29 November & 2 December. Portfolio W/S 1-2

Housekeeping/Extra Credit

  • 1. Be prepared to share how you composed a final draft of a page or two of your portfolio for next Tuesday (10 pts.)
  • 2. Sign up for and attend the SLS Student Showcase. (10 pts.)

    The SLS Student showcase will be held December 4, 4-5:30pmKlaus Atrium. 

    The showcase will feature projects that engage:

    SLS seeks a diversity of projects (posters, videos, prototypes, etc.), and 1st, 2nd, and 3rd place prizes will be awarded in the form of gift cards.

Final Portfolio Assignment 

Reflective Introduction

The following is the checklist of requirements you need to fulfill for full credit on the Reflective Introduction Essay to be included in the Final Portfolio. Take a minute or Two and read through the checklist.

For full credit on the Final Portfolio, you need to compose a reflective, introductory essay of 1200-1800 words in which you draw out an argument from the projects you completed this semester, i.e. the artifacts you curated into your portfolio. A successful Reflective Introduction Essay will accomplish the following:
  • 1. Develop an argument about your intellectual growth as a communicator through the close analysis of artifacts in the portfolio. Make sure your Reflective Introduction is an essay and not a list in paragraph format.
  • 2. Show and tell readers how you met or attempted to meet the course outcomes/instructor’s goals as articulated on the syllabus and throughout the course.
  • 3. Reflect on your strength and weaknesses relative to the course goals/outcomes
  • 4. Describe the methods and modes that were the focus of your communicative work this semester.
  • 5. Articulate areas and strategies you would like to focus on for continued improvement.

Group Analysis: Reflective Introduction

After you get into your groups, Take 5-8 minutes and read the Reflective Introduction in this sample portfolio. Afterward be prepared to discuss the following:
  • 1. Group One: What is the topic or unifying idea of the Introduction? What claims or sets of claims does the author make about that topic/unifying idea? What are some rhetorical gestures employed by the author?
  • 2. Group Two: Describe how the author has organized her paragraphs. Are some parts of the essay more successful than others, why or why not?
  • 3. Group Three: Describe the evidence and analysis in the essay. Does the evidence and analysis fully support and develop the claim, why or why not?
  • 4. Group Four: Describe the design/layout of the first page of this Portfolio. Does the author make efficient or innovative use of the affordances of the genre/tool. What’s your assessment of the page layout? For instance, what’s your assessment of the relationship between the written and visual text? What’s your assessment of paragraph structure?

Reflective Essay Freewrite

On your own, freewrite for 5-8 minutes in response to each of the following prompts. Be prepared to discuss your response with the class after each:
  • 1. Rhetorical Awareness/Stance: From the beginning of the semester to this moment, why have you “grown as a communicator”?

    Your response to the question will form the topic and generate the claim of your reflection. To answer this question, think about the five major communicative modes in WOVEN–have you developed in any one of those areas more than others? Also, think about the artifacts you have produced this semester, what assignments or specific modes within assignments can you point to to show “development” over time? You may also want to frame your claim and subsequent essay in terms of one or more areas featured on the Common Feedback Chart.

  • 2. Draft an outline of the 4-6 paragraphs you imagine will follow from the claim you just generated.

    Organization: While the artifacts in the portfolio serve as evidence, remember, just like in the Literary Analysis Essay, you never want to lead with the evidence. Instead, you want to lead with claim and move from paragraph to paragraph in service of that claim.

  • 3. What artifacts do you plan to analyze to develop & support the claim you generated? (i.e. what final assignments best show your growth as a communicator?)

    Development of Ideas: How can you describe and analyze your own work the way we have described and analyzed images, poetry, essays, and film this semester? What key terms can you borrow from our analysis of design, rhetoric, fiction, and/or film to apply to your own artifacts?

Mahara ‘How-To’ Video


Mahara Gathering Pages and Generating a Collection SlideSHow

27 November. Video W/S


  • While revision is built into all major assignments, during the semester you will have the opportunity to revise one major assignment that earns a B- or below. If you wish to revise a graded assignment, meet with me during office hours or by appointment to discuss steps and due dates. The revised assignment will receive an entirely new grade (not an average of the old and new grade).

Extra Credit

  • If you want to earn 10 extra-credit points, come to class with a draft of your portfolio and be prepared to discuss your composition process with the rest of the class on Tuesday, Dec 4th.

Video Workshop

Get into your video groups and discuss the following. I’ll come around and chat with each group. If possible, be prepared to share drafts of your video.
  • 1. What is the central topic and claim about the topic?
  • 2. Who is your audience and how have you utilized the affordances of video to capture your audience’s attention and persuade them of your claims, i.e. transitions, different types of footage, sound queues, a central narrative or narrator, etc.?
  • 3. Are you having any problems with the form or content? Are you having any work flow problems?

18 Sept. Poster Reflection & Hamlet 1.1


Take five minutes and respond to the following. Be prepared to share your answers in discussion:
  • 1. According to your First Week Videos, what WOVEN mode did you anticipate offering the most challenges? How did you address challenges you perceive in the mode you discussed through any portion of the Poster assignment? 
  • Mahara How-To

    Student Teaching Groups & Date Sign-up

    • Get into your assigned groups and them fill out the Student Teaching Date Preference form below. Just fill out one form per group, please.

    ENGL 1101.F2

    Group Number Group Members
    G1 Zeyu, Enerelt, Jialou, Firaas
    G2 Brandon, Max, Hannah, Hui Min, Dorian
    G3 Jintong, Fei Pei, Hae Won, Eni
    G4 Mark, Tejas, Jiale, Akhil
    G5 Jarod, Elton, Esther, Sanyu
    G6 Thiago, Danya, Akshay, Elias, Ashley

    ENGL 1101.N1

    Group Number Group Members
    G7 Patrick, Margaret, Mathew, Mai
    G8 Melissa, Samantha, Henrick, John
    G9 Dov, Omar, Dustin, Giancarlo
    G10 Danny, Maya, Kyle, Rishi
    G11 Henna, Lauren, Jeremy
    G12 Shrya, Greyson, Alvin, Summahay

    ENGL 1101.D2

    Group Members Group Members
    G13 Brandon, Ravi, Andres, David
    G14 Ben, Anna, Siddarth, Cecelia, Andrew
    G15 Maya, Manisha, Avni, Jennifer
    G16 Kevin, Jason, Brett, Wyatt
    G17 Shakeeb, Mitchell, Michael Tang, Andy
    G18 Thomas, Kenny, Michawel Chen, Kiet

    Student Teaching Date Preference Form



    • Given what you already know about Hamlet and/or what Stephen Greenblatt covers in the introduction, in what ways is Hamlet psychological? In what ways is the play political? 

     “Who’s There” (1.1.20): Nonverbal Communication & Interpretation

    First, what are some characteristics of Nonverbal communication and how does Nonverbal communication effect meaning?

    Get into pairs and choose one person to play Barnardo and one person to play Francisco.

    Read through the lines according to the directions below, and then be prepared to share your interpretations with the class

    • 1. Read lines 1.1.1-1.1.20 with no inflection
    • 2. Read lines 1.1.1-1.1.20 and emphasize the psychological themes audiences can expect from the play 
    • 3. Read lines 1.1.1-1.1.20 and emphasize the political themes audiences can expect from the play


    28 August. Pathalogical Collecting

    `Featured Image: Andy Warhol Museum, Time Capsules, Photo by Glindsay56


    Final Portfolio: Marah & Artifact Zero

    The video below will cover the following topics:
    • 1. Navigating to and signing into Mahara, the tool you will use to produce your final Portfolios
    • 2. Mahara page layout
    • 3. How to embed external media, i.e. video, into a Mahara page

    Sample Student Portfolio

    Mahara How To: Sign-In & Building Artifact O Page

    Reflection on First Week Video

    Take five minutes and respond to the prompts below in a Word or Google Doc. Since you will be required to include reflections in your Final Portfolio, please file this reflection with your other process documents.
    • 1. Explain one way your First Week Video met one Course Goal/Concept.
    • 2. Given the opportunity to revise, what is one thing you would change in the Video and why?

    Herring, “Pathological Collecting”

    Either on your own or in groups of 2, let’s respond to the following:
    • 1. According to Herring why did the cookie jars in Andy Warhol’s effects cause a “minor object panic” (51) (at Sotheby’s, in the art world, for the general public)?
    • 2. What is “normal collecting” according to Herring’s various source material? What is “pathological collecting” or hoarding? How can we tell the difference between the two practices? Who decides?
    • 3. Spend a minute looking at Figure 2.1. (54-5): what sorts of objects are foregrounded? What sorts of objects recede into the background? What do you notice about the ways in which the objects in the picture are arranged? What are some points of contrast/compliment? Who’s the audience for this photo: academics, collectors, people who work at that warehouse? Compare Figure 1.1. to Figure 2.2. (59).
    • 4. When did garage and yard sales become a fixture of US suburban life? What other changes were going in post WWII US that effected the ways that people thought about what can and should count as collectable?
    • 5. What are the Warhol Time Capsules (TC’s)? How do the TC’s “augment the anxieties that attached to Warhol’s effects during Sotheby’s estate sale?
    • 6. What does good and bad collectors/collections have to do with the environment?

    Frederick Charles, Warhol’s Hoard in Sotheby’s Warehouse, 1988. Published in John Taylor, “Andy’s Empire,” New York 21.2 (1988): 39.