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Instructor:
A. Beaudin |
Voice Mail
(NOT an office phone): (203) 392-6721 |
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Office Hours: MW |
email: beaudina1@southernct.edu |
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AIM Screen Name: A L Beaudin · MSN
Screen Name: AndreaBeaudin@hotmail.com (no email) |
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For this second sequence, we
will continue sharpening our critical thinking skills by using a guided
reading/response exercise (the double-entry journal)[*]
in order to help us to develop a conceptual definition of the term “Bridge.”
The Double-Entry
Journal
The
best way to introduce and explain this assignment is to use the words of the
individual who developed the concept, Ann E. Berthoff:
[T]o adapt your journal of observations to academic
use…keep a double-entry notebook…The pages of this notebook all have wide
margins on the left. You use one side of the line for your notes and observations;
the other side is for your notes on these notes…The point of this double-entry
system is that it encourages you to think about your thinking and to carry out
an audit of the meanings you are making. The important thing is to separate
your notes from notes about notes so that you can carry on a dialogue between
you-as-listener and you-as-reviewer, the One Who Listens and Looks Again…On the
right side (or left, if you choose) will go the random materials: the reading
notes, the direct quotations, the details of your observations, names,
fragments, lists, images—verbal and visual—dictionary definitions, questions
you might have, and all manner of other immediate material (no matter how unconnected
it may seem with your topic). On the opposing side of those entries will go all
your notes about notes, your revisions, comments on comments, personal observations,
and summaries or paraphrases. (26-27)
Listing and
Classifying
Lists
are not, perhaps, the most exciting things to read, but they are important to
the composing process. When you list
and classify, you begin to prioritize and distinguish relationships. Return to
your notes and your notes about your notes and prioritize and look for
relationships. This is classifying.
As Berthoff writes, “Classifying is renaming so that one item can be grouped
with others of the same kind” (71). She demonstrates with the following:
Degree of
generality Class Name
General merchandise,
groceries, produce
Specific fruits
and vegetables, vegetables, root vegetables
Particular parsnips,
“this parsnip”
In any kind of list, one word suggests another; one
name joins another and another until you have a class you then name: you rename
the names. A class is a form that finds forms—not only members that belong to
that class but other classes as well. One thing leads to another, we say; one
thing makes you think of another; one class finds another class, not just other
members. “Produce” finds not only pears and raspberries, eggplant and acorn
squash, but “meat” and “dairy.” That is to say, we not only move up and down
from particular to general and back down to particular, but we also go from one
to another class. Thinking moves in both vertical and horizontal planes. (71)
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Schedule
(subject
to revision as necessary). Assignments are listed on the day that they are
due. |
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9/15 |
Essay I (Parable
of Experience) Due. In addition to requirements, submit editor’s notes. Make sure
you’ve covered (at the minimum) those facets of the assignment that were stressed
in class: ¥
Thesis: defines the concept in
abstract (meaning that it pinpoints the essential qualities of the concept). ¥
Introduction: generates interest as to
topic, develops purpose of essay. Continues definition of the abstract
qualities and applications of concept. Provides a full grasp of the concept;
situates reader (abstractly) as to how to analyze the supporting evidence
(body). ¥
Body: presentation of story that
supports thesis/introduction. Writer should draw connections between key
aspects of story/character and relationship with thesis concept. ¥
Conclusion: Provides both a return and
a place to start anew; should not simply restate thesis. Demonstrates the
relationship between the abstract and the concrete. Should provide reader
with a "lesson" that is a natural outgrowth of the discussion. ¥
Grammar, Spelling,
Punctuation and "Flow" (Style) SMH: Read the Introduction
(Learning from Your Errors). Review the Twenty Most Common Surface Errors
(Green Box) (14). Error 1: Missing comma after introductory element (editing
notation 1 or ). Review 31c, 46b, and 48a.
Complete 31.9-11, 31.12, and 48.1 (to hand in). In Class: Introduction to Sequence II (Forming Concepts) and the
Double-Entry journal. We will begin the double-entry journal in class.
Respond to the following prompts for each text: ¥
What is literally happening in the text? Be concrete and
specific. Do not interpret; relate what is precisely relayed by the text. ¥
What do I “see” with my eyes? How about my other senses? ¥
Where am I in relation to this text? ¥
How does this make me feel? ¥
What does this remind me of? ¥
How does who or what do what and why? Where? When? And for whom?
(Say what? Well, you need to make meaning of this for yourself, but the
essence of the prompt is, "How does a bridge bridge?"
Consider what qualities of the particular text indicate to you that the
"structure" referred to as a "bridge" is a
"bridge." |
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9/17 |
WS: Complete full set of
prompts for each text (full sentence responses are not required), using the
double-entry journal setup. Don’t
skimp on your responses! These are ways to help you to focus on the topic and
make meaning. You should give them some attention. This may be handwritten.
Bring everything to class. From this chaos, we will develop the conceptual
definition (thesis). By next class, you are to use that thesis form as both a
conceptual and organizational guide to developing your essay. The Bridge
texts that you initially responded to the prompts for will be used as your
textual support—you will use them to prove your thesis. SMH: Read SMH 17 (“Integrating Sources into Your Writing”). For
your writing/editing journal entry, you will be completing the Thinking
Critically prompt (SMH 392) for Monday’s class. |
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9/22 |
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9/25 |
Essay II (Conceptual
Definition) Due.
Make sure you’ve covered the essentials: ¥
Thesis: defines abstract qualities
of Bridge; sets order for essay. ¥
Introduction: generates interest as to
topic, develops purpose of essay. Continues definition of the abstract
qualities and applications of Bridge. Provides a full grasp of the concept;
situates reader (abstractly) as to how to analyze the supporting evidence
(body). ¥
Body: fulfills promise of
thesis; supports thesis/introduction. Employs range of texts (those responded
to with prompts). Does not simply refer to supporting texts, but demonstrates
how these texts specifically add to/enrich/demonstrate facets of definition. ¥
Conclusion: Provides both a return and
a place to start anew; should not simply restate thesis. Demonstrates the
relationship between the abstract and the concrete. Should provide reader
with a "lesson" that is a natural outgrowth of the discussion. ¥
Grammar, Spelling,
Punctuation and "Flow" (Style) ¥
Organization: order of and within
paragraphs is logical and effective. Effective use of topic sentences and transitional
phrases. Demonstrates the interrelationship between body of essay and
framework. RA: Intro. (1-15). Prepare
your first Annotated Works Cited entry (AWC). For this first time, focus on creating the annotation (summary/response);
we will construct the citation in class. In your response, you may wish to
consider the editors’ references to such concepts as “critical thinking,”
“cultural myths” and “active reading.” How might these ideas affect your education?
SMH: Error 2: Vague Pronoun
Reference (editing notation 2 or ‚). Review section 2 of
Introduction and chapter 37. Complete 37.1-2. (to hand in). |
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http://www.neiu.edu/~lsfuller/Poems/bridge.htm.
http://www.cupola.com/images/bldgstru/bridges/carmbr04.jpg
http://freespace.virgin.net/john.cletheroe/usa_can/pictures/00105.htm
[*] The following composition pedagogy comes come
from Ann E. Berthoff’s Forming/Thinking/Writing (1988).