AP LANGUAGE & COMPOSITION.
This is an AP Language and Composition course. [Translated] This means that you are striving to earn college credit while simultaneously fulfilling the high school English credit requirement. This course is designed to help you prepare for the AP Exam in May, to scaffold your rhetorical awareness and critical edge, and to prepare you for future academic endeavors. This is typically a foundational course for all students at the university level for a number of reasons. Firstly, it continues to provide an environment to develop and strengthen the language arts. Secondly, the pedagogical components of the course encourage and epitomize the values of higher education- critical thinking, inquiry, discussion, and expression. Thirdly, it is intended to scaffold life-long learning, informed citizenship, and scholarly habits. This year, we will be exploring a wide array of nonfiction texts, from essays to memoirs to subject-specific publications. In addition, we will work to develop and strengthen compositional skills through multiple and frequent writing activities, underscoring the importance of revision and feedback. We will focus on rhetorical analysis, textual synthesis, expository, and argumentative writing opportunities. While former English courses strengthened your skills primarily regarding works of fiction, this course really delves into the analysis of language, the ways writers/speakers use language, and the significant role rhetorical awareness holds within contemporary society. Below you'll find our course syllabus and the master overview of reading.
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AP LANG. STANDARDS.
QUICK OVERVIEW.
SUMMER READING ASSIGNMENT.
You are responsible for reading Malcom Gladwell's Outliers: A Story of Success. Below, you will find the handout regarding the accompanying assignment. If you have questions, please ask. Good luck, and see you in August!
AP Language Summer Reading Assignment | |
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REFERENCE RESOURCES.
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RHETORICAL DEVICES QUIZLET: https://quizlet.com/_54zzzb
GENERAL RESOURCES.
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MULTIPLE CHOICE RESOURCES.
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FREE RESPONSE RESOURCES.
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The AP Language and Composition Exam is comprised of two parts: (1) a Multiple Choice (MC) section and (2) a Free Response Question (FRQ) section. You will be given 60 minutes for the MC section. The MC section will have approximately 45 questions that account for 45% of your total score. You will be given 135 minutes (two hours and fifteen minutes) for FRQ section. The FRQ section is comprised of three essay prompts: (A) Rhetorical Analysis, (B) Argumentative, and (C) Synthesis. This will account for the other 55% of your total score. The essays are graded using a six-point scale (see handout in General Resources section). However, the entire exam is marked using a 5-Point scale. A 5 is the best score you can receive on the AP Exam. In order to gain transferrable course credit, you need to score a 4 or 5 on the exam. In order to gain transferrable elective credit, you need to score at least a 3 on the exam. If you score anything lower than a 3, you will not qualify for transferrable college credit. Though it is ultimately up to you to do well on the exam, I will go above and beyond to ensure that you feel prepared for the exam, by providing ample opportunities for practice. Also, keep in mind that if you receive at least a 60% in the course, you will receive high school credit for English regardless of the score on the AP examination. In regard to the 2021 exam, 66.7% of the class passed the exam with a 3 or better. The class average was a 3.71 on the exam (which surpassed the Indiana state average of 2.73 and the global average of 2.86). Good work young scholars!
BELOW: You can locate the AP level MC prep that we work on in class. The files below are only the ones out of the practice book that I purchased. These are different from the secure practice exams that don't leave the classroom. They are also different from the exercises on AP Classroom.
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BELOW: You can locate the AP level writing prompts that we work on in class. The files below are only the ones out of the practice book that I purchased. These are different from the secure practice exams that don't leave the classroom. They are also different from the exercises on AP Classroom.
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AN ANTHOLOGY OF VOICES.
Just for the record, I am not trying to teach you what to think. We are going to discuss controversial topics. You get to have an opinion. We are going to read things that even I don't necessarily totally agree with- but that is the point. I am trying to give you the resources that you need when determining how you want to think. In a nutshell, that is what this course entails- understanding the HOW and the WHY to determine an opinion of the WHAT. The HOW- How is the writer or speaker using language to convey a message? The WHY- Why does the writer or speaker take those approaches? The WHAT- What does this mean? Do I agree with the message or parts of the message? These foundational questions are essential as we rhetorically analyze the world of language around us. However, our understanding of the rhetorical situation is equally important. When did the writer or speaker produce the piece? What cultural factors play a role in our interpretation of the piece? What do we know about our writer or speaker? How might their perspectives/backgrounds/views impact the conveyance of the message? Below, you will find a visual montage of some of the writers and speakers and artists that we'll study this year. If you select an image of a writer/speaker below, it will take you to a page regarding the book, a link to an article, OR a video (actually- a lot are videos of interviews to give you an idea of who these writers truly are). Meet the voices.
UNIT 1. ARISTOTLE & SOAPSTONE
[BIG IDEA = RHETORICAL SITUATION] RHS.1 Individuals write within a particular situation and make strategic writing choices based on that situation. [Essential knowledge: 1.A The rhetorical situation of a text collectively refers to the exigence, purpose, audience, writer, context, and message. 1.B The exigence is the part of a rhetorical situation that inspires, stimulates, provokes, or prompts writers to create a text. 1.C The purpose of a text is what the writer hopes to accomplish with it. Writers may have more than one purpose in a text.] P.S. Remember: exigence is the issue or purpose for which something is written or spoken (in other words, the inspiration behind the rhetoric).
This first week provides you with a preliminary introduction to the course, emphasizing the foundational practices of close reading, critical thinking, and annotation. Through an analysis of a TED Talk, you will identify the meaning, purpose/argument, authorial style and voice of Will Stephen in his quest to give a speech about ‘nothing.’ To do this, you will implement the SOAPSTone method (it's very similar to HIPPO from APUSH). With this baseline, you will review Aristotle’s rhetorical triangle and rhetorical appeals and apply those appeals in a mini-presentation, persuasive style. Then, you will endeavor a practice AP Language & Composition exam to sample the kinds of questions that will be present and the level of rigor of the exam. This year, I will divide the course into nine overarching units. The units are intended to cover the Rhetorical Situation (RHS standards), Claims & Evidence (CLE standards), Reasoning and Organization (REO standards), and Style (STY standards).
As you watch the TED talk, I want you to identify the following components:
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REVIEW: RHETORICAL APPEALS.
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I know you probably already know this, so consider this a refresher. According to Aristotle, the art of rhetoric rested on three cornerstone appeals: (1) The Appeal to Ethos, within the territory of the writer/speaker, the credibility check point; (2) The Appeal to Logos, within the territory of the written or spoken message, the purpose checkpoint; and (3) The Appeal to Pathos, within the territory of the audience, the emotional compatibility checkpoint. All of these appeals work together within the persuasive component of rhetoric. If you believe what I am saying (because I am saying it), we have trust/reliability. If you believe the message of what I am saying, then we have validity. If it connects with you, then we have a potential for dialogue (a shared platform of thought and reasoning).
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RHETORICAL ANALYSIS & SUMMER.
We will begin the first full week of classes discussing Malcolm Gladwell’s Outliers: A Story of Success (the summer reading assignment) and further enhancing skills of identifying the primary and supporting arguments inherent in the text. Following the discussion of the summer text, we will move on to examine rhetorical strategies: narration, description, exposition, and argumentation through selected essays and visual displays of detournement/culture jamming. Utilizing both the SOAPSTone & RADCAB close reading strategies, you will synthesize information gathered and structure your thoughts using the rhetoric precis template to encourage concise, focused, and academic study of a given medium of expression. To introduce you to analyzing and correctly identifying the “how” of a work of nonfiction, we will start in familiar territory and work outwardly, seeking to notice patterns and rhetorical devices working with the language of a text.
ANALYSIS VERSUS SYNTHESIS.
First and foremost, let's make a quick distinction between analysis and synthesis. Analysis is when you study one text and deconstruct it. You break down the information into smaller pieces of significance. Synthesis is when you start with one idea (umbrella topic) and you gather all the pieces together and construct a position from all that you pull together and study.
Analysis = Deconstruction/Dissection Synthesis = Construction/Compilation |
GRAMMAR & LANGUAGE RESOURCES.
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ALL THOSE ARTICLES.
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BANKSY GRAFFITI ART. CULTURE JAMMING.
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TECHNOLOGY & STUFF.
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While I was visiting Amsterdam, there was a Banksy exhibit at the Moco Museum. It was really interesting (see above photos). However, for other, probably more iconic photos:
Click Here for Banksy Images on Google Disclaimer: Some of the photos on Google are more graphic than the images we'll analyze in class. Just FYI. |
"Proud To Be" by National Congress of American Indians:
https://www.youtube.com/watch?v=mR-tbOxlhvE "My Best Friend" by Ise Lyfe https://www.youtube.com/watch?v=tnVn1SjAs90&t=554s "That Power" by Childish Gambino (Spoken Word Part) https://www.youtube.com/watch?v=SgVH9vd06Xo "Segregation Now" https://www.propublica.org/article/segregation-now-the-resegregation-of-americas-schools#intro "Project 562" http://www.project562.com/about/ |
FORMAL RHETORICAL ANALYSIS.
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THE GLASS CASTLE & FIRST FIC.
Up to this point, it is most likely that literary analysis (and all the terminology and strategy that goes along with it) is drilled into your consciousness. A lot of people want to draw a dividing line between literary analysis and rhetorical analysis. In the same way, a lot of people want to draw a dividing line between fiction and nonfiction. However, what one will realize when reading a memoir or an autobiographical account is a hybrid existence between fiction and nonfiction. So, when analyzing this ‘real-life’ (nonfiction buzzword) 'narrative' (fiction buzzword), there is an overlap to the way one approaches and analyzes the text. So, I’ll ask you to springboard from a literary analysis approach to inform a rhetorical reading of the text.
Example: [Literary analysis (recognizing writer strategies & why they are utilized): Jeanette Walls employs first-person narration in her memoir since it is a personal and reflective story. Rhetorical analysis (exploring why & how the writer uses those strategies to persuade an audience/readership): The implementation of first-person narration exemplifies the twenty-first century characteristics of autonomy and individualism. The subjectivity of the narrator becomes a significant strategy as it gives Jeanette authorial empowerment in a childhood situation in which she lacked power. This writing strategy works to prove to (persuade) the audience that despite one’s situation, personal voice can be redeeming and empowering.]
Example: [Literary analysis (recognizing writer strategies & why they are utilized): Jeanette Walls employs first-person narration in her memoir since it is a personal and reflective story. Rhetorical analysis (exploring why & how the writer uses those strategies to persuade an audience/readership): The implementation of first-person narration exemplifies the twenty-first century characteristics of autonomy and individualism. The subjectivity of the narrator becomes a significant strategy as it gives Jeanette authorial empowerment in a childhood situation in which she lacked power. This writing strategy works to prove to (persuade) the audience that despite one’s situation, personal voice can be redeeming and empowering.]
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COMPONENTS OF A PROMPT.
Mkay. There are two components within every AP level rhetorical analysis prompt: (1) an abstract component and (2) a concrete component. The abstract component will tie directly to the purpose or message of the text. The concrete component will tie directly to the rhetorical choices, strategies, and devices utilized to convey the abstract component.
For RA prompts, you should start with a thesis statement.
[X]. However, [A], [B], and [C]. Therefore, [Y].
[X]= addresses potential counterclaim
[A], [B], & [C]= concrete components- aka rhetorical strategies
[Y]= addresses the abstract component of the prompt (purpose/message)
Each of the topic sentences in your advanced expository paragraphs should highlight and develop a selected rhetorical strategy. I urge you to write a WORKING THESIS STATEMENT BEFORE YOU BEGIN READING THE PROMPT. A major issue in essays is that while some people make really strong points, they some times forget to completely address all aspects of the prompt. If you write a working thesis statement, you could avoid that problem.
For RA prompts, you should start with a thesis statement.
[X]. However, [A], [B], and [C]. Therefore, [Y].
[X]= addresses potential counterclaim
[A], [B], & [C]= concrete components- aka rhetorical strategies
[Y]= addresses the abstract component of the prompt (purpose/message)
Each of the topic sentences in your advanced expository paragraphs should highlight and develop a selected rhetorical strategy. I urge you to write a WORKING THESIS STATEMENT BEFORE YOU BEGIN READING THE PROMPT. A major issue in essays is that while some people make really strong points, they some times forget to completely address all aspects of the prompt. If you write a working thesis statement, you could avoid that problem.
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COLLEGE APP. ESSAY
As you prepare for college applications, we will work on writing the personal essay or college application essay. Though this will be a short unit, it will be a good opportunity to review the components of a strong personal narrative. This unit will survey personal narrative excerpts from autobiographical memoirs. REMEMBER: The Lilly Endowment Scholarship is due on Friday, August 23rd (by 5PM). This should be your priority (email your teachers/recommenders for letters of recommendation ASAP). Then, continue to work on the Common Application and other Heritage Fund scholarships up to October 1st. I know these are time-consuming, but getting out of college with minimal debt is the end goal. You got this. Don't worry about competing with everyone else. Just be yourself in your essays.... and use correct syntax and such....
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UNIT 2. SELECTED ARTICLES.
[BIG IDEAS = RHETORICAL SITUATION & CLAIMS and EVIDENCE] RHS.1 Individuals write within a particular situation and make strategic writing choices based on that situation. CLE.1 Writers make claims about subjects, rely on evidence that supports the reasoning that justifies the claim, and often acknowledge or respond to other, possibly opposing, arguments. [Mastery of Skills: 1.B (Reading) Students will be able to explain how an argument demonstrates understanding of an audience's beliefs, values, or needs; 2.B (Writing) Students will be able to demonstrate an understanding of an audience's beliefs, values, or needs; 3.A (Reading) Students will be able to identify and explain claims and evidence within an argument; 4. A (Writing) Students will be able to develop a paragraph that includes a claim and evidence supporting the claim.] [Essential knowledge: RHS.1.F Writer's perceptions of an audience's values, beliefs, needs, and background guide the choices they make. RHS.1.G To achieve purpose, writers make choices in an attempt to relate to an intended audience's emotions and values. RHS.1.H Arguments seek to persuade or motivate action through appeals- the modes of persuasion; CLE.1.F Writers use evidence strategically and purposefully to illustrate, clarify, set a mood, exemplify, associate, or amplify a point; CLE.1.G Strategically selected evidence strengthens the validity and reasoning of the argument, relates to an audience's emotions and values, and increases a writer's credibility; CLE.1.H An effective argument contains sufficient evidence; evidence is sufficient when its quantity and quality provide apt support for the argument.]
The reading list: "Why We Care About Whales" and "Stability in Motion" by Marina Keegan; "The Happy Memories Club" by Lee Smith; "The Bachelorette Application" by Samantha Irby; "Why Don't We Complain" by William F. Buckley Jr.; "The Ways We Lie" by Stephanie Ericsson; "Sex, Drugs, Disasters, and the Extinction of Dinosaurs" by Stephen Jay Gould; "How Modern Life is Like a Zombie Onslaught" by Chuck Klosterman; "Shooting an Elephant" by George Orwell; "On Being a Cripple" by Nancy Mairs.
You can read all of the standards, mastery objectives, and skills that are listed above. Nevertheless, here is the condensed version: people write for a reason and use certain strategies to make their point (this is known as a rhetorical situation). Among the strategies implemented, writers (and speakers) will make claims and provide evidence (the logos of the argument). As we read these articles, we will look for the exigence, the writer's beliefs and perceptions, the claims they are making, and the evidence they are using to support the claims. We will explore the validity, reasoning, and general effect of the text. We will continue to practice SOAPSTone and the identification of rhetorical appeals. You will also be working on smaller writing activities.
You can read all of the standards, mastery objectives, and skills that are listed above. Nevertheless, here is the condensed version: people write for a reason and use certain strategies to make their point (this is known as a rhetorical situation). Among the strategies implemented, writers (and speakers) will make claims and provide evidence (the logos of the argument). As we read these articles, we will look for the exigence, the writer's beliefs and perceptions, the claims they are making, and the evidence they are using to support the claims. We will explore the validity, reasoning, and general effect of the text. We will continue to practice SOAPSTone and the identification of rhetorical appeals. You will also be working on smaller writing activities.
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ANNOTATION & RHETORICAL ANALYSIS PROCESS EXAMPLES
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CRASH COURSE REVIEW- RA
Welcome to the Enrichment Weeks phase of Hauser e-Learning. Dearest Scholars of Rhetoric: You reverted to some dreadful tendencies of summary versus analysis on the last rhetorical analysis practice run. I am blaming the fact that you are probably sick and tired of e-learning and developing the inevitable symptoms of senioritis. DON'T DO IT. Stay strong. Of all the potential AP essays on the exam, we've practiced this one the most... like all of first semester. Every article we read, every nonfiction text we encountered, we were practicing rhetorical analysis. Do not let the change of presentation throw you off course. It is still the same thing even if it is on a computer. IDENTIFY THE RHETORICAL STRATEGIES USED IN THE TEXT < < < < Then, you can explain how those strategies drive home the claims. Don't just rant about the claims. Analyze them from a rhetorical perspective. Let's try a different approach. Below you'll find a guided ppt., a guided handout, the rhetorical devices packet from forever ago, and I will type up an example for you this week once I get grades finalized for tenth graders. You got this.
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UNIT 3. ARGUMENTATION
First off, let's define an argument: an argument is comprised of one or more premises and a conclusion. In this unit, you will study and commit to memory the key differences between the three primary approaches to argumentation: Classical Model, Rogerian Model, and Toulmin Model. Furthermore, as you begin composing your own argumentative essays, you will continue to analyze and synthesize works of nonfiction in various forms. As we continue, you will develop your ability to quickly identify different genres of nonfiction and the qualities associated with each genre. Building from past units, you will continue to identify and study the role of rhetorical devices. Then, we will analyze the occurrence of rhetorical fallacies (including fallacies of composition- formal and informal- as well as logical fallacies). To understand fallacies, we will dapple in a tiny bit of philosophy and logic.
[Fallacies of Composition: Differentiating Formal and Informal Fallacies]
So, here are some basics that you might need to know. We are going to discuss "premises." Premise one will be recognized as P1. Premise two will be recognized as P2. (There can be more than two premises; but, we'll start here.) The conclusion will be recognized as C. A basic [valid] logical structure (or reasoning process) is called modus ponens. It looks like this:
P1 (Premise One): If X, then Y. [If the person is a senior in high school, there will be a case of senioritis at some point.]
P2 (Premise Two): X. [The person is a senior in high school.]
C (Conclusion): Therefore, Y. [There will be a case of senioritis at some point.]
There are two things we have to keep in mind when discussing models of argumentation: (1) argument structure (the structure of reasoning) and (2) argument content (the meaning that forms the argument). Alright, follow me here: The modus ponens model is a valid model form. However, even if something is valid, it doesn't mean it is true. See, there's that bit of philosophy that I was talking about earlier. There are differences between a 'sound' argument, a 'true' argument and a 'valid' argument. Sound arguments mean that the content is on-point- the content in the premises is specific and makes sense. A true argument occurs when the conclusion is true. The correct structure and form verify a valid argument.There are two broad categories of compositional fallacies: (1) formal fallacies and (2) informal fallacies. Formal fallacies are defects in the structure of logic (a.k.a. invalid form/structure). This might arise if the conditional in one of the premises does not necessarily determine the conclusion (in other words, maybe they are not mutually exclusive). Here is an example of an invalid logical structure (called affirming the consequent).
[Formal Fallacy Example]
P1 (Premise One): If X, then Y. [If the person is a senior in high school, there will be a case of senioritis at some point.]
P2 (Premise Two): Y. [There will be a case of senioritis at some point.]
C (Conclusion): Therefore, X. [The person is a senior in high school.]
How many of you experienced senioritis before being a senior in high school? Yeah. The structure of the logic is invalid. You could plug anything into that structure and derive an invalid argument. While the argument might be sound or true, it is still an invalid structure. Other examples of formal fallacies include: denying the antecedent or an undistributed middle term. On the other hand, an informal fallacy is a defect in the content (the meaning) of the argument. This might arise when words with ambiguous meanings or connotations or relative/subjective meanings are utilized in an argument.
[Informal Fallacy Example]
P1 (Premise One): If X, then Y. [If the person is a senior, there will be a case of senioritis at some point.]
P2 (Premise Two): X. [The person is a senior.]
C (Conclusion): Therefore, Y. [There will be a case of senioritis at some point.]
The problem here is that I did not specify what kind of 'senior.' The word 'senior' is ambiguous, because it could mean a senior in high school or a senior citizen. While we might bridge the gap ourselves (since senioritis is associated with the burn out of motivation in high school), the argument's lack of specification in the content and meaning of the content led to an informal fallacy (even within a valid structure). Other examples of informal fallacies include equivocation and fallacies of division. For example:
[Another Informal Fallacy Example]
P1 (Premise One): X has properties A, B, & C. [He is tall, dark, and handsome.]
P2 (Premise Two): Z is part of X. [His son has his genes.]
C (Conclusion): Therefore, Z has properties A, B, & C. [His son must be tall, dark, and handsome.]
While my first example dealt with word choice issues, informal fallacies might also arise from incorrect content reasoning (a.k.a. the logic locked in the content- in what is being said). In the example above, the parts and the whole may not necessarily have the same qualities. So, the content reasoning is flawed. Maybe his son is short, pasty, and ugly? We don't know. [Side bar: Even fallacious reasoning (demonstrated above) might lead to a true conclusion. The problem isn't whether the conclusion is true or false, but whether rather the argument's premises are logically sound.
Alright, for you visual and audio learners, here is a video of everything above (shout-out to Paul Henne at Duke University for creating these awesome presentations): https://www.khanacademy.org/partner-content/wi-phi/wiphi-critical-thinking/wiphi-fallacies/v/formal-informal-fallacy
[Fallacies of Composition: Differentiating Formal and Informal Fallacies]
So, here are some basics that you might need to know. We are going to discuss "premises." Premise one will be recognized as P1. Premise two will be recognized as P2. (There can be more than two premises; but, we'll start here.) The conclusion will be recognized as C. A basic [valid] logical structure (or reasoning process) is called modus ponens. It looks like this:
P1 (Premise One): If X, then Y. [If the person is a senior in high school, there will be a case of senioritis at some point.]
P2 (Premise Two): X. [The person is a senior in high school.]
C (Conclusion): Therefore, Y. [There will be a case of senioritis at some point.]
There are two things we have to keep in mind when discussing models of argumentation: (1) argument structure (the structure of reasoning) and (2) argument content (the meaning that forms the argument). Alright, follow me here: The modus ponens model is a valid model form. However, even if something is valid, it doesn't mean it is true. See, there's that bit of philosophy that I was talking about earlier. There are differences between a 'sound' argument, a 'true' argument and a 'valid' argument. Sound arguments mean that the content is on-point- the content in the premises is specific and makes sense. A true argument occurs when the conclusion is true. The correct structure and form verify a valid argument.There are two broad categories of compositional fallacies: (1) formal fallacies and (2) informal fallacies. Formal fallacies are defects in the structure of logic (a.k.a. invalid form/structure). This might arise if the conditional in one of the premises does not necessarily determine the conclusion (in other words, maybe they are not mutually exclusive). Here is an example of an invalid logical structure (called affirming the consequent).
[Formal Fallacy Example]
P1 (Premise One): If X, then Y. [If the person is a senior in high school, there will be a case of senioritis at some point.]
P2 (Premise Two): Y. [There will be a case of senioritis at some point.]
C (Conclusion): Therefore, X. [The person is a senior in high school.]
How many of you experienced senioritis before being a senior in high school? Yeah. The structure of the logic is invalid. You could plug anything into that structure and derive an invalid argument. While the argument might be sound or true, it is still an invalid structure. Other examples of formal fallacies include: denying the antecedent or an undistributed middle term. On the other hand, an informal fallacy is a defect in the content (the meaning) of the argument. This might arise when words with ambiguous meanings or connotations or relative/subjective meanings are utilized in an argument.
[Informal Fallacy Example]
P1 (Premise One): If X, then Y. [If the person is a senior, there will be a case of senioritis at some point.]
P2 (Premise Two): X. [The person is a senior.]
C (Conclusion): Therefore, Y. [There will be a case of senioritis at some point.]
The problem here is that I did not specify what kind of 'senior.' The word 'senior' is ambiguous, because it could mean a senior in high school or a senior citizen. While we might bridge the gap ourselves (since senioritis is associated with the burn out of motivation in high school), the argument's lack of specification in the content and meaning of the content led to an informal fallacy (even within a valid structure). Other examples of informal fallacies include equivocation and fallacies of division. For example:
[Another Informal Fallacy Example]
P1 (Premise One): X has properties A, B, & C. [He is tall, dark, and handsome.]
P2 (Premise Two): Z is part of X. [His son has his genes.]
C (Conclusion): Therefore, Z has properties A, B, & C. [His son must be tall, dark, and handsome.]
While my first example dealt with word choice issues, informal fallacies might also arise from incorrect content reasoning (a.k.a. the logic locked in the content- in what is being said). In the example above, the parts and the whole may not necessarily have the same qualities. So, the content reasoning is flawed. Maybe his son is short, pasty, and ugly? We don't know. [Side bar: Even fallacious reasoning (demonstrated above) might lead to a true conclusion. The problem isn't whether the conclusion is true or false, but whether rather the argument's premises are logically sound.
Alright, for you visual and audio learners, here is a video of everything above (shout-out to Paul Henne at Duke University for creating these awesome presentations): https://www.khanacademy.org/partner-content/wi-phi/wiphi-critical-thinking/wiphi-fallacies/v/formal-informal-fallacy
Argumentative Analysis Sheet | |
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The Psych. of an Introduction [Writing Practice] | |
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Writing Sample with Identified Adv. Expo. Components | |
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RHETORICAL FALLACIES.
When we discuss informal compositional fallacies, we get into the realm of fallacious reasoning. In this unit, you've been identifying three claims and the supporting evidence in each rhetorical composition that we encounter. As we move forward, instead of just identifying those claims and those pieces of evidence, I want you to critically analyze the reasoning, the categorization of the evidence, and whether or not the logic is faulty. Below are the PowerPoint overviews of various categories of fallacious reasoning. The overarching categories include: (1) Appeals to the Mind; (2) Appeals to Emotions; (3) Faulty Deductions; (4) Manipulating Cause & Effect; (5) Garbled Cause & Effect; and (6) On the Attack.
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Rhetorical Fallacies & Fallacious Reasoning Quizlet Reviews
Appeals to the Mind Review: https://quizlet.com/442311838/rhetorical-fallacies-set-one-compositional-fallacies-and-fallacious-reasoning-appeals-of-the-mind-flash-cards/
Appeals to Emotions Review: https://quizlet.com/443653986/rhetorical-fallacies-set-two-appeals-to-emotion-flash-cards/
Faulty Deductions: https://quizlet.com/453353685/rhetorical-fallacies-set-three-types-of-faulty-deduction-flash-cards/
Manipulating Content: https://quizlet.com/459931648/rhetorical-fallacies-set-four-manipulating-content-flash-cards/?new
Garbled Cause & Effect: https://quizlet.com/459933106/rhetorical-fallacies-set-five-garbled-cause-effect-flash-cards/?new
On the Attack: https://quizlet.com/459934203/rhetorical-fallacies-set-six-on-the-attack-flash-cards/?new
Fallacious Reasoning Examples:
MODELS OF ARGUMENTATION.
ARGUMENTATION NOTES.
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AP FRQ ARGUMENTATIVE.
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AP MULTIPLE CHOICE PRACTICE.
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UNIT ARTICLES.
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INTERLUDE: RESEARCH, SYNTHESIS, RHETORIC, & ARGUMENTATION.
You will receive the name of a literary and/or historical figure that is in some way associated with the reading assignments in this course. Then, you will take it upon yourself to research more about this person. You should pay attention to when and where this individual was alive- the time frame and the cultural customs/expectations of that time and place, their beliefs, their background, their interests, their style, etc. Then, you will act as if you are that person. Be as creative as you would like to be. Next, you will have a little speed dating session with others in the class. Your goal is to try to learn as much about the others during the speed dating sessions... and to show them enough of yourself so that they can get to know you. Lastly, you will receive two envelopes. In each envelope, there will be two blank notecards. You will write one lie about your individual's life on one card, and one truth about your individual's life on the other. Then, your partner(s) will select one of the two envelopes (just one). Regardless of whether or not the selected envelope holds a truth or a lie, you'll have to try and "sell" the content of that envelope as if it were true (even if it's not) in 60 seconds. Partners can ask questions and interrogate the validity of the content. After the 60 seconds is up, your partners have to guess whether- based on their limited speed dating interaction and interrogation session with you- or not the information regarding your person is true or false.
Tell the Story, Find the Truth Unit.pdf | |
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UNIT 4. HILLBILLY ELEGY
We will momentarily shift away from solely reading essays and read J.D. Vance’s Hillbilly Elegy: A Memoir of a Family and Culture in Crisis (2016). Throughout the text, you will be asked to display your working knowledge of rhetorical devices, rhetorical appeals, argumentative frames/structures, and the way in which speaker, tone, intended audience, and the text intermingle to exude meaning. Next semester, we will discuss synthesizing research. This serves as an example of synthesizing information under one umbrella topic. REMEMBER: It is okay to be critical. Look for potential instances of fallacious reasoning. [Just in case you want a reminder of the full titles, I derive reading excerpts for this unit from Nancy Isenberg's White Trash: The 400-Year Untold History of Class in America (2016), Joan C. William's White Working Class: Overcoming Class Cluelessness in America (2016), Brenna Bhandar's "Property, Law, and Race: Modes of Abstraction" (2014), Hua Hsu's "The End of White America?" (2009), SNL's "Black Jeopardy with Tom Hanks" (2016), Diane Sawyer's "Hidden America: Children of the Mountain" (2009), Jeff Biggers's "Dear Diane Sawyer: The Other Children of the Mountains" (2011), Tone Blevin's "Yesterday a Complete Stranger Called Me White Trash," (1995), Robert Rebein's "Hick Chick, or, the 'White Trash Aesthetic,'" (2001), Cammie M. Sublette and Jennifer Martin's "Let Them Eat Cake, Caviar, Organic, and Whole Foods: American Elitism, White Trash Dinner Parties, and Diet" (2013), and Christian Lander's Stuff White People Like (2008).]
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Multi-Media References:
Link: https://www.youtube.com/watch?v=O7VaXlMvAvk&list=LL0q0v7NwiVvqz5ASnGOM6QQ&index=2732
Watch the video "Black Jeopardy with Tom Hanks." This is, of course, a parody of jeopardy, but the satirical undertone is critiquing something else very important in contemporary society (particularly in modern conceptions of race and class). Why do you think Bryan Tucker and Micheal Che wrote something like this (especially during the 2016 election season)? Take note of the attire and the references to contemporary vernacular and movements, like the 'Make America Great Again' slogan and the allusion to Black Lives Matter movement. [Think back to our reading of Octavia E. Butler's Kindred last year. Think about the differences between Kevin and Rufus. What might this be saying about the white, working class?]
Watch the video "Black Jeopardy with Tom Hanks." This is, of course, a parody of jeopardy, but the satirical undertone is critiquing something else very important in contemporary society (particularly in modern conceptions of race and class). Why do you think Bryan Tucker and Micheal Che wrote something like this (especially during the 2016 election season)? Take note of the attire and the references to contemporary vernacular and movements, like the 'Make America Great Again' slogan and the allusion to Black Lives Matter movement. [Think back to our reading of Octavia E. Butler's Kindred last year. Think about the differences between Kevin and Rufus. What might this be saying about the white, working class?]
Link: https://stuffwhitepeoplelike.com/
People often get uncomfortable in discussions revolving race... or they get annoyed because they feel it is a broken-record subject. Nevertheless, my question to you is: which has more influence: race, class, or property? Of course, the obvious answer is all three. However, I want you to really think about the ways these three categories interact and what they mean both separately and together when approaching discussions of privilege. Take a look a Christian Lander's blog, "Stuff White People Like." Take ten minutes to read through the list. What are your initial reactions? Is this racist? What makes something racist? How do we differentiate common knowledge and common practice from racist stereotypical depictions? A fairly recent field of academic study, known as 'whiteness studies,' looks at divisions of class and property within one racial category in an attempt to understand the full concept of white privilege. What is your opinion of white privilege? Which three factors are the strongest indicators of white privilege?
People often get uncomfortable in discussions revolving race... or they get annoyed because they feel it is a broken-record subject. Nevertheless, my question to you is: which has more influence: race, class, or property? Of course, the obvious answer is all three. However, I want you to really think about the ways these three categories interact and what they mean both separately and together when approaching discussions of privilege. Take a look a Christian Lander's blog, "Stuff White People Like." Take ten minutes to read through the list. What are your initial reactions? Is this racist? What makes something racist? How do we differentiate common knowledge and common practice from racist stereotypical depictions? A fairly recent field of academic study, known as 'whiteness studies,' looks at divisions of class and property within one racial category in an attempt to understand the full concept of white privilege. What is your opinion of white privilege? Which three factors are the strongest indicators of white privilege?
Link: https://www.youtube.com/watch?v=YOo2uETKuFs&list=PLrJop0eegOO06KqoCu0Iu95CO9cL0B6Me
Watch Diane Sawyer's 20/20 special, "Hidden America: Children of the Mountain" (2009). As you watch, think about how this is in dialogue with J.D. Vance's Hillbilly Elegy. How does this glimpse into "white life" situate in comparison to the commentary on "white life" present in Lander's blog? Which anecdotes (personal stories) stand out to you the most?
Watch Diane Sawyer's 20/20 special, "Hidden America: Children of the Mountain" (2009). As you watch, think about how this is in dialogue with J.D. Vance's Hillbilly Elegy. How does this glimpse into "white life" situate in comparison to the commentary on "white life" present in Lander's blog? Which anecdotes (personal stories) stand out to you the most?
END OF SEMESTER ONE (!)
INDIGENEITY & DIASPORA
In Western culture, oppositional binaries often convey models of logic. In simpler terms, I (as well as a lot of others) usually think (make meaning- define- identify- understand) about something in relation to what it is not. For example, I know that 'right' is the opposite of 'left,' both directionally (linear logic) and politically (bipartisan logic). I know that the opposite of 'good' is 'bad' or 'evil.' I've been taught to make sense of the world around me in this way- through denotative differences and through direct contrasts. Therefore, it is division that constructs my cognitive maps.
However, which realms/entities/beings/things transcend the binary model? I find there are two primary realms that transcend or subvert the normative logic of a binary model: land and language. I ask my students, what is the opposite of English? What is the opposite of America? These are hard to answer quickly, because there isn't just one direct opposite. Many write down Spanish. But, is Spanish truly the opposite of English (considering the semantic realm of language harkens back to the Romance languages)? No, not really. You would have to set up a more generalized binary like 'English' and 'Non-English' or 'America' and 'Not-America.' This is why some scholars and educators critiqued the multiculturalist movement in the last two decades.
In the attempt to expand the literary canon, the multiculturalist view inadvertently reinforced a 'white' and 'non-white' racial binary. In doing so, the set-up overlooked the uniqueness of each constituent of the 'non-white' side of the divide. 'Diversity' was connected to 'other,' and 'other' was connected to 'non-white.' For example, if we are discussing Native Americans (American Indians), blanket discussions about all Native Americans overlook the unique aspects of the 573 federally recognized tribes. While there can be value in overarching similarities within cultural spheres, it is a disservice to avoid deeper discussions about sovereignty and national consciousness.
Now, we don't have concrete 'land' in a tangible sense on paper (except for land deeds- but those are abstract realms and a can of worms). Nevertheless, we do have language on paper. If we were to understand a sort of 'land' on paper, it would have to be 'space' on paper. If land/space and language subvert the normative logic of binary thinking, then poetry (and the structural freedom of poetic or graphic design) can subvert the normative logic of Western/binary thinking as well. Pay attention to how contemporary artists employ multimedia- drawings, poetry, prose, video, visuals, audio, symbolism, etc. to 'jam the social machinery' and subvert normative modes of thinking. How does 'double consciousness' in interpretation challenge, enhance, or expand the processing of meaning? How could we see Franz Fanon's socio-diagnostic critique (a.k.a if Hegel says that the slave has to accept the position of slave in a master/slave dialectic to enforce the power relationship, then rejection of the role would create tension and serve as a change agent in society) at play in modern forms of expression?
Indigeneity= native population
Diaspora= scattered population
However, which realms/entities/beings/things transcend the binary model? I find there are two primary realms that transcend or subvert the normative logic of a binary model: land and language. I ask my students, what is the opposite of English? What is the opposite of America? These are hard to answer quickly, because there isn't just one direct opposite. Many write down Spanish. But, is Spanish truly the opposite of English (considering the semantic realm of language harkens back to the Romance languages)? No, not really. You would have to set up a more generalized binary like 'English' and 'Non-English' or 'America' and 'Not-America.' This is why some scholars and educators critiqued the multiculturalist movement in the last two decades.
In the attempt to expand the literary canon, the multiculturalist view inadvertently reinforced a 'white' and 'non-white' racial binary. In doing so, the set-up overlooked the uniqueness of each constituent of the 'non-white' side of the divide. 'Diversity' was connected to 'other,' and 'other' was connected to 'non-white.' For example, if we are discussing Native Americans (American Indians), blanket discussions about all Native Americans overlook the unique aspects of the 573 federally recognized tribes. While there can be value in overarching similarities within cultural spheres, it is a disservice to avoid deeper discussions about sovereignty and national consciousness.
Now, we don't have concrete 'land' in a tangible sense on paper (except for land deeds- but those are abstract realms and a can of worms). Nevertheless, we do have language on paper. If we were to understand a sort of 'land' on paper, it would have to be 'space' on paper. If land/space and language subvert the normative logic of binary thinking, then poetry (and the structural freedom of poetic or graphic design) can subvert the normative logic of Western/binary thinking as well. Pay attention to how contemporary artists employ multimedia- drawings, poetry, prose, video, visuals, audio, symbolism, etc. to 'jam the social machinery' and subvert normative modes of thinking. How does 'double consciousness' in interpretation challenge, enhance, or expand the processing of meaning? How could we see Franz Fanon's socio-diagnostic critique (a.k.a if Hegel says that the slave has to accept the position of slave in a master/slave dialectic to enforce the power relationship, then rejection of the role would create tension and serve as a change agent in society) at play in modern forms of expression?
Indigeneity= native population
Diaspora= scattered population
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UNIT 5. BORN A CRIME
I ask my classes: What do you know about apartheid? Blank stares. Settler colonialism.
I ask my classes: How many tribes could you list? Blank stares. Settler colonialism.
I ask my classes: Why is the United States unique as a settler colonial state? Blank stares. [ ].
When I think back to my high school experience, I vaguely recognized Nelson Mandela as a great world leader, but I never fully understood why he was so well-liked. I didn't fully understand apartheid until graduate studies when I dug a little deeper after reading Doris Lessing's The Golden Notebook. Then, when Trevor Noah's book hit the shelves, I bought a copy to read on my daily journeys on the Tube. I learned so much from his one-page synopses at the start of each chapter. This is where we will continue to think about colonialism and post-colonialism (if there is a 'post'). This is where we will continue to understand critical race theory and the systematic implementation of racist ideology in contemporary history. This is where we will study the invocations of a power flex that is precoded into Western society's DNA.
I ask my classes: How many tribes could you list? Blank stares. Settler colonialism.
I ask my classes: Why is the United States unique as a settler colonial state? Blank stares. [ ].
When I think back to my high school experience, I vaguely recognized Nelson Mandela as a great world leader, but I never fully understood why he was so well-liked. I didn't fully understand apartheid until graduate studies when I dug a little deeper after reading Doris Lessing's The Golden Notebook. Then, when Trevor Noah's book hit the shelves, I bought a copy to read on my daily journeys on the Tube. I learned so much from his one-page synopses at the start of each chapter. This is where we will continue to think about colonialism and post-colonialism (if there is a 'post'). This is where we will continue to understand critical race theory and the systematic implementation of racist ideology in contemporary history. This is where we will study the invocations of a power flex that is precoded into Western society's DNA.
If you want to learn more about literature from Black writers:
PEN America Conference (2017)- Chimamanda Ngozi Adichie & Trevor Noah
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UNIT 6. SYNTHESIS & DICTEE
Last semester, we practiced rhetorical analysis (the art of taking one text and dissecting each component's rhetorical value). This semester, we will continue to practice that, but we'll take it one step further. Instead of having one text, we'll analyze five texts together to understand how each of their rhetorical components create a dialogue with the other texts. Analysis is breaking down a piece of writing. Synthesis is weaving together multiple texts to make an argument. [Side bar: the most effective essays typically springboard from rhetorical analysis into synthesis. In astronomy courses, they teach you that phrase: Arc to Arcturus and speed on to Spica. Well, it's kind of the same thing: Arc to Analysis and speed on to Synthesis.] There are two other ways that I like to explain synthesis writing: (1) it is basically an argumentative DBQ (for those of you who took APUSH already) and (2) it is basically like writing an argumentative research paper (but instead of gathering all the sources, they are already there ready to go).
The second thing we'll explore in this unit is Theresa Hak Kyung Cha's Dictee. It's an autobiographical poetic prose piece that explores the role of language, the role of verbal tone/mood/tense, the role of historical trauma in identity formation, and the fragmentation that manifests in language through wars, colonization, cultural divides, and historical repression. Cha's text synthesizes French, English, Chinese, Japanese, and Korean elements of language. Last year, we discussed the three verbal moods in the English language: indicative (You understand it.), imperative (Understand it.), and subjunctive (You might understand it.). We watched Phuc Tran's "Grammar, Identity, and the Dark Side of the Subjunctive." What's interesting in comparative linguistics is the impact of syntactic placement and verbal moods in language. I want you to consider how these components influence meaning in a text (from two perspectives- from the perspective of what is present in the language and from the perspective of what is missing in the language- the areas of "silence" or disconnect).
Etymologically speaking, 'English' comes from two stems- 'Engl' (which comes from Angle- meaning the northern Germanic people that migrated to England- giving the country its name- post-Roman invasion, around the 5th century AD) and 'ish' (which means having the qualities of something). Therefore, the English language (when looking at linguistic typology and syntactic style at least) follows the Germanic structure. The Subject-Verb-Object linguistic typology is actually the second most popular world-wide, following the Subject-Object-Verb linguistic typology. SO, we have to consider how that arrangement impacts the way in which English speakers convey and understand meaning. For example, in Vietnamese or Korean language, there isn't a subjunctive verbal mood, and sometimes, there is null subject. Many people might overlook this. Nevertheless, it opens a window into how culture manifests in language. Last year, we discussed characterization frames and explored the role of high-context and low-context cultures. High-context culture= collective cultures. Low-context culture= individualistic cultures. In English, I have several options for the "subject position" in a sentence (I could use a proper noun, a common noun, or a pronoun). However, what if there wasn't a subject position open (a.k.a. a null subject)? How would that potentially change meaning and interpretations? Example:
English: I went to the concert last night.
Here, the 'I' indicates first-person singular point-of-view (and inherently reflects low-context, individualistic culture). The emphasis in the sentence is split between the subject, verb, and object of the preposition.
Korean (translated): Went to the concert last night.
Here, the null subject creates more ambiguity when analyzing point-of-view (and inherently reflects high-context, collective culture). The null subject could be one person or a group of people. We don't know. However, what we do know is that it removes emphasis on the subject and places more emphasis on the verb (the action).
As we read Cha's Dictee, keep in mind the role of syntax in rhetoric, the emphasis on verbs, and the meaning that is amplified or lost in translation. What larger narratives exist that language might not capture? Pay attention to style. How might autobiographical prose poetry, fragmented language, and mixed media challenge, enhance, or convolute conventional stylistic norms?
The second thing we'll explore in this unit is Theresa Hak Kyung Cha's Dictee. It's an autobiographical poetic prose piece that explores the role of language, the role of verbal tone/mood/tense, the role of historical trauma in identity formation, and the fragmentation that manifests in language through wars, colonization, cultural divides, and historical repression. Cha's text synthesizes French, English, Chinese, Japanese, and Korean elements of language. Last year, we discussed the three verbal moods in the English language: indicative (You understand it.), imperative (Understand it.), and subjunctive (You might understand it.). We watched Phuc Tran's "Grammar, Identity, and the Dark Side of the Subjunctive." What's interesting in comparative linguistics is the impact of syntactic placement and verbal moods in language. I want you to consider how these components influence meaning in a text (from two perspectives- from the perspective of what is present in the language and from the perspective of what is missing in the language- the areas of "silence" or disconnect).
Etymologically speaking, 'English' comes from two stems- 'Engl' (which comes from Angle- meaning the northern Germanic people that migrated to England- giving the country its name- post-Roman invasion, around the 5th century AD) and 'ish' (which means having the qualities of something). Therefore, the English language (when looking at linguistic typology and syntactic style at least) follows the Germanic structure. The Subject-Verb-Object linguistic typology is actually the second most popular world-wide, following the Subject-Object-Verb linguistic typology. SO, we have to consider how that arrangement impacts the way in which English speakers convey and understand meaning. For example, in Vietnamese or Korean language, there isn't a subjunctive verbal mood, and sometimes, there is null subject. Many people might overlook this. Nevertheless, it opens a window into how culture manifests in language. Last year, we discussed characterization frames and explored the role of high-context and low-context cultures. High-context culture= collective cultures. Low-context culture= individualistic cultures. In English, I have several options for the "subject position" in a sentence (I could use a proper noun, a common noun, or a pronoun). However, what if there wasn't a subject position open (a.k.a. a null subject)? How would that potentially change meaning and interpretations? Example:
English: I went to the concert last night.
Here, the 'I' indicates first-person singular point-of-view (and inherently reflects low-context, individualistic culture). The emphasis in the sentence is split between the subject, verb, and object of the preposition.
Korean (translated): Went to the concert last night.
Here, the null subject creates more ambiguity when analyzing point-of-view (and inherently reflects high-context, collective culture). The null subject could be one person or a group of people. We don't know. However, what we do know is that it removes emphasis on the subject and places more emphasis on the verb (the action).
As we read Cha's Dictee, keep in mind the role of syntax in rhetoric, the emphasis on verbs, and the meaning that is amplified or lost in translation. What larger narratives exist that language might not capture? Pay attention to style. How might autobiographical prose poetry, fragmented language, and mixed media challenge, enhance, or convolute conventional stylistic norms?
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UNIT 7. GRAPHIC NOVELS.
Where are the null spaces in my curriculum? I constantly ask myself this question. For the last two years, it's been graphic novels. If I want to discuss the rhetorical power vested in multi-media productions, leaving out graphic novels is entirely problematic. In the estuary of storytelling, graphic novels hold their own space of importance.
It's cliche to a point- the saying 'a picture is worth a thousand words.' But..... just because something is cliche doesn't mean that it doesn't hold truth. I always preface the discussion of "picture versus words" with a linguistic and literary theory context. Structuralists (de Saussure) believed one thing and post-structuralists (Lacan) believed another. Is it the image/concept (signified) that we associate with the word (signifier)? Or, is it the word (signifier) that we associate with the image/concept (signified)? And, order matters there... at least to structuralists and post-structuralists. But, rhetorically speaking, when we consider the ROLE and PURPOSE and EXIGENCE of graphic (visuals/signifieds) novels (words/signifiers), which has a stronger impact on the AUDIENCE and WHY? Or does one have a stronger impact?
And, HOW can a graphic novel discuss something in ways that other forms of writing cannot? Are graphic novels more universal? Are graphic novels examples/models of ways that we can expand the Western notion of prose-based writing? Are graphic novels more like the prose genre or more like the poetry genre? When looking at Western models of thought, argumentation, and structure, how do graphic novels conform to precedents? How do they defy the status quo? What are the social connotations enveloping graphic novels as literature, expression, art, or entertainment?
In this unit, we'll explore three graphic novels- very different styles, very different content. However, we will explore the SOAPSTone (a.k.a. the rhetorical situation) behind each of these texts. The first is Persepolis by Marjane Satrapi (which explores a young girl's experience growing up in Iran during the Islamic Revolution). The second is They Called Us Enemy by George Takei, Justin Eisinger, and Steven Scott (which provides insight into experiences that took place in Japanese internment camps in the U.S. after Pearl Harbor). The third is The Best We Could Do by Thi Bui (which explores historical trauma traces back to conflict in Vietnam).
It's cliche to a point- the saying 'a picture is worth a thousand words.' But..... just because something is cliche doesn't mean that it doesn't hold truth. I always preface the discussion of "picture versus words" with a linguistic and literary theory context. Structuralists (de Saussure) believed one thing and post-structuralists (Lacan) believed another. Is it the image/concept (signified) that we associate with the word (signifier)? Or, is it the word (signifier) that we associate with the image/concept (signified)? And, order matters there... at least to structuralists and post-structuralists. But, rhetorically speaking, when we consider the ROLE and PURPOSE and EXIGENCE of graphic (visuals/signifieds) novels (words/signifiers), which has a stronger impact on the AUDIENCE and WHY? Or does one have a stronger impact?
And, HOW can a graphic novel discuss something in ways that other forms of writing cannot? Are graphic novels more universal? Are graphic novels examples/models of ways that we can expand the Western notion of prose-based writing? Are graphic novels more like the prose genre or more like the poetry genre? When looking at Western models of thought, argumentation, and structure, how do graphic novels conform to precedents? How do they defy the status quo? What are the social connotations enveloping graphic novels as literature, expression, art, or entertainment?
In this unit, we'll explore three graphic novels- very different styles, very different content. However, we will explore the SOAPSTone (a.k.a. the rhetorical situation) behind each of these texts. The first is Persepolis by Marjane Satrapi (which explores a young girl's experience growing up in Iran during the Islamic Revolution). The second is They Called Us Enemy by George Takei, Justin Eisinger, and Steven Scott (which provides insight into experiences that took place in Japanese internment camps in the U.S. after Pearl Harbor). The third is The Best We Could Do by Thi Bui (which explores historical trauma traces back to conflict in Vietnam).
UNIT 8. SCIENCE & LANGUAGE.
Epigenetic research, phantom limb hypothesis, mirror neurons and mu wave suppression, gene mapping, the Human Genome Project, genetic cloning, RNA sequence vaccinations, in-vitro fertilization, radioactive cells, HeLa immortality, Christine and Toxatin cancer treatment, 3D printing, personality studies, clinical research, case studies, filoviruses, COVID, etc. In the last two years, our media is rife with scientific rhetoric. From the quarantine to the roll out of vaccinations, our world is filled with evolving research, new vocabulary, novel trigger words, updated statistics... and behind the research, the vernacular, the psychology, and the statistics, there are millions of untold stories.
There are things that only the people who knew us well will remember about us... and then, there are things that the world will remember about us. I want to start with the details- the personal details. She wore red nail polish, fixed a big dish of food just in case relatives stopped by the house, and grew up in a family that left flowers at the feet of the Jesus statue in Johns Hopkins whenever they went there for medical help. I want you to consider the similarities, the differences, and the potential that each person holds in making a larger-than-life contribution to the world. I also want you to think about how society and culture and even science (the realm of supposed 'objective study') carries histories of unethical occurrences... and how the "personal" does become something bigger than itself.
In this unit, we will read the story of Henrietta Lacks and her life. We will also explore how HeLa (pronounced Hee Lah) cells (immortal cells taken from her cervix in 1951... without her or her family's knowledge) changed the world of science and medicine.
There are things that only the people who knew us well will remember about us... and then, there are things that the world will remember about us. I want to start with the details- the personal details. She wore red nail polish, fixed a big dish of food just in case relatives stopped by the house, and grew up in a family that left flowers at the feet of the Jesus statue in Johns Hopkins whenever they went there for medical help. I want you to consider the similarities, the differences, and the potential that each person holds in making a larger-than-life contribution to the world. I also want you to think about how society and culture and even science (the realm of supposed 'objective study') carries histories of unethical occurrences... and how the "personal" does become something bigger than itself.
In this unit, we will read the story of Henrietta Lacks and her life. We will also explore how HeLa (pronounced Hee Lah) cells (immortal cells taken from her cervix in 1951... without her or her family's knowledge) changed the world of science and medicine.
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UNIT 9. LET'S REVIEW RA.
I love reading texts all the way through- I was pretty salty when I noticed education started trending away from longer works and toward smaller works "because of shortened attention spans." I could rant, but I won't. Nevertheless, the benefit of smaller works or excerpts is that you can cover more variety in the time frame provided. SO, for this unit, I am going to provide the introduction or first chapter of several works of nonfiction. I want you to analyze each excerpt (look for those rhetorical strategies, look for the ways in which language is manipulated or employed to convey points). AND, if you like the excerpt, I totally encourage you to purchase the full text and read it. Drumroll please. Here is our nonfiction sample line up: "Be Cool to the Pizza Dude" by Sarah Adams (from This I Believe NPR essay collection 2012); Quiet: The Power of Introverts in a World That Can't Stop Talking by Susan Cain (2012); Walking to Listen: 4000 Miles Across America, One Story at a Time by Andrew Forsthoefel (2017); Riverine: A Memoir from Anywhere But Here by Angela Palm (2016); Freakonomics: The Hidden Side of Everything by Stephen J. Dubner and Steven Levitt (2005); The Immortal Life of Henrietta Lacks by Rebecca Skloot (2010); The Hot Zone: A Terrifying True Story by Richard Preston (1994); and Rebel Music: Race, Empire, and the New Muslim Youth Culture by Hisham Aidi (2014). I also need to re-read Tracks: A Woman's Solo Trek Across 1700 Miles of the Australian Outback by Robyn Davidson (1980), A Girl is a Half-Formed Thing by Eimear McBride (2013)< which is fiction, but interesting use of language, and Call Them by Their True Names: American Crises (and Essays) by Rebecca Solnit (2018) before I upload them for you to read. Remember: You are looking for RHETORICAL STRATEGIES at work in the excerpts.
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E-LEARNING [WHY NOW?!?]
In all fairness, I guess we should have seen this coming. How many times do I say that history repeats itself? Then, it repeats itself, and I'm all like, wait, I wasn't ready. These are "unprecedented times" kinda sorta. Nevertheless, dearest scholars of rhetoric, do not fear that this will impede the stellar educational endeavors that await you on the horizon. Do not fear that this lessens the recognition that you deserve. Do not fear that this sudden goodbye-of-sorts will keep me from telling you all how much I appreciate you and all of your hard work these last two years.
I did get to the school before this all went down, and I did make electronic copies of the readings in advance, and I did prepare for electronic learning without realizing it. WHAT I DIDN'T PREPARE FOR WAS THE FACT THAT I WON'T BE SEEING YOU ALL IN ALL OF YOUR END-OF-THE-YEAR GLORY. Having you in class these last two years has made me appreciate teaching more than you'll ever know. You give me hope in the future because I know that you all are about to do amazing things during your life times. It is hard to think that I won't get to listen to your senioritis-inspired complaints about why I am still assigning work or watch you walk across that graduation stage and know that you all are on a high in life with so much ahead of you. BUT, you better believe that we will meet again when we get the all-clear. We'll get root beers and twizzlers (because, you know, save the turtles) and laugh and reminisce about times gone by. BUT, until then, access the weekly e-Learning overviews below. The rest will be posted on Canvas. Also, sidebar because I am not about to make an entirely new handout just to correct it... but I definitely misspelled coronavirus on the first handout... so that's just fabulous.
I did get to the school before this all went down, and I did make electronic copies of the readings in advance, and I did prepare for electronic learning without realizing it. WHAT I DIDN'T PREPARE FOR WAS THE FACT THAT I WON'T BE SEEING YOU ALL IN ALL OF YOUR END-OF-THE-YEAR GLORY. Having you in class these last two years has made me appreciate teaching more than you'll ever know. You give me hope in the future because I know that you all are about to do amazing things during your life times. It is hard to think that I won't get to listen to your senioritis-inspired complaints about why I am still assigning work or watch you walk across that graduation stage and know that you all are on a high in life with so much ahead of you. BUT, you better believe that we will meet again when we get the all-clear. We'll get root beers and twizzlers (because, you know, save the turtles) and laugh and reminisce about times gone by. BUT, until then, access the weekly e-Learning overviews below. The rest will be posted on Canvas. Also, sidebar because I am not about to make an entirely new handout just to correct it... but I definitely misspelled coronavirus on the first handout... so that's just fabulous.