ENG 101Fall/Spring 201X

ENG 101Section <<>>Intersections of Image and TextInstructor: Madison Elkins

Intersections of Image Text Course Description

How do visual mediums and textual mediums communicate differently, and what can we say about them? How do various genres—from news articles and scientific studies to BuzzFeed “listicles” and literary fiction—employ images to construct an argument, engage an audience, or make a statement? How can an image change the way we understand text, and vice versa? In a writing-intensive exploration of intersections of image and text, this course will engage students in an extended study of audience, purpose, rhetorical constraints and the processes of making meaning both in images and in written works. Students will analyze, write about, create and share with the class their own short multimodal texts (such as photodocumentaries, scrapbooks, or comics) to better understand how images and words work together to create meaning. In addition to creating their own multimodal works and analyzing their creative process through self- and peer-editing, students will build composition and critical thinking skills by composing and editing formal response papers, informal blog posts, and an argumentative, multimodal essay in which students employ scholarly evidence to support a claim.

Course Learning Outcomes

By the end of this course you will be able to

● Compose texts in multiple genres, using multiple modes with attention to rhetorical situations.● Work within and analyze conventions of multimedia genres.● Summarize, analyze, synthesize, and evaluate the ideas of others as you undertake scholarly

inquiry in order produce your own arguments.● Practice writing as a process, recursively implementing strategies of research, drafting, revision,

editing, and reflection.● Employ and integrate key terms and techniques of visual and textual rhetoric in your writing and

in your own multimodal works.● Analyze and implement rhetorical use of images within textual works, and vice versa.

Many of these outcomes have been adapted for Emory first-year writing courses from a set developed by the Council of Writing Program Administrators.

1

Meeting Time and Place: <<>>Office Hours: <<>>Email/Contact: madison.elkins@emory.edu

ENG 101Fall/Spring 201X

Required TextsOn Writing Well, 30th Anniversary Edition: The Classic Guide to Writing Nonfiction, William Zinsser.The Little Seagull Handbook, Richard Bullock and Francine Weinberg

Texts Placed on Emory Course Reserves:Text and Image: A Critical Introduction to the Visual/Verbal Divide by John Bateman Picture Theory: Essays on Verbal and Visual Representation by W. J. T. MitchellThe Visual Language of Comics: Introduction to the Structure and Cognition of Sequential Images by Niel CohnReading Images: The Grammar of Visual Design by Gunther R. Kress, Theo van LeeuwenYou Have Seen Their Faces by Margaret Bourke-White and Erskine Caldwell Blankets by Craig Thomas Maus by Art Spiegelman I Love New York City, Crazy City by Isa Genzken Varga, A. Kibedi. "Criteria for Describing Word and Image Relations." Poetics Today 10 (1989): 31-53.Goodwin, James. “The Depression Era in Black and White: Four American Photo-Texts.” Criticism 40.2 (1998): 273-307. (2)Meskin, Aaron. “Defining Comics?” The Journal of Aesthetics and Art Criticism 65.4 (2007): 369-379. (3) Buckler, Patricia P. and C. Kay Leeper. “An Antebellum Woman's Scrapbook as Autobiographical Composition.” Journal of American Culture 14.1 (1991): 1-8.Mulvey, Laura. "Visual Pleasure and Narrative Cinema."Barthes, Roland. “Rhetoric of the Image.”

Course PoliciesAttendance Attendance is essential. Aside from documented absences for school-related activities, you may miss three classes without incident. While I do not require documentation or an explanation for these absences, I encourage you to notify me of your absence via email. If you miss two consecutive class periods I will require explanation and documentation. For every class you miss after the third absence, I’ll lower your grade by one-third of a letter. Meet with me if you feel your situation warrants an exception to this rule. Bring appropriate documentation to our meeting.

Late work All assignments are due by the time and date specified unless I have granted advance permission via email, and permission is not guaranteed.

In-class writing assignments cannot be made up. If you miss an in-class writing assignment, you will not receive credit for that day.

Permission for an extension on major assignments (those worth at least 15% of your grade) must be requested via email or in person at least 12 hours before the start of the class period for which it is due, except in cases of emergency (for which documentation will be required).

Permission for an extension on minor assignments (those worth less than 15% of your grade) must be requested via email or in person at least 6 hours before the start of the class period for which it is due, except in cases of emergency (for which documentation will be required).

2

ENG 101Fall/Spring 201X

Failure to request permission for an extension within the 12- or 6-hour period specified will result in a deduction of 10 points for each day the assignment is late (beginning the first 24 hours after the specified due date and time) for up to 7 days. Unless I explicitly specify otherwise, no assignment more than 7 days late will be accepted.

Because it is important (both for me and for you) to stay on schedule in the class, you will not be granted more than two extensions for any reason, and no extensions will be granted after the due date has passed. It is up to you to use the allotted amount of extensions (2) wisely.

Meet with me if you feel your situation warrants an exception to these rules. Bring appropriate documentation to this meeting.

Contact/CommunicationEmail is the best way to contact me if you have questions or concerns. Generally, I will respond to all student email within 24 hours (although on weekends and holidays, it may take a little longer). Likewise, there may be instances when I will need to contact you by email. It is your responsibility to check your Emory-based email account at least once every 24 hours.

A note on email etiquette: Professional emails constitute a genre of writing that you will be expected to master during your college career. While I will not be personally offended should you neglect a salutation or two, others could be, so you should always practice professional, respectful email etiquette in our correspondences. For a quick guide on how to do just that, check out these tips:

http://www.businessinsider.com/email-etiquette-rules-everyone-should-know-2014-9#1-include-a-clear-direct-subject-line-1

http://college.usatoday.com/2013/07/29/4-tips-for-writing-a-perfect-professional-e-mail/

Academic IntegrityWe will follow the Emory College Honor Code ( http://catalog.college.emory.edu/academic/policy/honor_code.html ) . I take plagiarism and other forms of academic dishonesty seriously. Should I suspect that you engage in academic dishonesty in this course, I will refer the case to Emory’s Honor Council. You may also receive an F on the assignment(s) in question.

Course AssessmentAssignments

Formal Blog Posts: 10% Informal Writing (including in-class writings and ”I think” blog posts): 10% Rhetorical Analysis: 15% Creative Multimedia Project: 15% Advertisement: 15% Annotated Bibliography: 5% Scholarly Multimedia Article: 15% Portfolio and Reflection: 10% Participation (including class discussion and attendance): 5%

3

ENG 101Fall/Spring 201X

Formal Blog Posts: Formal blog posts will usually take the form of short rhetorical analyses or reflections on your own work. These assignments are designed to acquaint you with publishing in a public forum and to offer you the opportunity to engage with the work of your peers.

Informal Writing: Designed to get you comfortable with writing regularly, expressing your opinions, and using a unique writing voice, informal writing assignments for this class may vary in prompt, parameter, and forum but will always give you free rein in terms of format, writing style, and content. (You should feel free, for example, to use slang, emojis, exclamation points, cat memes, bullet points, images, etc., if you like.) You should take these assignments seriously, but because I want you to feel free to write without restraint, these will be graded only for completion. (A completion grade means that you will receive a 100% when you turn in the assignment on time and on topic. The late work policy still applies to these assignments.)

Rhetorical Analysis: The first two weeks of this class will focus on several key terms about writing and written works, culminating in a rough draft of a rhetorical analysis on a multimodal work. This is a 3.5-5 page paper that will

1. Identify and analyze a work’s intended rhetorical context/situation, genre, and audience2. Identify the discourse community (or communities) the work is in conversation with, the

features of this community, and the work’s interaction with this discourse community (or communities)

3. Argue for the success or failure of work’s claim in the format of a critical analysis, taking into account its rhetorical characteristics as outlined in 1 and 2

4. Employ evidence from the work to support your controlling idea or thesis. You may choose from one of the thesis templates we discuss in class or create your own.

5. Demonstrate logical, coherent, effective arrangement (organization)

Creative Multimedia Project: In this assignment, you will analyze, write about, create and share with the class your own short sequenced multimodal texts to better understand how multiple panels of images and words work together to create a sustained chain of meaning. You will choose a sequential multimodal genre from three options: a photo documentary (images with text captions), a scrapbook (images with some text element), or a comic. In this short multimodal text, you can either (1) assert an opinion/make a claim (2) dramatize or explain a concept or (3) tell a story. For each of these options, you may choose from a list of provided prompts or create your own prompt/direction (with approval from me).

Advertisement Assignment: Imagining yourself as an authority on Emory University, you will compose and design a promotional webpage (3-4 paragraphs and 2-3 photographs) for the Emory University admissions/information website addressed to a specific target audience (parents, high school students, middle school students, Northerners, Southerners, etc.) utilizing a specific tone (informal, energetic, humorous, formal).

4

ENG 101Fall/Spring 201X

Scholarly Multimedia Article: In this assignment, you will compose an argumentative, multimodal article in which you employ researched evidence to support a claim. You will be free to explore a variety of forms (scientific articles, news articles, business articles, web-texts, etc.) and topics related to your own academic area of interest—science, business, humanities, etc.—but will be required to use at least three well-integrated images (graphs, photographs, illustrations, etc.). The article should be around 2000-2200 words.

Portfolio and Reflection: Throughout the semester you will assemble a portfolio of your work. The portfolio will include short writing assignments, drafts, reflections about writing in progress, and final drafts you’ve accumulated throughout the semester. Toward the end of the semester, you will use this collection as evidence to argue in a reflective essay that you have achieved the learning outcomes for the course.

Explanation of Letter Grades In class, we will collaboratively create a series of rubrics for our assignments. You will use these rubrics to guide your peer reviews and editing processes, and I will use these rubrics to grade your projects. While criteria for successful projects may change according to each assignment rubric, a general explanation of letter grades is as follows:

A: An excellent response to the assignment. Demonstrates a sophisticated use of rhetorical knowledge, writing, and design techniques. B: A good response to the assignment. Demonstrates an effective use of rhetorical knowledge, writing, and design techniques. May have minor problems that distract reader. C: An average response to the assignment. Demonstrates acceptable use of rhetorical knowledge, writing, and design technique. May have problems that distract reader.D: A poor response to the assignment. Demonstrates a lack of rhetorical knowledge and writing and design technique. May have significant problems that distract reader. F: A failure to respond to the assignment appropriately.

Grading Scale93.00-100 A90.00-92.99 A-86.00-89.99 B+83.00-85.99 B80.00-82.99 B-76.00-79.99 C+73.00-75.99 C70.00-72.99 C-66.00-69.99 D+60.00-65.99 D0-59.99 F

Student Success Resources5

ENG 101Fall/Spring 201X

Access and Disability ResourcesI strive to create an inclusive, welcoming learning environment for all. I am invested in your success in this class and at Emory, so please let me know if anything is standing in the way of your doing your best work. This can include your own learning strengths, any classroom dynamics that you find uncomfortable, ESL issues, disability or chronic illness, and/or personal issues that impact your work. I will hold such conversations in strict confidence.

Students with medical/health conditions that might impact academic success should visit Access, Disability Services and Resources (http://www.ods.emory.edu/index.html) to determine eligibility for appropriate accommodations. Students who receive accommodations must present the Accommodation Letter from ADSR to your professor at the beginning of the semester, or when the letter is received.

Emory Writing CenterThe Emory Writing Center offers 45-minute individual conferences to Emory College and Laney Graduate School students. It is a great place to bring any project—from traditional papers to websites—at any stage in your composing process. Writing Center tutors take a discussion- and workshop-based approach that enables writers of all levels to see their writing with fresh eyes. Tutors can talk with you about your purpose, organization, audience, design choices, or use of sources. They can also work with you on sentence-level concerns (including grammar and word choice), but they will not proofread for you. Instead, they will discuss strategies and resources you can use to become a better editor of your own work. The Writing Center is located in Callaway N-212. Visit writingcenter.emory.edu for more information and to make appointments.

Tutoring for Multilingual StudentsIf English is not your first language and if you need additional help with assignments in this or other college classes, you may benefit from working with specially trained ESL Tutors. The tutors are undergraduates who will support the development of your English language skills. Like Writing Center tutors, ESL tutors will not proofread your work. Language is best learned through interactive dialogue, so when you come to an ESL tutoring session, be ready to collaborate! ESL tutors will meet with you in the ESL Lab in Callaway S108 and other designated locations, and they will help you at any stage of the process of developing your essay or presentation. You may bring your work on a laptop or on paper. If you schedule an appointment in the ESL Lab, you may also bring your work on a USB stick - computers are available in the lab.

Visit the website of the Office for Undergraduate Education (http://college.emory.edu/oue/) and select "Student Support" and then "ESL Program" to schedule an appointment, read the tutoring policies, and view the offerings of the ESL Program (direct link to ESL Tutoring: http://college.emory.edu/oue/student-support/esl-program/esl-tutoring.html). If you do not have a scheduled appointment, you may want to meet with a drop-in tutor in the ESL Lab, Callaway S108. Here, you may have less time with a tutor if other students are waiting, but you can briefly discuss an assignment and some of your concerns. For more information, visit the website or contact Levin Arnsperger at larnspe@emory.edu.

Emory Counseling Services Free and confidential counseling services and support are available from the Emory

6

ENG 101Fall/Spring 201X

Counseling Center (404) 727-7450. This can be an invaluable resource when stress makes your work more challenging than it ought to be. http://studenthealth.emory.edu/cs/

Course Schedule/LogisticsFinal ExamDate: x/x/xx Time: X:XX We will use the final exam week for individual conferences on final projects and portfolios.

Tentative Schedule: According to the needs of the class and the constraints of the course, we will alter the schedule as the semester progresses as needed.

Unit 1A: Key Terms in First Year CompositionMain unit assignment: Rhetorical analysis rough draft

WEEK ONELocating Your Writing

Review of key terms: rhetorical situation, conversations (or discourse communities), genre, and audience

Guidelines for choosing the multimodal article (from a list of 5 genres) that you intend to use for your rhetorical analysis

Setting up blogs in class; overview of posting procedures, computer access, etc. Formulation of class writing rubric (rubric for text projects only)

First half of week: rhetorical situation and discourse community/conversationo In-Class Writing Activities:

(1) Rhetorical situation: On your own, come up with a list of questions we can put to a text/visual artifact that can help us identify its rhetorical situation (in other words, what do you need to know to understand its rhetorical situation?)

(2) Discourse community: Take 5-7 minutes to write your own definition of a discourse community without quoting Swales. Then, switch definitions with a partner and write a response to his or her definition in 7-10 minutes, citing Swales for evidence if necessary. Is your partner’s definition missing something? If so, can you rewrite his or her definition to include it? Once you agree with your partner’s (perhaps edited) definition, add a concrete example (i.e. a specific discourse community) illustrating the definition.

o Assignments: (1) Choose a multimodal article to use for your rhetorical analysis.(2) Rhetorical Analysis Blog Post (Part One): In a post of about 300 words, identify the

rhetorical situation and discourse communities of your article. Include your own definition of rhetorical situation and discourse community (without quoting definitions from our readings) and include evidence from your article to support your claims. At the end of your post, include two questions or concerns about either your post or your understanding of these key terms.

o Reading:

7

ENG 101Fall/Spring 201X

1) Rhetorical situation: Excerpts (< 8 pages) from “Rhetorical Situations and Their Constituents” by Keith Grant-Davie and “The Rhetorical Situation” by Lloyd Bitzer in Writing About Writing

2) Discourse communities/conversation: Excerpt (< 8 pages) from John Swales’s “The Concept of Discourse Community” (215-229) in Writing About Writing

Second half of week: audience and genreo In-Class Writing Activities:

(1) Audience: Devote 10 minutes each to writing two advertising blurbs for a water company geared to two different target audiences (parents, teenagers, athletes, people who dislike drinking water, etc.).

(2) Genre: As a class, we will work to describe the genre conventions of a very specific genre- NPR staff biography blurbs- working from a set of 3-4 examples. In small groups, answer the following questions in writing:

i. What are the larger contexts and the rhetorical situation in which the genre is used (including setting, subject, participants, and purposes)?

ii. What are some of the patterns in the genre’s features (including its content, rhetorical appeals, structure, format, and sentence and word style)? How does this intersect with our understanding of discourse communities?

iii. What do these patterns reveal about the rhetorical situation and larger context/conversations?

o Assignments: Rhetorical Analysis Blog Post (Part Two): In a post of about 300 words, identify your article’s genre and its intended audience. Use evidence from your article to support your claims. Include your own definition of genre and audience (without quoting definitions from our readings), and discuss how these features relate to the article’s rhetorical situation and discourse community. At the end of your post, include two questions or concerns about either your post or your understanding of this key term and one complaint or triumph about this draft.

o Reading: 1) Genre: Excerpts (< 8 pages) from Amy J. Devitt’s “Genre Pedagogies” in A Guide to

Composition Pedagogies 2) Audience: Excerpts (< 8 pages) from “Audience” chapter by Peter Elbow in Writing

With Power: Techniques for Mastering the Writing Process

WEEK TWODeveloping and Re-visioning Your Writing

Review of key terms: controlling idea, critical analysis, arrangement, evidence, reflection, and revision

First half of week: controlling idea, (critical) analysis, arrangemento In-class Writing Activities: Rhetorical analysis peer-review workshop: checking your

controlling idea, critical analysis, and arrangemento Assignments: (1) First full rough draft of rhetorical analysis (reworked from rhetorical

analysis blog posts 1 and 2)o Reading: (1) Excerpts from Joseph Bizup, “BEAM: A Rhetorical Vocabulary for Teaching

Research-Based Writing”

8

ENG 101Fall/Spring 201X

Second half of week: evidence, reflection, revisiono In-class Writing Activities: Rhetorical analysis peer-review workshop: checking your use

of evidence o Assignments: (1) Peer review 3 other rhetorical analyses (2) Fill out guided peer-review

worksheets o Reading: Excerpts from “More Ways to Revise” from Writing With Power

Unit 1B: Image & TextMain unit assignment: Rhetorical analysis final draft

WEEK THREE Images: How do they work?

Review of visual meaning-making principles/rhetoric: rhetorical situation, conversations, genre, audience, gaze, juxtaposition, arrangement, framing, point of view, metonymy, symbolism, etc.

How do they make arguments? Rhetorical principles/strategies/purposes

Visual Hierarchies (graphic design, advertising, photography) Describing Images (Accessibility and Universal Design)

o In-Class Writing: (1) Rapid-fire analyses: list argument, purpose, audience, tone of visual examples in 5 minutes or less (2) Image descriptions (exploring the challenge of mapping linguistic meaning onto visual meaning)

o Assignments: Blog posts: (1) Analysis: Analyze one image (list of examples from a variety of genres will be included), discussing argument, purpose, audience, “tone,” implied perspective, etc. (2) “I think”: Compose short informal post (2-3 paragraphs) responding to Mulvey’s conception of the “male gaze.” Agree, disagree, thoughts, questions?

o Reading: Short excerpts from: (1) Kress and van Leeuwen’s Reading Images: The Grammar of Visual Design (2) Laura Mulvey’s "Visual Pleasure and Narrative Cinema"

WEEK FOUR (1) Images, (2) Image & Text together: Making, Interpreting, and Writing About Meaning

How can an image change the way we understand text, and vice versa? http://www.image-and-text.com/ Examples (Narrative photography; Duane Michals, Photo documentaries, articles, etc.) Formulation of class rubric (rubric for text + image projects) and practice applying it

o In-Class Writing: (1) Rapid-fire analyses: write a short description of how images/text interact in given examples in 5 minutes or less (2) Peer-editing of analysis drafts

o Assignments: (1) Blog post: Compose short post listing three “takeaways” (what seems important?) and one question (what are you unsure or unconvinced about?) for each article we’re reading this week. (2) Return to your rhetorical analysis—make a final set of revisions (taking into account insights from peer-review sessions as well as new information you may have gained from this image & text segment). Be sure to make note of the revisions you make.

o Reading: (1) Excerpt from Varga’s "Criteria for Describing Word and Image Relations” (2) Excerpt from Mitchell’s “Beyond Comparison: Picture, Text, and Method” (3) Class-generated rubric. (4) Excerpts from Little Seagull on drafting/editing practices.

9

ENG 101Fall/Spring 201X

WEEK FIVEImage and Text together: Genre Conventions and Rhetorical Purpose

How do various genres—from news articles and scientific studies to BuzzFeed “listicles” and literary fiction—employ images to construct an argument, engage an audience, or make a statement?

o In-Class Writing: (1) Rapid-fire analyses: Write a short description of how images/text interact to make an argument in given examples in 5 minutes or less

o Assignments: (1) Final draft of short rhetorical analysis due. (2) “I think” Blog Post Reflection: Compose an informal post that reflects on the writing process you used for this assignment. Address the following questions: Has this assignment affected how you think about strategies of research, drafting, revision, editing, and reflection? If so, how? If not, why not? Do you intend to use any of these strategies in the future? What, specifically, have you learned from implementing these process strategies?

o Reading: (1) Excerpts from Little Seagull on drafting/editing practices

Unit Two: Creative Multimedia Main unit assignment: Creative sequenced multimodal project

WEEK SIXExploring creative multimedia genres: How do they work?

Discuss conventions of graphic novels, comics, children’s picture books, fiction, graffiti (location, place, etc.), scrapbooks, travel blogs, social media

How do we analyze creative works differently than scholarly works?o In-Class Writing: (1) Rapid-fire analyses: Write a short description of how images/text

interact in given examples in 5 minutes or less (2) Rapid-fire response: Write a short personal response (Opinions? Reactions?) to given examples in 5 minutes or less

o Assignments: Blog Posts: (1) “I think”: Compose informal post listing one interesting argument, statement, or example from each of the three readings and explain why you find it interesting (2) Rhetorical analysis: Compose a 3-4 paragraph formal rhetorical analysis of a work in the genre in which you hope to create your own project

o Reading: Very short excerpts. (1) On photo documentaries: (a) Goodwin’s “The Depression Era in Black and White: Four American Photo-Texts.” (b) Mitchell’s “The Photographic Essay: Four Case Studies.” (2) On comics: Meskin’s “Defining Comics?” (3) On scrapbooks: Buckler and Leeper’s “An Antebellum Woman's Scrapbook as Autobiographical Composition.”

WEEK SEVENExploring creative multimedia genres, especially sequential multimedia: How can we analyze them?

Sequential multimedia: Understanding, analyzing, creating meaning and narrative Sequential techniques in various genres Multimedia project templates

o In-Class Writing: (1) Rapid-fire analyses: Write a short analysis of a given example of sequential art in 10 minutes or less (2) Peer editing

o Assignments: Blog Posts: (1) Project Proposal: Compose a post describing your plans for your sequenced multimedia project, including chosen genre, topic, and prompt (2)

10

ENG 101Fall/Spring 201X

Outline: Compose an outline of the sequences you intend to use in your sequenced multimedia project (including a rough draft of the text you’ll be using and the kinds of images that will accompany them). You may create a storyboard instead if you feel more comfortable composing in that mode. Post on blog and bring printed copy in to class for peer review.

o Reading: (1) Excerpts from Cohn’s Visual Language of Comics: Introduction to the Structure and Cognition of Sequential Images (2) Browse genre examples: (a) Photo documentary example: Bourke-White and Caldwell’s You Have Seen Their Faces, Evans and Agee’s Let Us Now Praise Famous Men (b) Graphic novel/comic examples: Thomas’s Blankets, Spiegelman’s Maus, Collins’s The Gigantic Beard That Was Evil (c) Scrapbook examples: http://www.wearewestamerica.com/ (travel blog), William S. Burroughs & Brion Gysin (scrapbook), I Love New York City, Crazy City by Isa Genzken (scrapbook)

WEEK EIGHTCreating our own sequential multimedia: Outlines, Storyboards, Creative Statements

This week we will use our own creative projects as topics of discussion and analysis. o In-Class Writing: (1) Rapid-fire reflection: Write a short personal reflection of your

outline/drafting process so far (Challenges? Triumphs? Complaints?) in 5 minutes or less (2) Peer editing

o Assignments: Blog Posts: (1) Creative Statement: Compose a document describing the overall organization and content of your project as well as the creative treatment, layout, and format you intend to use. Post on blog and bring printed copy to class for peer review. (2) Rough Draft Due: Bring rough drafts of creative project to class (we will discuss what a rough draft of a multimedia project should look like) for peer editing and revision

o Reading: (1) Recommended sources for project aids: introductory guides to scrapbooking, photo documentary, and comic techniques TBD (2) Peer reviews

WEEK NINECreating our own sequential multimedia: Rough Drafts, Final Drafts, and Reflections

This week we will use our own creative projects as topics of discussion and analysiso In-Class Writing: (1) Peer editing (2) Rapid-fire response: Write a short personal

response to the peer-editing process. What is helpful/not helpful/difficult about the process?

o Assignments: (1) Final Draft: Compose final drafts. Post digital projects on blog; bring physical projects to class (2) Blog Post: “I think”: Compose an informal blog post in which you reflect on your project composition process. In this reflection, defend/explain your chosen medium and design choices and describe how your images and text work together.

o Reading: Peer reviews

Unit Three: Commercial MultimediaMain unit assignment: Persuasive Advertisement

WEEK TENHow do images and text work together to persuade viewers?

11

ENG 101Fall/Spring 201X

Images and text in marketing How do images serve a unique purpose in advertising? Information, evidence, description, etc. Why are most marketing plans multimodal?

o In-Class Writing:o Assignments: Blog Post: (1) “I think”: Compost a short, informal post reflecting on the

purpose of images in advertising, referencing three examples (2) Compose a formal post comparing two different advertisements (magazine, billboard, or other still-image ad) for similar products in two brands (i.e. compare ads for two different brands of birth control pills, two different brands of chocolate, etc.), paying special attention to argument, purpose, target audience, tone, voice

o Reading: Short excerpt from Roland Barthes’s "Rhetoric of the Image."

WEEK ELEVENCopy: What’s important when you’re writing for a business, brand, or product? How should you employ images differently in different contexts?

Treating advertisements/campaigns as objects for analysis: argument, context, purpose, audience, tone, voice

Look at Emory University website/similar websites and discuss in preparation for next week’s advertisement assignment

Brand identity: voice, tone, design aesthetic, target audienceo In-Class Writing: (1) Rapid-fire advertising: context, tone, target audience exercises.

Revisit this activity from early on in the semester, paying particular attention to the key terms introduced in this unit. Write a short advertising blurb for a water bottle company. Imagine that it will accompany given photo (from a water bottle ad, like this one: https://www.dasani.com/wp-content/themes/dasani/images/figures/bottle.jpg). Devote 5 minutes each to writing for a blurb for different contexts/medium (magazine, splash page, billboard, etc.), tones (energetic, formal, authoritative, etc.) and target audiences (parents, teenagers, athletes, people who hate drinking water, etc.).

o Assignments: (1) Compose a rough draft of your persuasive advertisement for Emory. Post on blog 24 hours before class and bring printed copy to class. Images or thumbnails of the types of images you will use are required at this stage. (2) Compose constructive comments/peer reviews for two classmates’ rough draft blog posts (assigned groups); bring to class for discussion and group peer editing.

o Reading: Classmates’ blog posts

WEEK TWELVEWorkshopping our own advertisements

Final draft: persuasive advertisement: final draft, workshopping o In-Class Writing: (1) Rapid-fire response: Compose a short personal response

(Reactions? Opinions?) to given examples of advertisements in 5 minutes or lesso Assignments: (1) Compose a final draft of your persuasive advertisement for Emory. Post

on blog and bring to class for discussion. (2) Blog Post: “I think”: Compose an informal blog post in which you reflect on your project composition process. In this reflection, defend/explain your chosen medium and design choices and describe how your images and text work together toward a specific persuasive end.

o Reading: Peer reviews.

12

ENG 101Fall/Spring 201X

Unit Four: Scholarly Multimedia Main unit assignment: Multimodal, Evidence-based Article

WEEK THIRTEENUsing evidence to support a claim

Genres of scholarly multimedia (scientific writing, non-scientific academic writing, business writing, web-texts, etc.)

Research, MLA-style (or other styles) formatting, database familiarization, library tripo In-Class Writing: (1) In library: Generate a list of eight important questions/issues in your

area of interest. You may need to do some research (for example, browse prominent journals in the field) to help generate a strong list.

o Assignments: Blog Post: Compose a formal blog post in which you choose four of the eight questions that seem especially promising or interesting, and for each question identify two or more sides of the issue at hand. You will eventually choose one of these four issues to take up in your article; you will then take one of the argumentative stances you generated.

o Reading: (1) Articles, journals, or other research necessary to generate your personal list/argumentative stances (2) Excerpts from On Writing Well and Little Seagull Handbook on argumentative essays and employing/citing evidence to support a claim

WEEK FOURTEEN Using Images as evidence, annotated bibliographies

o In-Class Writing: (1) Rapid-fire response: Compose an analysis of how given examples use images to support a claim in 5 minutes or less

o Assignments: (1) Create an annotated bibliography of 5-6 textual sources (with one or two sources working against your own argument) and 3-4 image sources. Annotations for text sources will need to: summarize the source (including its argument), explain how the source engages with your argumentative stance, and note how the source will be used in your article. Annotations for image sources need to: note the image’s content, tone, implied audience, and claim (if applicable) and explain how it could be used in your article. Bring printed copy to class.

o Reading: (1) Articles, journals, or other research necessary to generate your personal list/argumentative stances (2) Excerpts from On Writing Well and Little Seagull Handbook on argumentative essays and employing evidence to support a claim

WEEK FIFTEENCreating our own scholarly multimedia: Drafts, Workshopping, Peer review

This week we will use our own creative projects as topics of discussion and analysis. o In-Class Writing: (1) Rapid-fire reflection: Compose a short response in which you reflect

on the process of writing your article draft in 7 minutes or less. Challenges? Triumphs? Questions? Areas you need to work on? Areas in which you succeed? (2) Peer reviews

o Assignments: (1) Rough draft of multimedia article due. Post on blog and bring to class for peer editing

o Reading: (1) Peer reviews (2) Personal project research (3) Recommended excerpts from On Writing Well and Little Seagull Handbook on argumentative essays, editing process,

13

ENG 101Fall/Spring 201X

and MLA format to support a claim

WEEK SIXTEENCreating and analyzing our own scholarly multimedia: Workshopping, Final drafts

This week we will use our own creative projects as topics of discussion and analysis. In addition to finalizing our written works from the semester, we’ll also spend some time

discussing other forms of writing you’re likely to encounter during your college career, the different approaches they might require, and some ways you can tailor your writing skills to varying, distinctive situations.

o In-Class Writing: (1) Peer reviews o Assignments: (1) Final draft of multimedia article due. Post on blog and bring printed

copy to class. (2) Blog Post: “I think”: Compose an informal blog post in which you reflect on your composition process for this assignment and respond to your own article. What does it do well? What could it do better? How did you employ images and text together in a productive way? (3) Group peer reviews (4) As a class, we will create a set of questions you can apply to every writing assignment you encounter in college (regardless of discipline/area)

o Reading: (1) Peer reviews (2) Personal project research

WEEK SEVENTEENExam week: no class (individual conferences instead), portfolio due

Assignments: Blog Post: (1) Portfolio: Compile short writing assignments, drafts, reflections about writing in progress, and final drafts. For blog posts, print out and include in portfolio. Organize chronologically. (2) Reflective Essay: Use this collection as evidence to argue in a reflective essay that you have achieved the learning outcomes for the course. Post on blog and bring printed copy to class. We will discuss portfolios and reflective essays in individual conferences during exam week.

14