Thursday, February 25, 2010
10 Days to Oscar: Up in the Where?
http://costalfilm.blogspot.com/2010/02/10-days-to-oscar-up-in-where.html
Wednesday, February 24, 2010
Rhetoric & Composition: Class #9: In-Class and Assignments
IN CLASS: Peer edit Outline: Choose someone in your family and trade papers. Read through the paper once without writing anything or stopping. Then, start again from the beginning and follow these steps:
1. Throughout the paper, place a Costal-esque smiley face beside any and all VIVID or strong details. These should be sensory type depicts of the photograph.
2. Box the THESIS. Is the writer's impression established within this sentence? (Note to writer: if your editor chose a sentence other than your proposed thesis, you did not do a good enough job establishing your impression).
3. Underline any sentences that establish CONTEXT of the photograph.
4. Place a check mark before any sentence or phrases that provide solid SUPPORT.
5. On the back of the essay or on a separate sheet of paper write a few lines of perspective for the writer. Write one thing you really liked about the critique and one thing you really did not like.
ASSIGNMENTS:
WRITE: 1. Essay #4 Revision
2. Journal #5 & #6: Read the New Yorker Review of "Jersey Shore." Link is posted below. For J5, describe what you like or do not like about the critique. Comment on what the writer does well. Do you agree? Why or why not? For J6, try your hand at writing (or starting) a one-page critique of a TV show, film or video game you have viewed recently.
READ: BWLOW pages (TBD)
1. Throughout the paper, place a Costal-esque smiley face beside any and all VIVID or strong details. These should be sensory type depicts of the photograph.
2. Box the THESIS. Is the writer's impression established within this sentence? (Note to writer: if your editor chose a sentence other than your proposed thesis, you did not do a good enough job establishing your impression).
3. Underline any sentences that establish CONTEXT of the photograph.
4. Place a check mark before any sentence or phrases that provide solid SUPPORT.
5. On the back of the essay or on a separate sheet of paper write a few lines of perspective for the writer. Write one thing you really liked about the critique and one thing you really did not like.
ASSIGNMENTS:
WRITE: 1. Essay #4 Revision
2. Journal #5 & #6: Read the New Yorker Review of "Jersey Shore." Link is posted below. For J5, describe what you like or do not like about the critique. Comment on what the writer does well. Do you agree? Why or why not? For J6, try your hand at writing (or starting) a one-page critique of a TV show, film or video game you have viewed recently.
READ: BWLOW pages (TBD)
Tuesday, February 23, 2010
Monday, February 22, 2010
Rhetoric & Composition: Class #8 Assignments
WRITE: Formal Essay #4: Criticism: Follow the prompts as outlined on the primer sheet you have been given today.
READ: The Brief & Wondrous Life of Oscar Wao, pages 1 - 18.
***NOTE: If possible, please bring in the photograph that your article depicts
READ: The Brief & Wondrous Life of Oscar Wao, pages 1 - 18.
***NOTE: If possible, please bring in the photograph that your article depicts
Sunday, February 21, 2010
Friday, February 19, 2010
Rhetoric & Composition Class #7 Assignments
STUDY: Active Reading Test
READ: Hacker sections 49 - 51, on pages 383 to 405.
WRITE: Journal #4: Which one of the following objects best describe you:
1. line, 2. square, 3. circle, 4. triangle
Write a full page elaborating upon why
READ: Hacker sections 49 - 51, on pages 383 to 405.
WRITE: Journal #4: Which one of the following objects best describe you:
1. line, 2. square, 3. circle, 4. triangle
Write a full page elaborating upon why
Monday, February 15, 2010
Sunday, February 14, 2010
Rhetoric & Composition: Class 6 Assignments
STUDY: You will have your active reading test on Wednesday.
READ: 1. Read this article about annotation from Mortimer Adler. Find it here.
2. It is my expectation that you will be done with Reluctant Fundamentalist by next week.or
WRITE: One form of writing crucial to rhetoric is critical analysis. Criticisms are one of the most unbiquitous forms of writing in popular media. I try to model good critical analysis writng through the personal writing I post to our blog. You will begin doing some of this style of writing on your own. To begin, you will write about some visual images. For now, I want you to get used to getting an overall impression from a work and then expressing that impression in one general sweep...one broad brush-stroke. To do this, study the piece thoughtfully. Consider its purpose, tone and audience. Be honest with yourself and don't try to pretend to be an art critic. Be you. Capture the fullness of your own voice. Then, simply, write one sentence that sums up the way you feel about it -- your overall impression. You will leave your single sentence as a comment under the post of the piece you have chosen. Due by class on Wednesday.
READ: 1. Read this article about annotation from Mortimer Adler. Find it here.
2. It is my expectation that you will be done with Reluctant Fundamentalist by next week.or
WRITE: One form of writing crucial to rhetoric is critical analysis. Criticisms are one of the most unbiquitous forms of writing in popular media. I try to model good critical analysis writng through the personal writing I post to our blog. You will begin doing some of this style of writing on your own. To begin, you will write about some visual images. For now, I want you to get used to getting an overall impression from a work and then expressing that impression in one general sweep...one broad brush-stroke. To do this, study the piece thoughtfully. Consider its purpose, tone and audience. Be honest with yourself and don't try to pretend to be an art critic. Be you. Capture the fullness of your own voice. Then, simply, write one sentence that sums up the way you feel about it -- your overall impression. You will leave your single sentence as a comment under the post of the piece you have chosen. Due by class on Wednesday.
Wednesday, February 10, 2010
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