COURSE OF STUDY

ENG 111 and 112 (3 crs. each)
College Composition I and II

COURSE DESCRIPTION

        Writing expository and argumentative essays, differentiating logical, rhetorical and linguistic structures, utilizing methods and conventions involved in preparing research papers, using appropriate techniques and conventions involved in giving oral presentations, and demonstrating practical criticism of literary types are expected of each student.  Students will be directed in a process approach to writing and speaking which includes invention, audience, drafting, and editing; and they will read, write, and speak extensively about the literary genres of fiction, drama, and poetry.

PREREQUISITES

      The prerequisites for English 111 are English 03 or a satisfactory score on appropriate English proficiency examinations and four units of high school English or equivalent.  Prerequisite for English 112 is satisfactory completion of English 111.  
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 EDUCATIONAL GOALS

        Through discussion, illustrative readings, and individual practice, the goals of English 111 and 112 are as follow:

1. To cultivate an understanding of the necessity for precise communication.

2. To develop the student's ability in writing various types of non-fiction.

3. To increase the student's awareness of contemporary thought, events, and human conditions through exposure to a variety of attitudes toward life (the purpose of a liberal education is to free a person from ignorance, prejudice, and provincialism).

4. To improve the student's ability to read fiction, drama, and poetry with an increased sense of understanding.

5. To enable the student to learn and to use the analytical techniques necessary for an understanding of the above genres.

6. To cultivate an appreciation for short stories, drama, and poetry.

 INSTRUCTIONAL METHODS

 Purpose

         We design English 111 and 112 to help you improve your ability to compose in writing--to explore feelings, facts and ideas, to focus and shape them according to your purpose, and to present them both orally and in writing in a style which suits you and your expected reader.

        In English 111 you will learn to compose in five stages:  1) finding essentials, 2) focusing and shaping, 3) drafting,  4) redrafting, 5) correcting and polishing.  These enable you and your instructor to concentrate on your main needs at each stage.  To be sure, the stages are somewhat artificial.  For whenever you write, things of each stage go on at once.  You constantly revise--looking for a word with more power, reorganizing sentences, correcting spelling, or what have you.  But by showing you how to concentrate on a few matters at a time, the stages provide you with a lifelong framework for improvement.  Class time will be used as a writing laboratory with the instructor holding conferences with individual students.

        Also in English 111 and 112 you will learn techniques for generating, recording, and orally presenting language which embrace your sense perceptions and your thoughts and feelings.  You will work to activate your language--to express yourself orally and in writing with vivid detail--and yet to control your expression so it creates an intended effect in your audience.  Such control requires that you learn to employ, except for special effects, conventional spelling, capitalization, punctuation, grammar, usage, and documentation.

 COURSE TEXTS

English 111:
    The Little, Brown Compact Handbook.  Jane E. Aaron.  Harper Collins, 3rd edition.
    Models for Writers: Short Essays for Composition, Alfred Rosa & Paul Escholz.  St. Martin’s Press, 6th edition.

English 112: 
    The Riverside Anthology of Literature.  Douglas Hunt, ed.  Houghton Mifflin, 3rd edition.

ASSESSMENT OUTCOMES

 English 111

 The learning objectives will be satisfied if the student accomplishes the following:

1. Writes four essays of 500 words, each due at approximately two-week intervals, selected from the following patterns: 

 These essays must meet the standards established on pages 7-10.

2. One of the above essays is to be documented, integrating paraphrasing and direct quotations.

3. At least one essay will be written in class.

4. After appropriate instruction in oral presentation, at least two essays will be presented orally, one in a small group setting and one in a large group setting.

5. Writes a research paper of 1200-1500 words, including demonstrated competency in the research process.

6. Successfully completes a final exam essay.

 Failure to complete any one of these tasks will result in a failing grade for the semester.  Note:  A statement of what each assignment is worth will be provided by each instructor as a supplement to this course of study on the first day of class.

English 112

1. Writes five essays of approximately 500 words on poetry, drama, and short story.  These are due at two-week intervals and may be selected from the following:

2. Writes daily paragraph responses to or take daily quizzes on the assigned readings.  This objective is equal to one essay if quizzes are used.  Paragraphs may lower or raise a grade average one letter.

3. Reads short stories, drama, and poetry as assigned.

4. After appropriate instruction in oral presentation, at least two essays will be presented orally, one in a small group setting and one in a large group setting.

 Failure to complete any one of these tasks will result in a failing grade for the semester.  Note:  a statement of what each assignment is worth will be provided by each instructor as a supplement to this course of study on the first day of class.

CLASS ATTENDANCE

 Class attendance is required.  Attendance and participation are considered in the final grade.

         Students are responsible for all announcements, changes in requirements, and materials missed due to absence.  It is the student's responsibility to contact the instructor about make-up work.  Late papers will be penalized one letter grade per class period.  The last day to submit late papers is the last day of classes before final exam week.

 CLASS MEETINGS

        Your class will be a workshop where you are expected to work responsibly.  At times you will work with the class as a whole in lecture-discussion, or in doing exercises in composition.  At other times you will work alone, on your current paper or related material, while your instructor tutors other students.  Your instructor will tutor you as often as possible, dividing time among all students in the class.  Try to proceed with patience and cooperation.

OFFICE HOURS

         You are encouraged to seek individual help from your instructor at any time.  If you have made an appointment, try to be prompt.  If you cannot keep it, contact your instructor early so another student can have your time.  To assure the instructor will be available to work with you at any specific time, be sure to make an appointment.

 FIVE STAGES OF VERBAL COMPOSITION:  EXPLANATION

        For effective learning and teaching, we identify five stages in the process of composition:  1) finding essentials, 2) focusing and shaping, 3) drafting, 4) redrafting, 5) correcting and polishing.  In English 111 and 112 frequent tutorials will help you to develop your composing skills at each stage and to refine your strategies for accomplishing various writing tasks, in school, on the job, or in your personal life.

        In stage one, finding essentials, you explore your subject in various ways, to discover what you know, what you need to know, what you think and feel, and at times what others think and feel.  Depending upon your purpose, discussion, free writing, free reading, planned reading, interviewing, or other activities of mind and feeling with which you take yourself into your subject.  In this first stage you write down these explorations in detail but without concern for order or mechanics.  You need not write sentences, though you may.  The point is to list words or phrases, to draw pictures, to record as many ideas and details as you can, so you have pages of your own material written down to work with.

         In stage two, focusing and shaping, you study your notes, looking for patterns of meaning, sorting details, deciding what ideas seem the most interesting and rich.  You define a focal idea, a point, for your paper--a thought, a feeling, or impression--which you want to communicate to your reader.  You consider your attitude toward the subject and toward the reader, and you decide the tone of voice you want your reader to hear.  You characterize your expected reader to help you establish and control your tone and to help you decide how much or how little your reader will need explained at a given point.  You write down specifics about your focal idea, your tone, and your reader to refer back to while drafting.  Then from all your notes you select the ideas and details you plan to use, and you write them in proposed order, as a tentative plan for drafting your paper paragraph by paragraph.  Such a plan usually eases the drafting process by giving you an overview of your paper as well as details and ideas to use when you need them.  It can also help you understand why your plan changes as your paper develops.

In stage three, drafting, you write a draft of your paper, usually by introducing your focal idea in some interesting way and then developing it according to your plan.  You try to advance your idea through the paper by maintaining your purpose and tone and by making strong connections from point to point and paragraph to paragraph so your reader follows your line of thought from start to finish.  You concentrate on developing your meaning with flow of ideas and details.  To create flow of thought, you must construct your sentences with care, of course.  But it is often efficient to keep writing at a moderate but steady pace instead of breaking your train of thought to rework and polish a given sentence.  True, it is sometimes necessary to rework a sentence several times before it carries the meaning you intend, but often you can develop a paper of higher quality by first composing a full draft and then rewriting it later.

In stage four, revising, you read your draft as though you were the intended reader, making notes on passages that need reworking.  Then you rewrite the draft to ensure that all the parts fit and that each part effectively emphasizes your focal idea.  You shape each sentence and each paragraph to convey your meaning with an effective tone and with just the right amount of explanation--not too much, not too little--for your expected reader.  You read passages aloud to yourself (or to others) to feel sentence rhythms and to hear the relationship of sound and meaning.  You fashion a beginning which carries your reader into your subject and an ending which closes the paper but opens your reader to further thought.

In stage five, correcting and polishing, again you read actively, imagining the effect of each sentence on your intended reader.  You read and polish, read and polish until your exact meaning appears.  You combine one sentence with another to condense wordy phrasing and to bring two ideas closer together.  Or you separate one sentence into two.  Or you remove a phrase which now seems extraneous.  You polish your opening and closing for just the effects you intend.  And at last you correct grammar, usage, spelling, capitalization, and punctuation to carry your meaning without unnecessary distractions to that reader who wants to understand readily what you are saying.

FIVE STAGES OF VERBAL COMPOSITION:  OUTLINE

1. Finding Essentials

   1. Observation--listing

   2. Reflection--looping

   3. Revelation--cubing

   4. Reading

   5. Discussion

   6. Interview

   7. Brainstorming

   8. Free writing

   9. Structured Procedure

2. Focusing and Shaping

   1. Focal idea

   2. Audience

   3. Tone

   4. Supportive ideas and details

   5. Arrangement

3. Drafting

   1. Introduction of focal idea

   2. Arrangement

   3. Development

   4. Paragraphing

4. Redrafting

   1. Unity

   2. Coherence

   3. Emphasis

   4. Sentence structure and flow

   5. Diction

5. Correcting and Polishing

   1. Grammar

   2. Usage

   3. Spelling

   4. Punctuation

   5. Capitalization

   6. Opening and closing

   7. Fine points of style

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 CRITERIA AND STANDARDS FOR EVALUATING ENG 111 AND 112

        Establishing absolute standards for evaluating freshman themes is impossible because the criteria cannot be precisely defined or the writing accurately measured, and because the variables are almost limitless and are of fluctuating importance depending on subject, purpose, and audience.  Although absolute standards cannot be set, some general ideas about what freshmen should achieve in writing can be suggested.  The following six criteria comprise an arbitrary grouping of qualities that should be considered.  What follows is a detailed analysis of the six criteria and an application of them in providing guidelines for evaluating English themes.

The Six Criteria

1. Organization

   1. Is there a clear plan?

   2.   Is it developed logically?

   3. Is the subject adequately limited?

   4. Is the paper unified around a central thesis?

   5. Are the ideas properly emphasized in the paper?

   6. Is the paper written from a consistent viewpoint?

   7. Are the introduction and conclusion effective?

   8. Are the paragraphs linked together with transitional devices?

   9. Are the paragraphs organized?

      1. Do they contain topic sentences?

      2. Is all the material in each paragraph relevant to the topic sentence?

      3. Are the sentences arranged in logical order?

      4. Is coherence achieved with transitional devices?

2. Support of Generalizations

   1. Are examples, illustrations, facts, or other forms of evidence used?

   2. Are they relevant?

   3. Are they well chosen for the audience and the purpose of the paper?

   4. Would an intelligent reader accept the evidence used?

   5. Do the details appeal to the audience?

   6. Are abstract words carefully defined or illustrated?

   7. Is the support of the generalizations as reasonably complete as the time for the assignment will allow?

3. Mechanics

   1. Is the paper completely free of gross spelling errors and generally free of others?

   2. Does the punctuation give the appropriate syntactic signals?  Is helpful punctuation omitted?

   3. Does the writer know when to capitalize and when not to?

   4. Does the writer handle titles, syllabification, numbers and abbreviations acceptably?

   5. Is the paper free of major sentence faults?

      1. Is it free of unintentional fragments?  (Students may be asked to underline intentional ones.)

      2. Is it free of run-on sentences?

      3. Is it free of inappropriate comma splices?

   6. Does the student follow acceptable usage standards in matters of agreement?

   7. Is the paper free of serious errors of case?

   8. Is the paper free of confusing dangling modifiers and other ambiguities?

4. Content

   1. Is the paper interesting?

   2. Are the ideas relatively fresh and original?

   3. Do the ideas reveal some maturity of judgment?

   4. Do the observations suggest the writer's critical perception and insight?

   5. Has the writer analyzed the subject intelligently, accurately, and thoroughly?

   6. Have the writer's conclusions been developed from an objective, logical, comprehensive examination of the subject?

   7. Has the writer gone beyond platitudes, trite comments, and obvious statements?

5. Diction

   1. Is the vocabulary level that of a college student?

   2. Is it appropriate for the purpose, subject, and audience?

   3. Are the words used accurately?

   4. Are esoteric terms clarified for the specified audience?

   5. Has the writer avoided ineffective cliches?

   6. Is the language interesting and vivid?

   7. Is the language too formal, stilted, or elaborate for the audience, purpose, or subject?

   8. Is most of the language concrete?

   9. Has the writer avoided unnecessary repetition of words or sounds? 

6. Style

   1. Have unnecessary words been eliminated?

   2. Are the sentences effective?

      1. Are the sentences varied in length and type?

      2. Are short, simple sentences used sparingly?

      3. Is the passive voice used only where it is appropriate?

      4. Is subordination used when it would signal intended relationships?

      5. Is parallelism used where possible?  Is faulty parallelism avoided?

   3. Does the writer of the expository paper appear to be a sincere, reasonable individual?

   4. Is the tone appropriate to the audience, subject, and purpose?

   5. Is the writing natural?  Does it appear to flow effortlessly?

   6. Would a reader like to meet and know the writer or read something else that he has written?

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GUIDELINES

The C Paper and Its Author

The C Paper is an adequate piece of work, nothing more or less.  The student has organized the material ably, employed details to support his generalizations, and handled mechanics satisfactorily.  Although more might have been accomplished in any one or all of these three areas, the C student has revealed competence in them.  What these papers usually lack is some praiseworthy feature:  significant or fresh ideas, felicity of expression, or grace of style.  Although containing little that is impressive, C papers explain an idea of some substance in a clear and acceptable manner.  In general, they may be labeled satisfactory, average, or adequate, usually eliciting both favorable and unfavorable comments, and neither pleasing or displeasing.

The D Paper and Its Author

The D paper is deficient in one major area:  organization, support, or mechanics.  If the writer makes numerous errors in mechanics, fails to organize his paper or paragraphs adequately, or provides insufficient support for his generalizations, he should receive a D.  It is important to remember that D is a passing grade, allowing a student to proceed into English 112.  Consequently, a D paper should contain several redeeming features despite its glaring weakness.

Because of some stylistic brilliance, it is tempting to overlook a student's tendency to ramble or to generalize.  Good writing, however, requires discipline.  If a creative or imaginative student will not learn to discipline himself, then he should not be awarded a C or better in the course.  Until he is willing to take the time and the trouble to eliminate his weaknesses, he should be given a D or less.

The F Paper and Its Author

The F paper is deficient in two or more of the three major areas:  organization, support, or mechanics.  But a paper may also be given an F if the handling of mechanical matters is so unacceptable that the student would be unable to do college work.

Attaining a clear concept of an F paper is difficult because few papers are absolute failures; most contain some merit.  The question is not whether there is some redeeming value in a paper, but whether the writer demonstrates sufficient ability to be given a passing grade of D.  (After all, most writers have graduated from high school and spoken English for about fifteen years.)  The student, therefore, should be expected to write something worthwhile with some organization and some grasp of mechanics.  But if his paper is difficult, frustrating, or confusing to read, he should not be allowed to enter English 112 where he will be completely lost.  It is fairer to have the student repeat 111 than to spend years in 112.  Thus, although the F student is literate and displays some knowledge of writing, he should not be given higher grades until he can produce papers that will not embarrass him, his instructor, or the department. 

Usually the main problems in an F paper are faulty mechanics and inadequate support.  In some instances, the writer may skirt numerous difficulties by using simple words and simple sentences to express simple ideas.  A childish paper of this type should receive an F even though it may be devoid of serious weaknesses.  Late in the semester it is hard to resist rewarding a poor student who has worked diligently and progressed slightly.  To raise this student's grade because of improvement or effort rather than demonstrated ability is to be unfair to him, to other students, and to the department.  An F grade is always difficult to give, but if the student honestly deserves it, then he should receive it.  Along with these many privileges and pleasures of teaching are the responsibilities.  Maintaining standards - particularly at the D and F levels - is unpleasant and trying, but necessary.

The B Paper and Its Author

 The B paper is not only competent in the major area and also the minor ones, but it excels in several.  As opposed to the C paper, the B paper contains certain achievements that make it more than satisfactory.  Usually these are in the areas of content or language.  Although lapses may appear in the paper, they are usually trivial and sparse.  More than compensating for them is the skill displayed in organizing and supporting ideas, in selecting words, in handling mechanics, and in treating the subject with judiciousness, maturity, and insight.  The B paper is not outstanding, but it reveals fine work by an intelligent student who has demonstrated proficiency in all six areas, and excellence in some.  Mere absence of errors should never be rewarded with a B.

 The A Paper and Its Author

The A paper need not be publishable in The Atlantic Monthly or The New York Review.  Nevertheless, it is a superior piece of work that is a pleasure to read and a temptation to show to colleagues.  Although outstanding, it need not be flawless; even Homer nodded and Shakespeare might have profited from blotting a line.

Usually the A paper excels the B paper in content, diction, and style.  The A student generally treats his subject in some relatively original manner, revealing deep perception, mature judgment, and sound logic.  He also uses language with sensitivity, assurance, and vitality.  Moreover, he has developed a style that possesses some grace, charm, and fluency.

The A paper need not be perfect, but it should be a superior piece of work for a freshman.  

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All academic work, written or otherwise, submitted by a student to an instructor other academic supervisor, is expected to be the result of the student’s own thought, research,  or self-expression.  In any case in which a student feels unsure about a question of plagiarism involving the student’s work, the instructor is to be consulted on the matter by the student before the work is submitted.

When a student submits work purporting to be original, but which in any way borrows ideas, organization, or anything else from another source without appropriate acknowledgement of the fact, the student is guilty of plagiarism.

Plagiarism includes reproducing someone else's work, whether it be a published article, chapter of a book, a paper from a friend, a file, or any other source.  Plagiarism also includes the practice of employing or allowing another person to alter or revise the work which a student submits as original, whoever that person may be.  Students may discuss assignments among themselves or with an instructor or tutor, but when the actual work is done, it must be done by the student and the student alone.

When an assignment involves research in outside sources of information, the paper must be documented.  If writers use words of someone else, they must put quotation marks around exact words and use parenthetical documentation.  Making simple changes while leaving the organization content and phraseology intact is plagiaristic.  Ideas taken from another source and paraphrased must also be documented.  However, nothing in these rules shall apply to those ideas which are so generally and freely circulated as to be part of the public domain.

Students guilty of plagiarism will receive an "F" on the paper or for the entire course at the discretion of the instructor.

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