WRTG-1250-011 FIRST YEAR COMPISITION: WRITING WORDS, WRITING IMAGES
SPRING 2007 Room: FLEMING 051
Instructor: FRANCES CHARTERIS
Office Hours: Tuesday 1-2; Wed.2.30 – 3.30p.m; Thurs.1-3p.m. and by appointment Office: Fleming 505
Email: . Office ph: 303.492. Home ph: 720 406 7989
Drop off papers FRIDAYS, or earlier by 4.45 p.m. in PWR (doors are open 8 – 4.45p.m. M-F) or in box ouside my office
NO LATE PAPERS ACCEPTED
Course objectives
Writing Words, Writing Images is designed to introduce students to writing about visual art. The emphasis is on contemporary art. Looking at images and articulating what you see is a priority; visual production is the energetic source; writing is considered a humble response to the power of images in art. In order to build certain skills the course will move through three major assignments, one on photography, one on a film and the final assignment will be a research paper on a medium of your choice. The assignments are intended to augment skills in analysis, enquiry and argument, each supported by a modicum of research. There will be two or three opportunities to experiment with creative and highly subjective pieces of writing between the more formally composed academic essays. Free writing entirely for yourself is also spontaneously introduced throughout the course; free writing is not shared, however all the rest of your work is read aloud, either to a small group, or sometimes to the class as a whole. We establish a space of shared critical enquiry where discussion provides criticism, support, empathy and, thus community.
Areas of visual production
Photography, film, video, graphic novels, drawing, painting, sculpture, design, architecture, installation, graffiti, quilting, comics, dance, performance and more are considered worthy of attention and argument. There are also other areas of popular entertainment not mentioned; we may not cover all of the above but it is anticipated that by the end of the course, students will be well able to write effectively about visual culture.
NB: It is violently important to write on what interests you. Works I choose to share reflect my sphere on=f interest. You are responsible for choosing to write on works
Structure
The class functions as a workshop whereby participants help each other with projects by discussing ideas and strategies. Students work in groups that change configuration during the semester. They are expected to come up with their own ideas. Critiques are focused on strategies to improve writing skills, rather than questioning choice of subject. Writing is critiqued regularly and intensively; criticism should be accompanied by appreciation and encouragement from both professor and students. Class discussion is always improved by showing examples of visual work in class.
Texts
Required:
Reader available n the bookstore.
Every student paper
Visual works presented by the students and instructor in form of slides, tapes, books, copies, DVDs, etc.
On Photography, by Susan Sontag
A Short Guide to Writing on Filmby Timothy Corrigan
A good college dictionary and a Thesaurus
Strongly recommended:
Elements of Style by William Strunk Jr. and E.B. White.
The Artists Way by Julia Cameron
Assignments
There are three major papers, each one a minimum of 6 paragraphs (about 5 pages) about 2,900 words each: an essay on a photographer or issue in contemporary photography that you examine through the work of a photographer, an essay on a film; lastly, a final paper on any visual art of your choice (including video, performance and dance) that you have not already covered (i.e. no more film or photography). Between each academic paper,a creative personal narrative is offered; a choice of specific topics is assigned. These assignments are brief exist to help students find their voice or voices, as well as to further a more personal interaction.
For every academic paper students are required to do, and provide documentation of critical research conducted in a scholarly fashion. A list of works cited and works consulted should accompany your papers (for an example of this format, see back of A Short Guide to Writing about Film). Almanacs, dictionaries, general surveys and encyclopedias, do not constitute critical research nor do citations of internet sources without established authors. Plagiarism is unacceptable; it will constitute failing the course. If there’s any question of plagiarism, the paper will be handed to Turnitin.com
NB: Extra credit can be achieved by attending the visiting artists lectures on Tuesday nights (artists and dates will be posted by the art department office); a typed one to two page critical commentary of each presentation should be handed to me. There are only 4 during the course of the semester so you need to plan for these. These papers will be assessed as rigorously as class assignments.
Slide/tape Presentations.
Length: 15 minimum; 20-25 minutes max. You can go 25 minutes time permitting. Less than 15 is insufficient and your grade will be impacted. Please time yourself and practice before presenting, using index cards as necessary. Do not use books. Check equipment before you are due to give your presentation.
For photography and still works:
Show carefully selected slides or do a power point or ArtStor presentation.
You need to provide the date and the title of every work you show, whilst explaining images’ connection to your argument.
If you elect to do a power point presentation, consider the text portion very carefully - it is not necessarily interesting to have a limited number of bullet points that you read aloud to those of us who read anyway; however text can be useful as an introduction giving necessary back ground. You may select slides from Visual Resource Center, or make your own slides.
For film, artists’ video, dance or performance*:
Bring in a tapes or DVD, show one clip or several already queued clips, then explain their connection to your thesis. Look at your audience from time to time; do not read your paper.
Time is limited therefore minimize fast forwarding of tapes or DVDs; scenes should be cued, or use several tapes or DVDs to move between scenes. If you waste time fast forwarding, it will be detrimental to your grade.
Presentations must be professional, interesting, lively and clear and use the visual terms pertaining to the medium. I will gladly meet with you before you do your presentation to make suggestions.
NB: Tapes and DVDs listed by Norlin Media library must be requested over one week in advance as they have to be retrieved from off-campus storage.
Grades
Papers count as 70% of your grade.
The presentation is 10%.
Attendance, participation, punctuality and general behavior count as 20%.
Papers without any research will not be given an A.
You will not receive an A in the class if you miss more than 3 classes.
Your grade will be impaired if you do not do every draft of each academic paper; writing in this class is a step-by-step process.
For more details, see Grading Criteria, page 4.
Attendance
Attendance is mandatory. More than three absences including absences for sickness will be detrimental to your grade. As Woody Allen said: “80% of success is being present.” If you miss 6 classes, you fail the course. Lateness will also impair your grade. If you are over 5 minutes late on 3 occasions you will lose a grade point.
Papers
Please email every piece of writing to yourself. If you are selected to read aloud you can then use the class laptop to bring it up and share with the class.
Papers must be titled and titles should be centered. Top right: please give your name, e-mail and phone number (not student ID), and my name spelled correctly as well as date of final version. Lines need to be one and one half spaced or double spaced, 1” margins, and font size no larger than 12. A title page is not required. Do not use plastic covers because they are not ecological and are slippery. Papers must be stapled. Illustrations (copies or original drawings and plans) are welcome additions. Each one should be numbered such as Fig. 1 etc. Drawings and diagrams can contribute to an understanding of visual art, dance, performance and installation works; including visual support, however, does not replace the need for careful analytical description.
Office hours
There will be a sign up sheet offered in class for office hours. Meetings usually last from 5 —15 minutes; if you need longer please let me know and you can reserve a double session. Thank you in advance for telling me if you cannot meet.
Instructor availability
You may call me at my office number and send e-mails; I answer e-mails as promptly as I can, although not at great length. Any matters, must be addressed in person. Have the courage and integrity to meet with me in person privately in office hours, or after class. And this is my blog:
E-Mail communication
It is now university policy and regulations that all students have CU e-mail address that can be used by faculty as an official means of communication. Students forward mail to other addresses at their own risk. There can be no excuse for not checking or receiving e-mails regarding course assignments, changes etc. I use e-mail regularly for course information purposes only and, in order to avoid printing expenses, have asked that each of you email every assignment to yourself so it can be shared with the whole class by projection. Any other issues need to be addressed with me in person.
Ecology
Please recycle all papers – there are many recycling bins on ground floor of Fleming.
Local art events
Please share in class any information about interesting art events in the Boulder/Denver area; both cities have a vast variety of on-going cultural activity. You could include Aspen as well, where there is an excellent museum, and there is an art gallery at Woody Creek, off 82, before you reach Aspen, run by a former CU art student.
STANDARD CU POLICIES
Disability
If you qualify for accommodations because of a disability, please submit a letter to me from Disability Services in a timely manner (in the first two weeks of class is reasonable)so that your needs may be addressed. Disability Services determines accommodations based on documented disabilities.
Contact: 303-492-8671, Willard 322, or
Religious Holidays
Campus policy requires that faculty make every effort to deal reasonably and fairly with all students who, because of religious obligations, have conflicts with scheduled exams, assignments or required attendance. In this class, I ask only that you let me know when you are leaving for religious holidays so that I can make adjustments if necessary. I would expect that you not miss other classes.
See policy details:
Classroom behavior
Students and faculty each have responsibility for maintaining an appropriate learning environment. Students who fail to adhere to behavioral standards may be subject to discipline. Faculty have the professional responsibility to treat students with understanding, dignity and respect, to guide classroom discussion, and to set reasonable limits on the manner in which students express opinions. Professional courtesy and sensitivity are especially important with respect to differences of race, culture, religion, politics, sexual orientation, gender, and nationalities. See policies at
and
.
If you come to class in your pajamas or I any other from of inappropriate clothing, I will ask you to leave.
Sexual harassment
The University of Colorado Policy on Sexual Harassment applies to all students, staff, and faculty. Any student, staff or faculty member who believes s/he has been sexually harassed should contact the Office of Sexual Harassment at 303-492-2127 or the Office of Judicial Affairs at 303-492-5550. Information about the OSH and the campus resources available to assist individuals who believe they have been sexually harassed may be found at
Honor Code
All students of the University of Colorado at Boulder are responsible for knowing and adhering to the academic integrity policy of this institution. Violations of this policy may include cheating, plagiarism, academic dishonesty, fabrication, lying, bribery, and threatening behavior. I will report all incidents of academic misconduct to the Honor Code Council. Students who are found to be in violation of the academic integrity policy will be subject to both academic and non-academic sanctions (including but not limited to university probation, suspension, or expulsion). Additional information may be found at and
I subscribe to the University of Colorado’s Honor Code. In response to slightest hint of plagiarism, students should note that their work may, at the discretion of the instructor, be evaluated through TurnItIn.com, a plagiarism service provided to all faculty at CU-Boulder; and that this service retains a copy of the submitted work for future comparisons.
~~~~~~~~~~~~~~~~~~~~~
GRADING CRITERIA (for papers only)
This breakdown does not include attendance, participation, behavior, etc.
A
Absolutely brilliant and excellent paper that includes all of the following:
Original thinking
An excellent critique or convincing support for major argument enhanced by defined counter argument
Some alternative explanations or findings in current research
Good organization
Well-developed ideas
A rich vocabulary, with a fresh use of language, meaning: no excessive or unnecessary repetition of words
Clear expression of ideas (writing)
No spelling errors (a proof-read paper)
Fully documented research
- An outstanding paper lacking one item above, for example
A little original thinking but paper is primarily dominated by other voices
An excellent critique but lackssupport
No alternative explanations
Lack of organization
Underdevelopment of ideas
Lack of clarity
Too many typos
Too little research
B+/B
A very good paper lacking two items from above list, for example:
No original thinking
Ideas are good but writing is unclear
Inadequate support for arguments
Failure to offer alternative explanations
Lack of organization
Absence of documented research
- Good paper but lacks more than two or three of criteria for excellence
C+/C
- A good paper with adequate expression of ideas.
Some critique, suggestion of alternative explanation or substantive support.
Hint of original thinking.
C/C-
- An acceptable paper but with one or more serious flaws:
No original thinking at all
Ideas lack development
No critique or suggestion of alternative explanations
Very disorganized
D or below – Lack of demonstrated effort.
Some brief papers fall into this category, but they are usually papers offering an impression that they have been faxed not written.
Other important hints:
Good writing stems from organizing your thoughts and revision.As a general rule you should revise anything you write at least three times. This course provides space for experimentation both in the assertion of bold, cutting-edge ideas as well as in the expression of opinions and the acknowledgement of differing perspectives. Your level of focus determines your success; record thoughts and information and sources as you go. Use research to refine your thinking. Write honestly.
Important guidelines for writing papers in this course
First person singular, “I.”
Use first person sparingly in formal academic papers. Best of all: only fold in your presence by incorporating “I” at then end of your essay. Your presence and personality is implicit in your writing.
Personal narrative clearly requires the use of “I” but avoid overuse. The first person can intensify your experience for your reader but only when its presence is economically employed, otherwise it can interrupt the flow of the prose.
Affirmative writing
Say what a work does, not what it does not do, or lacks thereby generating a positive, forward momentum in your writing and Maintain a focused investigation. Why waste time on what is absent? On what is not intended?
Paragraphs
In general, avoid very short, three line paragraphs. A paragraph states and develops an idea using several sentences to clarify and connect that idea to the rest of your investigation. There should be one powerful sentence around which your paragraph organizes itself.
Emotional projection
Do not attribute emotion to figure(s) in works of art. Describe the figures posture and suggested action, thereby allowing the reader to deduce the emotional state of the subject. From your careful description of gesture, expression, placement in a composition or time structure, much is communicated emotionally and spiritually.
Alliteration, rhymes, and lists
Avoid poetic devices such as alliteration and rhyming in formal, academic papers; they interrupt the flow of thought for the sake of style. Lists, also, become ineffective when used repeatedly; use them sparingly if at all in short (7 page) research papers. It’s often worth seeing if you can rephrase the list as a fully stated idea in a sentence.
Verbs
Verbs energize your writing. Make full use of active verbs that move the reader along with your ideas. The verb to be is static and therefore has limited potential. There’s no need to state, “Robert Frank is a photographer.” Why? Because the sentence states the obvious and thus wastes time. “This is a photograph of African Americans at a funeral” is also a statement of the obvious; instead try, “The composition of Robert Frank’s photograph of an African- American funeral communicates …”
Value judgments
There are subtle ways in which value judgments creep into writing. For example, you might say “In this exquisite photograph by Olivia Parker….” Or “Mulholland Drive is a powerful film about….,” “Andy Goldsworthy’s art is superb…” By writing like that you tell the reader how to consider the photograph without any fair, impartial representation of the work. In argumentative papers you posit an informed opinion in order to elicit readers’ belief in your point. Value judgments exclude the reader’s participation in your argumentative and analytic process. By saying something is very powerful in the first few lines you have already told them what you think and how they should perceive the work, so why would anyone read on? Give them information in such a way that your intelligence elicits curiosity; then readers may come to agree with your opinion as a result of persuasion. Who wants to be told how to feel? Often value judgments hide vague and indecisive thinking. Write about what you know. If you do not know, use reading and writing to find out. Writing to discover makes for taking a position and creating stimulating, interesting prose – the reader participates in your exploration and argument as you peel away at possible layers of meaning(s).