ENG 201 6.R: Professional Learning Projects

Today’s Plan:

  • Review Professional Learning Projects
  • Halloween Tweet Contest Brainstorm
  • What is due by next Thursday?

Review Professional Learning Projects

Here is a link.

We have 280 characters now.

Halloween Tweet Contest Brainstorm

I want to operationalize an idea that the social media team mentioned on Tuesday: could the English department have a Halloween Horror Story Twitter contest?

My answer is “yes,” we can do this. What do we need to do this? Probably a lot of stuff. I’m sitting down to brainstorm this at 12:00 to share with you at 2:00. I’m going to write some stuff here. But then y’all are going to revise it. Who are y’all? The social media team (or those of you who want to focus on this idea) and the document design folks. Yep. You folks. Why? Because we are going to need flyers to advertise the HHSTC. Fast. By next Thursday fast.

Random list of things we need to know / do:

  • Where are public places (pinboards) where we can hang signs? What are University regulations for hanging signs around UNC? How can I avoid getting an email from the Dean inquiring into why my students are disregarding UNC regulations for advertising an event?
  • How many signs do we need? How many buildings on campus? How many pinboards per building? Can we hang some of these in classrooms? Can we put them in English faculty mailboxes and ask them to advertise the contest to students and/or hang them on their door?
  • We need a email draft that I can send out to every English instructor at UNC advertising the contest
  • We need copy of every email that Becca Romaine, the department’s social media expert, will send out
  • We need copy for the rules of the contest. These rules must include a line that in order to be eligible for the grand prize, you must follow UNC English and include the contest hashtag in your tweet
  • The rules have to be concise enough to fit in a tweet. We need a HHSTC image, in photoshop, with some preliminary details, to include in the tweet
  • We need a grand prize: got it, an English department sports bottle and a $10 Starbucks coffee card
  • We need a better name for this contest that Halloween Horror Story Twitter Contest
  • We need a contest hashtag that doesn’t waste too many characters
  • We need to get the contest rules, title, hashtag, etc etc etc to the Document Design team STAT

Document Design team: I’m changing your final deliverables. Contest time! For your final deliverable, I’d like you to design TWO FLYERS EACH advertising the soon-to-be-renamed-Halloween Horror Story Twitter contest. These flyers need to:

  • Advertise the contest. Don’t do this. Don’t get me fired. Don’t put me in a situation in which I have to explain something to my boss
  • Explain the rules of the contest. Include that students must follow UNC’s twitter to be eligible for the grand prize
  • One in color (to be included in tweets, facebook posts, etc–25 color copies for “premium” locations). One in black and white (to be printed and put in faculty mailboxes etc).
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ENG 229 6.T: Interviews

Today’s Plan:

  • Interviews
  • Watching Your Videos
  • For Next Class

Filming Interviews

Resources:

So:

  • Select a suitable location, if possible have the subject face natural light. Avoid too much background noise. Check lighting. Arrange your subject so that the light is working with you. Check shot for hot spots.
  • Set up tripod. Have the phone slightly below eye level. If you have a small tripod, then use books to prop it up.
  • Put your phone into flight mode so there isn’t an interruption.
  • Clean camera lens.
  • Attach microphone; tips on how to attach a microphone.
  • Make sure your phone has enough memory space for a video.
  • Line up your shot, look for crooked lines, remember the rule of thirds, double-check lighting. Triple-check it.
  • Set up a second camera for B-Roll; make sure it is a different angle but on the same side/angle as the original. Or you can use a second/third camera to shoot the interviewer. OR you can set up the shoot so we see the interviewer. (NOTE: Multi-camera shoots that require on-screen audio
  • Set up a medium shot for the majority of the interview. A second camera can adjust shots between questions.
  • Set exposure to manual. Tap and hold screen until you get AE lock mode, make adjustment.
  • DO A TEST RUN. Check sound levels. Playback.
  • MIXED ADVICE: Instruct your subject to look straight down the camera lens so they are talking to the viewer (and not directly to you).
  • Instruct your subject to leave a few seconds before they start answering questions to make it easier for you to edit.
  • Wait a few seconds before you end the video so that you have time for a fade out or other effect in post.
  • Eventually we need to talk about syncing audio (not this week, but soon)

We need to partner up for this next project. You and your partner will work together to capture video. BUT YOU WILL EACH EDIT YOUR OWN VIDEO.

Here is a folder to upload and share interview video.

I don’t know if this will work. Can we form groups using a Google Calendar?

For Next Class

We will be meeting in Michener 217 (the media room). I will check out two mics

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ENG 229: Editing Sound

Today’s Plan:

  • Editing audio in Adobe

Let’s talk audio meters and decibel levels. Hey reddit. A bit more official.

Let’s talk about what you can do when recording to avoid audio pops.

Gain (input) vs. Volume (output).

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ENG 319 5.R: Non-Platonic Dialgoues / Corder

Reading Responses Responses

Student: Throughout the whole reading I sat there in a WTF stupor. Ong’s writing is very paradoxical, using an alien technology of writing to describe that writing is bad, but then saying that since writing is apart of technology and future that writing is good.

Me: So, here’s my thing with Ong. He isn’t stating that writing is bad, but rather that writing is artificial. We tend to think of artificial as bad (we think of it in dialectical opposition to “natural,” which is good). Isocrates would argue that natural humans are savages (and pretty much every time he uses this term it is overloaded with racist assumptions). But I don’t want to stray here. For Ong, artificial isn’t “bad,” but it does signify that writing, an artifice (Latin for workmanship), is a tool–one so useful and powerful that it transforms the brain of its users.

That is, Ong is arguing that learning to read and write physically rewires ones brain and socially transforms the way one perceives what it means to be a human being, what constitutes “thought” and “reality.” Plato’s notion of reality reflects how written words work. There is a signifier that I write here–say bunny rabbit. That material signifier is icky, but it is our only path to think about the thing it signifies, the glorious concept of a bunny rabbit (that, ironically, isn’t a material thing!).

So, to clarify, I don’t think Ong is paradoxical, but he is trying to account for the paradoxical irony underlying Plato’s condemnation of writing. How can you believe in a transcendental, Idealist ontology and not like written words?

I’d like to see more of your responses drill down and close read particular ideas. Some of your responses here feel like drive by quotes–you are taking a fragment of a sentence. And the way you are presenting it divorces it from the context of the original author’s argument. Get a bit closer and try to think about what an author is arguing, and how a particular sentence/element in that argument is significant. At this point, you might also be able to identify how it connect/compares/contrasts with another reading we’ve done.

Student: …Socrates was being a hypocrite to a degree. In the section between Gorgias and Socrates, Socrates debates against Polus and Gorgias, and had asked Polus to explain his answer while “curbing [his] long style of speech” (Plato 806). So here, Socrates had bluntly asked Polus to shorten his own debate to answer a question posed to him. Yet later on in the Gorgias reading, Socrates himself has a monologue! When it comes time for Callicles and Socrates to have their discussion, it eventually gets to the point that Callicles, in addition to Gorgias and Polus, is tired of discussing with Socrates and suggests he “go through the discussion by [him]self, either by speaking in your own person or by answering your own questions” (Plato 850). In response, Socrates ends up going on his own monologue to continue the discussion, even after he had asked Polus to shorten his answers. I had never really pegged Socrates to be a hypocrite, or to be so self absorbed in hearing himself speak to call him anything similar, but the reading has put this firmly in my head.

As I’ve said before, I don’t think this is a mistake on Plato’s part. I think this might be Plato at his most rhetorical (making the master of dialectic “descend” into a long speech). If I am right, and this isn’t Plato deconstructing himself, THEN WTF IS PLATO TRYING TO DO HERE? WHO IS HIS AUDIENCE AND PURPOSE? There’s a paper in there–one that points to a kind of rhetoric he’s trying to suppress. Hint: Plato. Hates. Democracy. Hint hint: Aristotle *might* help us why Plato thinks democracy is destined to fail.

Student: Cavarero makes a much more obvious analogy for rhetoric when she says, “It is the word (logos) that educates the soul to recognize its true nature,” (28). She has identified that Penelope has recognized her true nature and utilizes her time and space to create her own time and space. She revolts in the simplest of ways, undoing what others have done. Rhetoric is used in the same way, simply weaving together what others “have undone with philosophy,”(29). Penelope is an orator who has been separated from the adventurers and the ‘men’, but uses her time and space to fight the destiny that’s been place upon her.

That line from Cavarero is a great catch. But I’m not quite sure I follow the explication. What is the true nature of the soul? And why does logos, which she defines as the “word,” lead us to that knowledge of the soul. I *think* I might be able to trace out this explication, but I want you to do it. You are on the precipice of brilliance here.

As a hint–what if Cavarero and Plato share a similar understanding of the word (that is, Ong’s notion that the written signifier leads us to consider signifieds, meanings, not as embedded in the immediacy of the real world, but in an abstract, non-tangible, perhaps non-masterable realm–words that defy our attempts to control them!). What if she doesn’t resist? Doesn’t succumb to the
paradox?

Student: The way Cavarero offers a new view of Penelope, and the ways in which Cavarero tries to get us to see Penelope in a new light, is what rhetoric is. Rhetoric is an offer to a new perspective or idea.

Me: I like the idea that rhetoric offers a new perspective. One of my graduate instructors used to say that rhetoric isn’t the art of persuasion, but the art of change. What is unique about Cavarero is that she is doing philosophy (in the sense of exploring how to live a life) without doing Philosophy (that is, tracing out abstract/universal “first” principles of pursuing the True way to live a life).

Student: Cavarrero breaks them down into the men’s worlds of thought and violent action and the women’s world of repetition and creation- helps us know not only where we stand in the world, but what options we have in order to defend our place and even create a new one.

Can we “de-gender” the two approaches to living in the world? Can we say that one seeks to impose itself upon the world, either through physical violence, war, action OR through the symbolic violence of essential, pre-existing categories/oppositions (i.e., “a human is either male or female?)” Or does the act of degendering here perform an abstraction that runs counter to the heart of Cavarero’s argument (hint: what is her argument?)

Student #1: I was really caught off guard by the transition from the repetitive telling of Penelope’s predicament and it’s in depth analysis to the topic of death and how it represents the untying of one’s soul from their body. I was having some difficulty in understanding the author’s point of the essay, and then she immediately jumps into Plato without any warning. It was incredibly abrupt and made her point even more confusing for me to understand since I already have some difficulty in understanding Plato. I honestly felt that the jump from Penelope to Plato could have been explained in a clearer introductory paragraph. However, the connection was made much clearer when the author states that

“…by leading one’s thinking toward eternal objects suitable to pure thought (pure ideas), philosophy unties the soul from the mortal body. Therefore those who lament the fact of death, which is the definitive untying of the soul from the body, are bad philosophers.Exactly like Penelope, they retie (or wish to keep tied) what they have already untied with philosophy, in an endless labor that fails to progress in a single direction, and therefore renders futile whatever work has been done” (23).

With enough context given about Penelope, it becomes easier to understand what Plato is trying to say about philosophers in his thesis: despite retying or maintaining a tied ideology doesn’t matter because it was already untied; you cannot do what you have already undone.

Me: Nes and yo? Keep grinding.

Student #1:One of the main concepts that stood out to me reading Aristotle’s Rhetoric was the use of binaries to put forth and understand a concept. This, I noticed, isn’t a concept exclusive to Aristotle, but rather the use of binaries is seen in other Grecian texts such as the translations of Archilochus’s work: “We know health by illness, good by evil, satisfaction by hunger, leisure by fatigue” (Davenport 374). We see a similarity in Aristotle’s framing of emotion: “since becoming calm is the opposite of calmness” (121). Anger, a concept Aristotle previously defined, ascribes entitlement to its opposite by stating that those in power are “superior to a poor man” and a ruler feels superior to whom he rules, an orator superior to one unable to articulate his/her/its thoughts (117). Is this simply how humans better understand concepts? Or, is binary thinking (binary, I say, as opposed to—ironic that I use it here—a more nuanced understanding of something) a more Eurocentric idea? Indeed, the text follows a system that the introduction noted as “pairs, arranged chastically in what may be loosely described as positive/negative friendliness/hostility, fear/confidence… (114). This may very well be less than productive commentary, but something I noticed evident in several of these works.

Student #2: Throughout McComiskey’s work, I felt general satisfaction because his arguments put into words why I hate Plato so much. I do not like Plato because he views every thing as a binary: true knowledge vs. opinion, instruction vs. persuasion, and language vs. content to name a few. I simply cannot comprehend how someone who is hailed as such a “smart” guy can only view the entire world as nothing more than a series of dichotomies.

Me: Like you, I am always suspicious of people who “end” arguments with binaries.But, as a sophist, I tend to “enter” arguments with binaries–I find them useful ways to enter into a discusssion/problem/field. Binary opposition has dominated Western philosophy for a few millennia. However, the process of exploring an issue should always produce other positions, stakeholders, agents. The goal should be to grasp the complexity of an issue, to see how a real world issue always “deconstructs” the neat binary, not to try and make the world to conform to the categories we try to force upon it.

Student: Epideictic rhetoric also leads us to the importance of great ethos: “Epideictic rhetoric . . . magnifies the importance of ethos over logos primarily because it does not argue to win . . .” (117). This part of the passage is fascinating because up until this point, most rhetoric is utilized to win arguments.

Me: I include the Sullivan reading precisely because not all rhetoricians agree that rhetoric’s primary purpose is to argue or persuade. Sullivan (and Isocrates and Lanham and Grassi) suggest that it has other importance.

Student: I found the distinction between foundational epistemology and relativistic epistemology very helpful and, obviously, very central to the argument here. Knowing what little I do about Plato and Platonic Forms, the line “Humans can only think about things; they cannot think the things themselves” (209), helped me understand the difference between Platonic forms and foundational epistemology, and relativistic epistemology.

Me: Your discussion of McComiskey hits on a key point–how do humans access reality? Do we have access to “things” or “ideas about things”? Can we measure the distance between things and our perception of them? The philosophy that most directly attempts to measure that distance is phenomenology (Hegel, Heidegger–the former thought we could get really, really close to things-themselves, the latter thought that our “mood” would always keep them at something of a distance). Sophistic rhetoricians would argue that distance includes / is amplified by language, an (im)perfect mode of communication often involving imprecision or arbitrariness on the part of the speaker/writer and interpretation (and perhaps ignorance, ill will, or excitement) on the part of the listener/reader.

Student: Quoting Aristotle: “That rhetoric, therefore, does not belong to a single defined genus of subject but is like dialectic and that is useful is clear — and that its function is not to persuade but to see the available means of persuasion in each case, as is true also in all other arts.” (1355b)

Me: I have always been curious about Aristotle’s statement that the function of rhetoric is not to persuade, but see the available means of persuasion. I mean, how can we use that statement to explicate Aristotle’s (tortured) relationship to rhetoric? Which rhetoricians we have studied would support the idea that rhetoric is persuasion? Who sees it as something other than persuasion?

One thing that really confused me and made me go “wtf” comes from page 27. Ong states that “Writing separates academic learning from wisdom, making possible the conveyance of highly organized abstract thought structures independently of their actual use or of their integration into the human lifeworld” (27). This was very difficult for me to wrap my head around. I believe that essentially Ong is saying that because writing must be learned while knowledge is simply accumulated throughout life, that you can be wise without academic learning.

Me: This is a tricky one. Perhaps the Lanham helps us get at this. Let’s think about what it means to study economics in college. If you study economics, you will likely study a lot of abstract economic theories for how the economy should work. These theories will often themselves be reliant on theories of human motivation. Things like the theory of the Invisible Hand and classical economics (no government interference). Or Keynesian economic theory (government spending to key demand/growth). Or Labor Theory (i.e., “Marxism,” that governments (the people) have to fight for a greater value for their labor). But, a lot of the time, you won’t spend as much time as you might think crunching numbers and tracking policy. Because any economy is such a complex mess of networks, relations, agents, powers, histories, etc etc, it is virtually impossible to “prove” that any of these theories are right. That they work. Scholars in economics do make those arguments–but almost always in service of advocating for a theoretical approach to economic growth/policy. Make sense?

If we weren’t literate, we wouldn’t come up with abstract theories of motivation. We would count money and maybe invent ways of counting money faster.

You could study rhetoric by closely reading a bunch of key performances and analyzing them to see why they succeed or fail. What specific phrases, literary techniques, syntax makes us feel, identify, or think? Or, hear me out here, you could read a shit-ton of dense theory. Irony ~ alert.

Student: There was one section I found particularly interesting and it’s on page 16. Cavarero writes, “This space which she carves out from day to day is home, is rootedness…their sense of belonging comes first, and this makes other things possible.”

Me: Hmm. What if I proposed that rhetoric is the art of creating a sense of belonging? Belonging to whom? to where? to what (idea)? What theorists resonate with the idea that we need a sense of belonging? Which theorists are okay with thinking about groups of people? People who think they belong together? Super advanced question that maybe Corder helps us answer: what are the *dangers* that we might associate with belonging?

Corder

Jim Corder, “Argument as Emergence, Rhetoric as Love”

My standard questions:

  • Group One: [sections 1-3]: What does Corder mean by the idea that we make narratives? Why do said narratives complicate traditional notions of argument and rhetoric?
  • Group Two: [sections 4-6]: How can we describe Rogerian method? Why is Corder skeptical that such a method can be useful to rhetoric?
  • Group Three: [section 6-7]: Looking at section 7, would your frame Corder as an optimist or pessimist? What do “we” have to learn (and who are the “we” of this section’s final paragraphs)?
  • Group Four: [Section 8]:What do we make of section 8? Why is this story here? What does it exemplify or reinforce?
  • Group Five: [Section 9]: What does it mean to be “perpetually opening and closing” (29)? How can such a position help us be better? How does it tie to the other advice offered in this section?

I have a thing for us to read.

I have a lecture.

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ENG 319 5.T: Lanham (and maybe some other stuff)

Today’s Plan:

  • Any thoughts on the paper?
  • Lanham, Carter, Sullivan
  • For Next Class

Lanham, Carter, and Sullivan

Let’s talk and review.

For Next Class

First, a number of y’all have already read Jim Corder’s “Argument as Emergence, Rhetoric as Love.” I’d like to talk about that reading on Thursday–so read the Corder and add that to the shared reading space (#6) on Thursday. Shared reading #7 is the Lahnam.

For Thursday, I’m going to give you a choice. This is tricky, so I’m changing the shared reading space a bit. If you are interested in “sophistry,” in a relativistic ontology/epistemology (in postmodernism or feminism, then read the second chapter in the McComiskey–I’ll get a .pdf of that up soon).

Or read the Grassi, which is really one of my favorites (he talks about the roots of Renaissance Italian rhetoric, which picks up Cicero and is more “sophistic” than Platonic/Aristotelian). If you dig the Lanham, then go to Grassi. Isocrates and civic fans will like this one. If you are interested in team Civics, but Grassi is too much, then read the Barlow on Cicero.

For those who are really struggling and want some sense of grounding, read the Herrick. I teach Herrick in 201 as an introduction to the basic foundations of rhetoric(s). Herrick traces four different understandings/purposes of rhetoric. As with Lanham, you will be able to play the “who goes where?” game.

Regardless of who you read here–simply understand that the “trickiest” theorist to categorize is Aristotle. Do you see him as close to Plato? Or is he closer to Isocrates? And what are the questions I need to ask to start making these comparisons? What questions matter? HINT #1: I have given you a list of these questions. HINT #2 (especially for the folks who read Grassi): Which question matters to you?

If you are on team Plato, then read this. And fear not, one of my former graduate students (I chaired his MA) is a true disciple of Plato. My job is to teach you how to think, what constitutes a thought, not what to think.

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ENG 229 5.T: Watching Opening Shots

Today’s Plan:

  • Work List #4: Montage
  • Watching Your Work
  • For Next Class

Montage

Your next challenge will be similar to the opening shot challenge–in that it asks you to add something to an existing video. (Alternatively, you can choose to shoot a new video). This week we’ll be focusing on montage. Let’s start by examining the Schroeppel, though he doesn’t have too much to say on the matter.

A short video for some inspiration.

  • Compress time: tell a story
  • Joke delivery (use of titling)
  • Compress time: training
  • Weave and juxtapose
  • Repetition of a common theme
  • Compress time: Geschalt [pieces left for an audience to unpack]
  • Expansive, Zoom out, collection of varied elements that add up, attempt to capture a totality
  • Abstract, rhythm of life, little details, guided meditation
  • Free association, cataloguing
  • Intellectual montage, ideas, theme, place odd things next to each other to force a connection

And here’s a link with 8 tips for sequencing montages.

Finally, his tutorial on Slow Mo, Ramp, and Freeze Frame might be of interest. The tutorial is pretty simple to follow, so don’t be intimidated.

Watching Your Work

Let’s review our expectations/cinematic principles/technical goals:

  • Length: One minute to two minutes
  • Do shots adhere to the rule of thirds?
  • Shots should be less than 6 seconds?
  • Use a wide/establishing shot?
  • Does it use a medium shot?
  • Does it use a close-up? (so we have “paragraphs” in the form of different length “sentences”)
  • Do shots balance color and form?
  • Is the camera still?
  • Does it appear the filmmaker has paid attention to lighting?
  • Can I identify a strategy for the opening shot?
  • Does the video contain a montage?
  • Something something audio quality

For Next Class

I’m a bit concerned that only 1/2 the class turned in the Adobe lesson 7 from last week. I’d like people to catch up. So, if you didn’t do Lesson 7, this is your opportunity to go back and get it done by Wednesday. I’d like to see whatever video you produce or revise this week to use some simple, non-obtrusive transitions.

I’d also like to work with the Adobe book in class again on Thursday. We can work in teams of two. So, for Thursday, please bring the Classroom in a Book and your flash drive with the lesson files, we will be working on Lesson 11 together (and we might get a bit into lesson 12 depending on time).

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ENG 201 4.R: Your Questions, Discussing Corder

Today’s plan:

  • Questions
  • Corder (more questions)

Questions

Coding and Job Selection

Hmm. My gut response is that it doesn’t matter. However, in discussing your methodology, you do need to have some kind of rationale for why you did what you did. Of course, you could argue that you are interested in a range of jobs and thus have a more random selection.

Paper Specifics and Formatting

What does business formatting mean?

Are we supposed to choose between formatting a feasibility report or formal report? Is it the same thing? I’m lost, sorry. Or we use both? These are just two different formats we can use, right?
This is a very productive question. As I indicated last class, I want you to be *a little* confused. Here’s my goal for the assignment: I want you to figure out what a professional research report is, what parts it contains, and realize that there is no one Ideal report. Every source you consult will tell you something different. HOWEVER, there are rules, expectations, genre conventions. I’ve already gone over a few (headings, subheadings, running head/page numbers, spacing, paragraph format/alignment). But–to clarify-the challenge of this assignment, and the challenge of being a professional writer-is learning to figure this stuff out. And it also speaks to a rhetorical approach to life: to act and exist without certainty.

Can you upload an example?
Unfortunately no. The goal of the assignment is, so to speak, for you to operate without a master; the learning outcome is tied to you negotiating the unknown. If I supply an example, then I do that work for you. I’m trying to develop thinkers, writers, producers. Not robots.

How long is the paper supposed to be? How many charts do we need or how many is too much?
As I mentioned in class, this is a question I specifically avoided. Let me flush out a few ideas. First, make sure you don’t let your charts and graphs speak for themselves. Explain what they say. Yes, this is repetitive. But redundancy is often a part of professional writing, because different readers will read different parts of the document. Second the paper needs to articulate what insights you have found. It has to explain to me why these insights are important, and, perhaps, why I (the reader) should care. I think the most difficult part of this assignment is that I haven’t given you an audience for the paper. The audience is sort of me–but I don’t think it is clear who I am in relation to you. So, what if I were to ask you to invent an audience for the piece? Who might need to receive this research? Who might have requested it?

Logistics

Is the entire paper due Tuesday?
Yes. Against all good precepts (revision, etc) we are going to one-shot this.

What are we handing in on Tuesday? To clarify-we upload this to Canvas on Tuesday?
First, consult the project description from last class. Second, let’s decide between printing a paper copy or supplying a google doc.

WHY?
Because I think we can be(come) better together

If you did not submit your charts after last week’s computer lab, by all means you can turn them in late. What gets done gets rewarded.

Jim Corder, “Argument as Emergence, Rhetoric as Love”

My standard questions:

  • Group One: [sections 1-3]: What does Corder mean by the idea that we make narratives? Why do said narratives complicate traditional notions of argument and rhetoric?
  • Group Two: [sections 4-6]: How can we describe Rogerian method? Why is Corder skeptical that such a method can be useful to rhetoric?
  • Group Three: [section 6-7]: Looking at section 7, would your frame Corder as an optimist or pessimist? What do “we” have to learn (and who are the “we” of this section’s final paragraphs)?
  • Group Four: [Section 8]:What do we make of section 8? Why is this story here? What does it exemplify or reinforce?
  • Group Five: [Section 9]: What does it mean to be “perpetually opening and closing” (29)? How can such a position help us be better? How does it tie to the other advice offered in this section?

I have a thing for us to read.

I have a lecture.

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ENG 319 4.R: Questions and Teams

Today’s Plan:

  • Canvas “Quiz” #1
  • Canvas “Quiz” #2
  • Questions
  • Jarratt
  • Corder
  • For Next Class

Your Questions

Papers: Invention

I think that the papers should also address specific types of rhetoric and their intentions. I would like to better understand each type of rhetoric and their intentions. I would like to better understand each type of rhetoric and their results in discourse. I have begun to understand that rhetoric is very complex, and I want to simplify (each type) of rhetoric to the best of my ability prior to writing the paper. What’s the most common type of rhetoric that is used?

Should we map them by how they were presented in class, or more by the themed idea we managed to find in all of them?

Draw. Your. Own. Map.

Is there a correct answer for this paper? Sometimes I feel I will work my interpretation and am told I am wrong and would be graded as such?

Gut response: DM breaks out into hysterical, semi-maniacal laughter. More measured response: if you haven’t figured it out, I’m a postmodernist. I do not believe in certainty. There is no such thing as the one, pure, unquestionable Answer. This does not mean there is not *bad* answers. An answer, an interpretation, has to be grounded in exposition. Show me your work. Show me what you are reading. Tell me in specific detail what that reading means. No enthymemes here. Syllogism. Spell it out. But if you tell me that Plato is advocating a form of rhetoric that aims to sustain democracy and empower the weak, I will fucking tell you you are wrong. As I indicate below, you could tell me that and earn a B! But I will tell you that your answer, while not Right, is definitely wrong.

You said the goal is to incorporate all the readings. If I were to not include one or two, whether accidentally or purposefully, what would the penalty be?
Honestly, I’m not sure. Here’s the thing. I’m on this big anti-racist writing assessment kick. I can talk about that more later. But the central tenet of that pedagogical theory is that we reward students for making an honest effort. We articulate the expectations, but then we evaluate work less on whether it demonstrates mastery and more on whether it testifies to an authentic engagement. Now some of you might bristle at the idea that I can “see” “authentic” (if I’ve done anything so far this semester, it should be to trigger your sophistic Spidey sense when you come across such an arbitrary term) engagement. But, here’s the thing, it is actually less problematic to gauge engagement than it is to propose to rubric and measure “mastery.” Just trust me on this.

All of this is a long way of saying that if you write 8-10 pages, and you mention every reading, and your paragraphs have claims, and they point to some evidence (a passage in the reading), and you don’t treat the theorists like marbles, but try to weave nets, and it looks like you have revised the paper a few times (I’ll the version history in Google Docs to measure both how long you worked on the paper and how many revisions you made), then you get a B. If you do all that stuff and I say something like “this comes off as really smart–Oh! look how carefully she read that passage–I never noticed/thought that before–I don’t agree, but damn that’s a strong argument” then you get an A. I will offer some formal kind of rubric later.

If we have to include a reference to every reading, do they all have to be quoatations, or can they be brief references to something a particular reading had?
Don’t quote unless you need to. There’s a time for close reading and a time that you can paraphrase (which still requires a page number, right?). Space is limited. When I am drafting a theoretical paper like this one, it is 50% quotes. Seriously. But by the time I’m done, it is maybe 10-15% direct quotation.

Is it too slim an idea to use all the readings to create my own metaphor for what rhetoric is and how it is used?
No! This sounds like an intriguing inventive strategy. I could see how you might analyze other metaphors, to tie them to key ideas/terms. But that analysis of other metaphors is a prelude to your own metaphor, which is grounded in other theorists/theories/ideas.

How tightly connected do you want the points and connections of readings to be? Obviously they have to connect somehow, but I’ve assumed you don’t want 8-10 pages of rambling… like how do you plan a paper like this and its connection points?
This is a *very* tricky question for me to answer. I tend to think of a paper as a map. I do this, because I think of argument in Aristotle’s terms of “commonplaces.” That is, if we are going to argue “who is the greatest quarterback of all time?”, then there are “places” that argument has to visit: Do wins matter? Superbowls? Quality of coach and system? Quality of other players? Then there is the question of stasis, which we’ll talk about on Tuesday after you’ve read the Carter. The brilliance and frustration of writing is charting an ingenious and engaging path through these questions. Citing the most famous positions (get, it, places!). Anticipating other people’s turns (more puns!). This will most assuredly start as aimless (too much!) rambling. That’s why we have a shared writing space and “quizzes.” But you need to craft it, tame it, hammer it, into a path.

How do I join a conversation that has been continuously discussed for millenia? Am I supposed to contribute something new to the table?
Kenneth Burke. Also, let me reiterate the goals of this project, and the first half of our course. I understand that what I am asking you to do is incredibly difficult. I am not insensitive to the difficulty. I’ll remind you that about 25 years ago, I was where you were now. I had not read anything other than novels and poems. And someone handed me Aristotle’s Poetics. And then Freud. And then Marx. And then Nietzsche. Derrida. Foucault. ETC. We all start somewhere. I assume this is your start. It won’t be pretty. I hope it is not your end. The goal of the paper is for you to have an opportunity to jump in and give it a go.

Can we use the OED when writing our paper? Not to define rhetoric but other terms, like logos, ethos, pathos, kairos, etc?
YEE-IKES. Tricky one. Here’s the thing–the OED definitions have gravitas and we know they trace their sources. But I hope I’ve demonstrated how fucking slippery these terms are. For instance, what would Aristotle make of this definition of ethos? What would Plato say? What if your whole paper was structured around interpreting how the ancient rhetors we have examined (P, A, G, I, C?) might respond to this OED definition of ethos?

Can rhetoric happen without ethos?
What does ethos mean? Whose ethos? Keep mapping it hot shot

Papers: Style

Do you have a preference in citation style?
I’m cool with MLA, APA, or Chicago. But honestly, as long as I can track your sources, I don’t really care. It is much more important that you use “I” in your paper so I can clearly differentiate where a source ends and where your thought begins. We’ll talk about this more later.

Canvas Quizzes

I’ve put a series of “quizzes” into Canvas.

Jim Corder, “Argument as Emergence, Rhetoric as Love”

My standard questions:

  • Group One: [sections 1-3]: What does Corder mean by the idea that we make narratives? Why do said narratives complicate traditional notions of argument and rhetoric?
  • Group Two: [sections 4-6]: How can we describe Rogerian method? Why is Corder skeptical that such a method can be useful to rhetoric?
  • Group Three: [section 6-7]: Looking at section 7, would your frame Corder as an optimist or pessimist? What do “we” have to learn (and who are the “we” of this section’s final paragraphs)?
  • Group Four: [Section 8]:What do we make of section 8? Why is this story here? What does it exemplify or reinforce?
  • Group Five: [Section 9]: What does it mean to be “perpetually opening and closing” (29)? How can such a position help us be better? How does it tie to the other advice offered in this section?

I have a thing for us to read.

I have a lecture.

For Next Class

After reading your questions, I want to change the homework for the weekend. I’d still like you to read Lanham’s “The Q Question.” I’d also like you to read the Carter piece on “Stasis and Kairos.” My plan for Tuesday is to go back and discuss the Sullivan piece on ethos and epideictic alongside Carter, and then to dig into the Lanham. The Lanham is long, and weird at first. But I think it gets more accessible as you go. He’s trying to trace two different rhetorical traditions–but he’s going to be walking through 20th century theorists you likely haven’t heard of. This gives you an opportunity! Which team would Plato play for? Aristotle? Gorgias? Callicles (and whose Callicles!).

I’ve decided that we are not going to read the Latour. I might lecture on Latour a bit next Thursday. But I re-read the Latour yesterday and I think it is both too dense and moves us away from our focus on ancient rhetoric. For next Thursday, I’m going to give you a choice. If you are interested in “sophistry,” in a relativistic ontology/epistemology (in postmodernism or feminism, then read the second chapter in the McComiskey–I’ll get a .pdf of that up soon).

Or read the Grassi, which is really one of my favorites (he talks about the roots of Renaissance Italian rhetoric, which picks up Cicero and is more “sophistic” than Platonic/Aristotelian). If you dig the Lanham, then go to Grassi. Isocrates and civic fans will like this one. If you are interested in team Civics, but Grassi is too much, then read the Barlow on Cicero.

For those who are really struggling and want some sense of grounding, read the Herrick. I teach Herrick in 201 as an introduction to the basic foundations of rhetoric(s). Herrick traces four different understandings/purposes of rhetoric. As with Lanham, you will be able to play the “who goes where?” game.

Regardless of who you read here–simply understand that the “trickiest” theorist to categorize is Aristotle. Do you see him as close to Plato? Or is he closer to Isocrates? And what are the questions I need to ask to start making these comparisons? What questions matter? HINT #1: I have given you a list of these questions. HINT #2 (especially for the folks who read Grassi): Which question matters to you?

If you are on team Plato, then read this. And fear not, one of my former graduate students (I chaired his MA) is a true disciple of Plato. My job is to teach you how to think, what constitutes a thought, not what to think.

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ENG 201 4.T: Crowdsourcing an Assignment Sheet

Today’s Plan:

  • Coding Check In
  • Crowd Sourcing an Assignment Sheet
  • For Next Class

Crowd Sourcing an Assignment Sheet

In today’s class, I would like you to collaborate and develop the assignment sheet for this project. Below you will find a link to a Google Document. The second page of the document contains a space called “Links, Notes, and Material(s).” As you work in teams of two in class today, I’d like you to put material in that space. In the last 15 minutes of class, we will review that material to flush out the assignment expectations.

So in ABO we’ve got:

  • Feasibility Reports
  • Formal Reports
  • Investigative Reports
  • Tables
  • Graphs

A few other resources:

Here is our collaborative workspace.

I want to look at the sample proposal on 439. Sample feasability report, 187-188. Sample formal report 202-218. Sample investigative report 291.

Another sample report.

For Next Class

Read and post on the Corder reading. Take a paragraph to try and explain the purpose of the article-what is Corder trying to get “us” (who?) to do differently? What does he see as a problem, how does he believe we can begin to fix that problem?

Here’s a second paragraph: what is something serious over which you have changed your mind? Why did you change your mind?

You should total your data. Use the spreadsheet I shared last class as a template. MAKE A COPY.

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ENG 229 4.T: How to… and Work List #3

Today’s Plan:

  • Work list #3
  • Watching Some Videos
  • For Next Class

Opening/Establishing Shot

Our next work list task is a bit different. Rather than shoot a new video this week, I want you to go ahead and revise one of your existing projects. I’m asking you to (re)consider the opening shot. Let’s talk a little bit about opening shots and what they hope to accomplish.

A reading.

Notice that the opening shot doesn’t always have to be a wide shot. Nor does it have to be a single shot–it can start wide and bring us in, or start close and bring us out. But at some point, it has to “situate” us, let us know where we stand, so to speak.

Let’s watch a video on wide shots.

I would like you to select either your How To video or our Intro video and reshoot / edit the opening sequence.

Watching the How To Videos

A note on technology. I got a few panicked emails regarding technology issues. Two things: first, don’t every panic about one of my courses. If something happens and your project isn’t finished, just email me and let me know. I am always happy to extend you an extra day or two. Second, this is especially the case in technology-driven classes. The computer just might eat your homework. Don’t worry about it.

On to watching some videos.

For Next Class

Okay, let’s try this. I’d like you to do Adobe Lesson 7 on your own. There’s a Canvas assignment.

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