Windmills & Giants

Check this out:  Slate.com's editors have annotated Barack Obama's acceptance speech from the Democratic National Convention.

Now, they focus more on allusions and nods to previous speeches and events than the actual rhetoric, but it is an interesting read.

Major bonus for anyone who chooses to annotate all or part of the speech.  We'll look at McCain's speech from the GOP Convention after September 4th.

This is a test of a new blog post publisher I'm trying.  If it looks weird, I'll go back to the old one.

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An article on oration from The New Republic.

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at Barnes and Noble on 41st if you don't already have a copy.  We will begin discussing the book tomorrow.

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We will be presenting articles and analyses tomorrow.  Check the previous post for links to the articles that we discussed on Tuesday, then search for a new one that will continue our discussion.

Comment below or send me an email if you have any questions.

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"America's Worst Cities to be a Sport's Fan" from Forbes

"The Death of Wikipedia" from RoughType

"Advertisements: Manipulation of Innocent People" from General Information

"Hipster: The End of Western Civilization" from Adbusters

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Yesterday, we chose to read and discuss Don Delillo's White Noise.  Unfortunately, because it is an amazing book and the world is against us, there is a shortage of copies in Tulsa.  For your convenience, here are the number of books and their locations around the city:
Border's 81st: 6
Border's Midtown: 3
B&N 41st: 1
Steve's Sundry: 0
Gardner's Used Books: 0
Waldenbooks in Promenade: 0

Grab a copy if you have a chance.  I've ordered five more copies from B&N at 41st, but they will take around a week to come in.  I'll let you know when they arrive.

We will begin this unit with shorter works that are thematically related to White Noise. The first of these will be "Raj, Bohemian" by Hari Kunzru (originally published in The New Yorker), a short story about modern identity and consumer culture.  As we dive in, feel free to bring to class anything you feel will supplement our discussions.

Remember, article analyses are due every Tuesday and Thursday.

Enjoy your weekend.  Go outside!  Read near an open window if it's raining!

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What I need from you, dear blog readers: If you are reading this, I assume you check the blog often enough. I need you to bug the others to get on here. This is the front-line source for articles online. The heart of my discussion material.

What I need from everyone: Topics! Ideas! If you are into something, I want to hear about it. We are creating a class on the art of persuasion, so there is nothing that we cannot discuss. But we must discuss often. We must post often. We must write often. We must read often. In this, and in all things, we shall prevail! [Diction, anyone?]

Oh, sorry for the extra-long post, but here are the notes from today's class:

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This course is founded upon learning and applying rhetoric in your academic and everyday lives. To this end, you will bring in two articles/essays/works of art/books/etc. each week (every Tuesday and Thursday, even if I forget to remind you), with a synopsis and an analysis of the argument presented for each. They do not need to be typed, but each must contain the following:

1.   Your name and date at the top. (This is logistical; I cannot give you credit if I do not know it is yours.)
2.   MLA citation of the work. (You will most likely be using the citation guidelines under the “Article in a Web Magazine” or “Page on a Website” headings.
3.   Author, name of article/work, and name of periodical (if you pulled it from a magazine or journal) in the first paragraph.
4.   Short (single sentence) explanation of which rhetorical devices the author uses and whether the work is persuasive.
5.   One paragraph outlining (with examples) how the author uses these rhetorical devices.
6.   One paragraph explaining why the article is or is not persuasive.

This may seem like a lot to do, but once you start writing them it becomes second nature. We will discuss these articles in class, so pick articles that argue a point (this is important; many newspaper articles merely report on a topic, so check the Opinion or Editorial pages for arguments) and come prepared to discuss. If you have trouble finding something to bring to class, or if you forget about it until the last minute, check out the RSS feed on the left of this page. I have set this up to deliver articles that I think are worth reading. Snag one, write an analysis, and enjoy class knowing you came prepared. It’s a good thing.

Example

Here's a quick example of an average article analysis of this article from last year.  Note that the student dissects the argument without identifying the rhetorical devices used.  This is appropriate as you begin writing your analyses, but take chances and implement the vocabulary you learn in class.

Parker, Kathleen. “The Perils of Pandering.” Tulsa World. 17 Jan. 2008: A19.

“The Perils of Pandering,” the title of Kathleen Parker’s latest opinion article, details the paradoxes and labyrinthine mix of intentions involved in the Democratic front-runners’ candidacies, specifically those of Hillary Clinton and Barack Obama. Parker explores the argument of “it shouldn’t be about race or gender but it is” by referencing the candidates’ own words and actions to display their contradictions. For example, Parker quotes Clinton’s insistence that she is “not asking you to vote for [her] because [she is] a woman,” while following up with Clinton’s cry to “shatter that highest glass ceiling” at Wellesley College. The juxtaposition of the paragraphs emphasize Parker’s point; that the candidates don’t know whether to play their minority cards.

Another interesting topic is brought up in the article: the idea that a victory for one candidate is a defeat for the other’s minority group. “The battle for race and gender has become a fight between race and gender,” Parker states. “If a Clinton victory is viewed as a victory for all women, then her defeat can only be viewed as a defeat for all women.”

Parker’s argument is convincing; it’s hard to disagree when the quotations are from the candidates themselves. Her bias is mild compared to other articles she has penned—she acknowledges the party’s “noble intent” as she bemoans the identity politics. Her audience is not a narrow one; she can appeal to Republicans and Democrats alike. All in all, it’s a very effective piece.

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Welcome back to our T-DIDLS series. We are covering TONE as we move along, and have covered DICTION here and here and here. Go back if you are uncertain about diction, connotation, denotation, jargon, or colloquialisms.

Imagery and detail. If diction is the part of a writer's VOICE that packs meaning into individual words, Imagery and detail are the two parts that keep a reader interested, and "paint the picture" of whatever is being described. Actually, as imagery is the representation of any sensory experience in words, it also "sings the sounds," "invigorates the touch," "supplements the taste," and "supplies the scent" of any scene or experience. Let's look at this sentence from Bram Stoker's Dracula:

The windows were curtainless, and the yellow moonlight, flooding in through the diamond panes, enabled one to see even colours, whilst it softened the wealth of dust which lay over all and disguised in some measure the ravages of time and moth.

This section contains some striking visual imagery, but the other senses are possibly heightened by the imagination. What does the room smell like? Are the surfaces rough or smooth? If you tasted something in the room… Okay, maybe that one doesn't work. Taste is tough.

Detail can be a more slippery term, but coupled with DICTION, it is a vital aspect of IMAGERY. Think of the words on a page as a camera lens, and the writer as a cinematographer. By bringing certain aspects of a scene into focus (the curtains, the dust in the previous example), the author/cameraman can leave the rest of a scene out of focus, trusting us to fill in the blanks (again, what does the room smell like? Ask a bunch of people what they think and I bet you will all have similar answers.)

From Alberto Alvaro Rios's story, "The Iguana Killer":

An old man, Don Tomasito, the baker, played the tuba. When he blew into the huge mouthpiece, his face would turn purple and his thousand wrinkles would disappear as his skin filled out.

Just like in a movie scene, the first sentence sets the mise-en-scene, while the second takes the reader/viewer into a close-up of the tuba player's head and neck. [Quick review: what does the author's choice of the word "filled" add to the whole scene and the detail of the neck expansion in particular?] If we changed the second sentence to something like When he blew the tuba, his face turned purple and his cheeks puffed out, how is the tone and your feeling about the baker change?

Tying it all together: Just as we examined metaphor and simile in light of CONNOTATION and DENOTATION, IMAGERY adds to these devices as well. Check out this example from H.G. Wells's War of the Worlds:

Yet across the gulf of space, minds that are to our minds as ours are to those of the beasts that perish, intellects vast and cool and unsympathetic, regarded this earth with envious eyes, and slowly and surely drew their plans against us.

Recognize the device from ACT or SAT prep? This is a wild analogy (one in its natural habitat, not one used by Johnny Carson) that could be set up this way: Martian minds : Human minds :: Human minds : Animal minds. How does the focus on the Martian's minds add to the overall creepiness factor of this passage? [Rhetorical side note: If this were a persuasive piece (and someone could certainly make that argument), which of the big three would this analogy fall under? Think about how this passage affects you as a reader hint hint. Click here for the answer.

To sum up:

• Details are facts or observations, and are used to highlight certain aspects of a situation being written about. Much like a camera lens focused on a specific aspect of a scene.
• Imagery in written works is used to bring the reader into the writing through sensory connection. If there is a written description of a visual, tactile, olfactory, gustatory, or auditory experience in a piece, it is an image.
• Imagery is vital to many metaphors (Wells’s choice of “vast and cool” to describe Martian minds above is a metaphorical image representing metaphorical tactile experiences).
• Analogies are fun.

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We worked through Michael Lewis's "Cross-Buying" in class today.  I hope you now have a better understanding of how to go about annotating a text.  If you are still unsure of where to begin, here's a quick set of guidelines:

1.   Make sure you have a working knowledge of the devices we have discussed in class so far.  These include:
Diction
Imagery
Detail
Audience
Speaker
Tone
Any other devices with which you are familiar
2.   Skim the piece once to get a general idea of the argument.  If you want to begin marking up your page at this point, go ahead, but the first pass should simply give you perspective on the work.
3.   Begin reading the work more closely, looking for words or phrases that stand out (because they are unusual, interesting, or unfamiliar), devices that you recognize, and any counter-arguments presented.  Each time you come across something worth marking, ask yourself "Why has the author included this?  What does it do for the work?  How does it help/hurt the argument?"
4.   Look for the thesis.  This is rarely at the end of the first paragraph in published works, and not always a single sentence.  The thesis should cover the scope of the argument.  For example, in "Cross-Buying," the author states that his "fondness for buying women's clothing is nothing more than a fondness for—and a curiosity about—women themselves."  It is important to understand what the author is arguing before you begin writing about the work.
5.   Finally, go over the work one more time, focusing on your annotations.  How do they fit with the thesis?  Does your interpretation of each support or contradict the author's thesis?  (If they contradict it, you may have misunderstood something.  Or the piece is poorly written/argued.  It's possible.)  Do you see any connections between the various devices?

That's it.  I like to use several colors to annotate a work (diff colors for vocab/interesting things, things I don't understand, questions I have, and reactions), but do whatever works for you.  The important thing is that your hands are busy.  It will take longer to read a work at first, but this will eventually become second nature to you.  Pretty soon you won't be able to read without a pen in your hand.  You'll be better for it, I promise.

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Click below for image from class.

I blacked-out some of the article for copyright purposes (we are using this for our classroom, so it falls under fair use, but I cannot publish a full copy).

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We are annotating Michael Lewis's "Cross-Buying" over the weekend.  As you read over the article, pay attention to any parts you find interesting, while concentrating on the author's voice (T-DIDLS).  When you come across an interesting word or phrase, ask yourself what it does for the author's argument.  Here are a few questions to get you started:

• In the first paragraph, Lewis makes several seemingly contradictory statements. Identify these. Why does he use this juxtaposition, and what assumptions does he want to dispel? What further questions does this raise?
• What descriptors is Lewis using for each gender? What are the general connotations, and what can you infer about his use of stereotypes?
• In paragraph three, we have "low, juvenile instincts," "exploding word bombs," and "people diving for cover." What gender is the preceding, unidentified "anyone"? How do you surmise this?
• How does the author's use of parenthetical and dashed asides contribute to the overall tone of the piece?
• There is a shift in syntax and imagery from paragraph four to paragraph five. it hinges on the author's use of asyndeton. How does this further his argument?

You don't need to write out the answers to these questions; they are merely here to help you get started. We'll discuss these and more in class on Monday.  If you want to record your thoughts, I suggest using your journal.

From the vault

Over the next few days I'll be resurrecting some old posts from last year to supplement our lectures.

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[Lame.  I posted the wrong old one before.]

Okay, not really. Connotation and denotation. These are important not only because they are vital to metaphors, metonymy, and such, but because they are fairly simple terms and can make a world of difference in an essay.

The DENOTATION of a word is the literal dictionary definition of a word. (Quick mnemonic: denotation and definition both begin with "de." Add "dictionary" to the mix and they all start with "d." Big D little d what begins with d? Dr Seuss, anyone? No? Moving on…)

Anyway, the CONNOTATION of a word is the meaning implied or suggested by the word and its CONtext (the words that surround it). That's it. The difficulty comes when we must learn to recognize these terms in their various incarnations. But don't worry, I have examples!

The name of the rock band Rage Against the Machine plays on the word "machine." In this case, "machine" can mean numerous things, but I'll take a stab at it: "the Man," "the government," "major corporations," "major industries." . . . Well, I think I hit all of those when I said "the man." This is an example of METONYMY, where something associated with another thing is used to name the first.  It's easier to imagine a METaphor (another mnemonic) for a piece of something.

Following the previous example, Fiona Apple's latest (to my knowledge) album, Extraordinary Machine contains the same word (machine), but in this case she uses it proudly to name herself. One could say in an essay, "While it may seem odd that Apple describes herself as a 'machine,' within the album the word connotes a sense of power and resilience. She gets knocked down, but as the metaphor implies, she keeps moving forward with 'extraordinary' mechanistic ability."

"Zoot Suit Riot" is a famous swing song by the Cherry Poppin' Daddies. Gesundheit. The title refers to battles between the "Zoot Suiters" and sailors in California during WWII. As with "machine" earlier, while the word's denotation points to an article of clothing, the connotation and context (clothes can't riot. At least not when you're in the room…) refer to the people wearing them. Aww… sneaky metonymy.

Enough of the music examples. Here is one from literature:

Art is the antidote that can call us back from the edge of numbness, restoring the ability to feel for another.

—Barbara Kingsolver, High Tide in Tuscon

Now. Why does she choose the word "antidote"? The denotation of this word elicits medicine—a cure. This is emphasized by her use of "restoring" later in the sentence. I now know that she wants to convey the idea that our "ability to feel for one another" is sick (it is not as it should be), and that art can help that. By drawing out the metaphor of a sick ability to feel, she piles her reader with meaning. Our thoughts go back through experiences with medicine, with connections to the sick, and with art and its palliative power. All by choosing her words carefully.

Take a look at The Decemberists song "The Infanta" from their album Picaresque. The artists use words that may be unfamiliar to the listener, words like "palanquin," "standards" (meaning flags denoting position and duty), and "phalanx." How does this help the "feel" of the piece? Again, we find DICTION and TONE inextricably combined.

Stay tuned for the next part in this series: "The Wizard of ID or, Imagery and Detail in Your Everyday Write."
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As a quick review of today's discussion, here are the main points we covered:

• T-DIDLS sounds funny
• Diction is the author’s choice of words; an author can make a short piece more meaningful than a long one just by choosing cool/more specific words.
• Denotation is the dictionary definition of a word; it is the word’s literal meaning.
• Connotation is what the context says about the word; it is what the word implies.
• Slang, colloquial language, and jargon are used in a persuasive setting to connect with an audience.  Using them can be risky, though; an author will secure a bond with his or her audience as often as he or she severs it.
• Slang words are words used in everyday conversation, never in academic or formal writing. They add flava to our speech, but send the wrong message when used improperly. (Did I get away with “flava”? I can use that, right?  Proper/improper?)
• Colloquialisms are tied to a geographical location. It is often easy to tell where someone lives (even if they don’t have a noticeable accent) by the phrases and words they use.  They make up the grey areas between different dialects of the same language.
• Jargon makes sense only if you are part of the group to which the piece is written. Unless you bone up on the topic. Then you’re kind of part of the group. So, it only makes sense if you are part of the group to which the piece is written.

While it turns out that Richard Nixon's "surfer" flub was not actually recorded, I thought I'd share the other video I mentioned.  Here, Jay-Z is asked about an obscure song he wrote in 2006.  Mayor Bloomberg steps in, quoting the title.  While this has little to do with "diction," it does run parallel to the fact that if you seem to have little in common with your audience, a nod to their culture goes a long way.  This is precisely how jargon or colloquialisms (sometimes slang) can be a bridge between you and your audience.  This falls under the ETHOS category, but we'll talk more about that soon.

Remember to bring an article to class tomorrow for discussion.

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NPR story about a Kansas man earning money for his political campaign using an online comic rife with "geek" references.  Link to the comic on the left of the article.

What does this mean?  Sure, he's raised the money, but the article notes that "about 90  percent of his donations came from out-of-state contributors through PayPal."  Those donations do not translate into votes.  What do you think of the comic?

This is really cool.  Images of citizens posted around the community.  Better than billboards?  Probably.  But what's the point? via NPR

More technology and urban planning.  Text to vote for new business. Gothamist Story

From PopRally, "a program of events at The Museum of Modern Art and P.S.1 Contemporary Art Center," comes an exhibition of political works of art from the JustSeeds Visual Resistance Artists' Co-op.    [If you find something cool, post a direct link in the comments.  I haven't been able to look through all of the works.  Although this one from the front page is fantastic.  How does the background image affect the message? What about the color and quality of the background image?] Original story via Gothamist Story.

Slate article on one group's protest of the movie Tropic Thunder.

Again from Slate, this time a video analysis of the McCain/Obama commercials.  [Anyone know what the title of the article is alluding to?  Why would they call it that?]

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If you were confused by the RSS feed talk today, check out this older post.  I have listed sites that I enjoy, as well as a video about setting up an RSS feed yourself.

I'd add Treehugger and Popmatters to the list.

Remember, comment below, telling me who you are (if it isn't obvious from your name), which web sites you like to visit and anything else you care to share, like good music!  If you don't have a site to share, click on a link that has been posted, have a look around, and report back.

Buy journals soon.  We'll begin discussing T-DIDLS in class tomorrow.

Amazing first day!  Thanks, guys.

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I came across Bad Idea magazine in Barnes & Noble the other day while looking for the latest printing of The Believer (music issue with CD!).  These things happen, mags are potato chips, etc....

This feature from Bad Idea's website illustrates the editing process undertaken before an article is printed.  Check out the deletions from first and fourth paragraphs: It is a very short piece, but strong because the editor removes the initial pathos-laden information, allowing the reader to ease into the story and the rising action. The details of Marko's life are only hinted at in the beginning, as the author mentions he "fled to Belgrade," "had run out of money," and now "packs as adroitly as a refugee."  These small details pique the reader's curiosity but do not deliver enough information to satisfy.

The climax ("'For me, I felt happy about 9/11'") and the surrounding buildup is left mostly intact, with one important exception: the editor's command of "Show, don't tell." If there is only one mantra you remember in your studies as a creative writer, make it this one. These asides and clarifications have the effect of pulling the reader from actively imagining and engaging with the scene to passively accepting information. In this case, it's as if the author is presenting a good movie, but pausing every so often to talk about what is going on.

All writing is about communication; creative writing (even creative nonfiction) is about communicating an experience.  If your reader feels what you feel, sees what you see, then you've done your job as a writer.  If your reader senses your presence in the experience, you have "broken the fourth wall" (to borrow a phrase from theatre) and the connection is lost. As soon as you speak to your reader instead of about the story, you have taken away his or her chance to actively reflect (which is the very thing that makes reading fun and engaging).  This is the challenge for all you creative writers: tell your story, let the audience make of it what they will.

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[It's still funny.]

If you need to get in contact with me, please shoot an email, or come by my room before school. I’m here at 7:00 every day.

If you need to know what we did in class, check this blog.

The primary focus of this course will be the active study and evaluation of rhetorical devices in several canonical works: Immanuel Kant’s Critique of Practical Reason—Begin this as soon as possible; his discourse on ethics (particularly the categorical imperative) can seem daunting at first, but his point will be clear after a hundred pages or so. This is an excellent exercise for understanding proper logical arguments. In addition to Kant, we will deconstruct Plato’s The Republic and Crito with the goal of tracing the various rhetorical devices to an early source. For reference, our four textbooks will be George Kennedy's Classical Rhetoric and its Christian and Secular Tradition from Ancient to Modern Times, Thomas O. Sloane’s Encyclopedia of Rhetoric (Oxford University Press, 2001), Heinrich Lausberg’s Handbook of Literary Rhetoric: A Foundation for Literary Study (2nd ed. 1973), and Winifred Bryan Horner’s The Present State of Scholarship in Historical and Contemporary Rhetoric (University of Missouri Press, 1983).

For universities around the country, the Advanced Placement exam results have become one of the most important signs of an excellent student.



Okay, okay, not really. Relax. There will be no Kant in my classroom. Anyone caught with Kant on his or her person will be sternly glared at—perhaps with some head-shaking and mumbling about the current state of high schoolers. In reality, this class is about arguments: good ones, bad ones, and why one is one and the other the other. (Many rhetorical sources say that repetition not only makes a statement more memorable, but it gives it a good rhythm, a certain momentum. Did it work? Eh? More on this later.) Oh, and I swiped that fake book list from Wikipedia; more later (we have all year…) on why this was doubly terrible. We don’t even have a textbook.

We all argue. Whether we argue that London Calling was the greatest punk album ever, or that a socialized medical system in the US is a good idea, we are making a statement, presenting evidence, and answering any appropriate counterargument. This course will build on this daily habit while providing us all with a neat vocabulary of words like “litote” (Rhymes with “My goatee.” E.g.: “That kid’s no Einstein”) and “syllogism” (Classic example: All men are mortal. Aristotle was a man. Therefore, Aristotle was mortal). We will discuss this further as we begin our readings (later).

This is not a literature course, but we will be reading constantly. When I say “reading” I mean reading short essays, articles, journals, magazines, television, music, poetry, cartoons, advertisements, speeches, movies, and plays. Well, “reading” is not the right verb for most of those, so feel free to fill in your own as you see fit. I use “consume,” though it holds a connotation of throwing away after use. I try to ignore that.

This course differs from other English classes in that we are concerned with the structure of argument (how an argument is presented, persuasiveness, etc.), instead of literary value. Take Mary Shelley’s Frankenstein as a quick example: Instead of discussing possible motivations for Viktor’s desire to create life, or the symbolism behind the Gothic weather, we delve into what Shelley could be arguing regarding possible repercussions of the industrial revolution. This used to be called Rhetoric. It was deemed vital for centuries, but it has waned in popularity since the sixties. It is only within the last few years that the College Board has decided that the AP English Lang and AP English Lit classes should not be the same thing.

If nothing else, by the end of this course you will never look at a commercial the same way again; I promise you will be better for it.

A Quick Note About “School”:

school(1) “place of instruction,” O.E. scol. from L. schola, from Gk. skhole “school, lecture, discussion,” also “leisure, spare time,” originally “a holding back, a keeping clear, [?!] ” from skhein “to get” + -ole by analogy with bole "a throw," stole “outfit,” etc. The original notion is “leisure,” which passed to “otiose discussion,” then “place for such.”

[First assignment, look up “otiose” and think of a class that fits this description.]

This, unfortunately, seems to be the state of affairs in most classrooms. But, this is not how we do things at TSAS. I recognize that I do not hold all the knowledge in my classroom (see “holding back”). We are going through this learning process together. While I will lecture at times, the dominant mode of learning in my classroom is discussion. We are not only learning about how to analyze arguments and persuasions; we are learning how to put this knowledge into practice through discussion and debate.

The following are my expectations for myself in teaching this class:

· As a teacher, I promise to never “hold” information as if it were something to pass out when you are ready. This is a good trick for teachers working from a textbook’s Teacher’s Edition, but as I said before, we have no textbook. Houghton Mifflin does not plan our activities (though we might be more organized if they did); we do.

· As a teacher, I understand that you (my students) will have insights and ideas that may be different from mine. This is a good thing.

· As a teacher, I will give you access to all of the resources at my disposal. This includes my own learning, books, websites, cool articles, movies, music, answer keys, examples from previous years, and anything else I come across.

· As a teacher, I will push you to work harder than you think possible. I do this to show you what you are capable of if given the chance and motivation.

· As a teacher, I will not “hold back” when grading your written work or when discussing issues in class. To do so would be patronizing and not conducive to learning.

We will discuss your expectations of one another on the first day of class.

Section One: Lost in Translation (but with a better ending)

We will begin with a discussion of the three basic rhetorical modes of argument:

· Ethos

· Logos

· Pathos

Section Two: T-DIDLS—Clever acronym, or Sean Combs’s next stage name?

Broken down:

· Tone

· Diction

· Imagery/Detail

· Language

· Syntax

Section Three: What we will do the rest of the time

You should bring in two articles/essays/works of art/books/etc. each week (every Tuesday and Thursday, even if I forget to remind you) with an analysis of the argument presented for each. We will work through several at the beginning, and I’ll bring examples. They do not need to be typed, but each must contain the following:

1. Your name and date at the top. (This is logistical; I cannot give you credit if I do not know it is yours.)

2. MLA citation of the work.

3. Author, name of article/work, and name of periodical (if you pulled it from a magazine or journal) in the first paragraph.

4. Short (single sentence) explanation of which rhetorical devices the author uses and whether the work is persuasive.

5. One paragraph outlining (with examples) how the author uses these rhetorical devices.

6. One paragraph explaining why the article is or is not persuasive.

This may seem like a lot to do, but once you start writing them it will become second nature. We will discuss these articles in class, so pick articles that argue a point (this is important; many newspaper articles merely report on a topic, so check the Opinion or Editorial pages for arguments) and come prepared to discuss. If you have trouble finding something to bring to class, check out this blog. I have set up an RSS feed for articles that I think are worth reading. Not all argue a point—some I just think are cool. Snag one, write an analysis, and enjoy class knowing you came prepared. It’s a good thing.

The other days will be devoted to pursuing whatever topic we deem fit for class-wide interest. We will cover the Civil Rights movement in the U.S., the impact of the media on society, the “green” movement, the presidential elections, drug problems (or perceived problems) in our society, philosophies, and any social problems we feel the urge to discuss. Note I’m using the first-person plural: Please come to me if you have an idea for a project or discussion.

By this time we will begin preparing for the AP test. I will introduce the analysis, synthesis, and argumentative essays, and the multiple choice sections. We will start out slowly, with partial sections each week, moving up to a full exam by the end of the year.

Consumables

We will choose our readings as the class progresses, (check the blog for updates) but here is a list of authors to get us started:

Autobiographers and Diarists

Maya Angelou, Augusten Burroughs, Judith Ortiz Cofer, Frederick Douglass, Helen Keller, Maxine Hong Kingston, Richard Rodriguez, David Sedaris, Richard Wright

Biographers and History Writers

Arthur M. Schlesinger, Barbara Tuchman

Critics

Gloria Anzaldua, Henry Louis Gates, Jr., Joyce Carol Oates, Cornel West

Essayists and Fiction Writers

Margaret Atwood, James Baldwin, Joan Didion, Paul Fussell, Edward Hoagland, Zora Neale Hurston, Jamaica Kincaid, Nancy Mairs, N. Scott Momaday, Montaigne, Tillie Olsen, George Orwell, Cynthia Ozick, Adrienne Rich, Scott Russell Sanders, Richard SeIzer, Shelby Steele, Henry David Thoreau, John Updike, Alice Walker, Eudora Welty, E. B. White, Terry Tempest Williams, Virginia Woolf

Political Writers

Thomas Jefferson, Martin Luther King, Jr., Jonathan Swift, Gore Vidal

Science and Nature Writers

Rachel Carson, Annie Dillard, Loren Eiseley, Stephen Jay Gould, Barry Lopez, Lewis Thomas

Musicians/Albums

Thrice/The Artist in the Ambulance, Gatsby’s American Dream/Gatsby’s American Dream, Ben Harper/Fight for Your Mind and Both Sides of the Gun, John Lennon & the Plastic Ono Band/The U.S. vs. John Lennon, Green Day/American Idiot, The Flaming Lips/At War With the Mystics, The Decemberists/All, Sly & the Family Stone/All, The Beatles/All after Help!, The Rolling Stones/All, The Clash/London Calling, Janis Ian/Between the Lines, Kaki King/Until We Felt Red, Damian Marley/Welcome to Jamrock, Bob Marley/Africa Unite, and, of course, Alanis Morisette/”Ironic.” That got out of hand. [Actually, I stole this list from last year. There are many more to cover, and we didn’t get to all of them. The best suggestions came from the students, do speak up!]

Films

Hotel Rwanda, Fahrenheit 451, Fast Food Nation, SiCKO, MaxedOut

Housekeeping

This could also be called “The Fine Print,” but it is important, so I’m keeping it readable. No Charlie and the Chocolate Factory surprise clauses here.

Plagiarism

If you plagiarize, you will fail. There will be no slapping of hands, no talks in the hall. I will certainly give any suspected plagiarist a chance to explain, but I do not see any reason for a student to represent another’s work as his or her own. “So,” you may be asking yourself, “what does he think plagiarism is, exactly?” I’m glad you asked.

Plagiarism is taking another’s ideas, words, images, term paper, etc. and putting your name on it without saying, “Hey, this section is by so-and-so.” Quoting from Shakespeare in a paper is not plagiarism as long as you include his name in a citation or works cited page. (We will discuss MLA formatting later in the year.) If you read someone else’s paper, website, book, or the like, and re-write or paraphrase the ideas without telling your reader where you got the idea, that is plagiarism. We will go over plagiarism in more detail later, but the gist of this section is: Do your own work. If you get information or ideas from another source, give due credit. Simple as that. If you have any questions or concerns that a part of your paper might be inadvertently plagiarized, ask me. No one is going to get in trouble for it before the paper is turned in. Again, ask and I will help.

Class Materials

This course is taught as if it were a college seminar, but we have more than two grades (this is a good thing; I promise). As a college course, there will be topics discussed that you may be uncomfortable with or language in the readings that you may not approve of. That being said, I ask that each of you keep an open mind. The pieces we read are chosen for a reason, and some of the language or topics may be controversial. If we don’t think the language is appropriate for a piece, we will discuss it. Everything is important. That being said, if you have a serious objection to anything being presented please do not hesitate to let me know. I will try to make the necessary changes to the assignment, or provide an alternative work for the class to read. The change will be subtle, and no one will be the wiser. If you prefer not to come to me in person (though I would appreciate that), just email me. No worries.

Late Work Policy

Late work should not be a problem, as you are considered college students during this class, and college students never turn anything in late. Well, maybe they do. If you realize that you will not be able to turn in an assignment on time, you must come see me at least one day before it is due. If you give me a good reason, I will be happy to give you an extension. If you come to me the day it is due, you had better have an excellent reason. I will probably not allow the extension, but you are welcome to try.

Return Policy

All unopened merchandise may be returned within 30 days of purchase with original receipt for a full refund. Broken, damaged, or otherwise altered merchandise will not be refunded. The purchase of software, books, music, clothing, or bread is considered final and products may not be returned.



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