3.03.2004

from my e-mail... I like these name games -- I'm familiar w/ the Mafia Name one (AOL puts a lot of these up) -- wd be interested to make one up, I think

http://pages.prodigy.net/mlemus/mobnamegenerator.htm

there's an academic paper title generator out there somewhere...

this is a list / dictionary program really really common for beginning programmers to make --

> > >> > Use the third letter of your first name to
> determine your new
> > >>first name:
> >
> > >> > a = poopsie b = lumpy
> > >> c = buttercup d = gadget
> > >> e = crusty f = greasy
> > >> g = fluffy h = cheeseball
> > >> i = chim-chim j = stinky
> > >> k = flunky l = boobie
> > >> m = pinky n = zippy
> > >> o = goober p = doofus
> > >> q = slimy r = loopy
> > >> s = snotty t = tootie
> > >> u = dorkey v = squeezit
> > >> w = oprah x = skipper
> > >> y = dinky z = zsa-zsa>
> >
> >
> >
> > >> > Use the second letter of your last name to
> determine the first
> > >> half of your new last name:
> >
> > >> > a = apple b = toilet
> > >> c = giggle d = burger
> > >> e = girdle f = barf
> > >> g = lizard h = waffle
> > >> i = cootie j = monkey
> > >> k = potty l = liver
> > >> m = banana n = rhino
> > >> o = bubble p = hamster
> > >> q = toad r = gizzard
> > >> s = pizza t = gerbil
> > >> u = chicken v = pickle
> > >> w = chuckle x = tofu
> > >> y = gorilla z = stinker
> >
> >
> >
> > >> > Use the fourth letter of your last name to
> determine the
> > >>second half of your new last name:
> >
> > >> a = head b = mouth
> > >> c = face d = nose
> > >> e = tush f = breath
> > >> g = pants h = shorts
> > >> i = lips j = honker
> > >> k = butt l = brain
> > >> m = tushie n = chunks
> > >> o = hiney p = biscuits
> > >> q = toes r = buns
> > >> s = fanny t = sniffer
> > >> u = sprinkles v = kisser
> > >> w = squirt x = humperdinck
> > >> y = brains z = juice
What I mean by small press publishing is less about self-publication and more about fine press, small press --

lie a beautiful new chapbook I just received from Betsy Andrews, published by Sardines Press.

The Los Angeles Book Arts Center, the Southern California Chapter of the Art Libraries Society and Otis Laboratory Press invite you to a talk by Keith Smith and Scott McCarney.

This free lecture, the third in LABAC's "My Life in Books" series, will take place on Thursday, March 11, 2004, at Otis College of Art & Design, 9045 Lincoln Blvd. Los Angeles, CA 90045. Opening reception 7 pm, talk to begin promptly at 7:30 pm. Parking is free.

Keith Smith has made 223 books since 1967. Forty-four of these have been self-published, including nine bookmaking: Structure of the Visual Book, Text in the Book Format, and Non-Adhesive Binding Volumes I, II, III, IV and V, Bookbinding for Book Artists, and 200 Books. Smith has received two Guggenheim Fellowships as well as grants from the National Endowment for the Arts, the Pollock/Krasner Foundation and a Pilot Fine Art Still Photography Grant. His work is in the collections of the Museum of Modern Art, New York; the Museum of Modern Art, San Francisco; the Library of Congress; the Victoria and Albert Museum, London; The National Gallery of Canada, Ottowa; Bibliothèque Nationale, Paris; and the Tokyo Metropolitan Museum of Photography.

Scott McCarney is an artist and designer based in Rochester, New York. He received an MFA in photography from the University of Buffalo/Visual Studies Workshop in 1983. Since then, his art has found its home primarily in the book form. His one-of-a-kind books, both offset and small edition, can be found in many library and special collections including the Museum of Modern Art, New York; Victoria and Albert Museum, London; and Yale's Arts of the Book Collection in New Haven, Connecticut. His work is shown internationally in group and solo exhibitions in Sao Paulo, Brazil; Melbourne, Australia and Budapest, Hungary and in galleries and spaces closer to home such Hallwalls in Buffalo, New York and at Yale University in New Haven, Connecticut. He has been an artist-in-residence at Light Work, Syracuse, New York; the Washington Project for the Arts, Washington D.C.; University of Southern Maine, Portland, Maine; and the International Studio Program in New York City. His awards include a National Endowment for the Arts Mid-Atlantic Regional Fellowship, a New York Foundation for the Arts Fellowship, and a Constance Saltonstall Foundation for the Arts Individual Artist Grant.

Keith and Scott have been co-teaching book workshops for over 10 years in university and college settings such as RMIT University in Melbourne, Australia and the Visual Studies Workshop, Rochester, New York, as well as in art centers and binding guilds throughout the world.

The Los Angeles Book Arts Center is a creative, intellectual and technical resource for artists, collectors, dealers, curators and all individuals interested in the book and paper arts. It is the center's mission to serve as a network and clearinghouse for information, education and resources. This is being accomplished through networking, workshops, lectures, publications, exhibitions and outreach. Our commitment is to build a strong community as well as to further individual pursuits in the book and paper arts.

The Los Angeles Book Arts Center (LABAC) was founded in September 2002. Open meetings, hosted lectures, classes and continuous online discussion groups all contribute to building a strong book arts community in Los Angeles. The Los Angeles Book Arts Center offers the broadest possible range of classes in the book arts, drawing and calligraphy, paste papers and monoprints, book structures of all types, cases and boxes, and everything between and beyond.

For additional information on this lecture or the Los Angeles Book Arts Center, please contact Lisa Deutsch at (310) 657-2616 or LAGourmet@aol.com. Please visit our website at www.LABookArts.com.

3.02.2004

thirdspace:
http://www.thirdspace.ca/editors.htm

NWSA Journal Seeks Topics Related to Women's Studies

THE NWSA JOURNAL, the scholarly Publication of the National Women's Studies
Association invites submissions in all areas relating to Women's Studies. We
are committed to providing a forum in which the research of feminist scholars,
established and new, results in critical dialogue. Reports, book reviews,
archives, and critical essays that engage in a feminist perspective will also
be considered.

We seek gender-related topics, such as: Immigration; Feminist theory:
including but not limited to global feminism; Women and science; Women and
fundamentalism; Women and religion; Ecology, ecofeminism, health and the
environment; Feminist generations: the future of feminism, young feminists,
children; Post-colonial gender studies; New forms of activism--political
strategies; Women and the arts, especially music; Women writers:
autobiographies and reflexive writings; Race, class, and gender intersections;
Women and the media; Women and disabilities; Women's history--all areas
including archives; International reports

Send three double-spaced copies of your manuscript (20-30 pages), with
parenthetical notes and a complete references page formatted according to the
Chicago Manual of Style.

Send to:
Brenda Daly, Editor NWSA Journal; 253 Ross Hall; Iowa State University; Ames,
IA 50011
bdaly@iastate.edu

ROLLING DEADLINE
PLACES TO PUBLISH REVIEWS WITH SOME ANNOTATIONS

American Book Review: Reviewers cannot be a personal friend of the poet. Send review copies and ideas to: Rochelle Ratner. I strongly urge all wompos to send Rochelle Ratner a copy of your book. ABR is one of the few places I know that attempts to review as many small press books of poetry as possible.-S.Dolin Here's her response to my query on behalf of all wompos:

It's best to send poetry books directly to my home address. In terms of queries -- if anyone's interested in reviewing books, I'd love to have them query me. E-mail's best, with clips if they have any. In terms of having books reviewed, so long as they send us the book, understand it's

being considered for review. We can't give out any information on whether or not we've assigned it, or are planning to assign it. Also be aware that ABR cannot accept reviews after a book is more than six month's old, even though it's sometimes much longer before it actually appears in our pages -- so please let people know that to give a book its best chance for review, send it as early as possible, preferably before the publication date.

Rochelle Ratner
609 Columbus Ave.
New York, NY 10024
e-mail: rochelleratner@mindspring.com

American Scholar

Bloomsbury Review

Boston Review

Calyx
Colorado Review
http://www.constantcritic.com: New website hosted by Fence Books Denver Quarterly Electronic Poetry Review

Quraysh Ali Lansana is the Poetry Editor at Black Issues Book Review. Mondella Jones handles editorial matters at BIBR's New York office.

www.mosaicbooks.com.
Ron Kavanaugh is the editor & publisher at Mosaic. They feature and review Latina/o and African American writers.

Carolina Quarterly
Tara Powell
tfpowell@email.unc.edu

Troy Johnson publishes online reviews at www.aalbc.com.

Chelsea

Chicago Review

Contemporary Poetry Review* (online), though its bias seems to be in favor of new formalist work.

Denver Quarterly

First Intensity: Lee Chapman at First Intensity is always looking for good reviews. www.firstintensity.com

The Hollins Critic
How2

Hyde Park Review of Books (http://www.hprob.com)
Indiana Review
Jacket: Favors experimental poetics.

The Los Angeles Times

Main Street Rag (short 600 word reviews):puts out a free monthly e-newsletter listing magazines that are looking for submissions, including book review submissions places

Missouri Review.:

The New Review of Literature (first issue to appear Fall 2003)

The New York Times (surely someone on WomPo has an in, like
Alicia Ostriker)
Philadelphia Inquirer

Pif Magazine (http://www.pifmagazine.com

Poetry Flash(Berkeley)
Rain Taxi

The Reader's Review

Saint Ann's Review pays very well, and accepts longer reviews.

San Francisco Chronicle

School Library Journal
Small Press Review

St. Marks Poetry Project Newsletter

Traffic

Valparaiso; www.valpo.edu/english.vpr). Edward Byrne, editor

Washington Post Book World

3.01.2004

Course Description

The act of writing is an act of resistance against silence, meaninglessness or meanings imposed from outside the writer. More positively, by writing, writers can seek to establish or control contexts for the reception of their writings, for the understanding of their writings, or for the way writers mediate reality itself. During this course, by examining politically and theoretically charged writings, we will explore the ways that readers and writers are activists, that readers and writers alike are challenged by the legacies of colonialism, and that readers and writers, by their acts, resist or oppose various power structures in favor of others.

Course Description

Conservative and liberal critics alike have referred to poetry as a "gift economy." Poets do not pursue this art by merely writing verse; they must read, review, research, criticize, perform, publish, teach, and otherwise passionately engage the entire range of poetry being written in order to participate in it. In this class, exchange attention and develop faculties and practices through experience with the ways poetry is made and read. This understanding is poetry's gift.

More Description

This course is a seminar in reading poetry which results in each participant writing approximately 20 pages of reviews which will be if not publishable, at least of publishable quality.

Required Texts

course reader

five books of poetry (as described in first class; bring $10)

either The New Princeton Encyclopedia of Poetry and Poetics. Ed, Alex Preminger and T.V.F. Brogan. Princeton: Princeton University Press, 1993.

or, if you already own it (don't buy it, if you need one of the two, buy the Encyclopedia) The Princeton Handbook of Poetic Terms. Ed. Alex Preminger. Princeton: Princeton University Press, 1993.

Online Resources

In addition to the readings in the reader, in the Princeton reference works, and in the books of poetry, you will be reading and researching online. Among the resources available to you there are The Boston Review, Rain Taxi, Poetry Flash, and HOW2. Pro-Quest through the Los Angeles Public Library has Publishers Weekly and Library Journal, which review in capsules most American poetry books, as well as Parnassus: Poetry in Review, American Poetry Review, academic journals such as The Kenyon Review and the Antioch Review. OhioLink at Antioch makes addition review organs available.

Objectives

You will read five books of new poetry, poetry so new you must rely on your reading and interpretation, not critical works or emotional impressions, to participate in it as a reader.

You will become familiar with the process of reading a book of poetry, including reading for performance, information (for your own work), form, literary/cultural context, for review, and as a poet.

You will become familiar with the reviewing process. In order to accomplish this writing, participants will have to read and interpret books of poems. Interpretation will involve learning the terminology of the field and reading other reviews and essays written by poets and critics about poetry.

You will draft and revise five 1,000 word (four page) capsule reviews of new poetry books with an aim of publishing them online or in print.

Generic Policies
• Reviews are late after December 11; no late reviews are accepted.
• More than two absences result in no credit; students absent from class must contact me before or after class to discuss remedy; missed assignments are still due -- no assignments may be missed. All assignments must be in by December 11.
• No incompletes.
• Please let me know if you would like a letter grade. Please also let me know if you intend to drop the course: do not simply cease to attend class.
• There is a great deal of assigned reading and writing in this class. It will be obvious to all of us if you have not read the assigned reading.
• Reviews will be read and evaluated for grammar, reasoning, and standard quoting. Additional standards will be continually mentioned and discussed in class.

Specific Policies
• Reviews are 1,000 words (4 pages double spaced). They are not response papers, journal entries, or poems. You will write five of them.
• You will revise four of the reviews according to comments.
• You must make two copies of each review: one for me and one for you to put in your portfolio.

Instructor

I am an adjunct; feel free to e-mail me with any questions you might have at cadaly@pacbell.net. I am available for office hours immediately before or after class on campus. I would very much like to meet each of you outside of class to discuss you work in class and progress; we can arrange to meet at another time.
Week One
Introduction
Reading Aloud / Performing Poetry / Listening to Poetry

Reading poetry aloud is a means to understanding its sound and sense. Actors know this: they must understand the motivation and context of the speaker, the meaning of the speech, before delivering it.

Attentively reading poetry others have written, listening to poets read poetry at readings, and writing reviews of books is part of understanding poetry, as well as part of belonging to the community of poets.

In Class:
Distribution of books for reviews due week three. Choice of books.
Link sheets and hard copy of existing reviews of these books.
from the Princeton Handbook or Encyclopedia: "Voice"
Read aloud selections from books. Discuss possible avenues to reviewing.

For Week Two:
from the reader: T.S. Eliot, "Tradition and the Individual Talent."
Read the book of poetry, making notes.

Write an outline of the review due week three, including possible quotes from the book. Or, write a draft of a review. Make enough copies for everyone in the class.

Week Two
Continuation of the discussion of Voice, Individuality, and Tradition in light of poetry.

Standards in reviews: is it possible to evaluate poetry? In terms of the expectations it sets up or in terms of another set of standards? How can points made in review be supported? Why is poetry good or bad? What about reviewer feelings and impressions rather than thoughts or arguments?

In Class:
Distribute and discuss questions from the essay outlines. Further discussion of avenues to reviewing and special terms. Questions regarding the books under review.
How to quote from poems in a review.
Handouts from the MLA handbook, Chicago Manual of Style, and other style manuals regarding citations and quotes of poetry in reviews.

For Week Three:
Reviews.
from the reader, William Matthews, "Personal and Impersonal"
from the Princeton book, "Lexis"
Bring a dictionary to class.

Week Three
Dictionaries and Reading Words, Reading Language

Relying on "context clues" "sounding it out" and other fuzzy techniques is insufficient for a close reading of a review or of a poem. Practice with various etymologies, dictionaries including dictionaries of symbols, word hoards, and other reference works.

You must bring one copy of each review to class, but you must maintain a copy for yourself, for your portfolio, which will contain one original and one revised copy of each review.

In Class:
Discussion of "Personal and Impersonal"
Discussion of first reviews.
Choice of new books. Consider writing an omnibus review.

Etymology of the word "dictionary." Dictionary exercise. You have access to the OED through Antioch Online and/or through the Los Angeles Public Library.

For Week Four:
Princeton, "Projective Verse" and "Sound" or "Sound Effects"
from the reader, Charles Olson, "Projective Verse"
Read the book, with attention to words.

Week Four
Wordplay. Constellations of meaning. Place, ideas, form, and poems. Familiarity, clarity, description.

In Class:
Discuss the essay and the Princeton entry on it.
Discuss projective verse in light of personal writing.

For Week Five:
Your review.
from Princeton, "Free Verse"
from the reader, Denise Levertov, "Some Notes on Organic Form."

Week Five
Lineation

What is "going on" in a poem? Does poetry have a structure? Should it? How much or little of this does a poet control? If not the poet, does the subject control the poem?

In Class
Discussion of free verse and form number one: poetry versus prose.
Hand in review. Discussion of second reviews.

For Week Six:
from the Princeton Handbook or Encyclopedia, "Line," "Line Endings."
from the reader, Joan Alshire, "Staying News."
choice of books

Week Six
Scansion

In Class:
Stresses, wordplay, and how and why to scan.
from reader, Scansion handout.
Discussion about poetry and form number two: versification.

For Week Seven:
from the Princeton book, "Scansion"
from the reader, Queneau, "Potential Literature"

Week Seven
Metaphor, Simile

Reading systems into a poem with analogies; "dictation" and "intention" in poetry; what else does a metaphor or simile say? What about meaning?

In Class
Discussion of "Potential Literature" and forms. Re-discuss "Personal and Impersonal."
Hand in review.

For Week Eight
from the Princeton Handbook or Encyclopedia, "Metaphor."
from the Princeton Handbook or Encyclopedia, "Symbol."
from the Princeton Handbook or Encyclopedia, "Imagery."

Week Eight
Image and Imagism
Manifesti.

In Class:
Discussion of Manifesti and intention, "dos and don'ts" and manifesti.

For Week Nine:
from the reader, Ernest Fenollosa
Hand in review.

Week Nine
Style, Originality, Camps, Schools, Aesthetics

How can you tell what the poet is doing? What types of language can you use to describe and evaluate what the poet and poetry is doing?

In Class:
Hand in review.

For Week Ten:
Princeton: modernism and postmodernism
from the reader, Prevallet, "Procedure"
Another review! This one should be an essay review.

Week Ten
How to publish reviews online.

In Class:
Reviews re: aesthetics.

For Final:
Hand in portfolios, which include revisions of four of the five essays.

Fulton, Alice. "A Poetry of Inconvenient Knowledge." The Nation June 14, 1999. n. pag.

Lauterbach, Ann. "The Night Sky V." The American Poetry Review Nov/Dec 1997. n.pag.

Mullen, Harryette. "Imagining the Unimagined Reader: Writing to the Unborn and Including the Excluded." Boundary 2 Spring 1999. n.pag.

easily the essay I've assigned that's influenced -- and deeply so -- the most students

from books, as follows

Fraser, Kathleen. "Line. On the line. Lining up. Lined with. Between the lines. Bottom line." Translating the Unspeakable: Poetry and the Innovative Necessity. Modern and Contemporary Poetics. Tuscaloosa: The University of Alabama Press, 2000. 141-160.

Mackey, Nathaniel. "Palimpsestic Stagger." H.D. and Poets After. Ed. Donna Krolik Hollenberg. Iowa City: University of Iowa Press, 2000. 225-234.

Perloff, Marjorie. "Lucent and Inescapable Rhythms: Metrical 'Choice' and Historical Formation." Poetry On & Off the Page: Essays for Emergent Occasions. Chicago: Northwestern University Press, 1998. 116-140.

Spicer, Jack. "Excerpts from the Vancouver Lectures." Poetics of the New American Poetry. Eds. Donald Allen and Warren Tallman. New York: Grove Press, 1973.

Steinman, Lisa M. "'So As to Be One Having Some Way of Being One Having Some Way of Working': Marianne Moore and Literary Tradition." Gendered Modernisms: American Women Poets and Their Readers. Ed. Margaret Dickie and Thomas Travisano. Philadelphia: University of Pennsylvania Press, 1996. 97-116.

Tabios, Eileen. "Arthur Sze: Mixing Memory and Desire." Black Lightning: Poetry-in-Progress. New York: Asian American Writers Workshop, 1998. 3-21.
Alshire, Joan. “Staying News: A Defense of the Lyric.” After Confession: Poetry as Autobiography. Eds. Kate Sontag and David Graham. St. Paul: Graywolf Press, 2001. 14-27.

Eliot, Thomas Sterns. “Tradition and the Individual Talent.” The Sacred Wood: Essays on Poetry and Criticism. New York: Bartleby.com, 2000. http://www.bartleby.com/200/index.html 15 July 2002.

Fenollosa, Ernest. “From The Chinese Written Character as a Medium for Poetry.” Poetics of the New American Poetry. Eds. Donald Allen and Warren Tallman. New York: Grove Press, 1973. 13-17.

Levertov, Denise. “Some Notes on Organic Form.” Poetics of the New American Poetry. Eds. Donald Allen and Warren Tallman. New York: Grove Press, 1973. 312-317.

Matthews, William. “Personal and Impersonal.” After Confession: Poetry as Autobiography. Eds. Kate Sontag and David Graham. St. Paul: Graywolf Press, 2001. 11-13.

yeah, even when I knew him, he really regretted his divorce & fathership...

Olson, Charles. “Projective Verse.” Poetics of the New American Poetry. Eds. Donald Allen and Warren Tallman. New York: Grove Press, 1973. 147-158.

Prevallet, Kristin. “Investigating the Procedure: Poetry and the Source.” Telling it Slant: Avant Garde Poetics of the 1990s. Eds. Mark Wallace and Steven Marks. Tuscaloosa: The University of Alabama Press, 2002. 115-129.

Queneau, Raymond. “Potential Literature.” OuLiPo: A Primer of Potential Literature. Ed. Warren F. Motte, Jr. Normal, IL: Dalkey Archive Press, 1986. 51-64.


ALSO:

from The Chicago Manual of Style and MLA Handbook for Writers of Research Papers: some of the many style rules for quoting poetry.

Critical Thinking
Catherine Daly
e-mail: cadaly@aol.com

Course Description

The trivium is the three-discipline core of classical education pursued by wealthy young men in Ancient Greece. The trivium consists of grammar, logic, and rhetoric. This course in critical thinking offers, more democratically, practice in the same disciplines of grammar, the art of arranging information tactically and syntactically; logic, the art of reasoning, thinking, and problem-solving; and rhetoric, the art of persuasion. You will learn to think and to show the thought you have devoted to course materials by reading and writing critically.

Texts

An edition of MLA Handbook for Writers of Research Papers and/or The MLA Style Manual.

A dictionary. I recommend American Heritage or Webster's Collegiate or Webster's New World. I also recommend you secure online access to these and other dictionaries such as the OED, through LAPL or your own searches on the internet.

A grammar book and writing style book or books. Fowler, Strunk & White, The Chicago Manual of Style.

Supplemental Materials Available Online

Assignments

Mini papers, five paragraph themes, and essays of 500-1000 words (two to three pages, typed, double spaced) to be written and then revised.
• Essays must be typed.
• Everything must be revised, so it is best to word process them on a computer, rather than using a typewriter.
• Bring multiple copies of essays to class as specified: for me, and for your reader.

Exercises of varying length.

One ten-page research paper, to be outlined, drafted, and then finalized at midterm.

One five-page research paper, to be outlined, drafted, and then finalized at finals.

Over the course of the term, you will be exchanging your work with another student (on a rotating basis) and keeping a record of your own work, your revisions, and exercises, in a PORTFOLIO.
Course Requirements

Antioch LA encourages course attendance with the following policy: after two absences, you will be dropped from the class. These absences include excused medical absences.

Late arrival and early departure from class will be counted as absences.

The midterm and final paper must be completed and handed in on deadline in order to receive credit for them and for the course.


Schedule
Week One
Structuralism and Writing
Introduction
Course Policy and Procedures
Groups, Assignments, Grading
Preparation for Assignment
Writing the Five Paragraph Theme

In class, we will review the format of a five paragraph theme, then write one together. As an assignment, you will write a five paragraph theme.

Assignment for Week Two:

Read Geertz, Clifford, "Deep Play: Notes on the Balinese Cockfight", WAYS OF READING, pps. 364-398. As you read, make a note of all unfamiliar words, and look up their definitions in your dictionary.

The first part of this essay is available online at:
http://mason.gmu.edu/~dkaufman/hnrs121/geertz.htm

Read the footnotes to the essay as well. Read "Questions for a Second Reading" on p. 399, then re-read the Geertz essay.

Write a five paragraph theme based on, inspired by, or using Geertz in some way, as discussed in class.
Week Two
Rhetoric and Culture
Models

Geertz is a structuralist anthropologist. He is also a rhetorician.

Rhetoric in Geertz. Artistotle's Rhetoric. Modern rhetorics.

In class reader: Artistotle's Rhetoric and Artistotle's Poetics. Rhetorical modes.

Assignment for Week Three

Analyze Geertz, your essay, and the other student essay you have received. Analyze the student essay and your essay -- including any grammatical, spelling, and typing mistakes -- on the paper itself. Write your analysis in the back of the last page. It is not necessary to type your comments if you have legible handwriting. Handwrite your analysis of Geertz on the analysis handout or on a separate sheet or sheets of paper.

Write a 2-3 page (500-750 word) review (of a CD, book, piece of art, etc.) using one of the rhetorical modes.
Week Three
Poststructuralism and Writing
Thesis statements, pre-outlining, outlining

Read Foucault, Michel, "The Panopticon," WAYS OF READING, pps. 314-342. Re-read Foucault after reading "Questions for a Second Reading" on page 343. After that, read the introduction to the piece, if you haven't already.

Do facts about a writer's life change the way you read the writing? Do these biographical facts change your conclusions about the motivation of the writer?

Assignment for Week Three

Revise your five paragraph essay according to comments you have received. Place a copy in your portfolio.

Analyse your review and the review you have received from another student.

Generate possible thesis statements for papers based on the Foucault reading. Bring to class these statements and your pre-outlines and outlines for each one.

Week Four
Authority
Read Anzaldua, Gloria, "Entering into the Serpent" and "How to Tame a Wild Tongue," WAYS OF READING, pps. 22-45.

Plato Allegory of the Cave handout.


Assignment for Week Five:

Revise your review according to comments you have received. Place a copy of your revision in your portfolio.

Bring thesis statement and outline for your midterm paper to class.

Bring five sources for your draft to class, documented using MLA style.

Prepare to present your paper topic, sources, and "slant" to your group. This should include, in addition to your outline and thesis statement, your "log line", Introduction, and key quotes.

Week Five
Complete the exercises, especially the exercise on Malcolm X starting on page 145.

Mind mapping and MOO/Owl handouts.

Present your materials to your group.

Assignment for Week Six:

From your notes and your group's comments, write a ten page paper.
Week Six
Documentation

Mitchell, W.J.T., "The Photographic Essay: Four Case Studies," WAYS OF READING, pps. 522-559.

Write a 2-3 page essay, as discussed in class.
Oct. 17
Revision

Read Bordo, Susan. "Hunger as Ideology," WAYS OF READING, pps. 139-171. Reread after reading p. 172.

Oct. 22
Read THINKING CRITICALLY, Chapter 10, "Composing an Argumentative Paper," pps. 420-445. Read the handout and do the exercises on the handouts.
Week Seven
Argument

Read Woolf, Virginia, "A Room of One's Own," WAYS OF READING, pps. 750-775.

Write a short essay.
Oct. 29
Outline of five page mid-term paper due.

Read THINKING CRITICALLY, Chapter 11, "Reasoning Critically," pps. 446-498.
Week Eight
Continued work on Logic.

Do the exercises.
Week Nine
Comments on draft due.
THINKING CRITICALLY, Chapter 6, "Language and Thought," pps. 213-266.
Week Ten
Read Rich, Adrienne, "When We Dead Awaken: Writing as Re-Vision," WAYS OF WRITING, pps. 603-616.

Comment on the paper you have received.
Nov. 28
Read Emerson, Ralph Waldo, "The American Scholar"
http://www.emersoncentral.com/amscholar.htm
Dec. 3
First draft of ten page final paper due. Bring three copies to class.
Dec. 17
Final draft of ten page final paper due.


In order to achieve an understanding of issues, techniques, poetics, aesthetics, and experiences poets communicate through poetry, participants in the Literature 385 workshop wrote and revised fifteen to twenty pages of review-essays in response to new poetry published online in electronic chapbook format and in print anthologies, poetics essays written by poets, and reference material. Participants demonstrated their interpretations of creative writing through their critical writing. This communication, process, and progress toward a final written product were the objectives of the course.