Revisions: Oral, Written, Visual Communication Required materials:

&

Textbook: Wysocki, Anne F. and Dennis A. Lynch. compose/design/

advocate: a rhetoric for integrating written, visual, and oral communication. (The textbook is referred to as cda in the course schedule.) Portfolio: 3-ring binder and tabbed separtor sheets (at least 5 tabs)

UN2001, section 11—Spring 2006 Monday–Wednesday–Friday, 3:05–3:55 p.m. Walker Arts & Humanities Center, Rm 144 Instructor: Diane Keranen [email protected] www: www.hu.mtu.edu/~dkeranen Office: Walker Arts & Humanities Center, room 312 Office phone: 487-3235 Office hours: Wednesday 1:00–2:00 p.m. Thursday 12 noon–1:00 p.m. by appointment Class email list: [email protected]

Description and goals of this course Revisions, UN2001, is one of four courses required of all students by the University’s General Education Curriculum. The goals for this class are built around communications (texts) and communicating (action), both product and process. The goals for Revisions: Oral, Written, & Visual Communication are: 1. Learn a rhetorical process for analyzing and producing texts using written, visual, and oral communication. 2. Understand how the audience and purpose in any communication situation shapes effective communication. 3. Analyze and produce a range of (mixed) written, visual, and oral texts in a range of genres. 4. Learn how processes of reflection and invention are useful in developing communication. 5. Acquire extensive practice in revising written, visual, and oral communication. 6. Acquire strategies for testing and assessing your communications.

Our learning environment In order to feel comfortable bringing up a variety of issues and ideas, there are certain guidelines that we all must follow. 1. Avoid reactive criticisms. Instead, work to develop productive critiquing techniques. Example: “That’s stupid,” or “Only a moron would think that” are not welcome in the classroom, and rarely anywhere else in society. Feedback, in order to be helpful to the design of the course needs to be respectful and thoughtful. We need an environment where it’s safe to bring up ideas for discussion about how ideas and understandings are arrived at, and how they shape communication. Critiques are welcome when properly presented and supported by reasons. Example: “I don’t agree with you, because...,” or “I think your argument would be strengthened if you used “X” instead of “Y” as part of your argument because...” 2. Cell phones are allowed in the classroom as long as ringers are set to “off” or “vibrate” in respect of everyone in the class.

7. Work alone and with others in learning and communicating. 8. Learn to conduct, communicate, and document research for a substantive piece of argumentative communication. You will develop tools to understand and use communication effectively, collaborate on ideas, and practice making choices about what, how, and why to communicate with others. You will be asked to fit the communications you make to interesting, sometimes difficult, situations and audiences. Why? Because the ability to understand, participate in, and produce communication that is effective is highly valued today in both local as well as global spaces. This course is centered around student ability to communicate in academic spaces, and broadens it to develop a process for analyzing rhetorical situations to communicate clearly in other spaces as well; the workplace, social/civic situations and for a variety of audiences in each of those spaces. Your participation is critical to not only to your success, but also to the success of others in the class because people-centered, purposeful communication requires the participation and understanding of others.

If you receive a call that must be answered during class (an emergency), please take your call out of the classroom and down the hall so your conversation does not disrupt class discussion. 3. Speak in turn by making your intention/desire to speak known and by incorporating your response respectfully into the conversation. If a class discussion is flowing freely, a spur-of-the-moment contribution may be called for, but because it’s hard to follow discussion when more than one person is speaking, and because talking over others is not productive or respectful, find polite entry to the conversation flow by indicating you want to be heard. 4. Everyone’s thoughts are welcome. We all want to know what you think, so even if your ideas are incomplete, your colleagues will often be able to develop the idea further through collaborative discussion. If the discussion takes your idea in the wrong direction, bring the class back to your original thought and clarify your point.

page 1 of 5 | revisions | section 11 | spring 2006

Portfolio statement

For the purpose of assessing this course, a portfolio (3-ring binder with tabbed separators) of your work is required at the end of the semester. This assessment is anonymous and all work included in the portfolio must have your name, instructor name, and the course number identifiers removed. You are required to include a copy of all of your drafts, assignments, response papers, peer reviews, group work, reports, etc. You will be required to compose a final portfolio of your work and write a reflective cover letter to accompany it. You will be required to describe your understanding of the course goals, the value of the class to your general education and to your learning about multimodal communication. The assignments and all of the work you did for the assignment must be included. Your portfolio will be graded. It’s a good idea to start your portfolio at the beginning of the semester and put a copy of everything you hand in into the portfolio. I will meet with each of you sometime during the semester, and will require you to bring your portfolio-in-progress to that meeting. More information will be provided later in the semester.

Grading and projects

You must complete all assignments to receive a passing grade in this course. There are three major projects and a several in-class smaller projects. You are required to do two oral presentations. Your final grade will depend on the work you do on the projects, your portfolio, and your social practices (defined below) in this class. project 1 .................... 200 points 1000–930 ...............A project 2 .................... 200 points 929–890 ............... AB project 3 .................... 200 points 889–810 ..................B smaller projects ...... 150 points 809–770 ............... BC social practices ....... 100 points 769–690 ..................C presentations .......... 100 points 689–650 ...............CD portfolio .......................50 points 649–570 ................. D total ..................... 1000 points 569-0........................ F

Extra credit

You are expected to turn in college-level writing. Your writing should reflect the quality expected of someone with your level of higher education. If you receive an unsatisfactory grade, you may revise your finished project to earn back lost points. The most points you can earn back will be one-half of what was deducted for your grade. For example, if you get 100 out of 200 points, you can get back 50 points maximum by revising.

Your writing should be composed on a computer using software available to you in your designated computer lab (or on your own computer with your software). Use 12 pt type, double-spaced, with 1-inch margins. Put your name, the date, and the assignment on the top of the first page (unless using a cover-page). Print out a copy to hand in, and print one copy with your name deleted for your portfolio. Project work done by hand, such as sketching out ideas, concept development, drawings, etc. are perfectly acceptable when they are part of developing your communication pieces, and I encourage you to use a variety of mediums. However, your final projects should be clean and as professional as you can make them, and your written assignments should be typed. I will accept emailed PDFs of your assignment until midnight the day it is due ONLY if you use the following convention for naming your file: YOURLASTNAME_assignment.pdf example: SMITH_1000words.pdf If you have the same last name as someone else in the class, use another underscore and enough letters of your first name so I can identify you; example SMITH_Don_1000words.pdf (For Donald) SMITH_Donn_1000words.pdf (For Donna) I’m flexible on what you call the project as along as it is clear what it is. The point is to be clearly identified so I don’t have to hunt for your work.

Attendance policy Because the pace of this class is quick and because we will have group work and class discussions, attendance is crucial. You are always responsible for work missed during an absence, and if you come to class unprepared after an absence your ability to participate will suffer. Students are permitted to miss three classes per term and any more will result in a lowering of your grade (10 points per missed class over the three permitted absences). Two tardies equals an absence, and sleeping in class will also count as an absence. If you know you will be absent, please let me know so that we can work something out. I am much more forgiving of absences if you are responsible about the situation.

Policy on Academic Integrity

Social practices The social practices grade will reflect your contributions to class discussions, peer review activities, and group work, as well as your commitment to meeting the goals of the course, and helping your colleagues meet them too. Needless to say, if you are not in class, you are not participating—so attendance is reflected in this grade.

Changing topic in mid-assignment

You are required to work through several revision steps for the assignments for this course. Only work that shows the steps of invention, revising, analysis, and reflection will be acceptable. No late-stage topic changes will be acceptable unless these steps are worked through.

Late assignments

How to turn in your work

Plagiarism and cheating are serious academic offenses. They are defined by this policy as “knowingly copying another’s work or ideas and calling them one’s own or not giving proper credit or citation,” and this policy covers copying sections or entire papers from printed or electronic sources as well as handing in papers written by students for other classes or purchasing academic papers or projects. Plagiarism and cheating not only are dishonest, but they cheat you out of learning—the primary reason you are here. If you have questions about this issue, please talk to your instructor or consult a coach in the Writing Center (7-2007). Policies are made available on the University’s web site www.mtu.edu.

Policy on Discrimination and Harassment

Late assignments will affect your ability to participate in class. We will almost always have an in-class workshop that requires you to have your assignment with you the day it is due, so bring it even if you are not completely finished. Have enough done so your peers can understand it and give good feedback. Taking a day or two to complete your work after the class workshop is acceptable, but it must be turned in within a week of the due date to get credit. Come to me beforehand if you have extraordinary circumstances and need additional time.

Michigan Tech complies with all federal and state laws and regulations regarding discrimination, including the Americans with Disabilities Act (ADA) of 1990. If you have a disability and need reasonable accommodation for equal access to education and services at Michigan Tech, please call Dr. Gloria Melton, Associate Dean of Students (7-2212). For other concern about discrimination, you may contact your advisor, department chair, or the Affirmative Action Office (7-3310). Policies are made available on the University’s web site www.mtu.edu.

page 2 of 5 | revisions | section 11 | spring 2006

Course schedule: Situating yourself in the rhetorical discussion Wk 1—Introduction to Revisions: Oral, Written, and Visual Communication Monday 1/09 Welcome to Revisions—review syllabus Wednesday 1/11 what to prepare: read syllabus & and pages 1–16 of cda what will happen in class: discuss syllabus; discuss terminology—compose, design, advocate, communication Friday 1/13 what to prepare: read pages 17-22 of cda; find and bring to class a composition (written, visual, and/or oral) that you find particularly interesting (It could be personal or public, but choose something you’re willing to share with the class. The image will be used for the week 2 project too.). Write a short (1/2 page) narrative stating your reasons for choosing the composition that you did, and what makes it interesting to you. what will happen in class: group discussion of your composition choices. Write about how a viewers attention is shaped in a particular way by the composition; 1-PAGE “INTERESTING COMPOSITION” NARRATIVE DUE (10 PTS) Wk 2

Monday 1/16 Martin Luther King recess begins at noon: no class today

Wednesday 1/18 what to prepare: read chapter 1, pages 23–30 of cda; read pages 111–115 (116-119 optional) of cda; what will happen in class: talk about designing compositions that advocate; Friday 1/20 what to prepare: read chapter 2, pages 33–54 of cda what will happen in class: talk about purpose, audience, & context; revised, “1000 WORDS” PROJECT DUE (15 PTS)

Project 1: A rhetorical process for designing compositions that advocate

You will design a visual composition (3-poster series, 6-12 cell comic strip, 25-second flash animation, 5-page web site, 6-page powerpoint, etc.) that makes an argument and advocates for something of interest to you. The topic is of your choosing (political issue, online gaming issues, technology conflicts, etc.). You will prepare a 3-minute oral presentation and present your finished composition to the class. A 2-page written description in which you describe and reflect on your project will be required. (Handout with more details will be provided at start of project.) Wk 3

Monday 1/23 what to prepare: read chapter 9, pages 263–284 of cda: what will happen in class: talk about strategies, medium, arrangement Wednesday 1/25 what to prepare: read chapter 9, pages 285–313 of cda: type up a draft design plan for your project what will happen in class: group assessment and feedback to draft design plan Friday 1/27 what to prepare: read chapter 10, pages 331–348 of cda; what will happen in class: talk about visual communication and rhetorical analysis

Wk 4

Monday 1/30 what to prepare: type up revised design plan and rough draft of project (brief sketch) what will happen in class: peer testing; WRITTEN “DESIGN PLAN 1” DUE Wednesday 2/1 what to prepare: read in chapter 5, pages 133–140 of cda; what will happen in class: IN-CLASS PROJECT (15 PTS)—rhetorical analysis of “Partly Cloudy Patriot” Friday 2/3 what to prepare: type up at least 5 criteria for evaluating this project what will happen in class: discuss project progress; develop grading rubric for this project

Wk 5

Monday 2/6 what to prepare: presentations and final projects what will happen in class: presentations and peer reviews Wednesday 2/8 what to prepare: presentations and final projects what will happen in class: presentations and peer review; “VISUAL ADVOCACY” FINAL PROJECTS DUE (200 PTS) Friday 2/10 no class—Winter Carnival recess page 3 of 5 | revisions | section 11 | spring 2006

Project 2: Persuading others to act

You will prepare an ad campaign designed to move a variety of audiences to action and to advocate for a non-profit organization or cause of interest to you . Include two ads for very different audiences (for example: a full-page magazine ad in a car magazine, one oral ad for a radio announcement), write a one-page argument that argues against what you advocate for in your ad campaign (200 words min./300 max.) and incorporate at least one mechanism for prompting action. Prepare 5 minute (minimum) presentation if presenting. Wk 6

Monday 2/13 what to prepare: read chapter 3, pages 57–77 of cda what will happen in class: talk about communicating for others, audience and purpose Wednesday 2/15 what to prepare: read chapter 4, pages 79–107 of cda what will happen in class: talk about ethos, pathos, and logos used in argument Friday 2/17 what to prepare: write up a project design plan for project 2 what will happen in class: peer testing and IN-CLASS PROJECT (15 PTS)—rhetorical analysis of advertising; sign up for conference with instructor; WRITTEN “DESIGN PLAN 2” DUE

Wk 7

Monday 2/20 what to prepare: portfolio in progress what will happen in class: no class today, conferences with instructor; feedback on project 2 & portfolio Wednesday 2/22 what to prepare: portfolio in progress what will happen in class: no class today, conferences with instructor; feedback on project 2 & portfolio Friday 2/24 what to prepare: portfolio in progress what will happen in class: no class today, conferences with instructor; feedback on project 2 & portfolio

Wk 8

Monday 2/27 what to prepare: read pages 399–407 from chapter 13 of cda what will happen in class: IN-CLASS PROJECT (15 PTS)—rhetorical analysis of editorial and opinion pieces Wednesday 3/1 what to prepare: work on projects, bring in printed copies or laptops to share ideas for feedback what will happen in class: peer testing and WRITTEN “REVISED DESIGN PLAN 2” DUE Friday 3/3 what to prepare: read “Common Scents” by Lynda Barry (pages 513–522 in cda) what will happen in class: IN-CLASS PROJECT (15 PTS)—rhetorical analysis of “Common Scents” SPRING BREAK

Wk 9

Monday 3/13 what to prepare: type up at least 5 criteria for evaluating this project what will happen in class: discuss project progress; develop grading rubric for this project Wednesday 3/15 what to prepare: presentations and final projects what will happen in class: presentations and peer review Friday 3/17 what to prepare: presentations and final projects what will happen in class: presentations and peer review; “ADVOCATING FOR OTHERS” FINAL PROJECTS DUE (200 PTS)

Project 3: Analyzing oral, written, and visual public and civic texts

You will choose and analyze a written, oral, or visual text using both your unique ability to read, listen to, and understand the text as well as research of relevant sources to support your analysis. Your findings will be presented in a formal 6-page paper and must include a cover page that identifies the project title, you, the class number (UN 2001, sec. 11) and semester (Spring 2006), and an annotated bibliography of your sources. You must use at least three sources. Because the text is of your choosing, this should be an interesting and challenging project. Prepare 5 minute (minimum) presentation if presenting. Wk 10

Monday 3/20 what to prepare: think about possible texts for project 3 what will happen in class: viewing film “Bowling for Columbine”; in-class exercise

Wednesday 3/22 what to prepare: read pages 143-174 from chapter 6 of cda; what will happen in class: IN-CLASS PROJECT (15 PTS)— “starting a rhetorical analysis research paper”

page 4 of 5 | revisions | section 11 | spring 2006

Friday 3/24 what to prepare: write up a design plan for project 3 what will happen in class: peer testing and WRITTEN “DESIGN PLAN 3” DUE Wk 11

Monday 3/27 what to prepare: read pages 427–429 and 446–459 (“Higher Education”) from chapter 14 of cda what will happen in class: IN-CLASS PROJECT (15 PTS)—rhetorical analysis of “Higher Education”

Wednesday 3/29 what to prepare: 1-minute oral informal speech about your project to provoke questions/feedback what will happen in class: give one-minute speech and answer questions, discuss using sources Friday 3/31 what to prepare: work on projects, bring in your “text” (if manageable) and project start in class: peer feedback and FIRST DRAFT OF ANALYSIS PAPER DUE (2-3 PGS) Wk 12

Monday 4/3 what to prepare: type up at least 5 criteria for evaluating this project what will happen in class: discuss rubric criteria for project 3 Wednesday 4/5 what to prepare: read pages 349–361 from chapter 11, of cda what will happen in class: IN-CLASS PROJECT (15 PTS)—rhetorical analysis of documentary photographs Friday 4/7 what to prepare: keep working on project 3 what will happen in class: work day, no need to come to class unless you would like to meet with me to get additional feedback on your project. I’ll be in our classroom.

Wk 13

Monday 4/10 what to prepare: presentations final projects what will happen in class: presenters present projects; non-presenters review project presentations

Wednesday 4/12 what to prepare: continue presentations and peer review; what will happen in class: presentations and peer review; “PUBLIC TEXT ANALYSIS” FINAL PROJECTS DUE (200 PTS) Friday 4/14 what to prepare: come prepared to discuss portfolios what will happen in class: reflection on class goals, course evaluation

Writing a cover letter Wk 14

Monday 4/17 what to prepare: Find a job posting related to your discipline that you would apply for if you were graduating this year (visit the career center either in person or online). To the job-specific skills mentioned in the job description, add “requires excellent communication skills” if it’s not already listed. Write a cover letter that would accompany your resume as if you were applying for the job, and convince the recipient you have the “excellent communication skills” they are seeking. Consider both written and visual strategies as you prepare your letter. (A resume is not required for this assignment). The phrase, “I have excellent communication skills,” or a variant thereof, will not be acceptable. Excellent communication skills must be shown as well as explained. what will happen in class: discuss job descriptions and communication skills

Wednesday 4/19 what to prepare: write cover letter what will happen in class: cover letter competition—who gets an interview? “COVER LETTER” FINAL PROJECTS DUE (20 PTS) Friday 4/21 what to prepare: completed portfolios and final portfolio statement what will happen in class: return cover letters; group review of finished portfolios PORTFOLIOS DUE (50 PTS) Or make arrangements for turning in portfolio during finals week. Finals week:

There is no final exam for this course.

Note: I reserve the right to revise the syllabus and/or course schedule to better serve student needs.

page 5 of 5 | revisions | section 11 | spring 2006