Class+Notes

WKU AP Summer Institute English Language and Composition June 27-July 2, 2010 Hephzibah Roskelly

June 27 8:30

She’s giving us handouts and will have other things on pdf as well.

Alcott, Louisa May. Work: A Story of Experience. NY: Penguin, 2001. (1868) *Crowley, Sharon. Ancient Rhetorics for Contemporary Students. Boston: Bedford, 2008. McCloud in Handa, Carolyn, ed. Visual Rhetoric in a Digital Age. Urbana, Il: NCTE Press, 2007. Rose, Mike. The Mind at Work. NY: Oxford, 2008. Rosenblatt, Louise. Making Meaning With Texts. Portsmouth, NH: Heinemann, 2007.


 * Teacher Resource

Her Touchstone Piece--?? Uses

Would you like to pop up or would you like to go around? The question heightens the sense of rhetoric for students.

APLAC—AP Language and Composition

Voices in Conflict & The Wilderness—Seminar Ideas from ladies in Nashville.

3 Ways of introducing myself, each of the 3 ways gives you an idea of who I am in different ways. The choices you made in introducing yourself, how you looked at your audience, how you were funny or serious, all of those were rhetorical choices.

The 1st thing to know about rhetoric is that YOU KNOW everything you need to know about teaching rhetoric because you know how to communicate with an audience. We make choices that reveal the way we want to connect to other people. People love narratives, they love stories, “Once upon a time.”

When you teach rhetoric, you are teaching genres. When they know the form, they are more comfortable interacting with it.

Sometimes have students write an opening, then talk about why they started the opening the way they did. Have them begin different ways.

“If you teach 11th grade, you better be teaching it (Scarlet Letter).” Why??

I don’t want you to write an essay, I want you to write three openings, then I want you to account for the 3 openings. This can teach students more about the rhetorical moves they make. The early moves you make suggest how you want to be perceived & how you want to work.

“I don’t know all your needs. I’m going to try my hardest to do some things I think will be helpful, but PLEASE, come ask me, tell me what you need. You have to use your imagination to make a connection to what’s happening in class.”

__Rhetoric Handout__

Pick one of the definitions given & write about it for 2-3 minutes

“Rhetoric is what we have instead of omniscience” Ann Berthoff

Omniscience—def of that again, love being on the internet and able to look it up! All-knowing, omnipresent—always present, omniscience—all knowing, omnipotent—all powerful.

Since I am not God, I have rhetoric. Since I don’t know everything, I have rhetoric. Since I don’t know everything, I have a way of figuring things out, understanding them and sharing with others. How is rhetoric different from logic? Which is bigger? Does logic require rhetoric or does rhetoric require logic?

This activity can be used with a variety of definitions. Students can then talk about them or share in groups.

Why are groups so important in AP classes?

Which one did you choose and why? Are there patterns? similarities in your group?

Me—What are the ways we communicate? What are the ways we want to be known? Is there a thought you’ve ever had or a felling or an experience that is worth sharing with others? How do you share who you are, what you’ve done with others?

John Winthrop—Model of Christian Charity [] We can’t just be concerned with our own selves. We must be willing to give up something. Sermon preached on board the boat. If they’re looking at the sermon rhetorically—how are they getting this miscellaneous band together. Everyone is looking to us to fail (we’re going to show them) When is that technique used today? Give them a locker room speech. (one on a movie??? Something online???) Win one for the Gipper?

Question #1—What techniques are these writers using in order to get their point across? Do you understand the context in which it was used and the way it makes sense today? Rhetoric and its manipulations isn’t hard, or weird. It’s everyday. What’s not common is stepping back and analyzing them in order for us to do it better.

Plato-- Observe—observe others, observe ourselves (reflect), Aristotle know thyself because if you know yourself, you know others. Aristotle—Know thyself, interested in observation and persuasion. Has a discussion in his book for the rhetoric, here’s how you talk to old men, here’s how you talk to young men. Who is being addressed and who isn’t? Agora If I know myself then I will know others.

**Syllogism** the above is a syllogism. A syllogism with a premise missing is an enthymeme.

My friend Kate is a woman, so of course, she is so wise.

Political speeches are loaded with enthymemes. They are so common we assume everyone will agree or they are so arguable, we don’t want them stated because we may have someone argue against it.

Slave narratives, Native American, women’s journals—we have expanded the **agora**.

Self Reliance—Trust thyself every heart vibrates to that.. .if we know ourselves well enough what we find is that every person has that same reverberation. We find points where we make sense together.

What’s available to you to help you make your case? What have you read? What do you know about your audience? What is your available means? The longer you study it, the more you read, the more you write, the more you are able to prove. Your available means also has something to do with who you are. Women had less means—Juliet, “My means much less.” What means did women have?

In any given case the available means of persuasion. All speech has an elements of persuasion in it. Listen to me!!! I promise you, you’re going to like it. Isn’t the most basic persuasion we do wanting to be heard? Listen to me!!! From our first cries we want to be heard and responded to.

Giving the definition is not enough you have to get underneath it. Give them a situation like: you got caught driving the car when you told your dad you wouldn’t take it out. How would you get out of that problem? Then move to a poem or someplace else so they can figure out what their available means is. How does the argument change if a sibling just wrecked a car recently?

Have students keep a journal where they observe others in successful & unsuccessful rhetorical encounters argumentative situations. . .lunchroom, TV show, mtv video, novel they are reading. Why did it work? Why didn’t it work?

Sinners in the Hand of an Angry God—what is he observing—nature, using fear to motivate you—one of the most powerful of arguments, we are like spiders that’s how big we are,

What is the American Character? Individualists? William Bradford’s speech, Bradstreet’s poetry, absolute requirement of community, self-sacrifice something of my own so the community can survive, mutual engagement in the enterprise. There is that connection. Know thyself and you’ll know others.

Johnathan Edwards the great awakening—master of persuasion. 20th century go right to the speech baby suggs gives in Beloved. Her sermon which is about loving yourself and your communion with others who have been taught not to love themselves. Tony Morrison’s novel Beloved. Works well with Winthrop and Edwards. Look at the emotional appeals of each, look at examples they give. Then you can go right into post slavery. then you can go back and return to baby suggs & post civil war.

Give them actual experience first close in then further away. You don’t want them to blow off rhetoric, but get them immediately buying into it.

I. A. Richards Philosophist & reading theorist in the mid point of the 20th century called the art of rhetoric. Richards believed in the power of language to eliminate violence. Words is the only hope we have to end conflict. Idea of peace & language & rhetoric. Mary Rose O’Reilley The Peaceable Classroom Quaker, taught in a community classroom during the Vietnam war. “How do we teach English so that we can stop killing one another?”

If we can teach rhetoric well, maybe we’ll have a better chance not to hate, dismiss, judge, kill each other.

The American invasion of philosophy—in this age that we live in destruction & violence, Cornell West, I don’t know if it’s enough, but it’s what we’ve got.

Where in your life do you need to be understood better? Where do you need to understand someone else better? Love more, hate less? How can rhetoric work for you?

Ann Bertoff 87 years old retired from the University of Boston. Omniscient narrator. Words are not enough, but they are all we have—are they? It doesn’t matter how hard you work, it doesn’t matter how smart you are, if you can’t convey what you want to say to others, you are an island.

If God is omniscient, all-knowing, what is the point of us? Why would you need anything? Why would we need anyone else?

Keep a journal of how much time you’re online:

What is the rhetoric of FB, texting, phone calls, etc.???

Tone, voice, perception, use of language. ..

__The Disappearance of Childhood__ and __Technopoly__ Neil Postman

__ Always On: __ **Language in an Online and Mobile World ** [|Naomi S. Baron] journal of their own electronic communication

What is appropriate when? What other technologies have received a similar response? The telephone, the typewriter, telegraph, pony express??


 * Triangles and Rhetoric**

audience—who are you talking to? how well do you know them? close in or far away?

speaker—know yourself do I have a write to talk? Maria Stewart standing up in Boston a freed slave transgressing. Ree Native American, transgressing who am I as a speaker, what am I allowed to say in this forum?

subject—what are you writing about? how close are you to the subject? how far away are you?

why is this a triangle and not a list?

Don’t always put the speaker at the top or the audience at the top, move them around.

Reader/Writer/Subject Audience/Speaker/Subject

what was lost when we moved from a primarily oral world to a written one? What was lost? What was gained?

Who is the writer speaking to? What is their disposition? Don’t just say they’re puritains. Say they’ve been travelling for 7 months, dirty, cold, hungry, there are rocks.

If this is how the audience is feeling, what does the speaker need to say? Who is the speaker? Who does he have to be? What kinds of language does he need to use? Where might he be standing?

Old American Lit teachers should read __Mayflower__ Nathaniel Philbrick

Ann Berthoff says there is a dotted line between the speaker and the audience because we don’t have control over how the message is interpreted by the audience.

Teach grammar as a means of rhetoric. When you are teaching a text you are teaching grammar—always.

Be aware of the power of voice and the way that grammar connects to voice. Doing oral work with students enhances the rhetorical. The heightened moment when you are reading allowed makes the connection between speaker, audience, subject more visible.

Sentence boundaries

Evaluate holistically—if the language, the grammar, etc. interferes with how it impacts your understanding as a reader, grade it down, grade it way down if necessary.

People who have spelling problems, often have patterns of misspelling. If they keep track of what they typically misspell, then they can become aware of those pattern and address “I normally spell it this way, so I probably need to spell it this way.”

I teach grammar as a matter of language. If you look at early writings, you see a ton of punctuations, a ton of misspellings.

How is the writer’s choice of language, punctuation, etc. ________ ??? Syntax push them to syntax. The way a writer says what they have to say. How does syntax shift?

Speaker—persona literally means in Greek “the mask” so when the people came into the theater they knew tragedy, comedy. . .for our purposes, that mask, that character that the speaker puts on in order to achieve her aim to reach that audience for a particular moment.

How do you describe the character of a particular persona? Check out __The Morgesons__ by Elizabeth Stoddard 1862.

Give your students a line, perhaps the first line and have them discuss the voice, the persona. Scarlet Letter, holds everything back syntactally and makes the reader wait. It’s a coy narrator who knows much more than he ever tells us. 19th Century syntax often works this way. Teach syntax and teach voice. How can we tell this is a smart-alleck narrator who doesn’t let on to everything he sees.

How do you know he sounds genteel? Oh well, look at the word—you’re going to the source. Now if you’re writing that in an essay, you put that in quotes. That narrator sounds like he’s genteel. How do you hear that?

The birthmark before __Scarlett Letter__? Minister’s Black Veil—all about language?

In Scarlett Letter, there in the 1st scene, Hester is there with Pearl, Chillingsworth is there Dimsdale.

3 scaffold scenes

2 scenes in the forest—Hester takes off her A and Pearl makes her take it off. The 2 forest scene

Scarlett Letter has everything in it you like—revenge, anger, lust, true love,

Grammar, syntax, style, voice—dialect, level of formality, punctuation

Evidence—research. Teach research as creative. What is the rhetorical choice you make when you choose evidence? It is creative to make decisions about what you are going to quote and how you are going to expose a subject to an audience. What do you want to say about ________? Help them so that it becomes Have an idea, then find what you need to support that argument. What other kinds of evidence do you need to make that evidence strong? Scarlet Letter Plot thing makes an a scaffold scene 1, forest scene, scaffold scene 2 (climax?) forest scene 2, scaffold scene 3.

The Use students’ experiences as a grounding for how the triangle works.

Practice with a variety of genres continually in both reading and writing.

When you are teaching the language & comp. class, use poetry to support your teaching. When the rhetoric fits—use it. Seamus Heaney the famous poet held the rhetoric chair at Harvard. Don’t stop using poetry.

How could I create a lesson that helps students understand voice?

Chronological? Start with Native American Myths? Themes?

Keep your eye on the prize—understanding the dimensions of rhetoric.

You already know a lot about organizing an AP course because you’re teachers.

AP central and request a copy of the AP Language & Composition Acorn book. Expose students to both fiction and non-fiction. Our children are read to a lot –fiction.

Give them a poem, a short story, a letter to the editor, and an essay and help them see why one genre over the other? Why use this genre?

How do you teach a didactic lesson? a lesson meant to teach and entertain

“The work we do in literature and language is the same.”HR

3.5 Essays works for writers who are not very skillful, confident, or creative—the 3.5 essay structure can help them get into it.

The length of the skirt depends on the woman.

“Ok tomorrow, bring in your 1st paragraph or just your favorite thing you’ve written. Do not dare bring in more than one piece of paper or one paragraph.” There are dozens of ways of offering evidence. There are millions of ways to start. There are many ways to develop your argument and get your point across.

The forms that we use should be made to fit us rather than having to tailor ourselves to the form.

J—“5 Paragraph Essays are more of a steppingstone than the only capstone.”

Invention—a great way to begin your course. Gathering ideas, understanding where they come from arrangement—Aristotle: introduction, thesis, narration, division style—how voice and syntax and genre come together to make up style memory— delivery—

One way to organize your course 1st 9 weeks Invention and arrangement, 2nd 9 weeks style, etc. It’s a way to organize rhetorically a class that

Take the scene at the top of p. 2 in __Everyday Use__ Roskelly and Joliffe In groups, write the next part of the scene.

1. Romance 2. Song is the most important element. 3. Horror Film 4. Driver’s ed film

The song is the most important element.

The song “Still the One” from Orleans is heard Continuing late night on Route 66, somewhere in Arizona.

Nick glances over to her as she begins to sing.

Kate: You’re still the one—that makes me laugh Still the one that’s my better half” Nick and Kate: We’re still having fun, and you’re still the one!

As the radio fades we see the tail lights dim in the distance.

What can you say about the horror genre that you see? car out of gas ditzy female dark night sharp ending with a gothic feel

How can you take an assignment like this to move it back into the text that we’re reading?

Rhetoric analysis of a film—give students a film to see & discuss the genre

Romance—What do you hear in their scene that fits romance genre Mistaken feelings, love triangle, unexpected twists, most filmmakers will show the “intended couple” in scenes by themselves.

Driver training film Narrator that appears from nowhere to give advice Number codes

Taking a minor element and focus on it in a dramatic way—theme Example: Crazy Heart with Jeff Bridges uses music to re-focus how the characters.

The way to make group work work. Make it fun. Have students writing together low stakes.

Last of the Mohicans—we read chapters, excerpts, I want my students to know this is the beginning of cowboy fiction. Ridiculous coincidence and weird language. Students write a scene that James Fennimore Cooper would be proud to put in.

For Tuesday:

Please read Louisa May Alcott 1st chapter and Mike Rose—Introduction Chaos & Invention Ann Berkoff. Begin to talk more about genre and the way it works.


 * Tuesday, June 28 8:40 **

The 5 Cannon of Rhetoric starts with invention, arrangement, style, memory, delivery

**Using Groups** Check out __Breaking (into) the Circle: Group Work for Change in the English Classroom__ Hephzibah Roskelly

The more planning I do up front the better—Ada The more individual responsibility Gradual release of responsibility model—have them thinking about something that Oldham County Learning Institute Thinking strategies, I d [] http://www.oldham.k12.ky.us/index.php?option=com_content&view=article&id=1028&Itemid=2148

The students self-assess, I assess, and the group assesses. They have to write a paper explaining how well they worked in the group.

“ We learn things best in informal ways better than formal. We learn things by having to articulate things to others, the way we describe our insights. That ability to articulate is easier to come by when you are in groups of your peers. The way that we learn best is when our ideas are juxtaposed to the ideas of others. We are deepening and proliferating our interpretations by seeing all the possibilities by interpreting the ideas of others. There is also a political reason for group work. When people listen to each other in meaningful, respectful ways, they are more likely to be able to do that outside the classroom.

If we can’t in a group relatively alike engaged in the same issue, if we can’t manage to get over ourselves enough to get along, how can we expect to tell Israel what to do. How can we learn to differ with one another, propose an argument, defend it, and reach some sort of conclusion? When we have students in groups, we are helping model rhetoric. You need to provide the scaffold. What kinds of evidence were thrown out in your group? Now how could we use that if we were writing a paper?

How do we get students to analyze deeply? Social construction theory-group work research. I want you to write some of these things that you’re finding in your classroom and write it to English Education and tell them I sent you. “Collaboration and the Conversation of Mankind.” KA Bruffee []

L. S. Vygotsky Thought & Language  HR’s thoughts “Make your groups permanent or semi-permanent. They have to know each other well enough to share ideas and know each other. Maybe change every grading period. Have it be a real group with the real same group in it to work for the same amount of time. Sometimes they come in & they are friends & sometimes they are enemies, ignore that. Why should I say, do not by any means sit by anyone you like and do not talk about anything. Enemies, when you look at our society, there is less and less of an emphasis on people sitting at tables and have a conversation with your family over dinner. And what you learn at a table is how to talk, how to listen, how to respond. 25 years ago, you can expect that students would have some basis for understanding the etiquette of group work.  Do not start breaking students into groups any way other than random. Don’t put groups together based on work ethic, talking, smarts. Letting them pick, someone gets left out. AT least at first  1. Make them permanent or semi-permanent 2. Make them random as possible so that you are signaling to the students “everyone is going to work.” Try not to seed them. 3. Begin the work of groups early. In that first week of school, have that group do some work early, but not commenting on ideas. Groups are for sharing, learning, fun low steaks, but about teaching, learning, communicating about literacy. Fun, low stakes, listen to one another. Ex: dear Hester, here’s your real problem. . .in other words they know the genre. They know it, everyone will contribute, they’ll get this idea about groups so your class will differentiate from past group experiences. I started out my freshman composition class asking them about their experiences with groups. 4. Figure out actual activities that you don’t know the outcome of, that everyone in the group will have something to say about. 5. Size of groups 4-6 6. Give them a group identity (group name) 7. Give them a folder so they have a record of what’s going on in that group. As they are doing work that is ongoing, at the end of the semester, they evaluate their own work in the group. 8. Evaluation, one further reason S & Ts worry about group work—how to evaluate. I don’t want my grade pulled down by slackers. How do I really know who did what? Every single thing I do is not graded. How do you confront that desire? 1st—each time your group performs, publishes something, the teacher sets up the terms, everyone must talk, there is a spokesperson, you are the group, you figure out how you are going to do it, but you have to give me the rationale of how or why the presentation was given. I suggest you write the group a letter, “Dear Eagles, you worked well in your group, you got the class involved, except for Versey who had gum in your mouth. Chris led off and spoke a little fast, but your humor was appreciated by all. HP says I write everyone a letter about the quality of their written work, their class participation, their group work and journaling. I have students write me a letter at the end of the quarter talking about how they are doing in class and 9. Assign roles—president, secretary, reflector, sergeant at arms, and I spend time talking about those roles and every time my groups meet “we don’t want any petty dictators” so we change roles around. One reason people hate to be the recorder. The recorder gets to decide who gets to present. The recorder decides it. Those roles sometimes over the course of my semester will disappear. Sometimes in their folder they make a grid, and keep track of who has been president and say to each other, “You’ve been president too many times.” Sometimes groups fall apart because they don’t know what their roles are. <span style="color: #000025; font-family: 'Cambria','serif';"> <span style="color: #000025; font-family: 'Cambria','serif';">Bad reasons teachers put students into groups: <span style="color: #000025; font-family: 'Cambria','serif';">1. You haven’t prepared for the groups at least <span style="color: #000025; font-family: 'Cambria','serif';">2. Teachers don’t give activities that are conducive to group work. They are often given tasks that could be done alone—writing definitions, answering questions, instead create tasks and assignments that require that everyone participate. <span style="color: #000025; font-family: 'Cambria','serif';">Classmember--Put tennis balls on the bottoms of your chairs, so it is easy to turn around. I’m calling them teams this year, they will have a team binder. Oldham Co. teacher <span style="font-family: 'Cambria','serif';">

The character of Christie in one group and 2 groups discuss what Alcott seems to be saying about Christie. They will have a paper to write about Rhetoric and style in Alcott’s novel.


 * 1st Cannon of Rhetoric—Invention**

The idea of invention and manipulation and making something works here. Which suggests then that you take the wealth of reading, ideas, thoughts, etc. to the task at hand and narrow it, select from it and apply it. That’s invention. For me as a writer, invention or getting the idea but what I really love is revision. The reason I love revision is because there is already stuff on the page. The blank page is more daunting to me. How do we get stuff on the page? Group work can help with that. How do we get stuff on the page for them to use invention tools? What are words in the text that tell us something about her character. Find 5 lines that tell us something about the writer. Once you hand out your assignment where you describe what you want them to do, don’t give them hardly a minute to think and make them write some stuff right now, underline, make notes, get down their ideas. Streams of thoughts reside right below the surface below the level of speech at “inner speech.” Then that becomes the beginning point for their writing.

Try it for yourself—the instant you get an assignment, start writing right away.

Chaos is not the opposite of ideas, it’s not void, we want to generate chaos, not staunch it because it’s the generation of ideas, in those groups they are generating chaos, then you move to have invention become more systematic. I think I have some ideas, now do I go on with it. How am I going to take the idea I like best and move forward with it?

We’re going to go all around the room and say, “Here’s what I think I’m going to write about: ________” At that moment, everyone is on the same page. Ok, tomorrow come in with one little bit of evidence you plan to use, one little opening. Have them do something little everyday and that stimulates invention. that helps them move in a generative way the early stages of writing.

How can you build your AP class around the 5 cannons?

Delivery is concentrating on format

At the beginning when you introducing students to the writing process, you are concentrating on invention and arrangement at first. style next, etc. How do you hold onto in your memory what you need to deliver?


 * Ways to organize your course**

How can rhetoric guide your year? Discuss the writing process in general and how it works how is writing connected to the reading process? The writer’s reading developed their own writing. Figure out a way to have the text students read and the way students write connect. Making those connections live for students is essential for students. Exercise with writing. Exercise with reading. and a little exercise work to see what connections they can do. Make those live for students

Then you begin by talking about the “Cannons of Rhetoric” how we move through a variety of strategies. How we produce good stories. If I wanted to start with invention, we are teaching the triangle.

I Invention—the proliferation of ideas and thoughts · group work · personal writing (also do personal writing at the end good personal writing, good autobiography is the toughest kind of writing to do, you can move those around all the time students are making rhetorical choices, “Do I want to write about this using research? Do I want to write about this autobiographically?” A great way of reflection. Here’s my idea about this poem, here’s my experience with the first time I was on a boat. Some kind of personal connection and reflection. This can lead so easily into group work. This can expand student experiences and options. · Opinion and advice Letter to Dimsdale—I think Rev. should have taken off that veil. How come? Remember that time when his girlfriend asked him to? (going to the text) they need to understand that they have ideas. We need to encourage students to realize that they have ideas.  · journal  o double entry notebook—invention/reflection response/reflection see Ann Bertof’s essay on this. Ann Bertof is the inventor of the double entry notebook. o designed to be shared it’s a rhetorical translation, it’s another way to see the triangle o journals can be given to someone in the group for evaluation o You should plan to write in your journal 3x a week. I want it to be a habit, but I don’t care how long it is. do not start to write unless you can give me 15 minutes. At least 1 entry has to be about something we read or talked about in class. “You’re really interested in that. This would be a cool thing for you to write about in your journal. You can write about your life, your other classes, and what you’re writing about in other classes. Other things you are writing. sometimes write about something that’s going on In the world. I want them to be interested in discussing what’s going on in the world in the political, cultural, social moments. I want the agora of the classroom to get big enough to include the things outside it. Writing is a powerful thing. I want them to have a personal investment and translate it into rhetorical analysis. The thing that really pushes students to the highest level of achievement in the students is that you can hear the personal level of attachment in the student. Ask them to account for things with you. All writing carries appropriateness markers. What’s the rhetorical occasion of the AP exam? What’s the genre of the AP exam? Do you really have to do that? Let’s look at this example did they use _____? o Reading § Abigail Adams---genre of the letter, role of women, style of the 18th century the ability to make an argument, § John Smith—genre of the journal, convince colonist and explorers to come to the new land, get rich, exploits of daring do, the way you can use your own personal reactions, the way John Smith’s journal is like or unlike their own § Phylis Wheatley—African American poet during the Revolution, was she given freedom? She was a popular writer. What do pictures of Phyllis tell us about her? Evaluation thesis evidence text Arrangement of ideas/forms timed analysis argument—use of the appeals—the 3 appeals: logos, pathos, ethos logos—logical appeal, appeals to the reader’s sense of reason cause/effect percentages if most people think this, then it’s probably true quantative analysis there is creativity involved in argument b/c you are making choices about what arguments we make, what support we give We all know that. . . ethos—ethics our cultural views of what is moral—religious values, cultural values, believability of the speaker, I’m not a Dr. but I play one on TV.

__(Unspun__ check out this book about how politicians spin numbers to make arguments)

pathos—emotional appeals, appeals to the passions—love hate, fear, revenge, joy, etc. Emotional appeal is the most immediate, the strongest, the one people can react too quickly without thinking. Emotions carry with them logic and ethics as well. review/other genre

Mary Rowlandson [] Patrick Henry’s speech American Rhetoric.com 100 great speeches How does our reaction differ depending on something read aloud or read silently? How does hearing a speech differ from reading it?

Get a speech and have it delivered by different people differently—angrily, forcefully, timidly, how does that change? What changes it?

Henry V speech (Kenneth Branaugh) locker room speech

Logos Pathos Egos with MLK’s speech development, getting underneath the text, offering evidence

DOUBLE ENTRY NOTEBOOKS—Ann Berthoff is the inventor

When we read, we need a moment to reflect. One side of the paper is labeled R—what they’re reading. Stop a couple of times to comment. p. 4 Christie is mean! to her uncle! Why does she want to leave them? Do this 2-3 times. Then give yourself an hour or something, then go back to look at what you’ve written in order to comment on your comment. L-- I now see that Alcott is pushing the idea that women need to find a place of their own.

One of your entries of these 3 journal entries needs to be a double entry. They need to get over just reacting & think through something. A great way to show students people who never think on the left hand side—not thinking through, just responding. Letters to the editor. The double entry vividly illustrates who can’t do it. Who can’t reflect.

spontaneous overflow of emotion recollected in tranquility—Wordsworth

To get them started, give them a leaf or a flower or a stone, or dirt, or whatever. they begin by observing as closely as they can & describe everything that they can in 10 minutes. Sometimes I say to them, you can draw this too. Then we go on and do something else and come back to it or we get in a group and group members help them come up with more ideas. Then they come back later and account for what they didn’t see the first time and why they wrote about what they did. They have to carry their object around for awhile. Because it’s tangible, you can begin to talk about the things you want them to describe when they are reading: size smell, weight, color, etc. Remember Aristotle—observation, they have to turn that power of observation into what you read.

Where is the focus? Where do you want your reader to look? To look at you?? I think this, I believe that or do you want students to focus on the character Christie was selfish when she. . .Using I or not using I is a rhetorical choice. Some forms of writing shouldn’t focus on “I” but they should focus on a piece of literature or on the analysis.

6 week Unit

I. Invention ·

Who is Louisa May Alcott??

She wrote __Little Women__. She didn’t want to write __Little Men__, she wanted to write scandalous adventure stories. A Long Fatal Love chase is one of those published anonymously. And the Inheritance, evil swindlers and ladies of the night, black and white marriage. By an anonymous lady of New England. Behind the Mask—title story about a woman who makes dupes of men. Great example of knowing your context and your audience. She has both domestic fiction and wild adventurer. Margaret Fuller Slack by Edgar Lee Masters poem—the gist of the poem—used with Spoon River []

Read the excerpt from __Work__ and look for evidence of Alcott’s rhetorical purpose. Write about the

Or write about the Character Christie.

A new “Declaration of Independence”—in the first line, she’s referring to declaring herself independent from male domination and expectations. “I’m going to take care of myself”

Why is she so ticked at her uncle? He doesn’t seem to be all that horrible & “sharp, bitter, doesn’t love me, etc.” He may not understand her, but that doesn’t mean he hasn’t tried. Maybe he understands her better than she understands herself and he’s helping her to form her independence from men on purpose?

Would it have mattered what he was like? She’s so hell bent on leaving, she even tries to explain how different she is, how different she’s always been, that she’s just made of a different stuff than her Aunt that maybe she was just always going to leave no matter how kind or loving or hateful she perceives her uncle.

The narrator makes Christie ________ starts Christie _________ gets at the purpose.

Independent, strong willed. fickle, impetuous, why do you say that? where do you see evidence of that?

The **bildungsroman** ( German pronunciation: [|[ˈbɪldʊŋs.ʁoˌmaːn]] ; [|German] : //"formation novel"//) is a genre of the novel which focuses on the psychological and moral growth of the protagonist from youth to adulthood. [|[1]] Change is thus extremely important. [|[2]] The genre is further characterized by a number of formal, topical and thematic features. [|[3]] The term [|coming-of-age novel] is sometimes used interchangeably with bildungsroman, but its use is usually wider and less technical. § the character repeatedly learns from mistakes § continually makes choices and rejects things they decide they don’t want § often uses cultural issues of the time & place

Relationship between independence & connection to others.

Declaration of Sentiments pair with Declaration of Independence [] connects to women’s rights. Connect to WORK. Could students write their own declarations of independence?

Where is a place where you hear the tone of voice where the writer is wanting you to know Christie?

//<span style="color: black; font-family: 'Arial','sans-serif'; font-size: 10pt;">adj. //<span style="color: black; font-family: 'Arial','sans-serif'; font-size: 10pt;">
 * <span style="color: black; font-family: 'Arial','sans-serif'; font-size: 12pt;">di·dac·tic **<span style="color: black; font-family: 'Arial','sans-serif'; font-size: 10pt;"> (d                 -d  k  t  k) also **di·dac·ti·cal** (-t  -k  l) fiction
 * <span style="color: black; font-family: 'Arial','sans-serif'; font-size: 10pt;">1. **<span style="color: black; font-family: 'Arial','sans-serif'; font-size: 10pt;">Intended to instruct.
 * <span style="color: black; font-family: 'Arial','sans-serif'; font-size: 10pt;">2. **<span style="color: black; font-family: 'Arial','sans-serif'; font-size: 10pt;">Morally instructive.
 * <span style="color: black; font-family: 'Arial','sans-serif'; font-size: 10pt;">3. **<span style="color: black; font-family: 'Arial','sans-serif'; font-size: 10pt;">Inclined to teach or moralize excessively.

Brilliantly arranged novel, one thing pulls on another, one thing builds on another. Shows how important the real work is, it is a profoundly important book, can be used to build student knowledge of American Lit & American history.

Tina Rose—Advance KY—we bring schools in each year and pay for training and have a mentor program for new AP teachers. Support the teachers. The teacher is key. Everything errs on the side of the students. The application is online. Indiana schools are coming into the grant. Private grant by Exxon mobile. You have to agree to open enrollment, no heavy summer assignments that will keep kids out. Teachers agree to have Saturday study session. Teachers agree that they’ll do vertical teaming. Go to advanceky.com cohort 4 selections will be done for next year. The process to get in is quite simple. The program is completely voluntary. What do the schools get out of it? Advance KY pays for training in the fall 2 day study sessions for teachers. We have Sat. study sessions for students and teachers where we bring in national consultants. They also get a practice study test that is read by people who have read the exam before.

Sea Wolf Jack London, guy gets knocked off a boat gets picked up by Humphrey a few scenes to compare “becoming a man” “what work does” “what is a woman?” Connect to Wife of Bath?? Maybe a weird stretch.

__The Mind at Work__ Mike Rose. Couple with “I Hear America Singing.” Stud Turkel’s “Working” observing people at work, interviewing people who have worked,

Synthesis assignment—synthesis is one of the AP questions.

Wed. June 30, 2010

Read sample tests. What do you see that would be most useful for rhetorical analysis? What places did you mark as most interesting or potentially useful? What lines? What transitions?

Talk among yourselves about how you think might be a good way to begin, then be prepared to present to the group.

Laura—President Janet—recorder

**What would you use**?

repetition—sir, sir, sir, sir Audience focus & Shift in tone--Sir suffer me, knows his audience is prestigious, gets a little less formal as he goes along signaling he’s about to make a request—shift in tone Ethos/Pathos/Logos--appeal to the religious values—God is on our side—ethos shift--contrast between peace tranquility & blessings of heaven to injustice, groaning, captivity, Used God as a banner—ethos and context for the piece They fought to get peace and justice but the irony of not having it anymore Liberty and the pursuit of happiness argument—logos to project idea that all men in the country are not considered equal at that time You don’t have to have a stiff mechanical approach to talking about logos, ethos, pathos Diction—groaning, suffering, violence, cruel oppression supports the emotional appeal—pathos counteracted by blessings of nature, paradoxical use of diction diction shifts from negative connotation to positive by use of these words, back & forth between his ideas imbeds the positive within the negative to show what needs to be done Parallelism—like Sir Francis Bacon line 32 you’re convinced God is on your side but you counteract what God says by having slaves Credibility as a speaker—logos and ethos an architect tends to see order in all things and would have a tendency to have a more balanced writing style Formal tone—“I entreat you” less formal “I suppose” Knowledge of audience Irrefutable—how could you be opposed to this?

Keep looking at the prompt to keep yourself on track ANSWER the PROMPT

AP stands for ANSWER PROMPT, don’t get off on anything except what this page says.

AP Language seems more challenging than the AP Lit


 * How do we start writing?**

Banneker’s use of the emotional appeal supersedes many of the other rhetorical strategies. ..

Nothing scored about form

Just start—don’t worry about a “hook” or good lead b/c for AP audience, you don’t need that and it gets in your way of just getting your great ideas down.

HR—We have just generated chaos, when you begin in a certain way, it sets the tone for what is going to come in next.

We talk about organization a lot and kids say, “What do you mean? What are you talking about? We need to see it from the inside out. . .what’s coming next? Here’s what I would do if I were doing this in the classroom, here is a little example: choose one of those beginnings and write the first paragraph. This highlights the rhetorical move they have to make. As soon as they begin writing, it’s set. They have to move. If you practice with them in low pressure, proliferation of ideas, asserting what you think and listening to what others think are really great ways of helping them gain confidence.

Eagles—

His organization of ideas Ethical appeals Asking permission to begin the argument, shows his place in society Logical—uses irony, uses declaration of independence, Emotional—guilt,

Diction—formal becomes more charged and ends on a more emotional level

Start with the writer—what he wants, then go to how he’s going to get there.

Cardinals

Ethos/Logos/Pathos

HR--Using the diction of the text strengthens the argument.

HR--In the language exam, we’re interested in the production of the text and the way it’s received

Phyllis Wheatley Poem

<span style="color: black; font-family: 'Georgia','serif'; font-size: 9pt;">'Twas mercy brought me from my Pagan land, <span style="color: black; font-family: 'Georgia','serif'; font-size: 9pt;">Taught my benighted soul to understand <span style="color: black; font-family: 'Georgia','serif'; font-size: 9pt;">That there's a God, that there's a Saviour too: <span style="color: black; font-family: 'Georgia','serif'; font-size: 9pt;">Once I redemption neither sought nor knew. <span style="color: black; font-family: 'Georgia','serif'; font-size: 9pt;">Some view our sable race with scornful eye, <span style="color: black; font-family: 'Georgia','serif'; font-size: 9pt;">"Their colour is a diabolic die." <span style="color: black; font-family: 'Georgia','serif'; font-size: 9pt;">Remember, Christians, Negro's, black as Cain, <span style="color: black; font-family: 'Georgia','serif'; font-size: 9pt;">May be refin'd, and join th' angelic train. ||
 * <span style="color: black; font-family: 'Georgia','serif';">Phillis Wheatley - On Being Brought from Africa to America ** ||
 * <span style="color: black; font-family: 'Georgia','serif';">Phillis Wheatley - On Being Brought from Africa to America ** ||

You could use this to call the country to account for the message of equality—the trope. A rhetorical trope. In [|linguistics], **trope** is a [|rhetorical] [|figure of speech] that consists of a play on words, i.e., using a word in a way other than what is considered its literal or normal form. The other major category of figures of speech is the [|scheme], which involves changing the //pattern// of words in a sentence. The term //trope// derives from the ancient Greek word [|τρόπος] - //tropos// "turn, direction, way, related to the root of the verb //τρέπειν// (//trepein//), "to turn, to direct, to alter, to change". [|[1]] A trope is a way of turning a word away from its normal meaning, or turning it into something else.

Types
(a more detailed list at [|Figure_of_speech#Tropes])
 * [|metonymy] — a trope through proximity or correspondence, for example referring to actions of the U.S. President as "actions of the White House".
 * [|irony] — creating a trope through implying the opposite of the standard meaning, such as describing a bad situation as "good times".
 * [|metaphor] — an explanation of an object or idea through juxtaposition of disparate things with a similar characteristic, such as describing a courageous person as having a "heart of a lion".
 * [|synecdoche] — related to metonymy and metaphor, creates a play on words by referring to something with a related concept: for example, referring to the whole with the name of a part, such as "hired hands" for workers; a part with the name of the whole, such as "the law" for police officers; the general with the specific, such as "bread" for food; the specific with the general, such as "cat" for a lion; or an object with the material it is made from, such as "bricks and mortar" for a building.
 * [|antanaclasis] — is the stylistic trope of repeating a single word, but with a different meaning each time. Antanaclasis is a common type of [|pun], and like other kinds of pun, it is often found in slogans.
 * [|allegory] - A sustained metaphor continued through whole sentences or even through a whole discourse. For example: "The ship of state has sailed through rougher storms than the tempest of these lobbyists."

Give students timed test practice. Then give students an opportunity to take their AP answers to a more “polished” piece.

Don’t just say, Banneker uses logos, pathos, and ethos, but “Banneker’s use of emotional appeal. . .” Not just an ability to list techniques, but weigh them. What seems to me most effective, most important, etc. those things are the very markers of sophisticated response. Students with low scores are students who have rigid identification of the terms or weak organization, etc.

Look at the 9 response to see your own ideas echoed in this essay.

AP Conventions for the Test/Genre of the AP Exam

Thesis paragraphs not bulleted lists doesn’t go with this genre Have to have a prompt have to respond to the prompt textually bound—responding to a text, make examples from the text, use the text as examples citation in the essay—be consistent, do it with author name, do it every time, source d, source a, do it all the time—the AP exam has its own rhetorical appropriateness Formal Tone—

fascile--**<span style="color: black; font-family: 'Arial','sans-serif'; font-size: 10pt;">1. **<span style="color: black; font-family: 'Arial','sans-serif'; font-size: 10pt;">Done or achieved with little effort or difficulty; easy. See Synonyms at <span style="font-family: 'Arial','sans-serif'; font-size: 10pt;">[|easy] <span style="color: black; font-family: 'Arial','sans-serif'; font-size: 10pt;">.
 * <span style="color: black; font-family: 'Arial','sans-serif'; font-size: 10pt;">2. **<span style="color: black; font-family: 'Arial','sans-serif'; font-size: 10pt;">Working, acting, or speaking with effortless ease and fluency.

Read Abigail Adams’ Letter April 5

Give it to them without telling them much.

Who? What? Where? When? Male? Female?

Poetry in 17th, 18th, & 19th sees friendship as the highest, most important relationship level

Formal and informal style Compare Banneker’s letter to Jefferson to Abigail’s letter to John.

How do you compare it?

Diction, form, jerky transitions

References of mutual friendship, munde details in the village

Style is a matter in great measure of purpose.

HBO Miniseries of John Adams

cogitate—love that word

Give yourself permission during the year—keep a tiny journal of your own, “Oh, now I see Bernice Bobs her hair would be great with the “Declaration of Sentiments” Seneca Falls Convention

Another thing great to do as you talk about teaching genre is to talk about genre

Dear Hepsi colon or comma, which one are you going to use? signal of formality constraints of genre

We believe death is not something that is normal. We think of it as an aberration. How incredibly fragile life is. Our grip on life is tenuous and fragile. No antibiotic could save you from strep throat/scarlet fever until 1920s. This is a part of life for them.

Another letter of Abigail, the most famous “remember the ladies” this would make a wonderful parallel to the Banneker letter it’s in Elements of Literature. We have another trope in lit. connection between civil rights for women and civil rights for African Americans.

Rhetorical Analysis Question

Language & Comp & American Lit at the same time

How do we help our students get into old works?

Read Making __Meaning with Text__ Louise Rosenblatt.

As you begin to read, what helps you read? · experience as a person (I know other people who have died) · experience as a reader (I’ve read/written other letters) · culture · form · diction · tone · paragraphs · syntax

All your combined experiences, your repertoire (non-visual information).

You make selections from what you know and accessing your prior knowledge based on what you need.

When you come to a moment of interpretation, you want them to have an “event” where they make some connection, they get what’s going on in the text, but the only way that’s going to happen is for them to combine the above—transactional theory of reading—more than a theory b/c of the brain-based research findings.

Text Cues: Paragraph, syntax, voice, tone + Non-visual information= comprehension

How can we find ways to build the reader’s experience reading, culture, etc. so that comprehension can happen.

· In the past, teachers would give biographical or historical information. · juxtaposition something they will understand with the more challenging text · Interpret line by line a paragraph paraphrasing the text in a different scenario · reinforcing what they already know

“New Worlds with Old Texts” Hepsi Roskelly on AP Central

As writers when you write, you use your repertoire, but you have to use what you know about texts as well and connect it all together.

__The Reader the Text the Poem__ Louise Rosenblatt She is a reading theorist who came up with the transactional approach to reading.

You should use fiction, poetry, anything you want in your language course. It’s a property of readers not texts in the way we’re going to see fiction & non-fiction.

efferent and aesthetic reading of text

efferent—reading something in order to take something away with you, reading with an eye toward doing something with what you read.

How can we help students experience texts aesthetically? · be there with the text

“We’re teaching them the craft so they can appreciate the aesthetics even more.” Ada Skillern

Thomas Lux poem “The Voice You hear When You Read Silently”

Read excerpt from Thoreau’s Journals 1855-57

To lean nature is to learn about ourselves and thus to learn about God. “Insofar as a man knows himself”

Nature field trips go to spend time in nature, spend time quietly with journals to experience nature.

__Last child in the woods__ Richard Louv

Romanticism Thoreau, Emmerson, etc.

didactic painting rhetorically aimed what is a potential message of the painting?

Look at The **Hudson River School**[|[1]] was a mid-19th century [|American] art movement embodied by a group of [|landscape] [|painters] whose aesthetic vision was influenced by [|romanticism]. The paintings for which the movement is named depict the [|Hudson River Valley] and the surrounding area, including the [|Catskill], [|Adirondack], and the [|White Mountains]; eventually works by the second generation of artists associated with the school expanded to include other locales.

I like to see it lap the miles Emmerson We do not ride upon the train, it rides upon us House of the 7 Gabels
 * * [|Albert Bierstadt]
 * [|John William Casilear]
 * [|Frederic Edwin Church]
 * [|Thomas Cole]
 * [|Samuel Colman]
 * [|Jasper Francis Cropsey]
 * [|Thomas Doughty] || * [|Robert Duncanson]
 * [|Asher Brown Durand]
 * [|Sanford Robinson Gifford]
 * [|James McDougal Hart]
 * [|William Hart]
 * [|William Stanley Haseltine]
 * [|Martin Johnson Heade] || * [|Hermann Ottomar Herzog]
 * [|Thomas Hill]
 * [|David Johnson]
 * [|John Frederick Kensett]
 * [|Jervis McEntee]
 * [|Thomas Moran]
 * [|Robert Walter Weir][|[7]][|[8]][|[9]]
 * [|Worthington Whittredge] ||

See George Inness painting

Connect to the Hudson River Artists

<span style="display: none; font-family: 'Times New Roman','serif'; font-size: 12pt;"> <span style="font-family: 'Times New Roman','serif'; font-size: 12pt;">The Railway Train <span style="font-family: 'Times New Roman','serif'; font-size: 12pt;">I like to see it lap the miles, And lick the valleys up, And stop to feed itself at tanks; And then, prodigious, step <span style="font-family: 'Times New Roman','serif'; font-size: 12pt;">Around a pile of mountains, And, supercilious, peer In shanties by the sides of roads; And then a quarry pare <span style="font-family: 'Times New Roman','serif'; font-size: 12pt;">To fit its sides, and crawl between, Complaining all the while In horrid, hooting stanza; Then chase itself down hill <span style="font-family: 'Times New Roman','serif'; font-size: 12pt;">And neigh like Boanerges; Then, punctual as a star, Stop--docile and omnipotent-- At its own stable door. || || All of Dickinson’s poems can be sung to Amazing Grace, God Rest Ye Merry Gentlemen, Yellow Rose of Texas, etc.
 * <span style="font-family: 'Times New Roman','serif'; font-size: 12pt;">  ||   ||


 * Ways to build student’s repertoire**

What stumbling blocks do students have to older texts · vocabulary · dialect · cultural difference · images used · style · purpose

Janet idea: what if you put up a text message: u want 2 c me later? Could you use this to talk about rhetoric? how?

Read THE VEIL what does this have to say to Louisa May Alcott?

<span style="color: #663399; font-family: 'Verdana','sans-serif'; font-size: 10pt;">PERSEPOLIS: THE STORY OF A CHILDHOOD **<span style="color: #484848; font-family: 'Verdana','sans-serif'; font-size: 10pt;">by Marjane Satrapi 2005 book comes out 2007 movie comes out ** <span style="color: #484848; font-family: 'Verdana','sans-serif'; font-size: 10pt;"> Persepolis 2 2008 Takes the character up to her grown up time. The complete Persepolis is available. and __Embroideries__.

How is this a bildungsroman?

They both have a dream as children They want to make a difference, a change The 2nd frame shows their reactions to the societal choices. You’re both unique but part of a larger group The parents are similar She conformed to the society Call out to the common woman

How much insight can you get into a novel just from a tiny excerpt?

How can we help encourage prediction in a number of ways? Since we predict this is a bildungsroman, what can we assume will happen later in the novel? If we help students know the genre and they know characteristics of a genre before they read, they can read with more confidence.

Freedom What is it? Is freedom really free?

Persuasion in advertising—ads visual students have difficulty unpacking why they wear the brands they wear

Try 2 ads—print ad and multimedia How are you persuaded? then talk about the appeals, then right away talk about Mark Anthony and the use of appeals, now you’re ready to move into invention and your literary text.

Make a quick connection back to Louisa May Alcott how is she persuading us?

Ada—so many times I feel like I have to get things on their cultural level, but I can just take it back to the old stuff

HR—Move back and forth quickly; I don’t want them to think Louisa MA is hard and a graphic novel is easy. If I keep moving them back and forth, I have a better chance of helping them be able to understand it.

Joe--What about using THE VEIL with Civil Disobedience. Listening to discussions of extremism, anarchy you’re creating your own box. Our words obviously contain us.

Our job as teachers is to help them think through the competing concepts they are bombarded with. We need to keep on thinking about it. That seems more productive than trying to define it or hold it. I tell my dissertation students, “You are not going to have the definitive work on your topic. What you can do is enter the conversation about the issue.”

Think about your kids they are entering the conversation at their point. If you think about that all the proliferation of possibilities is generative—freeing.

___________ was one of the few writers who was writing serious poetry that rhymes, but here’s what I’m thinking about rhymed poetry, sometimes when you have to find a word that rhymes it frees you from all those other words that are in your way.

Writing a fable can be very freeing because they are adhering to a very prescribed form.

Avril—sometimes we are too quick to give the students the answer. We feel badly about how uncomfortable they feel when they don’t know the answer, but then we end up frustrated in the end because they can’t find the answers for themselves.

Look at THE VEIL and find 2 different frames to analyze rhetorically.

The playground –shows them as children I feel guilty toward God—very honest Justice, love, and wrath—she’s a child with a desire to want all these things Her answer to her father—did she have to answer her father that way?? what would her parents have said if she had said prophet?

Now—draw what you think would be the next frame

Genre of graphic novel colors used relationship of things at an angle what happens in the “gutter” size of the frames use of bubbles is this italics or quotation marks, internal monologue or external dialogue floating heads vs. more realistic representation

I’m interested in this because it helps students make these connections

=<span style="font-family: 'Calibri','sans-serif';"> Book __Poetry Comics__ <span style="color: black; font-family: 'Arial','sans-serif'; font-size: 14.5pt; font-weight: normal;">Poetry Comics: An Animated Anthology <span style="color: black; font-family: 'Arial','sans-serif'; font-size: 12pt; font-weight: normal;">[Paperback] <span style="color: black; font-family: 'Arial','sans-serif'; font-size: 14.5pt; font-weight: normal;"> = [|Dave Morice] <span style="color: black; font-family: 'Verdana','sans-serif'; font-size: 8.5pt;"> see also MORE POETRY COMICS by the same author [|Understanding Comics: The Invisible Art] <span style="color: black; font-family: 'Verdana','sans-serif'; font-size: 8.5pt;"> by [|Scott McCloud] <span style="color: black; font-family: 'Verdana','sans-serif'; font-size: 8.5pt;"> (  <span style="color: black; font-family: 'Verdana','sans-serif'; font-size: 8.5pt;">Paperback  <span style="color: black; font-family: 'Verdana','sans-serif'; font-size: 8.5pt;"> - Apr. 27, 1994) <span style="color: black; font-family: 'Verdana','sans-serif'; font-size: 8.5pt;"> <span style="color: black; font-family: 'Verdana','sans-serif'; font-size: 8.5pt;"> Computer program Comic Life []

Scott McCloud is good at helping us see how we bring ourselves to the context we see. We put our fact on the face of the cartoon. There can be didactic symbolism in a graphic novel.

Book interesting for the visual E.H. Gombrich Art and Illusion

__The story of Edgar Swatelle__ a novel by David Wroblewski not necessarily for students

Let your students create a graphic novel version of the story, then do a rhetoric analysis of the choices they made

(note to Janet) Read Fences for Jr. English


 * Thursday, July 1 **

Yesterday we talked about visual text and how that can be a way to get students into discussions of rhetoric.

Analysis question and synthesis question—how can we use what we are doing in class to help students with this?

This afternoon we’ll look at the argument question and practice scoring/reading some practice responses.

This morning we’ll talk about forms of argument, ways of argument which pulls us through analysis and synthesis and a little more about genre and form, arrangement and style. Fallacies.

5 Cannons of Rhetoric Invention—generate ideas, gathering ideas from others through discussion and groups, Arrangement—forms, genres, genre influences what goes where, forms of argument, placement of evidence, placement of ideas, can be the strongest bit of analysis a kid can do—talking about the placement of ideas a writer uses to get their message across, use arrangement not only as a way to  Style—**formal/informal**: length of sentence, diction, **reflective and reportive**: reportive—this is what I  see, reflective: this is what I think **__<span style="color: black; font-family: 'Arial','sans-serif';">Tough, Sweet and Stuffy: An Essay on Modern American Prose Styles __** [|Walker Gibson] <span style="color: black; font-family: 'Verdana','sans-serif'; font-size: 8.5pt;"> Tough=reporter on the street Sweet= Stuffy= Memory—house analogy I’m on the porch, how will I walk my audience through the house? TOPOI—check out Aristotle’s concept. We think of this as mnemonic devices. Mark Twain __Tom Sawyer__ Chapter 21. You can take titles and have students write the worst papers ever. The disparity in the voice between Mark Twain and the young students is great. Cultural and individual memory can be used as evidence and support. Beloved, Tony Morrison’s concept of re-memory: when we remember, when we have memory, it’s always re-done. It’s not a photographic, we pick and choose our memories, we remember a smell, a dress, a word and forget many other things. We all have selective memory. Using our selective memory is a part of the work we do.
 * Rhetorical/Language Issues**

Draw the place where you grew up, then they have to look at it and write 4 words that characterize their drawing, then get into groups and share their drawings. The words are often similar, but invariably, stories begin to come out in their talk. Then we put them up and look at the patterns and the difference. The way our understanding of the world shapes our becoming literate. There is a clear connection between description and narration. Often we can’t talk about a place, describe a place without telling a story. Put narration and description together as you see that picture.

In 1876 or so Oberlin College in Ohio had a graduation requirement for them to deliver a speech, but when they admitted women, the requirement was that they write their speeches so that they would not have their bodies put on display like the men during the speech. One woman wanted to declaim her speech like the men and they allowed her to, but they said do not memorize, stand behind the podium, don’t declaim. she did step from behind the poem and declaimed her speech and the next year the speech requirement was abolished for both males and females.

Delivery—practice doing oral reading, make them stand, something different happens when you stand, it’s rhetorical performance, format, voice, decorum how are they speaking? appeals fallacies


 * Technical Issues**

fiction non-fiction essay report argument opinion journal poetry drama history/culture chronology

analysis argument research (synthesis) personal writing reporting recording reflecting
 * Types of Practice** All of these practices connect to the other things

Encyclopedia being written about women, biographical information, text of the person, rhetorical analysis, and bibliography Post the Cannons of rhetoric on the wall so we can continually refer back to it throughout the year.

When should the plagiarism discussion happen?

Mix your strategies: low stress exercises, individual work, group work, high stress exercises, building their skills, timed writing, non-timed writing, revision, test-taking strategies,

Everyday Use??? what’s this? general term or a text?

Contrary to popular misconception, a well-taught comp class is FUN!!

As our world gets more complex, it becomes more important to understand how this variety of language works.

The “Ballot or the Bullet” Malcom X. American Rhetoric 100 great speeches. []

[]

If we’re going to figure out where our students are, how do we do that?

David Sedaris Essays are humorous __Me Talk Pretty One Day__

Basic writers are trying hard not to make mistakes. We need to help them create opportunities for a lot of misses so they’ll have of hits.

We do students no favors by ignoring their problems in writing, we also do no favor by noting every error or every single slip. If I have a student with problems, I don’t mark everything, I write to them as I am having a conversation with them. The more the conversation can be about you & me working through an idea and less about the glories of the perfect essay.

Don’t content yourself with writing awk, wordy, etc.

If you find ways to help your students believe you want them to be better writers, you can be as mean as a snake with them and they are perfectly happy because they trust in the relationship.

Put up examples of really great openings from students, here are 4 great examples of evidence. You can have the class guess who wrote it, but let them know.

4 Myths the speaker at the dinner last night   Steven Wininger 1. Multitasking—research shows that people take attention away from one thing and end up losing in both arenas and the more people multitask the less able they are able to focus. We don’t multitask well nor should we. The only time we should multitask is if it doesn’t matter. Watching TV & painting my toe nails= ok 2. Kinds of Learners-research shows people in certain occasions learn better in certain ways, but to say a person’s brain is geared toward learning one certain way is wrong. Many times that student actually learns better from someone with a contrasting style. 3. 1st Answer is usually the right answer—if you’re not sure, your 1st response is usually not right. 4. False self esteem—students are not so fragile that they can’t handle the truth. If what we’re doing is authentic, it’s fine. They need to face the fact that some people lose and some win. Sometimes you’re going to mess up.

Good responses to failure: Is effort: I didn’t work hard enough, maybe I could work harder. I need a strategy: Ask for help: the most successful students are the ones who ask for help.

__Fahrenheit 451__ Ray Bradbury

things missing from society that makes a happy society 1. quality of information 2. leisure to digest it 3. the right to carry out actions based on what we learn from the interaction of the first two

Synthesis Question Work

Read the sources & discuss. Rhetorically analyze several of the piece, then look for synthesis.

Rhetorical Technique—refrain—look for examples and then give students the practice to use it.

__Modes of Discourse__ Description Narration Exposition Argument

__Classical Argument__ Exordium—means web, you spin a web around the speakers and hearers that we are all the same, “Friends, Romans, countrymen” Narratio—The set up at the triangle right at the beginning, who I am, setting the authority of the speaker, what I know about the subject, what I know about you, why you should listen to me—THE HOOK portitio—(partition)equivalent to the thesis, partition, can be divided into 2 or 5 or 3, “There are 2 important values we should consider when we talk about the work” It sets what happens next—how many rooms they’ll go into and in which order.” confirmatio—(confirmation)support and evidence for your claim in the portitio, · narration · example/analogy · data · authority · history · experiential confutatio—(confutation) the opposing side What is a good transition to use from the confirmation to the confutation? While it is true that. . ., although, however, peroration—restatement of your thesis, implications, looks ahead, pulls us into the bigger universe, conclutatsio—(conclusion) that may circle back to the beginning

How could you connect back to the appeals? exordium—ethos I’m the expert or I’m just like you How do you decide which kind of ethos to use? think about your audience & purpose ethos carries with it this authenticity and how you model that as a speaker. Mark Anthony really did see himself as one of the people. confutatio—logic, one way to not seem mean when you destroy the opposition “Amazing Grace” argument I once was lost, but now I’m found, I used to think like you, but now. ..

not restatement of thesis---instead reflecting, rethinking, suggesting an alternative, call to action,

how do we help students see through an argument? see the shape of an argument

Carl Rogers in the 20th century decided there was another way to think about organizing arguments Rogerian Argument

exordium narration fair statement fair statement of opposition suggest places times, etc. when the opposition might be right Jonathan Swift possible outcomes of the opposition act

__Overt Persuasion__ __Covert Persuasion__ satire fiction research poetry personal essay satire speech essay research

satire: “Ella Minnow Pea” Mark Dunn, Simpsons, political cartoons, The Wind that Shakes the Barley movie about the troubles of the 1916. British vs. Irish

Zora Neale Huston’s “How the Lion Met the King of the World” satire is more obvious. Then do “Crazy for this Democracy”

Friday, July 2


 * Bill Clinton’s Speech to Yale Grads May 23, 2010**

Starts with words befitting the occasion. Technology has shown us how much we are alike and how we came into existence by slightly more positive than negative matter.

We’re all alike and we have to emphasize the positive.

Portitio—3 problems of the word: too unstable, too unequal, and too unsustainable

Stephen J. Gould science writer __Wonderful Life: the burgess shale and the nature of history__ about the discovery of the fossils the role of chance in evolutionary form.

Connect this to John Winthrop’s speech.

Locker room speech is similar to commencement speech.

Questions:

How do you use this for students who aren’t AP? If we didn’t get the books, will we? Is there a description of the genre of the locker room speech, commencement speech, etc.

Amy Devitt __Genre Theory__ for teachers patterns of some genres what is appropriate? Inappropriate?

fable, romantic teenage movie, locker room speech, text, letter,

http://artofmanliness.com/2008/08/28/8-inspirational-football-locker-room-speeches/

Joan of Arc speech—where? which one? Queen Elizabeth speech—where? which one?

Henry V speech []

Jane Adams Versailles Treaty Response

Versailles treaty []

Resolutions of the Zurich Congress 1919 []

Look at the movement in a speech and analyze what the language says

Example Shakespeare: worst villain in Shakespeare at the end of Act III Othello is devastated by it, come to the front of the stage and Iago stands

Example American Lit: Arthur Miller [] Nature/History/Experience

“The American Scholar” Emerson

It speaks so to young people.

How would you teach this? Lay out the rhetorical context first. This is what he’s trying for. He’s telling us that we’re not producing what we want and he tells us how to change.

I tell my freshmen read _______________, then write down the sentence that is most incomprehensible and the sentence you like best.

Emmerson is so epigrammatic **<span style="color: black; font-family: 'Arial','sans-serif'; font-size: 12pt;">ep·i·gram·mat·ic **<span style="color: black; font-family: 'Arial','sans-serif'; font-size: 10pt;"> (  p   -gr  -m  t   k) also **ep·i·gram·mat·i·cal** (-  -k  l)  //<span style="color: black; font-family: 'Arial','sans-serif'; font-size: 10pt;">adj. //<span style="color: black; font-family: 'Arial','sans-serif'; font-size: 10pt;">
 * <span style="color: black; font-family: 'Arial','sans-serif'; font-size: 10pt;">1. **<span style="color: black; font-family: 'Arial','sans-serif'; font-size: 10pt;">Of or having the nature of an epigram.
 * <span style="color: black; font-family: 'Arial','sans-serif'; font-size: 10pt;">2. **<span style="color: black; font-family: 'Arial','sans-serif'; font-size: 10pt;">Containing or given to the use of epigrams.

An **epigram** is a brief, clever, and usually memorable statement.

Women especially loved him, he apparently had a beautiful voice. He had wicked sloping shoulders and preferred to be shown from the side. Emmerson was friends with Hawthorne. Show them where Waldon is Women were hot for Hawthorne—known for his good looks.

Aristotle & Plato, know yourself. Emmerson know nature. Annie Dillard?? nature stories

Education is to set you on fire.

When have I ever been Man-Thinking? What kinds of things have you done in your life that pushed you to recognize

What are you going to use in your class?

Kristy--train-centered synthesis question, synthesis question on their family, they have to get all the parts and then write something. Trains are the dominant metaphor in the 19th century White tile board from Lowes cut up to use as dry erase boards

Avril—the importance of trust, “You have to trust me. I have your best interest at heart. Moving all my students away from formulaic writing. Giving them very quick writing for them to practice. Force them to think outside of 3.5

Jan—double entry notes,

Chris—different ideas for organization, you can pull in things from different time periods to make a point.

RH—it can get weary for teachers to stick strictly to chronological

Laura--Group work more, use post it notes, that does more read it again, group work produces many opportunities, moving students around changes patterns of authority

RH—forces students to move around and we all know students don’t get to move enough in our classroom.

Suzanne—I’m going to set up a matrix for each unit that contains visuals, modern essays that mimic the style, fiction, non-fiction so I can teach chronologically and still intersperse modern things. Gives me a chance to practice the synthesis over and over in various aspects.

Faye—I have to make this something that’s not boring. You are the circle, you are the connector. You know what’s good for yourself. Don’t worry about all the people in the building who say you can’t do it.

Vilena--I was scared when I came because I didn’t know what I was going to, because everything has been useful. It has been so good and I feel like I am leaving here with so many more resources. I now have direction where I came in with none.

Versey—everyday I have learned from all of you. Ethan Frome with be with me. I was hesitant to teach

Joe—2 years I was about ready to leave education, this last year has been a time of healing, but this last week has been tired, but the idea of the agora, the columns, the Parthenon I want to bring that in my school. I’ve had time to sit around and think and now I’m getting back to what is most important. Bringing the Parthenon to my room.

Todd—looking at things more rhetorically

Kathy—I’ve gained more confidence. I’m going to make them into posters. Hepsi “If we can’t get beyond ourselves. ..world peace “Bologna may be meat, but it ain’t fine dining.” Janet

Hepsi—I love to do this because you give me so much I can use. We’re all in the same enterprise. I thank you for giving me all of that and I’m grateful if I have been able to help you. Have wonderful, relaxes happy summers. Let’s stay together on the wiki, don’t feel hesitant to write me. Part of my honor is to continue helping you, stay in touch. Thank you for this work this week.