PWR 2-25 All Things Considered: The Rhetoric of Narrative Collage

ALL THINGS CONSIDERED: THE RHETORIC OF NARRATIVE COLLAGE

FALL 2004

PWR 2-25: T-TH: 3:15 – 5:05 p.m.; Building 160 – Room 331

Instructor: Wendy Goldberg

Office: Building 460, Room 020-C (in the Stanford Writing Center)

Office Hours: W: 3-5, F: 2-4, and by appointment

Office Phone: 736-2951

E-Mail Address: wendyfay@stanford.edu

I. PWR 2 GOALS AND PRINCIPLES

Building on the analytical and research-based writing that provides the focus of PWR 1, PWR 2 gives students opportunities to develop more sophisticated abilities in oral and multimedia presentation of research. In PWR 2, students analyze written, oral, and visual texts, carry out research projects requiring work within a range of sources and methods, and present their research in written, oral, and multimodal forms. Students come to understand that every rhetorical situation offers a wide range of choices, including crucial choices of modalities, media, and delivery systems. In their writing and presentations, PWR 2 students enact these choices in the context of a series of well-defined rhetorical tasks. As a major component of the course, students present a multimodal, multimedia, research-based argument that includes a live presentation. Finally, students have an opportunity to reflect on the complex set of rhetorical choices involved in their research and compositions in their chosen medium/genre/mode, and to assess the choices of their peers.

II. COURSE DESCRIPTION

All Things Considered: The Rhetoric of Narrative Collage

Narrative collage, a term used by essayist Annie Dillard to describe modernist innovations in 20th century fiction, takes on added meaning when applied to contemporary multimedia compositions: often such works comprise not only multiple voices but also a range of textual forms—film, music, photography, radio, even textiles and other objects, all in combination. Examples include Ken Burns’ 1990 film The Civil War, in which 19th century archival photographs, multiple narrators, first-person voice-overs, period music, and modern cinematography cohere to create a portrait of an era. Judy Chicago’s mixed media feminist installation The Dinner Party offers illustrated, labeled place settings for 39 prominent women in history. In each case, historical

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research is presented through a multitude of voices and perspectives—a patchwork of different rhetorics and expressions woven together by a guiding consciousness into an integrated whole. In this course we will examine how narrative collages, ranging from simple story chronicles to more elaborate multimedia pieces, package information and make arguments for varied audiences and purposes. For example, The New York Times “Portrait of Grief” series, a collaboratively written collection of narrative snapshots of Americans who died in the September 11th attacks, spoke effectively to a grieving citizenry, transcending the limits of traditional obituaries. Drawing on skills developed in PWR 1, students will begin the quarter by undertaking a rhetorical analysis of a selected visual or oral collage. Then, after examining the ways in which different narrative modes complement and enhance one another, each student will produce a narrative collage that offers a selective portrait of his or her hometown (or other personally significant place). As class members gather materials for their collages—a process that underscores the many and varied forms that research can take—they will consider the ways in which the media they choose will best work together to develop an argument. Finally, after sampling a range of collages and selecting a theme as a class or in small groups, students will research a chosen area and create an ambitious collage that both conveys a message and highlights the distinctive effectiveness of the collage form.

III. COURSE TEXTS AND MATERIALS

Alfano, Christine L. and Alyssa J. O’Brien. Envision: Persuasive Writing in a Visual World. New York: Pearson, 2005.

Koren, Leonard. Arranging Things: A Rhetoric of Object Placement. Berkeley: Stone Bridge, 2003.

Masters, Edgar Lee. The Spoon River Anthology. New York: Signet, 1992.

Smith, Anna Deavere. Twilight: Los Angeles. 1992. New York: Anchor, 1994.

All students should have access to a writing handbook with basic information on research documentation.

Please bring a notebook to class for in-class writing and occasional exercises (you will also use this notebook for reflections on the readings and meditations on your progress with your project).

Consider purchasing a three-ring binder in which to collect and save class handouts (handouts often become cumbersome and get lost when thrown into a folder).

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IV. COURSE POLICIES AND PROCEDURES

ATTENDANCE (Standard PWR Policy). Because PWR courses make use of writing activities, in-class workshops, and small group discussion, your consistent attendance is crucial to your success. If you must miss a class for religious holidays, medical reasons, or valid University-related activities, you must let me know as far in advance as possible of the absence and obtain information about the work you must do to keep up in class. If you miss a class for any other reason (sudden illness, family emergency, etc.), you should get in touch with me as soon as possible and arrange to make up the work missed. If you do not take responsibility for communicating with me about absences, I will contact you by phone or email and issue a warning about your standing in the course. Should you miss a second unexcused class, your work in the class will be seriously compromised, and a continued pattern of absences may jeopardize your enrollment in the class. The best policy, therefore, is to be in class, on time, for every class meeting.

CLASS PARTICIPATION. Active participation in class discussion and peer workshops is a crucial part of your responsibility for this course. Sharing your ideas with your classmates will not only contribute to their learning experience but enrich your own: expressing your thoughts aloud will help you to clarify your ideas, provide you with valuable practice in oral expression, and reinforce your engagement with the class.

CONFERENCES. Conferences represent a vital, ongoing part of this course. They allow student and instructor to share focused, sustained dialogue about both basic writing concerns and issues specific to the work of the individual writer. I will meet with each of you individually for at least three scheduled conferences this quarter. Attendance is required. GUIDELINES FOR PREPARING WRITTEN WORK. All papers should be neatly typed and double-spaced. Use a standard mid-size font, and make sure that the print is clear and legible. Include—in the top left-hand corner of each essay—your name, the date, the course number and section (PWR 2-25), my name, the assignment name, and, if relevant, the number of the essay question you have chosen. Leave margins of approximately one inch on all sides. Staple the pages together. Do not include a title page. Please make four copies of each essay (two to be handed in to me; one to be presented to each of your peer editors).

SUBMISSION OF WORK. Where formal essays are concerned, I ask that you submit paper copies of your work rather than making electronic submissions. (Attachments will be accepted at the discretion of the instructor should unusual circumstances arise.) Papers should be turned in on time. If you are absent when an assignment is due, you are still required to pass in the assignment by 5:00 p.m. on that day unless you have arranged for an extension with me beforehand. When work is due on a day when we have class, you can submit the work to me in class or, in most cases, leave it for me in my mailbox on the 2nd floor of Building 460. Assignments due on days when we don’t have class should be left in my office mail slot by 5:00 p.m.

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DUAL SUBMISSION. The same paper may not be submitted for a grade in more than one course. However, in your writing for PWR, you are welcome to explore areas of interest that grow out of your participation in other courses.

INCOMPLETES. An Incomplete is granted only when exceptional circumstances dictate and when a substantial amount of the term’s work has been completed.

GRADE DISPUTES (Standard PWR Policy). If you have a complaint about this PWR course or wish to question a grade on an assignment, please write me a memo explaining the problems you are having with the course, the reasons for your dispute, and so on. Then meet with me to discuss your dispute. You may want, for example, to ask me to read an assignment again, reconsidering your work in light of points you have made about it. Many misunderstandings or problems can be worked out in such a meeting. If you wish to pursue a complaint or dispute, make an appointment to see the Associate Director of PWR. He will advise you on any further course of action. For further information on Stanford policies regarding grade appeals, see the “Statement on Student Academic Grievance Procedures” in the Stanford Bulletin (pp. 43-44).

INTELLECTUAL PROPERTY, COPYRIGHT, AND PLAGIARISM (Standard PWR policy).

PLAGIARISM. Students are responsible for living by the Honor Code and for maintaining honesty in scholarship. Work submitted for a course must be the student's own (or a group's work, if students have collaborated on an assignment). The use of someone else's words or ideas without acknowledgement and as your own contradicts PWR goals and principles. As such, PWR will take reasonable precautions to prevent it and all measures prescribed by the Stanford Judicial Affairs Office for remedy and redress.

ACADEMIC INTEGRITY/APPROPRIATE USE OF SOURCES. All written work submitted to PWR classes may be sent by the PWR instructor to one or more databases for the noncommercial purpose of checking the writer’s use of sources. These databases check student writing against published works and other submitted student writing to ensure academic integrity, specifically that works and ideas have not been borrowed without appropriate citation.

FUNDAMENTAL STANDARD/HONOR CODE (University Policy).

THE FUNDAMENTAL STANDARD. Student at Stanford are expected to show both within and without the University such respect for order, morality, personal honor and the rights of others as is demanded of good citizens. Failure to do this will be sufficient cause for removal from the University.

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THE STANFORD HONOR CODE.

1) The Honor Code is an undertaking of the students, individually and collectively: that they will not give or receive aid in examinations; that they will not give or receive unpermitted aid in class work, in the preparation of reports, or in any work that is to be used by the instructor as the basis of grading; that they will do their share and take an active part in seeing to it that others as well as themselves uphold the spirit and letter of the Honor Code.

2) The faculty on its part manifests its confidence in the honor of its students by refraining from proctoring examinations and from taking unusual and unreasonable precautions to prevent the forms of dishonesty mentioned above. The faculty will also avoid, as far as practicable, academic procedures that create temptations to violate the Honor Code.

3) While the faculty alone has the right and obligation to set academic requirements, the students and faculty will work together to establish optimal conditions for honorable academic work.

Examples of conduct which have been regarded as being in violation of the Honor Code include:

Copying from another’s examination paper or allowing another to copy from one’s own paper

Unpermitted collaboration Plagiarism Revising and resubmitting a quiz or exam for re-grading, without

the instructor’s knowledge or consent Giving or receiving unpermitted aid on a take-home examination Representing as one’s own work the work of another Giving or receiving aid on an academic assignment under

circumstances in which a reasonable person should have know that such aid was not permitted

Violating the Honor Code is a serious offense, even when the violation is unintentional. The Honor Code is included in the Stanford Bulletin (pp.668-669), and you are responsible for understanding the university’s rules regarding academic integrity. You should familiarize yourself with the code if you haven’t already done so. In brief, conduct prohibited by the Honor Code includes all forms of academic dishonesty, among them copying from another’s exam, unpermitted collaboration, representing as one’s own work the work of another, revising and submitting work for regarding without the instructor’s knowledge and consent, and plagiarism. If you have any questions about these matters, please consult the Office of Judicial Affairs (Tressider Memorial Union, 2nd floor, 650-725-2485, judicial.affairs@stanford.edu) or see me during office hours.

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V. ESSAYS AND ASSIGNMENTS

i. Rhetorical Analysis The rhetorical analysis assignment will help you to recognize and analyze rhetorical strategies at work in visual and printed texts. Specifically, this assignment asks you to identify and reflect on means of persuasion operating in the collage genre explored in our class. I am also asking that you share your analysis with the class in an oral presentation and include in your reflections some discussion of rhetorical modes that are distinctive to or characteristic of collage.

ii. Contextual Practicum (exercise)This assignment asks you to contribute your thematic “square” to our class quilt and to participate in the design process that will ultimately determine how the pieces are placed in relation to one another. Each student will present his or her square to the class and describe the rhetorical strategies informing it. (Exercise to be explained and developed further in class discussion.)

iii. Major Multimodal Research-Based Argument This significant project invites you to work within one or more diverse media modes that fall under the broad definition of collage we’ll be using: examples include hypertext, performance, photo essay, montage, “traditional collage,” and audio essay. Options for project delivery include some combination of oral, written, and visual presentation.

The project contains many elements:

a. Research component (possibilities include field research, library research, Internet research, surveys, interviews, ethnography, trips to museums, etc, thematic readings assigned in the course)

b. Written Preparation (proposal, 7-page research essay, reflective writer’s log, annotated bibliography, explication of media elements, citation of sources)

c. Collaboration (small grouping, shared writing activities, peer review, audience response)

d. Presentation (on the project or on the process)

iv. Research Project Reflective AnalysisThe final assignment requires you to reflect specifically on how you made choices about shaping content in relation to medium/genre/mode in your project, and what the process of making those choices has revealed about working within the chosen format. In formulating your written critical assessment, you may consider the discourse, the conventions, and/or your own manipulation of the particular media or mode.

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VI. EVALUATION CRITERIA

Successful communicators carefully take into account the rhetorical situation (purpose, audience, persona) in which their work will function, developing the compositional elements (content, organization, style, and form) in response to the demands and boundaries set by the particular task at hand. Rhetorically-aware and effective communication thus cannot be reduced to a formula, but is better considered and assessed as the dynamic play of choices among available rhetorical strategies and text features.

The description of “A “work below begins to explore this dynamic through listing and reflecting on some traditional terms from the field of rhetoric and composition. We will discuss evaluation and grading criteria in class and will generate evaluation guidelines together for the culminating multimodal project.

A—Excellent: Presentation—in whatever mode/genre/medium selected—is of consistently outstanding quality, addressing a complex and significant topic and successfully handling the interaction among topic, audience, purpose, and persona in relation to content, organization, style, and form.

VII. RESOURCES

The Stanford Libraries and Archives:

The Stanford Libraries and Archives will be crucial to student success in PWR courses, so students should begin familiarizing themselves with these resources early in the quarter. The new on-line library research tutorial (SKIL—Stanford’s Key to Information Literacy) should be completed by students as part of their work in PWR 1. In addition, "Wendy G.'s Funky Tour of Green Library," developed by PWR instructor Wendy Goldberg and available on-line at http://www.stanford.edu/~wendyfay/tour.html, provides a detailed guide of Green Library. Green Library also offers an on-line tour of the library, available at http://library.stanford.edu/depts/green/about/tours/online_tours_photos.html. Students can use the Library Research site at http://www-sul.stanford.edu/research_help/how_find/index.html andhttp://www-sul.stanford.edu/research_help/res_quick_start/index.html for an overview of library resources and the PWR student's starter page at http://www-sul.stanford.edu/guides/pwrframe.html as a guide for beginning their own library research.

Museums:

The Cantor Center for the Visual Arts <http://ccva.stanford.edu/> located on Lomita Drive at Museum Way, is an excellent source for comprehensive information on exhibits and standing collections, as well as on how to contact docents and curators.

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Tutorial Services:

• The Stanford Writing Center <http://swc.stanford.edu> The Stanford Writing Center assists students with writing in all academic contexts. The Center emphasizes support for students writing for PWR, IHUM, Stanford Introductory Seminars, and Writing in the Major courses, serving all Stanford undergraduates through one-to-one and group tutorials, workshops, and seminars. The Stanford Writing Center is located in Building 460 (Margaret Jacks Hall), Room 020. The Center's phone number is 723-0045. 40-minute appointments are available on-line at http://swc.stanford.edu/schedule.htm . Writing support is also available from peer writing tutors who work in the Center and in other locations around campus. For more information on the Stanford Writing Center, tutoring, and events, visit the Center’s website.

• The Center for Teaching and Learning (CTL) <http://ctl.stanford.edu/>: CTL offers undergraduate students peer tutors in chemistry, biology, human biology, physics, math, and economics. To see a description of the tutor program, including specific location and times for tutors, please go to the tutor homepage at http://www.stanford.edu/dept/undergrad/uac/tutoring/index.html , or, for further information, contact CTL.

• Athletic Academic Resource Center Study Hall (AARC): Lower level of the Arrillaga Family Sports Center. AARC academic tutoring is run in conjunction with the CTL tutoring system; Peer Writing Tutors from the Writing Center are also available at the AARC. It is most frequently used by, and oriented toward, student-athletes but is available to any Stanford undergraduate. AARC is open Sunday through Thursday nights from 7:00-9:00. Contact Duane Voigt at duane.voigt@stanford.edu with any questions.

• Language Center/English For Foreign Students (EFS) <http://www.stanford.edu/group/efs/> : EFS courses are open to both undergraduate and graduate students each quarter. To reserve a course space, students must submit their schedules to the EFS office by the first Tuesday of the quarter. The EFS program can also provide students with a list of tutors ("fee arrangements must be made independent of the English for Foreign Student program"). For further information, contact Tracey Fowler at tafowler@stanford.edu or at 723-1310; or EFS Director Philip Hubbard at phubbard@stanford.edu.

• The Center for Teaching and Learning Oral Communication Program <http://ctl.stanford.edu>: The Oral Communication Program, located on the fourth floor of Sweet Hall, can help students interested in improving oral presentation skills. Students who would like coaching on oral presentations, job talks, conference papers, etc. are invited to contact CTL to find out about lab hours or to arrange a special consultation with program director Doree Allen, Tom Freeland, or a speech consultant. Call Doree Allen at 725-4149.

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Counseling Services:

• Vaden Student Health Center Counseling And Psychological Services (CAPS) <http://vaden.stanford.edu/caps/index.html>: 723-3785 (all hours). CAPS sponsors a range of workshops and support groups, including help for students diagnosed with writing phobias.

• The Bridge <http://www.stanford.edu/group/bridge>: 723-3392 or drop in (563 Salvatierra Walk). Peer counselors at the Bridge are available to talk to students any time. The Bridge sponsors a variety of workshops and support groups.

Other Writing & Non-Writing Related Resources:

The PWR Director and Associate Director are available to meet with students about any issues of concern—or just to talk about writing. Students can contact the director, Andrea Lunsford, at 723-0631 or at lunsford@stanford.edu; they can contact the associate director, Marvin Diogenes, at 723-4642 or at marvind@stanford.edu.

The PWR Undergraduate Advisory Board (UAB), which meets regularly during the academic year, provides advice to the Director and Associate Director of PWR. Students are invited to bring concerns or ideas about PWR to the UAB. You can contact the UAB at pwradvisoryboard@lists.stanford.edu.

The PWR website <http://pwr.stanford.edu> offers you access to information about your instructors, the writing curriculum and requirements, and a wide range of useful writing resources. For links on topics as varied as “Reading to Write,” “Research,” and “Professional Writing,” go directly to the student resources site at http://www.stanford.edu/group/pwr/students/wr_resources/index.html.

Fellowship, Grant, and Research Resources abound at Stanford. We encourage students to consider making their research projects as true to life as possible. Many campus organizations have developed specific aids for undergraduates seeking fellowships and grants in their areas of interest. Bringing together information on research grants, internships, opportunities and awards, the Undergraduate Research Programs Office (URP) <http://urp.stanford.edu> is the campus nexus for students interested in becoming personally involved in the exciting quest of a research project. Students also might directly visit the Haas Center for Public Service at 562 Salvatierra Walk or online at http://haas.stanford.edu or the Overseas Resource Center at Bechtel International Center or online at http://www.stanford.edu/dept/icenter/orc/ .

The Office of Accessible Education (OAE), formerly the Student Disabilities Resource Center, is the primary resource for students who have a disability that may necessitate an academic accommodation or the use of auxiliary aids and services in a class. Students who have such a disability must initiate the request for an academic accommodation or the use of auxiliary aids and services with the OAE. The OAE will evaluate the request along with the required documentation, recommend appropriate

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accommodations, and prepare a verification letter dated in the academic term in which the request is being made. Students should contact the OAE as soon as possible; timely notice is needed to arrange appropriate accommodations. The OAE is located at the Office of Accessible Education, 563 Salvatierra Walk (Mail Code: 8540). Call 3-1066 (or 5-1067 TTY) and/or consult the DRC web site at http://www.stanford.edu/group/DRC/. Sexual Harassment Office <http://www.stanford.edu/dept/ocr/shpo/>. The Sexual Harassment Office is located in the Office of Campus Relations, Building 310, Room 201. Call 723-1583 or email harass@Stanford.edu. Students concerned about harassment, whether to themselves or to others, should contact the SHO at once.

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VIII. CLASS SCHEDULE

WEEK 1—Introduction to collage and the collage aesthetic

Tuesday, September 28 *Introduction

Thursday, September 30 *Reading: Durant, “Some Assembly Required: Ten Fragments Toward a Picture of Collage” (19-22—though feel free to read entire essay); Koren, Arranging Things (23-38); excerpt from Howells, “New Media” (234-242) Please bring your copy of The Spoon River Anthology to class.

WEEK 2—Narrative collage; visual argument and the photo essay; rhetorical terms revisited Instructor-student conferences will be held throughout the week

Tuesday, October 5: *Reading: Masters, Spoon River Anthology (1-45; read around in book); O’Brien, “The Things They Carried”; Lesy, “Introduction” to Wisconsin Death Trip

Thursday, October 7 *Reading: excerpt from Wisconsin Death Trip; selections from Portraits 9/11/0; Lopez, “Learning to See”; “Understanding the Strategies of Persuasion” (Envision 28-52) DUE: Rhetorical Analysis

WEEK 3—Collage in film; representations of history; contextualizing

Tuesday, October 12 *Reading: Veneema and Gardner, “Multimedia and Multiple Intelligences” (http://www.prospect.org/print-friendly/print/V7/29/veenema-s.html; Menand, “Nanook and Me” (http://web5.infotrac.galegroup.com/itw/infomark/793/508/53843690w5/purl=rc1_EAIM_0_A120717648&dyn=6!xrn_11_0_A120717648?sw_aep=stan90222) *Screening: episodes from Ken Burns’s The Civil War Oral presentations (part of Assignment One)

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Thursday, October 14 *Reading: Toplin, “Introduction to Ken Burns’s The Civil War”; Boritt, “Lincoln and Gettysburg: The Hero and the Heroic Place” *Screening: additional episodes from Burns’s The Civil War Oral presentations (part of Assignment One)

WEEK 4—More collage in film; the art of oral presentation Instructor-student conferences will be held throughout the week

Tuesday, October 19 *Reading: *Reading: Mitchell, “Spy-Counterspy”; Confino, Review of 35 Up *Peer editing *Discussion of oral presentation with our OCTs

Thursday, October 21 *Reading: Capozzola, “A Very American Epidemic: Memory Politics and Identity Politics in the AIDS Memorial Quilt” *Activity: individual presentation of quilt pieces; group quilt design DUE: quilt squares

WEEK 5—Performance collage; multiple voices and contrasting perspectives

Tuesday, October 26 *Reading: “Making Visual Collages, Montages, and Murals” (Envision 263-269) *Activity: Multimedia Panel #1: Leila Monberg, Ilena George DUE: brief description (typed paragraph) of final project

Thursday, October 28 *Reading: Smith, selections from Twilight: Los Angeles; Smith packet *Activity: Multimedia Panel #2: Debbie Burke, Hilton Obenzinger, Marco Dkane

WEEK 6— Performance cont’d; spoken word Instructor-student conferences will be held throughout the week

Monday, November 1 Due: project proposal

Tuesday, November 2 *Reading: Welsh, “From New York to San Diego”; Wald, “Anna Deveare

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Smith’s Voices at Twilight” *Screening: segments of Twilight: Los Angeles * Oral presentation of multimedia proposals (discussion with OCTs)

Thursday, November 4 *Reading: Cohen-Cruz, excerpts from “Motion of the Ocean: The Shifting Face of U.S. Theater for Social Change Since the 1960s” *Oral presentation of multimedia proposals (discussion with OCTs) *Activity: poetry slam

WEEK 7—Collage on the airways: radio essays

Tuesday, November 9 *Reading: Hillburn, “Shoplifting in Reverse: The Droplift Project: Thirty Masterworks of Audio Collage, Media Appropriation, and Other Illegal Tricks” *Activity: listening to selected audio essays *Workshopping developing multimedia projects

Thursday, November 11 *Reading: “Lost & Found Sound” Website (Quest for Sound) http://npr.org/programs/lnfsound/ *Activity: audio essays (class choice) Due: short research essay

WEEK 8—Collage and community; copyright considerations Instructor-student conferences will be held throughout the week

Tuesday, November 16 *Reading: copyrite handout *Peer editing

Thursday, November 18 *Reading: Kristen, “The Outsider Art of Burning Man” Due: annotated bibliography

WEEK 9—Multimedia workshop

Tuesday, November 23 *Project Workshop

Thursday, November 25- -Happy Thanksgiving! 13

WEEK 10: Presentations Instructor-student conferences will be held throughout the week

Tuesday, November 30 *Presentations

Thursday, December 2 *Presentations

**TUESDAY, DECEMBER 7: DUE: reflective analysis

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Summary of Due Dates for Assignments

Thursday, October 7: Rhetorical Analysis (four pages)

Tuesday, Oct. 12 – Thursday, Oct. 14: Oral Presentations of Rhetorical Analysis

Tuesday, October 19: Revision of Rhetorical Analysis

Thursday, October 21: Quilt Square

Tuesday, October 26: Brief summary of final project plan

Friday, October 29: Project Proposal (two pages)

Tuesday, Nov. 2 – Thursday, Nov. 4: Oral Presentations of Project Proposals

Thursday, November 11: Short Research Essay on Your Topic (7 pages)

Thursday, November 18: Annotated Bibliography

Tuesday, Nov. 30 – Thursday, Dec. 2: Oral Presentations (part of Final Project)

Tuesday, December 7: Written Version of Reflective Analysis

Maintain your Writer’s Log as you work on your project, making weekly observations on your discoveries and your progress.

Pass in your Citation of Sources when you give your presentation.

All presentations must be rehearsed with our OCTs at least once before you present to the class.

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