloaded the students’ submission to the Photoshop battle. When the quiz was complete, Rich was able to pull up each entry and quickly name them by an easily identifiable feature. He then passed out ballots for the class to vote. The class was in strong agreement as to the winner, and Rich led a lively discussion about the entries. Students actively contributed to the discussion and showed their developing knowledge of both visual design and Photoshop. After the contest winner was selected, Rich solicited questions about the quiz, but students seemed comfortable and few questions were asked. Rich did take time to discuss the possible answers to a bonus question about free alternatives to Photoshop. Rich’s choice to discuss the possible answers to this question showed his focus on the students’ futures. Although the classroom computers provide access to the Adobe Creative Suites, not every future employer will, so it’s important that students know how to find and access such alternatives, and it’s important for them to realize that the skills they learn in DTP will transfer.

Next, Rich introduced the class’s first major project, the design of a movie poster. This is an assignment that I have used, but if it’s not properly introduced, students can focus solely on the design aesthetics and technical skills. Rich did an excellent job of reminding students to think about their designs in the context of the broader rhetorical situation. This included a discussion of genre and audience expectations. Overall, I was impressed with Rich’s ability to create a comfortable and interactive learning environment. Desktop publishing is a course that can be difficult to manage, but Rich demonstrated that he was managing it quite well. Best, Teresa Foxworthy Cook Associate Professor – Educator teresa.f.cook@uc.edu

DepartmentofEnglish&ComparativeLiteratureCollegeofArts&SciencesUniversityofCincinnatiPOBox210069Cincinnati,OH45221-0069225cMcMickenHall2700CampusWay(513)556-9911(Phone)(513)556-5960(Fax)

22September2018DearSearchCommitteeMembers:IampleasedtowritearecommendationletterforRichShivener.InhistimeasaPhDcandidateattheUniversityofCincinnati,RichhastaughttwoclassesinourProfessionalWritingtrack:DesktopPublishing(ENGL3070)andTechnicalandScientificWriting(ENGL4092).ClassesintheProfessionalWritingtrackintheEnglishDepartmentattheUniversityofCincinnatipreparestudentstowritepersuasivelyandeffectivelyinpublicandprofessionalsettings.Weemphasizeexperientiallearningopportunities,suchasclient-basedclassprojectsandinternships,andofferstudentsinterdisciplinaryandcollaborativeexperiencesthatareimportantforawiderangeofprofessionalenvironments.Thetrackpreparesstudentstobeinformed,responsibleparticipantsincivicaffairsandcanleadtoemploymentincommercialandnon-profitorganizationsorgraduateworkinprofessionalwriting.Becauseourmissionlinksacademicandnon-academicworkplaces,werequiregraduatestudentsteachinginourtracktohaveexperienceinindustry.Rich’sprofessionalexperienceasacommunicationscoordinatorforNorthernKentuckyUniversityandhisworkasastaffwriterforEnquirerMediamadehimanexcellentcandidateforteachingoneofourspecializedwritingcourses(ENGL4092)aswellasoneofourtechnologycourses(ENGL3070).AsanobserverofhisTechnicalandScientificWritingclass,IcanattesttoRich’sskillsasanengaginginstructor.ENGL4092isarequiredcourseforengineeringstudentsatUCand,therefore,themajorityofstudentstakingthecoursearefromthatfield.Knowingthattheengineeringstudentsliketo“dothings”Rich’steachingembracedprinciplesofactivelearning.ThedayIobservedRich’sclasshewastalkingwiththestudentsabouttheirassignmentthatinvolvedwritingasetofinstructions.InoneactivityonthedayRichdividedtheclassintotwogroups.

Onegroupwastaskedwithcollaborativelywritingasetofinstructionsforvideogamecalled"AGameaboutGameLiteracy.”Theothergroupworkedasateamtowriteinstructionstobuildaparticularitem(suchasananimal,car,ormotorcycle)outofLegos.Thestudentsrespondedextremelywelltothisactivity,immediatelydivingintothetaskathand.Aswellasbeingstudent-centered,Rich’sclassesarepedagogicallyrigorous.Forexample,onthatsameday,Richcontinuedanactivitytheyhadstartedthepreviousclassfortheirfirstassignment.Intheirpreviousclass,teamsofstudentswenttoacampuslibrarytofindabookdesignatedbyRich.Theteamswererequiredtocreateinstructionsthatanotherpersoncouldfollowforfindingthisspecifictext.Theseinstructionswerethentestedbyanothergrouptoseehowaccurateandhelpfultheywereinaccomplishingthetask.ThedayIattendedclasstheteamstookonesetoftheseinitialinstructionsandlefttheclassroomtofollowtheinstructionsforfindingthebook.Oncetheclassreachedtheirdestination,Richaskedhowtheymightwritethisdocumentdifferentlyforsomeonewithmobilityproblems.Afterthestudentsvolunteeredsuggestions,Richsummarizedtheworktheydid,emphasizingtheimportanceofuniversaldesignprinciplesandtheneedforcreatingdocumentsthatareaccessibleaswellasuseable.Otherfull-timefacultyatUCwhohavevisitedRich’sclassesandreviewedhiscoursematerialshavealsoonlyhadgoodthingstosay.Studentevaluationsofhisteachingwereconsistentlyexcellentaswell,notinginparticulartheclarityoftheactivities,helpfulfeedbackonassignments,andhisinterestinthestudents.IwasmostimpressedbyRichShivener’steachingofourprofessionalandtechnicalwritingclasses.Ibelievehewillmakearemarkableadditiontothefacultyofanyinstitutionasbothateacherandacolleague.If you require additional information or clarification, please feel free to email me at lora.arduser@uc.edu or to call me at 513.556.1896. Sincerely,

Lora Arduser Associate Professor Director,ProfessionalWriting

ENGL 3070 – Desktop Publishing Spring 2018 – Mondays 4:40 p.m.–7:30 p.m. Instructor: Rich Shivener Office Location: 220 McMicken Hall Office Hours: Mondays 1 p.m.– 4 p.m. & by appointment Email: shivenrh@mail.uc.edu Mailbox: McMicken 241 Phone: (513) 556-6173; email me if you need my cell. Textbooks Williams, Robin. The Non-Designer’s Design Book: Design and Typographic Principles for

the Visual Novice. 3rd Edition. Berkeley: Peachpit Press, 2008.

Lupton, Ellen. Thinking with Type: A Critical Guide for Designers, Writers, Editors & Students. 2nd Edition. New York: Princeton Architectural Press, 2007. Required Materials

• Flash drive (at least 5g recommended) • A Lynda.com account (available for free to UC students) • Adobe Photoshop, Illustrator, & InDesign (see below)

Our classroom and lab computers are equipped with Adobe Creative Cloud, which hosts Photoshop, Illustrator, and InDesign. Although you will be able to use class time to create your documents, it would be helpful to have personal access to Adobe Photoshop, Illustrator and InDesign

Prerequisite English Composition (ENGL 1001) Overview Every professional must communicate on the job, and design is a fundamental component of that communication. The wide availability of digital tools and resources makes becoming a document designer much easier than in years past, but to be a good document designer takes a combination of theory and practice. Your goal in English 3070: Desktop Publishing (DTP) is learning to use digital tools to publish professional documents for multiple purposes and audiences. You will learn how design – the purposeful arrangement of elements – makes meaning. You don’t have to be technological experts to succeed in this class; class goals emphasize process and improvement. Throughout the term, you will focus on strategies for evaluating and developing documents that engage and inform readers and users in a variety of circumstances. Projects include hands-on work that results in the creation of flyers, brochures, presentations, posters and magazine layouts.

Your general objectives are to:

• Understand basic design principles used in developing documents for professional publication.

• Understand the relationship between design principles and written communication. • Learn to discuss your work in critically informed ways. • Develop basic competence in using DTP software. • Develop confidence in the ability to learn and employ new knowledge and skills for the

design of professional publications. • Conceive and carry out a design project.

Attendance Our classroom is a computer lab, and often, you will be allowed to use the available workstations to create class projects with the assistance of your professor and peers. In addition, part of your responsibility as a class member is to offer feedback to your peers; therefore, attendance is critical. You get one freebie (one week). Missing more than two classes (the equivalent of two weeks) will lower your course grade and missing five classes will necessitate withdrawal from the course. Finally, habitual tardiness will result in a lower grade. Academic Misconduct Please review the University’s description of Academic Misconduct (http://www.uc.edu/conduct/Academic_Integrity.html). If any student is caught plagiarizing on any assignment at any stage (homework, draft, peer review, final), s/he will receive an F for the assignment and, possibly, the course. If in doubt, ASK ME! Homework & Participation You will complete three major projects, competency quizzes, and numerous homework assignments. To pass this course, you must complete each assignment on time and receive a passing grade. In general, I will not accept late assignments, although I reserve the right to accept late papers and assign acceptance conditions in the case of an emergency.

Assignments Points Possible Project #1: Photoshop 100 points Project #2: Illustrator 150 points Project #3: InDesign 200 points Quizzes 200 points Homework Assignments 200 points Class Participation & Attendance 50 points Revision &/or ePortfolio Posting 100 points Total 1000 points

Overall total percentage will be assigned a grade based on 100-point scale. Dividing your total number of points by 10 will calculate your final grade percentage. Your letter grade can then be determined as follows: 93-100 = A 90-92 = A-

87-89 = B+ 83-86 = B 80-82 = B- 77-79 = C+ 73-76 = C

70-72 = C- 67-69 = D+ 63-66 = D 60-62 = D- 0-59 = F

Additional Policies UC Email All communications will come from my UC email and to your UC email. Good Citizenship Rules for You and Me Attend class and participate in discussions, activities and workshops. Please come to class prepared and ready to interact with your peers and me. Also, refrain from using electronic devices for purposes unrelated to class. Let’s share this time together without external distractions. Be open, kind, and fair with one another and with me. I’ll read your writing with enthusiasm and return papers in a timely manner. Holding office hours and appointments, I invite you to come to my office to talk about your writing or about the class. I promise to listen and respect you. Finally, know that you have the right to take reasoned exception to views offered in the classroom; however, please be respectful and courteous in class discussion and in writing, including email messages and posts to Blackboard. It is the right thing to do—and respecting one’s audience goes a long way when one hopes to be persuasive! Holding Myself Accountable … If I’m going to stress the importance of deadlines, I need to hold myself to the same standards. That said, whenever you submit an assignment for a grade, I will grade it, and include comments in some cases, within two weeks of submission. If I have an issue, I will be sure to contact you in advance. Revision Policy You may revise any of your major assignment as often as you wish after you’ve turned them in to me and I’ve evaluated them. However, you must meet with me, in conference, to discuss your revision plan. Revision is not editing but instead a thoughtful process wherein you re-think and re-see your writing; therefore, I’ll expect more than superficial changes to your work. All revisions must be submitted with previous drafts, new drafts, all informal writing toward revision, and a NEW writer’s note that reflects on your revision process. Severe Weather Policy: If UC is open, class will be held. Please check the UC Web site for information, sign up for alerts and check your email. As the university states: “During periods of severe inclement weather, public emergency, or other crisis, the president or a designated cabinet officer may announce, through the University of Cincinnati electronic mail system and through the local news media, that some or all of the university’s offices and facilities are closed for part or all of a day.”

And, finally, a product disclaimer … The class is flexible and subject to change because I ask for your input and gauge our progress as we go. If you want information about future assignments for planning, just ask. I truly love writing, teaching writing, and learning, so I absolutely welcome your ideas for making the class a better experience for all of us! Tentative Course Schedule Unit One: Design Theory Monday, January 8 Introductions and icebreakers

- Take out a sheet of paper - On one side, draw a grid, or four boxes. Start on the top left:

o Top left: Design a picture represents today’s weather or atmosphere on campus; you have 1 minute

o Top right: Design a picture of today’s weather; you have 30 seconds. o Bottom left: Design a picture of today’s weather; you have 15 seconds. o Bottom right: Design a picture of today’s weather; you have 5 seconds.

- On the back side: Write 15 questions you might ask someone when you meet them for the first time. Take 2 minutes to do this.

- Lastly, introduce yourself one-on-one to everyone in the room. Ask 1 question per person, record their name and answer, and move on.

Syllabus & course overview (10 minutes) Survey of software and communication experiences First-Day Design sample: Document design (take time!) Discuss samples. Audience & purpose. Reviewing the following articles about design principles (posted under Course Documents):

• C.R.A.P. Overview under C.R.A.P Materials • http://sixrevisions.com/web_design/gestalt-principles-applied-in-design/

Post a well-designed document to the Bb discussion board. Discussion Review posted documents under Course Documents Homework for January (off next week; due Jan. 22): Re-review syllabus and come to class with any questions.

Re-read C.R.A.P. materials Read Chapter 3 “Theories of Design” posted under Course Documents Post a poorly designed document to the Bb discussion board before the next class Monday, January 15 MLK Jr. Day. See homework announcement for Jan 22. Monday, January 22 Principles of design Discuss “Theories of Design” Share poorly designed documents Drafting Document Redesign Homework to Bb. Homework: Choose one document from Bb folder to redesign and submit by Monday class. Study for Quiz #1 – Design Theory Re-read “Theories of Design” Monday, January 29 Share document re-designs Quiz #1 – Design Theory Discuss quiz Introduction to Photoshop Watch Lynda.com video (linked on BlackBoard) Introduction to Photoshop Homework: National Park Service Homework: Read articles posted to Bb Photoshop folder under Course Documents Review Intro to Photoshop Homework; begin working on it Unit Two: Photoshop Monday, February 5 Photoshop continued Discuss and apply Bb Photoshop articles. Photoshop Homework due during class Share homework Quiz prep

Homework: Review articles and texts on Photoshop Watch and work through this more focused Photoshop video series on Designers (link forthcoming) Prepare for Quiz #2 – Photoshop – includes both readings and videos. Monday, February 12 Questions about Photoshop Quiz #2 – Photoshop Discuss quiz Introduction to Project #1 Work on Project #1 Mini-workshop on project. Homework: Complete a draft of Project #1 Monday, February 19 Troubleshooting Queries Full workshop on Project #1. Continue working on Projects; short conferences with Rich Homework: Complete Project #1 by Monday, Feb. 26 before class. Read articles posted to Bb in Illustrator folder under Course Documents Unit Three: Illustrator Monday, February 26 Introduction to Illustrator Discuss and apply articles Introduction to Illustrator Homework Watch Lynda.com videos––Tony H. Essential Video. Begin working on Illustrator Homework Homework: Read articles posted under Color Theory folder Complete Illustrator homework by March 5 Monday, March 5

Color Theory discussion Discuss Illustrator Homework Quiz prep #3––Illustrator Homework: Study for Quiz #3 – Illustrator Monday, March 12 No class. Enjoy spring break! Monday, March 19 Quiz #3 – Illustrator Introduce Illustrator Logo Project under Assignments Watch videos on logo design under Course Documents Discussing logo design Begin work on Logo Project Mini-workshop on Logo Project Homework: Submit draft of Illustrator Logo Project by midnight, Sunday, March 25 Monday, March 26 Logo project workshop One-on-one check-ins with Rich. Homework: Finish draft of Logo Project by Monday, April 2 before class. Read articles posted to Bb under Magazine Layouts & InDesign Unit Four: InDesign Monday, April 2 Introduce InDesign Discuss Magazine Layout Introduce InDesign Homework & begin working Work on InDesign Homework Homework:

Finish InDesign Homework and post before class. Prepare for Quiz #4 – InDesign & Review Consider revisions for previous designs Monday, April 9 Questions about InDesign Quiz #4 – InDesign Introduce Final Project Work on Final Projects Check in on drafts. Homework: Post InDesign draft before class Monday; prepare for workshop. Write a 250-word statement about your final, articulating how it was composed, your choices, and challenges. Monday, April 16—Last Week of Class Present and Workshop Final Projects Read articles posted to Bb in Preparing for the Printer folder under Course Documents Course evaluations Looking back on the semester. Homework: Revise Final Projects Rich available for consultation between now and Finals due. Monday, April 23––FINALS WEEK Final Projects, Revisions, and ePortfolio postings due Monday, April 23. No need to come to class. Post to Bb!

9/4/18, 12:37 PMSyllabus – English Composition

Page 1 of 6https://eng1001rich.wordpress.com/syllabus/

MENU

English Composition

Syllabus

English 1001-010

Fall 2018 Syllabus

Meeting times: 9:05 a.m.-10 a.m. Mondays, Wednesdays, and Fridays.

Room number: Braunstein 326

Class website: https://eng1001rich.wordpress.com (https://eng1001rich.wordpress.com)

Instructor: Rich Shivener

Email: shivenrh@mail.uc.edu (mailto:shivenrh@mail.uc.edu)

Office number: McMicken 220

Office hours: 10:30 a.m.-noon Monday and Wednesdays; by appointment as well.

Mailbox: McMicken 241

Phone: (513) 556-6173 is our English department phone; email me if you need my cell.

Course Description & Goals

English Composition 1001 emphasizes critical thinking and persuasive writing skills. We will learn toread critically and analyze a text’s content as well as its rhetorical strategies. In addition, we will beimmersed in research writing practices, including how to integrate source material into our papers,evaluate sources, and position our ideas in relation to published research. This course aims todevelop confident writers who know how to pursue and develop a relevant, consequential line ofinquiry.

After successful completion of the course, students should be able to:

9/4/18, 12:37 PMSyllabus – English Composition

Page 2 of 6https://eng1001rich.wordpress.com/syllabus/

To improve your critical thinking abilities, and therefore your ability to develop complex yetclearly stated written arguments and analyses.To introduce you to the composing process and the notion of rhetorical context, and to help youdevelop strategies for invention and revision.To teach you how to develop an appropriate research project, discover and read sources, andwriting convincingly and persuasively on that subject.To encourage you to read and write more carefully now and throughout college and your career.

Required Materials

Student Guide to English Composition 1001, edited by Kelly Blewett, Chris Carter, Joyce Malek, and RichShivener. Plymouth, MI: Hayden-McNeil, 2018.

Internet access for UC email, project writings, and digital handouts.

Funds for printing class documents and drafts

Course Grading

Including individual essays, the following grade breakdown illustrates that your class work anddaily assignments impact your final grade in a significant way and should be given the appropriateconsideration.

Attendance 10% ResearchArgumentEssay

30%

Short Assignments(informal writing, in-class work, Etc.)

15% RecastProject

20%

Texts in Action 20% ReflectionEssay andPortfolio

5%

Grade Scale:

Possible course grades include A, A-, B+, B, B-, C+, C, C-, NP (Not proficient), W (Withdrawal-noparticipation), and WX (Official withdrawal-No participation).

Overall total percentage will be assigned a grade based on 100-point scale: A (100-95), A- (94-90), B+(89-87), B (86-83), B- (82-80), C+ (79-77), C (76-73), C- (72-70).

Instructor Availability: Feel welcome to send me emails, call me or visit me during office hours(noted above). If you e-mail me and I don’t answer within 24 hours, please send a polite follow-up e-mail. Regarding drafts and any complex issues, we should talk in person. Come by during my office

9/4/18, 12:37 PMSyllabus – English Composition

Page 3 of 6https://eng1001rich.wordpress.com/syllabus/

hours, set up an appointment, or catch me after class. I’ll do my best to help you.

Major Assignments

English 1001 begins by examining how texts are constructed to achieve certain responses. The firstassignment, Texts in Action, introduces you to concepts of rhetoric and strategies of analysis (3-4pages).

The second part of the course is the Research Steps, which focus on the development of a researchproject, including research, argument, and writing strategies. You will complete a topic proposal,annotated bibliography with sources supplied and a detailed outline.

Third, you will compose Researched Argument essay (8-10 pages). This will grow directly out of theresearch and development from Research Steps and will utilize the rhetorical strategies studied inTexts in Action.

Finally, in the Recast project, you will recast your Researched Argument essay through differentgenres and media directed towards a public audience. You will also respond to other recasts.

At the very end of the semester, I will ask you to write an informal reflection paper (1-2) pages inwhich you comment on your journey as a writer over the semester.

Course Policies

Good Citizenship Rules for You and Me

Attend class and participate in discussions, activities and workshops. Please come to class preparedand ready to interact with your peers and me. Also, refrain from using electronic devices for purposesunrelated to class. Let’s share this time together without external distractions.

Be open, kind, and fair with one another and with me. I’ll read your writing with enthusiasm andreturn papers in a timely manner. Holding office hours and appointments, I invite you to come to myoffice to talk about your writing or about the class. I promise to listen and respect you.

Finally, know that you have the right to take reasoned exception to views offered in the classroom;however, please be respectful and courteous in class discussion and in writing, including emailmessages and posts to Blackboard. It is the right thing to do—and respecting one’s audience goes along way when one hopes to be persuasive!

UC Email

All communications will come from my UC email and to your UC email.

9/4/18, 12:37 PMSyllabus – English Composition

Page 4 of 6https://eng1001rich.wordpress.com/syllabus/

Canopy/BlackBoardThis class will be using the Canopy feature BlackBoard for email announcements and grade tracking.You can also use BlackBoard to email your peers in the class and myself.

AttendanceI expect you to attend every class meeting; however, I understand that you may occasionallyencounter circumstances that warrant an absence. That said, this is how I treat attendance:

Three absences (equal to one week): you get one “freebie.” Use them wisely and keep in mind thatyou will not receive credit for each day’s work.Six absences: your final grade may drop one grade; e.g., a B- to a C+, as 5% of your Attendance isgraded is deducted.Nine absences: you lose all participation points, as 100 points are deducted.

Tardiness to class will accumulate to absences at my discretion.More than nine: you may not pass the class.

(If you have a legitimate reason for missing more than six classes, please come speak with me. If you miss aclass, check Blackboard or our course schedule to determine what you missed. Also, consider trading emailaddresses or phone numbers with a few classmates; your peers can often offer a useful summary and/or notes forthe day.)

Late WorkDeadlines, deadlines, deadlines – one of life’s realities. An assignment will be late if it is not turned into me by the deadline.

Advanced Notification: If there is an emergency and you are unable to hand in an assignment ontime, inform me of the emergency in advance of class (via email and phone) and you will bepermitted to submit your assignment late. If you turn in your assignment late, points will bededucted for every day it is late. Additionally, if you will be absent on the day of aquiz/presentation, you must make arrangements with me in advance; failure to do so may resultin a failed grade.No Advanced Notification: Late work will not be accepted. However, I will accept a latesubmission if you write a 500-word essay of direct explanation and/or a creatively fictional excusefor your late work. This is a writing class, after all.

Holding Myself Accountable …

If I’m going to stress the importance of deadlines, I need to hold myself to the same standards. Thatsaid, whenever you submit an assignment for a grade, I will grade it, and include comments in somecases, within two weeks of submission. If I have an issue, I will be sure to contact you in advance.

Revision Policy

9/4/18, 12:37 PMSyllabus – English Composition

Page 5 of 6https://eng1001rich.wordpress.com/syllabus/

You may revise any of your major assignment as often as you wish after you’ve turned them in to meand I’ve evaluated them. However, you must meet with me, in conference, to discuss your revisionplan. Revision is not editing but instead a thoughtful process wherein you re-think and re-see yourwriting; therefore, I’ll expect more than superficial changes to your work. All revisions must besubmitted with previous drafts, new drafts, all informal writing toward revision, and a NEW writer’snote that reflects on your revision process.

PlagiarismPlagiarism is the action of using without due acknowledgement the thoughts, writing, scholarship, orthe inventions of another. It is often the result of carelessness or ignorance: a person does not fullyunderstand the importance of the issue or does not know the appropriate procedures foracknowledging sources. Sometimes, however, a person is fully aware of submitting ideas or workbelonging to someone else. The University of Cincinnati considers plagiarism a serious moral issueand a form of academic dishonesty.

In the English Composition Program, the penalty for plagiarism, even if it is not intentional, is anautomatic grade of F for the course and a letter detailing your plagiarism in your college file.Therefore, if you are unsure about whether or not you have cited all of your work properly, ask mebefore you submit your paper. You can find the official policy on plagiarism in the Student Guide.

Severe Weather Policy:

If UC is open, class will be held. Please check the UC Web site for information, sign up for alerts andcheck your email. As the university states: “During periods of severe inclement weather, publicemergency, or other crisis, the president or a designated cabinet officer may announce, through theUniversity of Cincinnati electronic mail system and through the local news media, that some or all ofthe university’s offices and facilities are closed for part or all of a day.”

And, finally, a product disclaimer …

The class is flexible and subject to change because I ask for your input and gauge our progress as wego. If you want information about future assignments for planning, just ask. I truly love writing,teaching writing, and learning, so I absolutely welcome your ideas for making the class a betterexperience for all of us!

Campus Resources to Consider

Disability Serviceshttp://www.uc.edu/aess/disability.html(http://www.uc.edu/aess/disability.html)If you have a disability and require assistance of any kind, please provide me with the appropriateform from the Disability Services office.

9/4/18, 12:37 PMSyllabus – English Composition

Page 6 of 6https://eng1001rich.wordpress.com/syllabus/

Academic Writing Centerhttp://www.uc.edu/aess/lac/writingcenter.html(http://www.uc.edu/aess/lac/writingcenter.html)

The Academic Writing Center provides UC students with writing assistance. If you would like atrained writing tutor to help you get started on your writing assignment or review your writing,make an appointment or stop in during the center’s drop-in hours.

Computers for Days!http://labs.uc.edu/labHours.php(https://www.uc.edu/ucit/services/eclassrooms-labs.html)3 a.m. computer crisis? Remember that UC has 24-hour computer labs & printers. I will not beprinting things for you!

Counseling & Psychological Serviceshttp://www.uc.edu/counseling.html (http://www.uc.edu/counseling.html)

If you’re facing personal problems or stress that’s affecting your ability to concentrate on youracademics or your quality of life, Counseling & Psychological Services provides confidentialcounseling, outreach programs, and related services for UC students.

A WordPress.com Website.

ENGL 2005, Topics in Rhetoric:

Beer and Cincinnati Meeting times: 3:30PM-4:50PM Tuesday and Thursday. Room number: McMicken 26

Class website: https://eng2005beer.wordpress.com Instructor: Rich Shivener Email: shivenrh@mail.uc.edu

Office: McMicken 220

Office hours: 12-3 p.m. Tuesday and Thursday

Mailbox: McMicken 241

Phone: (513) 556-6173

Welcome to Topics in Rhetoric!

This course will focus on the literacies, rhetorics and writing practices that surround and shape beer culture in the Cincinnati area and beyond.

In recent years, Cincinnati’s craft beer scene has exploded, with breweries and beer bars opening and growing across the city. In this course, we focus on the literacies, rhetorics and writing practices within and outside local breweries and those who participate in them––from brewers and social media teams, to brewery visitors and fans who talk all things beer on the web. By tapping into the city’s beer, materials (e.g., beer cans), spaces and websites, we will think critically about the incredible amount of writing that shapes Cincinnati’s beer industry. Equipped with definitions and concepts in rhetoric and writing studies, we will conduct research at local breweries, dialogues with those who participate in beer culture, and compose a final project on local breweries. Let’s raise a glass to the suds of the Queen City.

Student Learning outcomes in Topics in Rhetoric

• To introduce students to rhetorical concepts and their rich history

• To apply those concepts in the creation of diverse texts (including multi-media texts)

• To explore the relationship between rhetoric and the production of meaning and communication in varying contexts

• To become critical consumers of rhetorical discourse in contemporary life

• To shape texts using effective rhetorical strategies

Locally crafted outcomes:

• Recall histories, key terms and locations specific to Cincinnati beer

• Describe the media, genres and writing practices that shape Cincinnati’s beer culture and beer culture writ large

• Draw on local beer knowledge and rhetoric and writing concepts to interpret texts produced by local breweries and their fandoms

• Compare and contrast the composing practices of local breweries

• Produce a comprehensive research project on local breweries or a local issue regarding beer

Required Materials

Internet access

Laptop/computer access

Funds to purchase beer, print documents, pay for tours

Verification that you are 21 years of age

Beer readings as assigned

Assignment Descriptions

Participation (15%/150 points):

Attendance and participation in-class discussions, peer response sessions, short writes, quizzes and other activities all factor into your grade here. You get points every week–so try not to miss!

Beer and writing inventory (5%/50 points):

This brief assignment (1,000 words) invites you to analyze and reflect on your skills and attitudes toward beer and writing. Possible discussion topics include but aren’t limited to: the types of writing you do; the types of beers you enjoy; the degree to which beer has factored into your writing process (if at all); your impressions of writing that occurs in breweries, in media, etc. This is a low-stakes assignment that will help us shape the course as needed.

Cans and Plans (15%/150 points):

In the beginning weeks of this course, we’ll describe and analyze the writing and materials that breweries use in their production of cans (and bottles, in some cases).

An Evening at the Brewery (20%, 200 points)

For this assignment, you’ll attend a local brewery’s taproom, narrate your experiences and observe the rhetoric and writing practices in the brewery. To cover several breweries in the city, we’ll divide up who goes where. In addition, we will attempt to schedule a visit to a brewery in order to practice this assignment.

Beers in Circulation (20%, 200 points):

For this assignment, you will follow the ways in which breweries engage fans on social media and circulate their branding, messages and various rhetorical strategies through digital networks. We will also examine the ways in which fans and professionals discuss beer through websites, such as RateBeer and BeerAdvocate. To cover several breweries in the city as well as digital networks, we’ll divide up who observes what.

Remixing Cincinnati Beer (25%, 250 points):

After exploring and evaluating Cincinnati beer, this final assignment invites you to compose a multimodal project in which you remix Cincinnati beer for the purposes of creating a new brewery. Breweries are known for building on each other’s knowledge and practices, including their marketing and communication strategies. Due to the nature of this course, you will compose in media and genres you have evaluated.

Course Policies

Good Citizenship Rules for You and Me

Attend class and participate in discussions, activities and workshops. Please come to class prepared and ready to interact with your peers and me. Also, refrain from using electronic devices for purposes unrelated to class. Let’s share this time together without external distractions.

Be open, kind, and fair with one another and with me. I’ll read your writing with enthusiasm and return papers in a timely manner. Holding office hours and appointments, I invite you to come to my office to talk about your writing or about the class. I promise to listen and respect you.

Finally, know that you have the right to take reasoned exception to views offered in the classroom; however, please be respectful and courteous in class discussion and in writing, including email messages and posts to Blackboard. It is the right thing to do—and respecting one’s audience goes a long way when one hopes to be persuasive!

UC Email

All communications will come from my UC email and to your UC email.

Canopy/BlackBoard

This class will be using the Canopy feature BlackBoard for email announcements and grade tracking. You can also use BlackBoard to email your peers in the class and myself.

Attendance

I expect you to attend every class meeting; however, I understand that you may occasionally encounter circumstances that warrant an absence. That said, this is how I treat attendance:

• Two absences (equal to one week), you get one “freebie.” Use them wisely and keep in mind that you will not receive credit for each day’s work.

• Four absences (equal to two weeks’ work), your final grade may drop one grade; e.g., a B- to a C+, as 50 points are deducted.

The same goes for six absences, eight and so on.

(If you have a legitimate reason for missing more than four classes, please come speak with me. If you miss a class, check Blackboard or our course schedule to determine what you missed. Also, consider trading email addresses or phone numbers with a few classmates; your peers can often offer a useful summary and/or notes for the day.)

Late Work

Deadlines, deadlines, deadlines – one of life’s realities. An assignment will be late if it is not turned in to me by the deadline.

Advanced Notification: If there is an emergency and you are unable to hand in an assignment on time, inform me of the emergency in advance of class (via email and phone) and you will be permitted to submit your assignment late. If you turn in your assignment late, points will be deducted for every day it is late. Additionally, if you will be absent on the day of a quiz/presentation, you must make arrangements with me in advance; failure to do so may result in a failed quiz/presentation grade.

No Advanced Notification: Late work will not be accepted.

Holding Myself Accountable …

If I’m going to stress the importance of deadlines, I need to hold myself to the same standards. That said, whenever you submit an assignment for a grade, I will grade it, and include comments in some cases, within two weeks of submission. If I have an issue, I will be sure to contact you in advance.

Revision Policy

You may revise any of your assignments as often as you wish after you’ve turned them in to me and I’ve evaluated them. However, you must meet with me, in conference, to discuss your revision plan. Revision is not editing but instead a thoughtful process wherein you re-think and re-see your writing; therefore, I’ll expect more than superficial changes to your work. All revisions must be submitted with previous drafts, new drafts, all informal writing toward revision, and a NEW writer’s note that reflects on your revision process.

Plagiarism Plagiarism is the action of using without due acknowledgement the thoughts, writing, scholarship, or the inventions of another. It is often the result of carelessness or ignorance: a person does not fully understand the importance of the issue or does not know the appropriate procedures for acknowledging sources. Sometimes, however, a person is fully aware of submitting ideas or work belonging to someone else. The University of Cincinnati considers plagiarism a serious moral issue and a form of academic dishonesty.

In the English department, the penalty for plagiarism, even if it is not intentional, is an automatic grade of F for the course and a letter detailing your plagiarism in your college file. Therefore, if you are unsure about whether or not you have cited all of your work properly, ask me before you submit your paper.

Severe Weather Policy:

If UC is open, class will be held. Please check the UC Web site for information, sign up for alerts and check your email. As the university states: “During periods of severe inclement weather, public emergency, or other crisis, the president or a designated cabinet officer may announce, through the University of Cincinnati electronic mail system and through the local news media, that some or all of the university’s offices and facilities are closed for part or all of a day.”

And, finally, a product disclaimer …

The class is flexible and subject to change because I ask for your input and gauge our progress as we go. If you want information about future assignments for planning, just ask. I truly love writing, teaching writing, and learning, so I absolutely welcome your ideas for making the class a better experience for all of us!

Campus Resources to Consider

Disability Services http://www.uc.edu/aess/disability.html

If you have a disability and require assistance of any kind, please provide me with the appropriate form from the Disability Services office.

Academic Writing Center

http://www.uc.edu/aess/lac/writingcenter.html

The Academic Writing Center provides UC students with writing assistance. If you would like a trained writing tutor to help you get started on your writing assignment or review your writing, make an appointment or stop in during the center’s drop-in hours.

Computers for Days!

http://labs.uc.edu/labHours.php

3 a.m. computer crisis? Remember that UC has 24-hour computer labs & printers. I will not be printing things for you!

Counseling & Psychological Services

http://www.uc.edu/counseling.html If you’re facing personal problems or stress that’s affecting your ability to concentrate on your academics or your quality of life, Counseling & Psychological Services provides confidential counseling, outreach programs, and related services for UC students.

ENGL 2005, Topics in Rhetoric:

Course Schedule Term at a Glance Weeks 1-5: Introductions and First Major Assignment Week 5-10: Field research (at breweries) Week 10-13: Digital research Week 12-15 Remix project Week 16: Finals Week (Remix project presentations and any revisions submitted) Week One––Jan 10 and 12 Introductions (class, beer, writing) T Introductions Syllabus overview Course schedule discussion (at Catskeller?) Homework: • Check out course syllabus and schedule on our course website. • Download and fill out this Getting to Know You form: getting-to-know-youucengbeer

• Please email it to me by Thursday. This will help us plan for off-site visits and such. • Download and begin composing your Beer and Writing Inventory: writinginventory

• Upload to our Dropbox link: https://www.dropbox.com/request/G58q2v07B3u9431qldls

TR Questions about the syllabus. Working out a schedule. Homework: Check out this brief article on Cincinnati brewing history (written by a UC student!): http://www.citybeat.com/home/article/13010181/new-barons-of-brewing Finish composing your beer and writing inventory; upload using our Dropbox link: https://www.dropbox.com/request/G58q2v07B3u9431qldls Week Two––Jan 17 and 19––Histories and Rhetorics T Beer and writing inventories to discuss • Pair up in groups of four and review your inventories. What are some common ground and

productive differences? • You can find your inventories

here: https://www.dropbox.com/sh/66xomnad6ws5xim/AACT6PYQg9CJqSSPBq-2AUE_a?dl=0

Discussing beer history article

Keywords to think about this semester Homework: To kickstart our discussions, come to class with a one-paragraph reflection on these readings below. You can handwrite or email it to me. I may or may not collect your work. Review this brief passage from ancient rhetorician Cicero: cicerofivecanonsofrhetoric • Fun fact: The Cicerone program for brew professionals is based in name on Cicero; the term

Cicerone means guide, mentor and tutor. Review this list of beer styles: ciceronebeerstyles TR Cicero’s rhetorical terms. Styles and cans. Cans Essay Assignment distributed. Homework: Review this article on beer marketing (link forthcoming): http://www.forbes.com/sites/paultalbot/2015/07/06/the-high-stakes-of-craft-beer-marketing/#50478bdc272a Look up location and directions to Urban Artifact. • Meet 4 p.m. Tuesday at Urban Artifact. • Address: 1660 Blue Rock St, Cincinnati, OH 45223 Visit a local beer shop or place and pick up a custom six-pack of Cincinnati beer. You should purchase six different cans of beer. Pick six that appeal to your senses in some way. Some suggested places to purchase your beer include: • Party Source (Newport, KY) • Dutch’s (Hyde Park, Cincinnati) • Liquor City Uncorked (Covington, KY) • HalfCut (Over-the-Rhine) • Any Kroger that sells craft beer (Kroger offers custom six packs) Please refrain from opening your cans/bottles.. You’ll need these beginning Tuesday, after our discussion with Urban Artifact. In the meantime, feel welcome to start getting familiar with the visual and textual elements of the cans/bottles. Week Three––Jan 24 and 26 T 4 p.m. visit to Urban Artifact. Address: 1660 Blue Rock St, Cincinnati, OH 45223 Discussion of cans and design Homework: • Bring your six-pack of Cincinnati beer to class. • Download and begin composing your first major essay: cansessayspring2016 • Compose a 150-word reflection about our visit to Urban Artifact (that’s about two paragraphs, or

one long one). What struck you about the conversation, especially as it relates to beer and writing? You can email me or hand it in at the beginning of class.

• Check out this short article on writing beer descriptions: http://draftmag.com/lets-ban-hoppy-and-malty-from-beer-descriptions/

TR Discussing your major essay.

Follow-up discussion on Urban Artifact visit. Here is an audio recording of our discussion for future reference: https://www.dropbox.com/s/q1gqcknfggqf78q/New%20Recording%2039.m4a?dl=0 Discussion of your six-packs, with eyes toward canons of rhetoric and genre.���Homework: • Continue drafting your essay assignment. • Read this article on beer marketing: successful-branding-craft-beer-brewing-magazine • Look up location and directions to Blank Slate Brewing Company

• Meet 4 p.m. Tuesday at Blank Slate Brewing Company • Address: 4233 Airport Rd. Unit C, Cincinnati, OH 45226

Week Four––Jan 31 and Feb 2 T 4 p.m visit to Blank Slate Brewing Company to meet with Scott LaFollette (see above). Homework: Upload a draft of your essay to our Dropbox link. TR Follow up conversation about Blank Slate Brewing Company. Here is an audio file of our conversation with Scott LaFollette, slightly edited: https://www.dropbox.com/s/jmvvnk9bzfi2crd/New%20Recording%2040.m4a?dl=0 • Rich’s note: Beginning from roughly 8 1/2 mins on, you can hear Scott thinking rhetorically about

the designs and texts of Blank Slate’s cans. Essay draft workshop (with beer tastings I hope!) Homework: Finish your essay assignment and upload to our Dropbox link; you can also email if you like: https://www.dropbox.com/request/G58q2v07B3u9431qldls Week Five––Feb 7 and Feb 9 T Covering Unit 2 The Greek Symposium and ancients on Drinking Articles for reference: Out-of-class activity: Visit a nearby bar for 30 minutes; take notes and come back to class Thursday ready to discuss. Homework: Review Braxton Brewing Company’s website and prep for visit on Feb. 14. TR Bar discussion Prep for visit with Braxton. Homework: Read this article about Braxton Brewing Company: http://www.citybeat.com/food-drink/article/13002842/lift-one-to-life Look up directions for Braxton Brewing Company. 27 W. Seventh St., Covington, Ky.; Phone: 859-462-0627;

Internet: braxtonbrewing.com; Week Six––Feb 14 and Feb 16 T Visit to Braxton Brewing Company. 27 W. Seventh St., Covington, Ky.; Phone: 859-462-0627; Internet: braxtonbrewing.com; Homework: Compose a 250-word reflection on our Braxton Brewing Company visit. What did you notice about the taproom––especially after our chat with James Gandolf? Miss the visit? Feel welcome to compose a brief transcript of the Braxton: https://www.dropbox.com/s/8ldslozt28h9z0w/New%20Recording%2041.m4a?dl=0 I’ll need the transcript before class on Thursday. TR Follow-up discussion on Braxton Brewing Company. Miss the visit? Feel welcome to compose a brief transcript of the Braxton: https://www.dropbox.com/s/8ldslozt28h9z0w/New%20Recording%2041.m4a?dl=0 Discussing genres and rhetorics of brewery reviews. Homework: • Review this passage about writing genres: dirk • Review these two brewery reviews:

• http://www.citybeat.com/food-drink/drink/article/20831051/review-nine-giant-brewing

• https://www.pastemagazine.com/articles/2017/02/this-microbar-pours-some-of-the-worlds-rarest-booz.html

• Email to me: Five characteristics of brewery reviews. What do reviewers pay attention to?

Week Seven––Feb 21 and Feb 23 T Frames, forms and such of brewery reviews Brewery Review Essay assigned: breweryreviewessayspring2017 Mapping breweries in town for your review. Homework: • Review the website of Rhinegeist Brewery: http://www.rhinegeist.com/our-story#history • Come to class with three breweries you’d like to review. See our map below:

https://www.google.com/maps/d/viewer?mid=1RCsz0a0arcLJ8C8Li6qgXRjJ8Hc&hl=en&usp=sharing

TR Stop-Start-Continue responses: sscontinue Thanks for your comments! I hope to shape the class based on your feedback. Prepare for visit to Rhinegeist Brewery to speak with co-founder Bryant Goulding. Discuss potential breweries to review. Homework: Begin making plans to attend a brewery. This will be your primary homework for Week Eight Look up directions to Rhinegeist Brewery.

• Address: 1910 Elm St, Cincinnati, OH 45202 • You can try the brewery parking lot, and your second best bet is to park right down the street at

Findlay Market. Address: 1801 Race St, Cincinnati, OH 45202 • Metered parking is also nearby. • Another thought is to park at UC and take a taxi service. . Week Eight––Feb 28 and March 2 T Rhinegeist visit and Q&A with Bryant Goulding. Optional tour at 5 p.m. (checking on availability) Homework: Draw a picture that reflects on our visit to Rhinegeist. How do you “see” the taproom and the brewery after our visit? TR NO CLASS! Treat this as time to compose your review. Need to revisit our Rhinegeist visit? Here is the audio file of our chat with Bryant and Brendan: https://www.dropbox.com/s/lp6hgxpvg0mrt72/New%20Recording%2046%20Copy.m4a?dl=0 Where are you with your brewery reviews? Homework: Compose a full, workshoppable draft of your brewery review. • This draft is worth %5 of your grade, so do your best not to miss, especially given that we aren’t

meeting Thursday. Post draft using our Dropbox Link: https://www.dropbox.com/request/G58q2v07B3u9431qldls Week Nine––March 7 and March 9 T Workshop class on brewery visits and reviews. Check out this article calling for a new era for beer writing: https://www.beeradvocate.com/mag/5561/a-new-era-of-beer-writing/ Sign up for conference times Thursday. Homework: Meet me at Catskeller for midterm conferences. (Stay tuned for a Madtree trip during Unit 3.) Polish your review essay. TR Meet me at Catskeller for midterm conferences. We’ll talk about what you still want to know, where we’re going, etc. Homework: Finish your final of your brewery review by March 21 Upload final using our Dropbox link. Enjoy spring break! Week Eleven––March 21 and March 23 T

Brewery reviews submitted. Revisiting canons of rhetoric. How do we get audiences to pay attention to and take up our work? Homework: Read and annotate this Ridolfo and Devoss’s article on “rhetorical velocity.” • http://kairos.technorhetoric.net/13.2/topoi/ridolfo_devoss/intro.html • Pay close attention to the “Introduction” and “Velocity” sections. TR Reviewing Rhetorical Velocity. Appropriation workshop. Questions for Tommy Hemmer (50 West marketing). Homework: Read and take notes on this article by Jeff Rice: Journal of Business and Technical Communication-2016-Rice-236-61 Draw three conclusions from the above article, using it to think about our chat with Tommy Hemmer from 50 West. Week Twelve––March 28 and March 30��Social media research; group project work T Guest speaker visit with Tommy Hemmer, former marketing coordinator for Fifty West Brewing. Homework: Review the Unit 3 assignment; think about who you’d like to form a group of four with. TR Presentation workshop. Groups assigned. Below is the assignment description and rubric: BeerCirculationAssignment2017 Unit 3 Rubric Homework: Compose your group presentation, set for next Thursday. At this point, you should know who’s covering what in the presentation. Week Thirteen––April 4 and April 6�Research results T�Presentation workshop or brewery visit. Homework: As a group, finish composing your presentation. Be sure that you have your media, materials, etc. ready to go. TR�Unit 3: Group project presentations. Want to evaluate your group? Complete this form: https://goo.gl/forms/K4nwyl4Zb9DFFCwo1 Finals Project assigned (builds on all projects before this): RemixingCincinnatiBeerFinal2017 Homework: Come to class with a 100-word proposal of your final project. Think about which previous essays you might want to revise.

Week Fourteen––April 11 and April 13�Toward the Final Project T Proposal workshop (genres, media and theory to discuss) Homework: Begin work on your final project Look up directions to Madtree: Address: 3301 Madison Rd, Cincinnati, OH 45209 Arrive at 4 p.m. at the latest. Meet at the bar. TR Meet at Madtree to talk social media with Mike Stuart, the brewery’s self-described Hype Man. Homework: Continue composing your final project. Come to class with a 50-word status update of your project. Week Fifteen––April 18 and April 20�Last week of classes T Project status reviews. Course review: Beer and Cincinnati. What have we learned? What’s next? Homework: Continue composing your final project TR Project workshop (at brewery?) Homework: Finish composing your final project. Good luck with finals! Week Sixteen––Finals Week, Good Luck! Your final projects should be submitted to me by 11:59 p.m. Thursday, April 27. Any revised essays should be resubmitted to me by 11:59 p.m. Thursday, April 27.

Shivener

Title: Cans and Canons Essay Purpose: This essay assignment (1,000-1,250 words) invites you to describe and analyze the writing and materials on cans and bottles of Cincinnati beer. The purpose of this essay to further brew your thinking about local beer and rhetoric (i.e., Cicero’s five canons of rhetoric). As we discussed, the two have a symbiotic relationship. Format: The paper should be 4-5 pages, double-spaced, or

about 1,000-1,250 words. Times New Roman font. Due date: 3:30 p.m. Tuesday, Feb. 7 Submission Requirements: Please post your essay using our class Dropbox link, or email it to me: https://www.dropbox.com/request/G58q2v07B3u9431qldls Materials Needed:

• Six cans of Cincinnati beer • Any notes from discussions of rhetoric, beer, and local breweries we visited

Writing the Cans Essay: Three Questions to Consider

For this assignment, I invite you to base your essay on one of the three following questions. You are permitted to approach the essay in a style and voice with which you are comfortable. 1) Among your six-pack of Cincinnati beer, which can or bottle is most appealing to you––visually and/or textually? Why this beer and not the others, and how do they rank up in terms of appeal? Considering integrating key terms such as arrangement and style. You are welcome to discuss taste as well, but do make the visual and textual your focus. One idea is consider whether the description matches your taste. 2) For this unit, we are scheduled to visit two local breweries (Urban Artifact and Blank Slate Brewing Company). Drawing from your notes, discuss at length your understanding of the two breweries’ approaches to composing their beer cans. In light of that discussion, what are you thinking about the visuals and texts of the cans you purchased? 3) In a way, this last option combines the two prompts above. Among your six-pack of Cincinnati beer, which can or bottle needs a visual or textual overhaul––in essence, a revision? Why? Consider discussing the other cans in your six-pack to make your assessment, then discuss how you go about revising and releasing the can, drawing from the five canons of rhetoric. End with your revised can, visually and/or textually.

Haley Scheffler

ENG 2005-001

2/2/17

Can Analysis ROUGH

Throughout the four short weeks of spring semester, I have noticed myself constantly

observing beer labels—something I had never done in the past. I am constantly analyzing the

design of the label as well as the language used in the description. Furthermore, I have been

observing beer-drinkers. As a bartender, I watch countless customers rip their labels off bottles

and crumble them to bits—probably a nervous habit. When out with friends, I notice people

questioning bartenders and servers about the flavors of specific beers only to ask for samples

until they retreat to a safe Bud Light. Before taking this course, I was one of them. I would order

a popular beer or one that a friend recommended to me without even glancing at the description.

As I observe these unknowing beer-consumers, I wonder if the design and language of beer

containers is truly serving its purpose—to inform, to intrigue, and ultimately, to sell.

When considering which labels I wanted to analyze, I knew I wanted cans from each

popular brewery in Cincinnati. I have realized that Cincinnati breweries, while offering the same

basic product, all have diverse and unique ways of marketing their beer. Braxton “Storm” offers

an entire story in its description—memories of brewing beer in a garage while Hurricane Sandy

raged. Rhinegeist “Dad” keeps it short and sweet, giving a simple description of the flavor while

also invoking a wintery nostalgia. Urban Artifact’s “Sliderule” utilizes imagery and a quip about

where the name “Sliderule” came from. Other breweries, such as Madtree and Rivertown, use

their description to simply list the ingredients in an appealing arrangement. Each brewery

Comment [SR(1]: Niceopening.You’removingfromthepersonaltotheanalytical.

approaches the label in a unique way that they hope will appeal to their target audience but I

continue to wonder if there is a best way.

At first glance, my favorite label was easily “Nice Melons” by Rivertown. The witty

name was the first characteristic I appreciated and the bright pink and green label caught my eye

instantly. The seven-word description wasn’t over-fluffed which I liked and the description was

true to the taste—sour and watermelon-y. But as I continued to analyze the label in comparison

to the other labels, I noticed a lack of character. The other beer labels seemed to have some

pizazz that “Nice Melons” lacked. Although I was first drawn in by the bright colors and cutsey

name, I realized that as a consumer, I value more than an aesthetically-pleasing label.

After further analyzation of the labels, I found that Urban Artifact’s “Sliderule” is by far

my favorite. Not only does Urban Artifact describe the flavor of the beer, but they also list the

primary ingredients used in brewing. Furthermore, Urban Artifact ties in quirky visuals and a

definition of what a sliderule is. After having listened to Scotty and Scott of Urban Artifact speak

about their entire conceptual ideas for naming their beers, I think the eccentric cartoon visual of

the sliderule and the definition of the name is brilliant. Urban Artifact goes even further to tie the

name of their beer back to the beer when they say “calculate your thirst.”

Just as Riverside “Nice Melons” seemed to lack a certain character that I look for, Urban

Artifact embraces a story and method that they tie in to all their products. Considering Urban

Artifact is located in a converted church, Scotty and Scott mentioned that they wanted to name

their beers after items that used to be commonplace. Their technique of naming and providing

information about the “artifacts” used in their names makes the entire brewery more thought-

provoking. It gives the consumer a chance to ask questions and get to know more about Urban

Artifact as a company.

Comment [SR(2]: Considercitingthatdescription.

Comment [SR(3]: Citingthetextandvisualherewouldworkwellasyoumakeyourpointsbelow.

Comment [SR(4]: Whyisthisimportanttoyou?

Furthermore, the label on “Sliderule” is aesthetically appealing. The light blue color is

mellow and the text is well-organized, and the language used does a good job of describing the

taste of the beer. The other cans I looked at either seemed too minimalistic or too cluttered and

“Sliderule” is a great balance. Since Urban Artifact’s cans don’t technically have a designated

front side, it seems like they wanted to make the label intriguing from any angle of the can. The

label truly embodies the passion and dedication that Urban Artifact has for brewing beer.

Interestingly enough, Rhinegeist, which is arguably the most successful local brewery,

uses minimal visuals and descriptors. Rhinegeist “Dad” is a popular Christmas ale that features a

plaid pattern around the can. The short description on the label leaves much to be desired

especially with the use of words like “hoppy” and “malt.” These overused terms don’t do a great

job of describing the actual flavor of the beer and using these generalized words is something

that the owners at Urban Artifact and Blank Slate advise against. Rhinegeist offers a diverse

range of beers and clearly their marketing technique is effective, but somehow I feel like “Dad”

was an afterthought.

Comment [SR(5]: Oryoucouldcitethelanguagehere.I’drecommendsettingitupinthebeginning.Youmightdivideoutthevisualandtext.

Comment [SR(6]: Interestingstuffsofar,Haley.Ilikethatyou’recomparingSlideruleagainstotherbeers.Foreachbeer,considerofferingabriefoverviewthathelpsusseeandreadthecan.

ENG 1001––Writing a Researched Argument

PURPOSE From analyzing texts to studying writing habits, the skills you are learning in English 1001 have prepared you to write a researched argument. The foundation of strong research writing makes all the difference: learning how to ask researchable questions that are complex (i.e., not sufficiently answered by “yes” or “no”), compelling, and motivated by a genuine desire to know something. Crafting a researched argument calls on you, the writer, to identify problems, take a position, and consider and respond to other perspectives that might conflict with or challenge your own. We encourage you to approach your researched argument with this view of research writing in mind; doing so, I hope, will make the writing meaningful, in addition to fulfilling the assignment.

INSTRUCTIONS Building on your short assignments and research this unit, compose a researched argument in which you argue about a problem related to writing, digital devices and/or social media. Along with discussing the problem, propose a solution––or solutions––to it. In addition, be sure to acknowledge opposing views to your solutions. In the end, you should have a proposal argument that people can get behind. UNIT 2: MAKING A CLAIM REQUIREMENTS

• 5–6 double-spaced pages. • Must draw on the following for sources: 1) at least two academic peer-reviewed articles,

2) at least two mainstream articles from magazines or newspapers, and 3) at least one Web site that you would consider valid for your topic.

• MLA format • 12-point font in Times New Roman

DEADLINES

• First draft (2 pages): Tuesday, Oct. 24 • Second draft (2-3 pages for conference): Oct. 25-27. • Final draft: Tuesday, Oct. 31 • All drafts will be submitted to via email or our Dropbox Link (shared on our blog).

CLASS MEETINGS NEXT WEEK

• In-class workshop: Tuesday, Oct. 24 • Student conferences: Oct. 25-27 (i.e., no class meeting Thursday)

POINTS BREAKDOWN

• First draft and workshop day Oct. 24: 2.5% • Second draft (full draft and conference): 2.5% • Final draft: 25%

SUGGESTIONS FOR GETTING STARTED

Need a kickstart? Reviewing your Allyn and Bacon Guide, consider following the outline listed as “Framework of a Proposal Argument” on page 253. Another way to outline this essay format is:

• Introduction • Discuss of the central program (e.g., texting and driving). • What is your solution (or solutions) to the problem, in full detail? • For what reasons should we support your solution? • What’s at stake if we go with your solution? • What solutions have been tried but haven’t been successful (enough)? • What are some opposing views (in the research) to your solutions? Alternative solutions?

How do you respond to those views or solutions? • What are your final impressions of this problem and your solution(s)? Why should people

get behind it?

As you work on your introduction, think about rhetorical strategies that will draw in readers. Perhaps you can establish your experience on the topic, preview some powerful data, or narrate a dramatic scene.

Ask yourself: Why is this particular topic timely?

In a related way, think of the following: Why should we care about this topic now?

Keep in mind that it's OK if some sources "disagree" with your argument. Perspectives are good! They're designed to complicate your work, inviting you to enter the conversation in an original way.

In general, sources should have names attached to them. If they do not, please be prepared to explain why something such as a website is credible without an author tagged.

Reifenberg1

Martha Reifenberg

Rich Shivener

English 1001-051

31 October 2017

Literature and Social Media in the Classroom

Clearly, technology has revolutionized the modern life. It applies to medicine,

law, business, service, science and all other sectors of the working world. Since its birth

around the industrial revolution, technology offers efficiency, innovation and production.

Furthermore, technology gives the opportunity to build communities and relationships,

globalizing the world. The ability to instantly connect with people provides countless

opportunities for worldly inhabitants. However, the educational system is not in step with

the revolution. It has failed to successfully integrate technology, a staple of modern

culture and literature. Studies have shown, that the combination of literature and social

media is an essential means of learning that allows both old inspiration and new

innovation in the minds of young writers. Furthermore, social media acts as a major

platform and outlet for young writers to experiment and publish their work to a global

audience.

Peter Kunze, who has acquired a Ph.D. in English at Florida State in 2012 and is

pursuing a second Ph.D. in media studies at the University of Texas, supports the

integration of social media in the classroom. Kunze, the author of “To Tweet or Not to

Tweet: Using Twitter in the Literature Classroom”, claims that Twitter’s popularity with

the millennial generation makes it the perfect education tool. He concludes social media

as an educational tool to that empowers students as readers, writers and thinkers. Media

Deleted: 23

Deleted: ,

Commented [SR(1]: Afterthis,offeracommentonsocialmedia.Whydoweneedsocialmedia?Thiswouldsetyouuptodiscussthepointsbelow.

Deleted: Note¶

Reifenberg2

outlets like Facebook, Twitter and Instagram are reflective of modern youth culture;

therefore, using these outlets prevents teachers from alienating themselves from their

students. Kunze’s article offers five strategies for incorporating Twitter into the

classroom that offer opportunities for large-scale growth. The strategies are adaptation,

roleplaying, prequels and sequels, reader response blogging and Twitter stream co-

lecture. Kunze advises teachers to have their students adapt a text into a series of Tweets,

retelling a story in a way that encourages conciseness and clarity. Roleplaying is another

recommended strategy that allows students to foster necessary empathy to connect with

literary characters and reject David Elkind’s theory of “adolescent egocentrism.”

Adolescent egocentrism is adolescents’ inability to distinguish between their perception

of what others think about them and what people actually think in reality. Through

roleplaying, the students create a handle, a mini-biography and tweets from the literary

character, which allows for humor but also deeper understanding of the character. Next,

students can write and publish prequels and sequels for great literary works like Old Man

and the Sea and The Great Gatsby. With this technique, students are liberated to explore

their own ideas about the text. They are empowered to create defining moments and

complicated characters, then publishing them on a public platform. Reader response

blogging is a consistent and effortless use of Twitter in the classroom. It records students

shifting attitudes towards the text and teaches critical thinking, writing and reading skills.

The reader response blogging, according to Andy Jones in his essay “How Twitter Saved

my Literature Classroom”, functions as the equivalent of mini thesis statements –

debatable assertions that require supporting evidence form text. Next, Kunze discusses

that the,

Commented [SR(3]: Fascinating!

Reifenberg3

Twitter stream co-lecture is a real-time list of Tweets untied by a common

hashtag. Live Twitter stream are now common at major conferences like the

Conference on College Composition and Communication (CCCC) and the

Modern Language Association (MLA) Annual Convention. With the Twitter

stream co-lecture students and participants are able to ask questions, support the

event and involve themselves more in the lecture (Kunze).

Overall, Kunze’s article speaks of the importance of bringing modern culture into

the classroom to better relate to students.

Another source, “Am kürzeren Ende der Sonnenallee in 140 Characters or Less:

Using Twitter as a Creative Approach to Literature in the Intermediate German

Classroom” written by Christiane Steckenbiller, who has a Ph.D. in Comparative

Literature at the University of South Carolina in 2013, discusses the global opportunities,

educational or not, associated with combining literature and social media. First,

Steckenbiller addresses the obvious – technology has permanently altered the way that

the world is and will be perceived. She, similar to Kunze and his “To Tweet or not to

Tweet”, applauds media outlets like Twitter for constantly facilitating language. In the

classroom setting, Steckenbiller specifically describes Twitter as “playful” and

“motivating” when applied to literature. However, most importantly, social network

systems are extremely are able to globalize classrooms, which provides authentic

experience for an intermediate foreign-language setting. Throughout the article,

Steckenbiller dissects Thomas Brussig’s famous 1999 novel Am kürzeren Ende der

Sonnenallee, which directly translates to “at the short end of Sun Avenue.” Using

Brussig’s novel, Steckenbiller explains why instructors are turning to new technologies to

Deleted: .

Commented [SR(4]: BesuretocomebacktocitingKunzehere;Icheckedoutthearticleandcanseeyou’restilldrawingfromhiswork.Goodstuff.

Reifenberg4

relate content, engage students, foster a sense of community and provide more creative

learning opportunities. I relate very closely with this article, as I am pursuing a German

minor. In my junior year of high school, I participated in a foreign exchange program

called the German American Partnership Program (GAPP). It allowed me to form strong

relationships overseas and I am able to sustain those relationships and foster a sense of

community with Instagram, Snapchat, Facebook, etc. I believe that globalizing individual

classrooms with social network systems will not only inspire students to learn, but also to

become more active and global citizens.

Despite the fact that technology reflects modern culture and allows students to be

global citizens, some argue of its distractions and inefficiencies. In the article “Mobile

Phones in the Classroom: If You Can’t Beat Them, Join Them”, authors Scornavacca,

Huff and Marshall, who currently are esteemed faculty of the Victoria University of

Wellington, are hesitant of technological interactivity. They acknowledge its significant

benefits, like providing valuable feedback to lecturers, building a community and

promoting an active learning environment. However, the authors argue that, especially,

social network systems are inevitably ineffective in larger classrooms. It is a vehicle that

is being abused by students, who are unescapably human and give into distractions. Also,

the Scornavacca, Huff and Marshall claim that technology in the classroom, for example

classroom feedback systems (CFS), is less personal and the student is less able to stand

out. Also, they believe that the rigid systems do not allow the opportunity to veer from

the structure of the course due to confusion or lack of interest. Also, the article majorly

focuses on the TXT-2-LRN system, which allows students to message the professor

during lecture with questions, comments, etc. From this system, two classroom dynamics

Commented [SR(5]: Thisisaworthycounter-point.

Reifenberg5

were designed – open channel and m-quiz. The article says that, “Open Channel allows

students to send questions or comments to the instructor's laptop via SMS without

interrupting the class” (Huff, Marshall, Scornavacca). Students are allowed to either raise

their hands or communicate to the professor through SMS messaging during the lecture.

Only about a quarter of the students used the open channel, but more than ninety percent

named the mobile connection to their professor helpful. The professor reported a higher

level of student participation and the system provided helpful feedback during class. M-

quizzes are another experimental educational tool used during class. Professors will

present a slide relating to the content of the chapter, students can collaborate then use

their mobile phones to select an answer – the information from the students will

hopefully trigger a discussion or make chapter content clear. For example, the professor

could pose a question to the class about Pearl’s role as the symbol of sin in Nathaniel

Hawthorne’s A Scarlet Letter. The m-quizzes offered many positive impacts, including

immediate feedback and stimulating class discussion, including literary. However, the m-

quizzes were less successful compared to the open channel. Fifty-five percent of student

participation was deterred by the cost of the online program and, to a lesser extent,

twenty point seven percent due a lack of interest. After the experiment, the authors

concluded, “That positive results can be achieved by encouraging students to bring their

mobile phones out in the open and to use them to contribute to the class, and to their own

learning – that is, by joining them instead of trying to beat them”(Huff, Marshall,

Scornavacca). The authors conclude that empowering students to use their mobile devices

and or social network systems as not only socially, but also as an educational tool in the

classroom. Commented [SR(6]: Fascinatingstuff.

Reifenberg6

Literature shapes rhetoric, which is the art of eloquent language. By shaping

language, literature must also be changing. There were many literary periods: the

Enlightenment, Romanticism, Transcendentalism, Modernism, Beat Generation, etc.

Throughout time, all of the literary periods mirrored their time. The Enlightenment,

driven by scientific reason, was the celebration of thought and human capability,

regardless of a man’s social status or divine claim. Transcendentalism was a

philosophical movement that revolved around contemplation and inward spirituality,

acting as the foundation of American literature and identity. Social network systems

today are alike to the paper and pen Henry David Thoreau used to write Walden. They

are the same as the keyboard Toni Morrison writes drafts on. Twitter, Instagram, etc. are

platforms were modern artists can express their thoughts about politics, spirituality, love

and other timeless themes. They are driven by modern disputes of immigration, gay

marriage, transgender rights, women rights and earth sustainability. Social network

systems offer an unbelievable, global podium to create the next literary period, whatever

it may be.

In conclusion, technology, including social network systems, is a necessity due to

its unrestricted growth in society. Some people fear technology’s rapid growth, but other

human history is not disappearing. It still exists. It will always exist. Combining literature

and social media is simply the process of expanding one’s potential, especially in the

classroom setting where technological advancement is lacking.

Commented [SR(7]: BesuretoincludeaWorksCitedwithfinalportfolio.Commented [SR(8]: Theabovetopassagesdrivehometheclaimsthatlitmustreflectdigitality.

Reifenberg7

ENGL1001–Unit#2–ResearchedArgumentEssay

ReviewandEditingChecklist

Yourname:

Asyourowneditor,pleasereviewthedraftandrespondtoeachofthefollowing

questions.Richwillusethesequestionstoassessyouressay.

__x_____Mypaperhasadescriptivetitle.(10)

___x____Myentireessayiscohesiveandorganized.(20)

____x___Myessaypresentsastrongintroductionthesisontheproblemathand.(25)

___x____Myessayaddressesaproblemandproposespossiblesolutions.(100)

____30___Myessaymakesuseofsourcesthatsupportandcounterthetopicin

question.(50)

___x____Theendingprovidesastrongfinalimpression.(25)

____x___Ihaveidentifiedandcorrectedallerrorsinspelling,punctuationand

grammar.(20)

Finally,IunderstandmyessaywillnotbegradedunlessIhave:

____x____Putmynameonthepaper.

____x___CreatedmyessayasadocumentthataccordswithMLAformat,including,in

12-pointfont,TimesNewRoman,doublespaced,andone-inchmargins.

Notesandgrades:

Martha,

Mycommentsabovereflectonyourgrade.Youbringupatimelyissueregardingthe

advancementsofliteratureandsocialmedia.Myfield,rhetoricandcomposition,is

quiteinvestedinsocialmedia,andIhaven’tresearchedmuchonsocialmediain

literarycontexts.Considerstayingwiththisideainfutureresearch,especiallyifyou

pursueanEnglishminor.

Informal writings and activities (Unit 2): A; 5% Draft and conference: 5%/5%

Commented [SR(9]: TurninyourWorksCitedtoreceivefullcredit.

Reifenberg8

Researched Argument Final (see points above): 230/250 23%/25% percent of final grade= 92% Participation: 1 absence on record Whataboutarubric?WhenIreadyouressay,Iwillreviewthechecklist,andIwillalsodeterminethepointvalueforeachsection.Hereisanexample:Welldevelopedarea10

Developing5

NotYet0

UNIT 3––Recasting for a Public Audience, Sounding Out Our Arguments (20% of course grade)

Shivener

Assignment overview and purpose A recast involves taking an object and remodeling or reconstructing it. For this assignment, you’ll take the essence of your research argument essay and “recast” it into a storytelling podcast, with a different audience and focus in mind. The goals of this project are to share your work with more people than your instructor and to be aware of the various decisions that you need to make when working with different audiences and different media. Another goal is to think about ways in which sound composing––from recording your voice and others, to mixing and writing music––affects your research argument essay.

Resources You’ll Need

1. Your research argument 2. Voice recorder (preferably on your phone):

a. In class, we covered Voice Memo, and Android Marketplace has free recorders 3. Computer and music or podcast software

a. PC and Mac Users, try Audacity (link available on blog) b. Mac users, try Garageband (link available on blog)

4. Alternatively, you might use a music/podcast-recording app on your phone (Garageband, Spreaker, etc.)

Instructions for Making a Storytelling Podcast [The Simple Version]

1. Revise your research argument into a 500-word piece. 2. Are you interested in working with a classmate on this assignment? You can do that! If so,

let me know. You’ll need to decide whose argument you will recast. Or perhaps you’d like to mix the two arguments?

3. Re-record yourself (or your collaborator) speaking a 500-word argument, as if you are imitating a transcript from Lore or Welcome to Night Vale. You might want to record it in sections, or 100 words at a time. Save the files and get it ready for sound-editing software.

4. Load your voice recording files into the editing software and piece it together. 5. Include with your voice recording either sounds or music––or both! 6. When ready, export and upload to Dropbox.

Submitting a rationale Along with your recast, you’ll also write a two- to three-page rationale where you have the opportunity to reflect on the choices that went into your recast and discuss the ways your argument has grown or changed in light of those choices. In the rationale, you’ll discuss the form (medium or genre) of your project (i.e., the storytelling podcast), the audience your recast project is directed toward, and the technical and rhetorical choices you made in creating your recast. In effect, your rationale should make an argument about your project’s purpose and effectiveness.

Reifenberg 1

Martha Reifenberg

Rich Shivener

English 1001-051

7 November 2017

Podcast 500 Words

It is obvious that technology has revolutionized the modern world, offering efficiency,

innovation and a platform for all people to express themselves as writers, artists, politicians, etc.

One would think the combination of literature and technology in the classroom would also be

efficient, innovative and a platform for students to express themselves.

And it is.

However, the educational system is not in step with this technological revolution. It has

failed to successfully integrate technology and social networking sites, which is, in fact, stealing

opportunities from students.

It is nearly criminal.

Because these familiar apps, like Snapchat, Instagram and Twitter, are the perfect

scholastic tool. By using modern apps, teachers are able to better engage their students, create

more globalized citizens and promote efficiency within the classroom. (This is the most

important and summarizing part of my research. This short prose truly encompasses the

bulk of what I aim to say through my paper. I am using it as an umbrella of sort to begin

into my evidence.)

Peter Kunze, who has acquired a Ph.D. in English at Florida State in 2012 and is pursuing

a second Ph.D. in media studies at the University of Texas, celebrates social media in the

classroom in the article “To Tweet or Not to Tweet: Using Twitter in the Literature Classroom.”

Commented [SR(1]: Good call here. These are well-known apps, too. Good idea in pacing out your paragraphs with small sections.

Reifenberg 2

He offers five strategies for incorporating Twitter into the classroom that offer opportunities for

large-scale growth. The strategies are adaptation, roleplaying, prequels and sequels, reader

response blogging and Twitter stream co-lecture. For example, roleplaying is another

recommended strategy that allows students to foster necessary empathy to connect with literary

characters and reject David Elkind’s theory of “adolescent egocentrism.” Adolescent

egocentrism is adolescents’ inability to distinguish between their perception of what others think

about them and what people actually think in reality. Through roleplaying, the students create a

handle, a mini-biography and tweets from the literary character, which allows for humor but also

deeper understanding of the character. In the end, Kunze concludes social media as an

educational tool to that empowers students as readers, writers and thinkers.

My second source “Am kürzeren Ende der Sonnenallee in 140 Characters or Less: Using

Twitter as a Creative Approach to Literature in the Intermediate German Classroom” is written

by Christiane Steckenbiller. Christiane Steckenbiller, who has a Ph.D. in Comparative Literature

at the University of South Carolina in 2013, discusses the global opportunities, educational or

not, associated with combining literature and social media. First, Steckenbiller addresses the

obvious – technology has permanently altered the way that the world is and will be perceived.

She, similar to Kunze and his “To Tweet or not to Tweet”, applauds media outlets like Twitter

for constantly facilitating language. Social networking systems provide actual, authentic

experiences for a the intermediate foreign-language classroom. (I begin by relating

Steckenbiller to my first source, so it is clear that they share the same viewpoint. The

phrase “constantly facilitating language” is extremely important and very much aligned

with John McWhorter’s (not mentioned) Ted Talk. The best way to learn language is to be

surrounded by it. Also, SNS provide realistic experiences because SNS reach globally.)

Commented [SR(2]: In the podcast, you might need a more clear transition. Such as “Another professor of literature agrees with the social media’s potential.”

Commented [SR(3]: You’re transferring prior knowledge. Ethos!

Reifenberg 3

With the most importance, I believe that globalizing individual classrooms with social network

systems will not only inspire students to learn, but also to become more active and global

citizens.

Furthermore, I see a future in combining social networking sites and literature - a

category assumed to be old and fading in modern American culture. Yet, social network systems

today are alike to the paper and pen Henry David Thoreau used to write Walden. They are the

same as the keyboard Toni Morrison writes drafts on. Twitter, Instagram, etc. are platforms

where artists can express their thoughts about politics, spirituality, love and other timeless

themes, driven by contemporary disputes of immigration, gay marriage, transgender rights,

women rights and earth sustainability.

Some people fear technology’s rapid growth, but other human history is not disappearing.

It still exists. It will always exist. Combining literature and social media is simply the process of

expanding and growing and innovating one’s potential.

Commented [SR(4]: So it’s renewing what people think is old and fading?

Reifenberg 1

Martha Reifenberg

Mr. Shivener

English 1001-051

30 November 2017

Podcast Recast

Combining social media and literature in the classroom is necessary. Social media

is an underutilized tool that is reflected of youth culture. To further sway my audiences, I

created a podcast, with the assistance of modern technology. In this remodel or

reconstruction, I will insist on social media’s use and benefits of technological change.

Podcasts are becoming increasingly popular in American culture. They teach,

entertain, humor and or empower listeners, encouraging audiences to experience a larger

wealth of knowledge. Podcasts and their dominance are extremely relevant to controversy

of combining literature and social media in the classroom, making it the best approach to

present my opinion. Podcasts, similar to social networking sites, are a result of

technological advancement. As technology becomes more and more available to the

public, individuals are more and more enabled to fit the devices to their own needs and

interests. Podcasts and social media have transformed into outlets where users can

express their thoughts, attitudes, ideas, etc. Both create a global platform and can be

adapted in multiple ways, especially in a classroom. Yet, the educational system is not

taking advantage of the opportunity. Teachers should be teaching students about the

value and responsibility of speaking on this platform. Teachers should celebrate how

often podcasts and social media facilitates language. Teachers should empower their

students to voice their thoughts on the global platform. But not all teachers acknowledge

Reifenberg 2

technology’s encompassing role in the modern world, which is limiting student’s

potential.

The intended audience is those within the educational system: teachers, students,

administrators, etc. The purpose of my podcast is to convince of the necessity of

technology and how it should be integrated into classrooms. Social media is reflective of

youth culture, meaning students relate and understand it. Therefore, it should be used a

tool to reach students, separating the gap between them and their teacher. On social

networking sites like Twitter, the writing is concise, clear and creative, encouraging the

development of dynamic language skills. Also, it is relevant to mention that social media

would not be a teaching substitute, but rather an addition. Older generations fear the

disappearance of sophisticated writing, but the integration of social media into the

classroom would merely add a new dynamic and perspective to writers. After hearing my

podcast, I would want my audience to be more aware and open to the possibility of social

media as a teaching tool.

I choose a low, atmospheric music in hopes to create a mellow, slightly upbeat

ambiance. Social media is sometimes controversial or, deemed by certain individuals of

older generations, the destroyer of sophisticated language. Despite the harsh view, I did

not want revolutionary music. Instead, I aimed to present myself logically, but still

resolutely, in a relaxed atmosphere. My music stayed constant, with random pieces that

mirror direct phrases (ex. Henry David Thoreau pen scratching sound). I hope that the

music set a tone, yet it was my words and content that I hoped would sway audiences. As

a result, I was deliberate with my rhetoric. I formulated eloquent sentences to best defend

social media’s place in the classroom. It was interesting to be so involved with rhetoric,

Reifenberg 3

especially when writing a paper that dissects the many layers of language. My choices

concerning my podcast all had purpose in an effort to create the most influential

argument.

All in all, social media is important, modern and another layer of language. While

it is not the foundation or hearth or bedrock of language, social media is reflective of

humanity’s ability to grow and change – it is a platform where a person can grow and

change. It is opportunity and self-expression. It is limitless and should be accessible to

students as a learning tool.

“…noise is as communicative as signal.” ––Damon Krukowski, The New Analog Podcast Response Dear Martha, Here are my comments on your podcast episode draft. I have grouped my comments by three categories discussed in Damon Krukowski’s book The New Analog. Keep these in mind as you work on your revisions before the final podcast episode is due 9:30 a.m. Thursday, Nov. 30. I look forward to seeing you in class next Tuesday to talk about any pressing comments and concerns you have! Rich Signal “If the voice on a phone is intended to communicate words, why not narrow the definition of signal to just the words in order to improve the accuracy of their transmission?” (Krukowski 75) I dig the hip-hop/atmospheric beat that accompanies your vocal tracks, which are clear throughout. How about transitioning to a new musical track or incorporating some ambient sounds when you move to middle passages (before 2:15). You might include that classroom sound when you start discussing Kunz. Nice mixing when you discuss the German classrooms! Nice transition in the closing. I can hear the faint sounds of writing and typing. Noise “We might call it thick listening, alert to the depth of the many layers [and noises] in multitrack recording. [Reviewers] listen through the surface noise of the LP, through the hiss of the master tape, through the layers of the music itself all the way back to the room in which it was played….” (119) I don’t hear really any hiss at all in the vocal tracks––well done there. I’m not sure the warped sound near the end fits the message you are conveying. Might you do without it, or can you explain its significance in your rationale? Feeling “….Digital signal processing places the speaker always in the same non-space: neither near nor far, neither intimate nor distant. The resulting flatness not only isolates the voice but removes affect. The data is intelligible, but the voice that is produced it can only be heard, never felt” (84).

Krukowski’s comment is debatable when you consider the podcast genre. I think your piece has layers of feeling, from the music to the message. Consider tweaking this for our student writing awards submissions coming up this year.