For the T/W class after the long weekend, please have finished reading Hosseini’s novel, and bring your completed notes-booklet. Thank you.
Please bring a paper copy of your complete ghazal to class. Thank you.
For now, that’s the only place to put your poem–i.e., on paper. Thanks again.
learning goal: how would you answer one of the “Questions” on the right-hand side of the KR booklet’s inside pages?
distribution of “KR: two paragraphs and a bookmark,” which shows assignment choices and due dates (click here for 11-part-paragraph model)
Here are the three student art pieces mentioned in the instructions for Paragraph 2.
bring to this class an original ghazal, which includes the following ingredients:
multiple couplets–between 5 and 12 couplets
shared repeated word, or repeated phrase (refrain)–appears at end of second line in couplet
internal rhyme scheme/pattern: second line of couplet, right before refrain
signature couplet at end
no enjambments between couplets
in opening couplet only, both lines contain rhyme (qafia) and refrain (radif)
lines have similar length (hint: longer lines give you more room to play with rhyme and refrain)
see color-coded version of Hollander poem, with occasional comments, here
Next week you will receive a booklet/bookmark that contains our reading schedule for Khaled Hosseini’s novel The Kite Runner.
for the week of
Jan 22—page 100
Jan 29—page 213
Feb 5—page 310
Feb 12—page 371
In other words, by the end of the first week I expect everyone has read at least to page 100. The rest of the schedule follows this pattern.
Enjoy the story, and pace yourself well enough to keep up with the schedule. Periodically, you will write about portions you have read.
The TURNITIN submission that follows the in-class-email assignment this week still applies–to all three sections.
Special note to H block class: see in-class-email instructions you received early Wednesday afternoon. I expect you to complete this assignment from home, whereas the other two sections did this exercise during Tuesday’s class.
IF YOU HAVE QUESTIONS ABOUT THIS, LEAVE A COMMENT ON THIS POST, RATHER THAN EMAILING ME PRIVATELY. Doing so will benefit not only yourself, but also others.
Please bring this book to class. Thank you.
Instructions for turning WR paragraph into TURNITIN
Before the start of next class (Th/F Jan 18/19), submit to TURNITIN a fresh version of the paragraph you emailed during class. (Do not expect my feedback before you submit this fresh version.)
This is a fresh version because you have a chance to re-read and revise it. This may mean changing your idea altogether, refining a current idea, inserting additional examples, proofreading, or some other way of doing fuller justice to your thinking about the film.
Given the “WR email caution” below, be sure to submit your fresh paragraph on the prescribed template, and be VERY sure to acknowledge any sources other than your own knowledge and memory–sources that produce ideas or details that would not otherwise appear in your paragraph.
Between your sending of the email and your submitting a fresh paragraph, some of you may want to check your memory of a movie detail with a classmate. That is fine, but be sure to acknowledge such help where it influences the ideas or details in your fresh paragraph. Be careful, however, to preserve your individual ideas and responses in the process of talking with someone else. Sometimes well-intentioned conversational clarifications start bending your thinking. In other words, it’s one thing to be reminded of a detail, but it’s another to hear someone else’s general idea and find it attractive enough to dissuade you from one of your own original ideas.
16, 17 Jan 18 / WR email caution (premises and conclusion)
Premise 1: Many of us may feel we remember the film less clearly than we would like.
Premise 2: Given the popularity of the film, numerous online sources about it exist.
Premise 3: Some people may feel the need to consult one or more of these online sources.
Premise 4: The “prescribed template” provides writers with a space to acknowledge sources of ideas or details that appear in the writing—sources beyond the writer’s knowledge and memory.
Premise 5: Unacknowledged ideas or details in a piece of public writing constitute plagiarism. This is a fundamental issue of academic integrity.
Conclusion: People who include ideas or details taken from a source other than herself/himself have committed plagiarism, unless they have accurately acknowledged those sources.
CAVEAT: I believe—firmly—you need none of these online sources.
By the start of the W/Th class, please have read through the end of Act Two.
As you read, ask yourself how you would respond to these characters and this plot, if the story took place today.