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Class, Wed, 10/30

Grades: Some Questions to Have in Mind when working on Your Project

Project
  • How well does the writer articulate what they are trying to do or accomplish in this piece?
  • How well do they develop their line of thought?
Materials
  • Is this piece well-informed by archival research?
  • How well and fully does the writer represent their own experiences or those of others?
Voice

Is this piece fun or interesting to read? What could the writer do to make it more so?

Workshop

Writers

Given the responses you’ve received to your work so far, what questions do you have? Select a 750-1,000 word passage from your piece that you’d like to read aloud and get more feedback on. Tell your readers what sorts of feedback you’d like to get to this section.

You might also want to think about: Almost by definition, this draft is shorter than your final piece. How are you going to make it longer, develop it?

Readers

Try to add to what you’ve already said in response to the Writer’s Memo—and to what the other readers have said. What more advice can you offer the writer about their piece?

To Do

  1. Friday, 11/01, class: We’ll continue the workshop. I’ll also ask you to send me a post-workshop email in which you: (a) summarize the responses you’ve received so far, (b) describe what you now know you want to do with your piece, and (c) ask me any questions you still have. I will reply to this email. That will be my response to your first draft.

Class, Mon, 10/28

Preparing for Your workshop

For Wednesday, I am going to ask each of you to read the drafts by the other members of your workshop, and to write a note to each of them in which you say:

  • Which sections of their current drafts you feel work well;
  • What you’d like to hear more about;
  • What you’d encourage the writer to rework or rethink; and
  • Your responses to the questions and concerns raised by the writer.

In class today I’d like you to write a note to the members of your group in which you raise those questions and concerns. What sorts of questions do you have right now about your piece? Which sections most worry you? (These might be sections that you have written, or that you have not yet written.) What kind of feedback do you hope to get?

Address these questions in an email to your writing group that runs at least 200 words. Copy me. Use “WRITER’S MEMO” as your Subject Line. I’ll assume that writing this note will take about half of our class time.

In the rest of the class period, begin the work of responding to the other members of your group. Start reading their drafts, and write the sort of reader-response to each that I describe above. Hit REPLY All when you respond, so that the other members of your group and I can read your thoughts. (Doing so will count as part of your grade for Draft 1.) Please finish responding to all the members of your group by tomorrow evening.

Please try to read the responses to your own draft by the start of class on Wednesday. Bring your print copies with you. We will read, discuss, and work with them in class.

I do not plan to write responses directly to your draft. I will instead ask you to email me a post-workshop memo on Friday, and I will reply to that. This means that it is very important that you use the next few days both to offer helpful advice to your classmates, and to make sure that you get useful responses to your own work-in-progress.

To Do

  1. Tues, 10/29, 11:00 pm: Email responses to the drafts of each of the members of your writing group. Do so by hitting REPLY All to their Writer’s Memo so that the other members of your group and I can read your comments.
  2. Wed, 10/30, class: Read the responses to your draft. Be ready to ask questions about them. Come to class with your print copies of all your group members’ drafts.

Class, Fri, 10/25

Writing Groups

Ethnicity/Gender
  • Amanda C
  • Ashley
  • Kate
  • Kyle
  • Michael
Violence, Extremism
  • Anthony
  • Bridget
  • Jennifer
  • John
  • Tia
Generation, Occupation
  • Amanda Gen
  • Brook
  • Sara
  • Winston
  • Sam

Mapping Your Work-in-Progress

  • Read through your draft. Use the Insert Comments function to write a summary of the function of each of your paragraphs. You’ll want, thatis, to briefly state what you do in each paragraph. Most of your sentences should thus begin something like: “I argue that . . .” Or “I analyze the scene in which . . . ” Or “I develop this idea by . . .”
  • Once you have this running series of summaries, see if you can arrange them in a paragraph that maps or outlines the progress of your essay as a whole.
  • Think about what you might need to add to or change in this paragraph (and thus your essay). Revise your paragraph to reflect those changes. (You might also want to create a To Do list of work you need to do on your piece over the weekend—or beyond.)
  • Consider whether you might want to insert a version of this paragraph somewhere near the start of your piece. (It’s often the second paragraph.)

Identifying Keywords

Read through your draft once again. This time, use different colors to highlight the following kinds of terms (or phrases).

  1. Titles and names of the texts and people you are discussing. This should list in short form what your piece is about.
  2. Keywords and phrases that the writers or people you are discussing use to describe or interpret their experiences. This list should begin to suggest the issues or questions your writing is addressing.
  3. Keywords or phrases that you introduce to explain what you see as going on. (If you don’t have many of these, then you need to generate some.) This list should begin to identify your perspective as an author.

As you work on your project, you will want to think of ways to highlight the words in categories 2 and 3 (particularly 3).

Of Interest

Loretta Ross, “Call-Out Culture Is Toxic“, New York Times, 8/17/2019.

To Do

  1. Mon, 10/28, class: Bring five print copies of the first draft of your project. (Shoot for at least 1,500 words). You can single-space these copies, but leave extra space between the ¶s.
  2. Wed, 10/30, and Fri, 11/01, class: We will workshop your drafts.

Class, Mon, 10/21, and Wed, 10/23

Projects

Project Readings

Let’s keep things simple and discuss the readings in the order they were posted. This means that on Monday we will talk about:

  • Ashley
  • Jennifer
  • Sara
  • Brook
  • Amanda C
  • Michael

And on Wednesday we will discuss:

  • Bridget
  • Kate
  • Amanda Gen
  • John
  • Winston
  • Kyle
  • Anthony

I’ll ask the author to get us started by reading their post, and then for the readers/commenters to point out some things they found interesting about the piece. If you weren’t a commenter, but you have a thought, or a question, about the piece, please feel free to jump in and ask it.

To Do

  1. Fri, 10/25, class: Come with as full a draft of your project as you can on your laptop. We will work on them during class.
  2. Mon, 10/28, class: Post your first draft to your Group Folder on Google Drive. Bring one print copy with you to class.
  3. Wed, 10/30,class: Workshop first drafts.
  4. Fri, 11/01, class: Continue workshop.

Wing Chun & the West; Project Readings

Project Reading

Bibliographic

Ongiri, Amy Abugo. “”He wanted to be just like Bruce Lee”: African Americans, Kung Fu Theater and Cultural Exchange at the Margins.” Journal of Asian American Studies, vol. 5 no. 1, 2002, p. 31-40. Project MUSE, doi:10.1353/jaas.2002.0009.

https://muse.jhu.edu/article/14656

About the author

Amy Abugo Ongiri is an assistant professor of English at the University of California, Riverside. Her research and teaching focuses on Black literature and culture, transnational cinema, and gender and sexuality studies. During the academic year 2001-2002 she was a fellow at the John Hope Franklin Center for International and Interdisciplinary Studies at Duke University. Her current book project Spectacular Blackness: The Cultural Articulations of the Black Power Movement and the Search to Define a Black Aesthetic addresses the cultural and political articulations of the Black Power movement, particularly the aesthetic concerns of the Black Arts Movement’s search to define a “Black Aesthetic.” This essay is part of a larger project addressing the transnational circulation of Black popular culture.

Role

I hope that this piece will provide me with beneficial insight into the systems and concepts that allowed Bruce Lee’s films to stitch seamlessly into Western culture during the 1970’s. I should use this article to support Lee’s very own contact zones then explain why they were so important in building the bridge between the east and the west as far as film and martial arts go.

Appeal

This piece should provoke your interests in world culture it helps demonstrate how we are always connected even if we live on separate halves of the Earth. If you are fascinated by film and the history of film this article should give you a very raw and astute summary of what the culture of film was like in the 1970’s. If you are interested in martial arts, Bruce Lee was one of the best to ever do it.

The Color of Water

James McBride, The Color of Water, 1996, Penguin Group

Context: The Color of Water is an autobiography by James McBride, who is African American, and it was a tribute to his mother, who was a white Eastern European Orthodox Jew. In his work, he documents as much of his mother’s life that he knew about and he writes about his experience growing up as an African American with a white mother. Also, all of Mrs. McBride’s children grew up to have very successful careers and James McBride is a perfect example.

Role: I plan to use The Color of Water and compare and contrast it with Barbara Mellix’s writings. I feel that James McBride’s upbringing juxtaposed with Mellix’s brings attention to a very interesting point: the diversity of writing, upbringing, and use of language just within the community of African American writers. 

Why The Color of Water interesting: I believe The Color of Water could be considered interesting to my fellow classmates because it demonstrates a new perspective on a subject we have discussed at length. This subject is the work of African American writes, such as Barbara Mellix, who discuss growing up using Black Standard English, but perfected the usage of Standard English. 

Athlete Culture – The Good, The Bad, And The Ugly

Posted by Joe Harris for Winston Allen

I found this article an interesting choice for selection because of the topic it pertains to – rape. I am sure that at least some of us in class have heard the name Clay Conaway. I also understand that some of you have not heard of him or what he is or has done. Before I get into that, I would like to note that my topic is athlete culture as a contact zone and how that takes away from and adds to the other subcultures that makes up the rest of the student body at UD. Obviously as a part of that is the stereotype of rape culture. I was a freshman in the fall of 2017 and Clay was a teammate of mine as a senior who had one more year of eligibility that he had planned on using. I was not fond of this guy, and for that matter no one else really was either, but nevertheless, he was our teammate and no one knew any better. Clay was arrested over a year ago on six accounts of rape, two of which being in the first degree. He is being tried separately for all of them and has already been found guilty for rape in the 4th degree for the first trial. He is awaiting sentencing of 15 years and still has to sit through an additional 5 more trials.

 
       The reason that I bring this case up and include a decent piece about him is because of the myths surrounding student-athletes and rape culture. There are myths on both sides. No, not every major student-athlete is a rapist or is just out to have a good time with as many girls as possible. Yes, there are definitely student-athletes who cannot handle the attention and the publicity of it all and make very poor, life-altering decisions. No, not any one sport has more of these sick humans than any other. Yes, it happens more than you think. I brought up Clay Conaway as it hits home. Someone who walked our very campus and interacted with students of all kinds. I used him as an example of reading to go in to how serious athlete culture can be and to show that it is not all it is cracked up to be sometimes. It goes into depth about right before the trial began as evidence had started to come out. I thought that this would be an interesting read for both its proximity and relation to the university as well as it being an example of rape culture amongst student athletes. 


The author is by the name of Brittany Shammas. She used to work multiple reporting jobs in Miami before becoming a full-time general assignment reporter for The Washington Post. She does good work and I like to believe that she is unbiased in her reporting so that both sides can be educated on what is going on. Moving forward, I will dive a little deeper into Clay and his tribulations but I will be swinging back in the direction of non-rape culture amongst student athletes and then from there move in to some of the positives of the athletic student-body. 

https://www.washingtonpost.com/nation/2019/09/19/an-alleged-serial-rapist-met-victims-bumble-tinder-his-attorneys-say-women-were-there-hook-up/

Violence & Music, an ongoing discussion.

The discussion surrounding music and its implications on violence has been in circulation for about a century. The discussion itself is often linked to the discussion surrounding violence in video games and media. — However, the velocity of the discussion ramped up heavily following the school shootings at Columbine High School in 1999. In uncovered journals, by student killers Eric Harris and Dylan Klebold, many lyrical references were made to a number of popular metal bands at the time. Columbine related music

Just recently, the tragedy in Dayton, Ohio linked music to violence again. As it was soon discovered that the killer, Connor Betts, was the lead singer in a “pornogrind” band that performed regularly in the Midwest death metal scene.

Digging into the psychology behind music and violence, there seems to be a large amount of disagreement. I wasn’t able to find any one article that summed up the discussion as a whole. However, there have been a number of scholarly articles published on the topic from both sides.

Consider the differences in POV: Violent music increases aggressiveness vs Violent Music doesn’t desensitize , or the abstract here: Extreme music and anger processing

I think this topic will be an interesting for the class to weight in on. I would consider music to be part of our “contact zone” that perhaps sometimes goes overlooked.

Millennial Women in the Workforce

https://www.cnbc.com/video/2019/05/28/mika-brzezinski-daniela-pierre-bravo-give-career-advice-to-millennials.html

As young adults entering the workforce, we face the challenge of overcoming the stereotype “lazy millennial”. Our generation has grown up in a completely different era than the elder generations, living in a time where technology has always been present. Millennials have come to be perceived as the generation who has had everything handed to them, not knowing what hard work really means. This is particularly problematic in the corporate world, where several generations must work together. How can millennials become successful in their careers if they cannot effectively communicate with elder generations in the workforce? This is a question Mika Brzezinski offers solutions to for young millennial women in her book “Earn It”. 

Mika writes this book alongside Daniela Pierre-Bravo, a young millennial woman who was able to push past these stereotypes and effectively make a name for herself in her work. In the CNBC interview linked above, Pierre-Bravo and Brzezinski touch on some of the pieces of advice offered in “Earn It”. 

After reading the book, a specific passage resonated with me:

 “Young women still face a familiar set of challenges: in addition to gender bias that’s an everyday occurrence in the corporate world, they are often dismissed because of their youth. Millennial women in particular get a bad rap, accused of being part of a generation that is distracted, entitled, and lazy. They’re encouraged to present themselves as self-assured and ambitious, but not overly aggressive, which would make them less likeable. These are contradictory messages for women who are entering the work-place and don’t understand the office environment.”

Brzezinski (xiii)

Millennial women are quickly categorized into one of two stereotypes; therefore, they must communicate and present themselves in a way that older generations can make sense of. “Earn It” is a major resource for my paper, and I will draw connections to other sources that talk about differing communication styles between generations, and I will expand on why this is especially important for women. 

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