English Composition 3: Composition, Rhetoric and Language Dr.

Jennifer Westbay Summer "C" 2010College Summer Institute Office: 101 Humanities Bldg. 22: TuTh 1:30-3:45. Office hours: by appointment, please Class meeting: 2319 Public Affairs Bldg. Mail cubby: 146 Humanities Bldg. Course web site: https://be.my.ucla.edu Instructor's e-mail: westbay@humnet.ucla.edu CLASSICAL RHETORIC AND CONTEMPORARY COMPOSITION: A FIRST-YEAR COURSE IN COLLEGE WRITING* COURSE DESCRIPTION: Rhetorical analysis and rhetorical strategies that you need for writing in college and the larger community. Rhetoric unifies reading and writing assignments and thereby helps you meet the course goal: to develop or refine a composing process that you can use for academic, professional and civic writing, from invention to arrangement to copyediting and stylistic polishing. TEXTBOOKS (all at UCLA Store): [Corbett and] Eberly. The Elements of Reasoning, 2nd edition Random House Websters Pocket Grammar, Usage, and Punctuation, 2nd edition Williams. The Basics of Style and Grace, 3rd edition ADDITIONAL READING: on course web site at an on-campus computer or via the proxy server OTHER MATERIALS: I suggest a 1-inch 3-ring binder or a 13-pocket heavy plastic envelope. CLASS ACTIVITIES: This course is a field guide to the university. Its a workshop, not a lecture with casual attendance or notes you can buy. You'll be engaged in individual writing, conversation with a reasoning partner, responsibility for peer-coaching in a small group, and large group activities. Your paper's genres will be assigned, but you are in charge of the choice of subject-matter. To fulfill course responsibilities, you will also need to conduct research. EVALUATION:. Grade descriptions will be distributed. Here are grade percentages for the English 3 course mark: Portfolio of 3 revised papers 75%
1. 2. 3. Encomium Proposal Rhetorical analysis

Daily participation tasks: e.g., all writing in by deadline, coaching groupmates 25% You must write all required drafts to pass this course. Moreover, you must pass with at least a "C" to satisfy the composition requirement. Nothing is graded until after Week 6, but we can discuss a draft's current quality whenever you like. Please make an office appointment. SPECIAL NEEDS: If you have a diagnosed disability that affects your academic performance, please tell me about your accommodations; alternatively, ask the Office for Students with Disabilities to inform me. ACADEMIC HONESTY: Work submitted in your name is to be your own work. Never submit work that is wholly or partly that of another person without paying your scholarly debt. Violators' names will be submitted to the Dean of Students for prosecution. (UCLA subscribes to the plagiarism site, TurnItIn.com.) Course briefings and activities should help you to define and avoid plagiarism and to acknowledge your sources in ways that university readers will expect and readily understand. * Thanks for diction to E.P.J. Corbett and Robert Connors, Classical Rhetoric for the Modern Student, and to
Sharon Crowley and Debra Hawhee, Ancient Rhetorics for Contemporary Students.

ASSUMPTIONS: Your section of EngComp 3 rests on several responsibilities: Writing assignments. Two kinds:
Formal multiple-draft papers are announced in class and on handout prompt bulletins. Shorter assignments are to practice invention routines such as freewriting, miniessays, notes of active reading and charts and other graphic organizers, as assigned. Shorter assignments are marked + or zero; missing, incomplete, or late assignments (including drafts) rate zero, too. More difficult assignments, including paper clean drafts, receive more credit (double +, usually). In September, I will give you a copy of my bookkeeping for your review.

Grading. Given our emphasis on revision, remember that there are no grades until you submit your
portfolio on the Friday of Week 6. You'll write drafts, get feedback, revise them, get optional further feedback, and only then turn in revisions to be graded.

Reading. Please complete all reading on deadline, and bring all relevant texts to class.
There's a powerful rhetoric to being and prepared for each class session. No reading material weighs very much and should fit neatly into backpack or book bag.

Feedback. Take advantage of feedback about your work:

Come to my office to discuss paper topics, and feel free to bring revised drafts to my office. Make appointments for one-to-one or small-group meetings with me. Seek out and use your appropriate composition tutoring units on campus, College Tutorials, Academic Advancement Program, Retention Center, or Athletic Department. Tutoring is not limited to (a) people in trouble, or (b) people who have completed a formal draft. In recent academic terms, the university has not paid for this free service. Its available to you nowuse it. Participate productively in peer-coaching groups. You'll coach your assigned partners both cordially and candidly, noting both the successes and the needs of each draft in your care. At-home written responses to peers' work are counted as daily informal assignments; that is, they do not receive letter grades, but they are essential to everybody's progress in this class. During class, you should summarize responses orally in group. At the end of Session C, all students will have the opportunity to evaluate their peer-coaches. Expect additional activities to help you review your own writing-in-process critically.

Promptness.
Arrive on time so that you can use all 125 minutes of each class session. Meet deadlines. But never miss class or conference because an assignment isn't ready. If you anticipate lateness, arrange for an extension ahead of time. If your formal draft is late, you must respond to your teammates' drafts at their convenience, but they may choose to ignore your draft with impunity. Late formal revisions are marked down one letter grade for each day late. Pay attention to this English Department policy in September when you submit your portfolio of three revisions. Although late informal assignments get teacher response, they are recorded as a zero. Don't be mistaken. There won't be a little + sign on late assignments. If you are late to class, are absent, or must leave early, you should turn in writing assignments as soon as you can. If you are unexpectedly absent, email me ASAP so that we can plan the way(s) you will make up missed work.

Enjoyment and satisfaction. There's nothing like sharpening your rhetorical understanding
and skill to make you feel self-confident and powerful.

EngComp 3 (22)

COURSE CALENDAR

Summer "C" 2010, Westbay

A course of study arrives at a syllabus, not determines it a priori. Hence we may need to revise our plans as we progress. Writing assignments will include invention activities, arrangement plans, and stylistic practice. In class, we may analyze assigned readings (be ready to discuss them), or we may instead take up analogous writing tasks and techniques. Use the following key: Read on the course web site. Read an assigned book. IML Find films/videos at Instructional Media Library, 270 Powell Library. Write on paper, using word processing or handwriting e Write private emails

Due Week 1 Day #1 Week 2 Tues 8/10

Assignments What is Rhetoric? What are Common Ground? Kairos? Analysis? The First Canon: Invention; Focus on Appeals, and Stases Eberly, The Elements of Reasoning, pp. xi-xiii and Chapter 12 ALWAYS BRING RELEVANT TEXTBOOKS TO EACH CLASS. ALWAYS BE READY TO WRITE AND SPEAK IN CLASS ABOUT YOUR READING ASSIGNMENTS. Two separate readings: Study Guides for The Elements of Reasoning, Chapter 1, Chapter 2 Respond to Exer. # 3 in Elements of Reasoning, pp. 47-48. (Photocopy and attach the example you analyzed. You may consider a college textbook public discourse.) HANDOUT: Analysis Stephenson, from The Big U PLEASE PRINT AND BRING TO CLASS ON THE DUE DATE ALL ASSIGNED WEB SITE READINGS. e Write and send an analysis: use the concept of common ground, concepts from readings in The Elements of Reasoning, and ideas from Trimbles Thinking Well to explain what happened between Fenrick and Klein (250275 wordsmay be an email message or a document attached to an email) , then Read and answer self-quiz (Use Random House Websters or other handbook to find answers.) e to me (or telephone or visit, or see a tutor) to request individual help about quiz items. YOU ARE EXPECTED TO BE RESPONSIBLE FOR ALL ITEMS ON THE QUIZ AS YOU REVISE PAPERS. Williams, Style: The Basics of Clarity and Grace, pp. vii-ix and Lesson 2 Trimble, Thinking Well

Thurs 8/12

Definitions and Values Elements of Reasoning, Chapters 4, 6 King, "Letter from Birmingham Jail" Dwyer, A Man of Dignity Respond to "Nichomachean Ethics," Elements of Reasoning, pp. 109-10:
Complete #1, except that you should list claims of value and note criteria for each claim of value that you list. Write 250-275 words responding to #3 on p. 110. Then in a , reflect on connections between your in-class notes (for #2 on p. 109) with your current response to #3. , then Read and grade samples using our course standards. Explain each grade in one paragraph. In one last (fifth) paragraph, explain: How is this

assignment a review of criteria? How is it analysis? Duffin, Overview of the Academic Essay (Harvard) Tips for Appropriate Attribution to Sources (Westbay/UT Austin) Trimble, Readability

Week 3 Tues 8/17

Conjecture and Causation

Elements of Reasoning, Chapters 2, 5 REMEMBER TO BE READY TO WRITE AND SPEAK IN CLASS ABOUT YOUR READING ASSIGNMENTS. Marvell, To His Coy Mistress

e or Clean draft Paper #1: Encomium -- in copies for coaches,

with copy to me; drafts should be complete and copyedited

Thur 8/19

Procedure and Proposals Elements of Reasoning, Chapter 7

Response to partners encomium drafts (read each draft in your care without a pencil; then reread, making detailed remarks; end by signing your name or initials and by listing the 3-4 key remarks that the author needs to hear from you nowthese remarks make the agenda for your groups oral discussion) FROM NOW ON, BE SURE TO BRING TO EACH CLASS AT LEAST ONE COPY OF EACH PAPERS CURRENT DRAFT (on paper or on a laptop).

Week 4 Tues 8/24

Rhetoric Meets the Road: Fallacies and Diversions of Reasoning Elements of Reasoning, Chapter 8 Shulman, "Love is a Fallacy"

e or Clean draft Paper #2: Proposal -- in copies for coaches, with

copy to me; drafts should be complete and copyedited

Thur 8/26

The Second Canon: ArrangementSelection and Structure Crowley & Hawhee, "Arrangement," from Ancient Rhetorics for
Contemporary Students Root, "This Is What the Spaces Say," about structure and format -- also at http://www.chsbs.cmich.edu/Robert_Root/Background/Spaces.htm Williams, Style, Lessons 1, 5 Response to partners proposal drafts (see Wed 8/20 for instructions) , then Study Guide for the Second CanonArrangement. Study the guide, and choose two assignments listed below the guide.

Week 5 Tues 8/31

The Third Canon: StyleAction, Character, Conciseness Williams, Style, Lessons 3-4, 7

Corbett & Connors, Figures of Speech (excerptsfocus on schemes) Kennedys Inaugural address (N.B.: schemes and tropes) New Yorker coverage, and Corbett & Connors analysis
Fallacies collection: Write 250-275 words with 10+ material fallacies or. diversions of reasoning. Please label each fallacyany format you like.

Thur 9/2

VIDEO: A River Runs Through It (first segment); Revising Prose Shaping Rhetoric: Emphasis, Elegance, and Subordination Williams, Style, Lesson 6, 9, 10

Random House Websters about subordinating techniques: pp. 64-66, 72-75,

82-83, 87

Week 6 Tues 9/7

VIDEO: Crash (first hour) Discourse Analysis

IML (or your favorite video provider) Finish Crash. Address to Diana Secor, ". . . Rhetorical Theory: . . . on the Earl of Spencer's 'Address to Diana' " (Please read as excerpted.) Compare Secors outline with that of Corbett & Connors outline of their analysis of JFKs oratory (either way, write a page). Emphasis and subordination discourse: Write a fiction or nonfiction using subordination techniques and emphasis techniques from Corbett and Connors Schemes (assigned on 8/31), Style (9/2), and Random House Websters (9/2), and todays reading (250 wordsdefault subjects if you need them).

Thur 9/9

Valedictories and Final Feedback

e or Clean draft Paper #3: Rhetorical Analysis -- in copies for

coaches, with copy to me, drafts should be complete, coherent, copyedited, and stylistically enterprising IN-CLASS responses to partners rhetorical analysis drafts

Fri 9/10

The Canon of Delivery, written approachat last Course portfolio to be evaluated, due on TurnItIn at or
before 7:00 p.m. All revisions should be complete, coherent, stylistically enterprising and scrupulously copyedited. (Ask for an extended deadline if you need it; specify your new personal due date and time.) e Peer memo due by 7:00 p.m.do not forget to label the memo in your emails subject line. If you need to correct my bookkeeping, place paperwork in 146 Humanities mailbox by 4:30 p.m. todayno extensions.

ENGLISH COMPOSITION 3 GRADING STANDARDS FOR REVISED WORK

A: SUPERIOR Work which uses an assignment as the occasion for a piece of writing compelling enough to engage readers on its own terms. It presents an individual insight or viewpoint with enough fullness and cogency to command readers' respect, if not their assent. It complements its fresh thought by creating a distinctive style through aptly chosen diction and through sentences both grammatically accurate and rhetorically sophisticated. A model of kairos. B: GOOD Work which meets all an assignment's expectations with clear competence. Usually lacking A work's fresh thought or approach or its compelling development, B work nevertheless demonstrates its author's ability to respond intelligently to an assignment's demands, to structure and focus writing clearly, to select significant details and examples and to organize them cohesively into paragraphs, to choose words accurately, and to revise sentences for conciseness and emphasis. Good control, especially of logos and ethos. C: FAIR Work which is entirely adequate but not more. C work meets the assignment's specifications, has a serviceable structure built of conventionally developed paragraphs, and provides enough elaboration with appropriate variety of invention: that is, sufficient examples or analysis to make its intent understandable. Its sentences are almost always grammatically correct and reasonably varied, its paragraphs usually coherent. Nevertheless, C work lacks the sharp focus, the full and purposeful development, or the stylistic awareness necessary for a higher grade. D: POOR Work which is clearly inadequate in at least one way. Although D work may demonstrate some competence, its strengths will be outweighed by one or two pervasive weaknesses: failure to engage meaningfully an important aspect of the writing task or to maintain a focus; skimpy development or illogical arrangement; significant errors in grammar or persistent lack of subordination; repeated distracting errors in mechanics or in idiom. Severely compromised logos or ethos or both. F: FAILING Work which fails to respond acceptably to an assignment. F work may misunderstand or disregard the assignment's intent, lack any discernible pattern of arrangement, or allow enough errors in standard English sentence structure to make it difficult for a reader to follow the author's thought. F should not be understood as a penalty grade for unsubmitted or uncompleted work; it is the appropriate evaluation for any work that fails to meet an assignment's demands or to meet the minimum standards of university discourse.
(UCLA Writing Programs; revised JW 6/10)