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ENGLISH 100: Composition
I
ENGLISH 190: Composition I for Transfer
Students
Fall Semester 2009
The following descriptions of individual courses
and sections supplement the general catalog descriptions. Most,
but not all, sections of English 100 are described here. For the
complete registration listings with CRNs, see the official schedule.Also
note that those courses with a mentor and/or with a sustainability
focus have been indicated
on Banner.
ENGLISH 100 (01): Composition I (MWF 7:30 - 8:20) – Marie
Hara
Composition: You will begin to write with confidence as you learn
how the process works. You will learn how to use new skills to produce
material to be shaped into essays.
This section of ENGLISH 100 combines careful reading and thinking
with writing. Emphasis is placed on small-group discussions and
the use of examples from an anthology to encourage critical thinking.
Writing exercises and drafts, as well as assignments, which include
researched essays for the final portfolio, are designed to prepare
students for university level standards. Students will learn how
to get started, stay focused, and benefit from group feedback.
Frequent individual meetings with the instructor will also work
toward the goal of preparing students for college writing.
Learning to improve one's own and classmates' writing, as well
as learning to analyze the writing of other thinkers, is the goal.
Key skills such as formatting a strong thesis will develop as students
evaluate the strengths and weaknesses of their shared drafts.
This class demands commitment to the learning process and a willingness
to take part in an intellectual challenge. For the first three
weeks, we will explore the course methods, the texts, the written
requirements, and the techniques of reading for comprehension in
addition to students' learning goals.
COURSE WORK: Frequent writing
assignments, often revised, will result in five essays presented
with drafts for a semester's portfolio of writing. All University
of Hawai'i rules on missed classes, work turned in late, plagiarism,
cheating, and grading policies will be enforced. Attendance is
mandatory. Incompletes will be almost impossible to get.
REQUIRED
TEXTS: Costanzo, William. THE WRITER'S EYE, COMPOSITION IN
THE MULTIMEDIA AGE. and Silverman, Jay. RULES OF THUMB: A GUIDE
FOR
WRITERS.
ENGLISH 100 (02): Composition I (MWF 7:30-8:20)
--Instructor TBD
ENGLISH 100 (03): Composition I (MWF 8:30-9:20) – Instructor
TBD
ENGLISH 100 (04): Composition I (MWF 8:30-9:20) – Joseph
Cardinale
This course is designed to increase your confidence and competence
as a writer and reader. Following a manageable pace and a careful
sequence of assignments, the course will prepare you for the writing
situations you will encounter both in an academic context and throughout
your ?professional and personal lives. During the semester, you
will complete five major writing assignments: a personal essay
focusing on your attitudes about writing and reading, a creative
narrative that depicts an event and tells a story, an analysis
of a creative work of art of ?your choice, a research essay exploring
a topic that you are interested in, and a persuasive argument designed
to convince a reader to adopt your point of view on a controversial
issue. Each assignment will give you practice in a different mode
of writing, and each builds upon the ?previous one and contributes
to the overall goals of the course. The basic goal is not just
to improve our writing skills, but also to understand writing as
a tool that deepens and enriches our thoughts and our experiences.
We will read in order to consider, critique, and challenge the
ideas of others, and we will write in order to clarify, develop,
and refine our own ideas.
Students will be required to purchase a course reader and a writing
handbook.
ENGLISH 100 (05): Composition I (MWF 8:30-9:20) – Instructor
TBD
ENGLISH 100 (06): Composition I (MWF 8:30-9:20) – Instructor
TBD
ENGLISH 100 (07): Composition I (MWF 10:30-11:20) – Bed
Paudyal
Course Description: The course aims to teach college level writing
skills—summarizing, analyzing and interpreting, argumentation,
and research. Classroom activities and assignments are structured
to fully exploit productive engagement with various stages of writing,
such as brainstorming/outlining/free-writing, drafting, revising,
and producing final draft. Peer work and group work on each others’ writings
and on assigned readings that stimulate discussions on the topics
of assignments are integral parts of these process-driven activities.
The course has four units, with a major writing assignment for
each. We move from the personal, through the local and the national
to the global as frames of analysis and interpretation. (Emphasis
here is on frames—how the “way(s)” through which
we “look” at an object partially constitutes that object—not,
of course, on comprehensive knowledge of the personal to the global.)
Matching assignments are likely to be a personal narrative/analytic
essay on gender/sexuality, a group project involving field visit
to a local site of historical and/or cultural significance, an
expository essay that opens to analysis and interpretation a certain
aspect or problem of an issue of national importance (“9/11” or
immigration, for example), and an argumentative research paper
on a global issue of students’ choice (but approved through
consultation with the instructor).
Required Texts:1. A Course Packet of photocopied material (available
at Professional Image (ph. 973-6599), S. King Street, between Central
Pacific Bank and Kokua Market).?2. Diana Hacker’s A Pocket
Style Manual (available at UH bookstore).
ENGLISH 100 (08): Composition I (MWF 9:30-10:20) – Joseph
Cardinale
This course is designed to increase your confidence and competence
as a writer and reader. Following a manageable pace and a careful
sequence of assignments, the course will prepare you for the writing
situations you will encounter both in an academic context and throughout
your ?professional and personal lives. During the semester, you
will complete five major writing assignments: a personal essay
focusing on your attitudes about writing and reading, a creative
narrative that depicts an event and tells a story, an analysis
of a creative work of art of ?your choice, a research essay exploring
a topic that you are interested in, and a persuasive argument designed
to convince a reader to adopt your point of view on a controversial
issue. Each assignment will give you practice in a different mode
of writing, and each builds upon the ?previous one and contributes
to the overall goals of the course. The basic goal is not just
to improve our writing skills, but also to understand writing as
a tool that deepens and enriches our thoughts and our experiences.
We will read in order to consider, critique, and challenge the
ideas of others, and we will write in order to clarify, develop,
and refine our own ideas.
Students will be required to purchase a course reader and a writing
handbook.
ENGLISH 100 (09): Composition I (MWF 9:30-10:20) – Bed
Paudyal
The course aims to teach college level writing
skills—summarizing, analyzing and interpreting, argumentation,
and research. Classroom activities and assignments are structured
to fully exploit productive engagement with various stages of writing,
such as brainstorming/outlining/free-writing, drafting, revising,
and producing final draft. Peer work and group work on each others’ writings
and on assigned readings that stimulate discussions on the topics
of assignments are integral parts of these process-driven activities.
The course has four units, with a major writing assignment for
each. We move from the personal, through the local and the national
to the global as frames of analysis and interpretation. (Emphasis
here is on frames—how the “way(s)” through which
we “look” at an object partially constitutes that object—not,
of course, on comprehensive knowledge of the personal to the global.)
Matching assignments are likely to be a personal narrative/analytic
essay on gender/sexuality, a group project involving field visit
to a local site of historical and/or cultural significance, an
expository essay that opens to analysis and interpretation a certain
aspect or problem of an issue of national importance (“9/11” or
immigration, for example), and an argumentative research paper
on a global issue of students’ choice (but approved through
consultation with the instructor).
Required Texts:1) A COURSE PACKET of photocopied material (available
at Professional Image (ph. 973-6599), S. King Street, between Central
Pacific Bank and Kokua Market). 2) Diana Hacker’s A POCKET
STYLE MANUAL (available at UH bookstore).
ENGLISH 100 (10): Composition I (MWF 9:30-10:20) – Rawitawan
Pulam
Welcome to English 100: Composition I. This section fulfills the
first-year composition requirement as it introduces students to
different forms of college-level writing and guides them in writing
for different purposes and audience. This section also incorporates
a specific focus on sustainability and the experiential and service
learning components. In so doing, we will explore the intersection
between the ‘streams’ (real, imagined, and rhetorical)
and written words. As water issues become more prominent in our
world, this course will allow us to think, to learn, and to write
critically about the issues. Throughout the course, we will be
considering the roles that water, the streams, and the ocean play
in our lives, as well as the way in which these water resources
have been represented in various discourse communities.
By examining these issues, this class will explore how and why
writers have argued for particular understandings of the concepts
of ecology and environment. Drawing on such understandings, we
will further explore the social, political, historical, and cultural
issues at stake in these contested definitions. Through the process
of collaborative learning and writing, what students will gain
from this section is a fuller understanding of who we are, how
we relate to other human beings, to the streams, to the ocean,
and to the whole world.
Texts and course material include Diana Hacker’s A POCKET
STYLE MANUAL, related local poems, and selected historical and
political works on water issues.
ENGLISH 100 (11): Composition I (MWF 9:30-10:20) – Cheryl
Naruse
Learning how to be an effective writer will be an on-going and
complex process throughout your college career. This course seeks
to foster a critical awareness of the writing process and enable
you with strategies to better your writing. We will be practicing
different forms of writing beginning with the narrative essay and
culminating with a research argumentative essay that will be a
part of a final portfolio project; we will also be practicing other
types of writings for academic and non-academic audiences alike.
We will also focus on learning to become critical readers through
argument analysis, summary and response and reflective papers.
We will also be learning to edit and revise in order for you to
assist your peers in their writing processes and to become your
own writing coach.
The course consists of three major units. First, “Eating
Our World,” where we fill focus on food and culture. This
will segue into the second unit of “Identity Politics,” where
we will focus on how popular culture represents social categories
of race, gender, class and nation. The class will culminate with
a portfolio unit where you will also synthesize your work to produce
a research argumentative paper.
Like with many learned skills, writing takes constant practice;
expect to have a writing assignment of some sort every week. Equally
as important, in order to learn different writing strategies, we
will also have a heavy reading schedule.
Students will be required to purchase a course reader (information
TBA). Optional text: A POCKET STYLE MANUAL by Diana Hacker. 4th
Edition, published by Bedford/St. Martin’s. A used copy of
this book can be purchased online for less than a dollar.
ENGLISH 100 (12): Composition I (MWF 10:30-11:20) – Bryan
Kuwada
Language and place are often tied together. The way a person speaks
can point to where they are from. Also, a geographical area can
determine the characteristics of a people's language, in terms
of things like structure and vocabulary. This semester, we will
be using different genres of writing to explore issues of place
and language (sometimes these issues will overlap, sometimes not),
specifically in the context of Hawai'i. Along with that overarching
goal, the purpose of this Composition I (Eng 100) class is to hone
the tools of writing and language that you already have. We will
do this by focusing on specific writing purposes, situations, and
strategies as well as on various aspects of the writing process,
such as freewriting, brainstorming, outlining, writing, and revision.
By looking at language and place in Hawai'i, we will examine and
develop understandings of current conversations about Hawai'i's
history and its cultures, along with the way that Hawai'i and its
people are represented in contemporary culture. To allow us to
actively participate in these conversations (inside the classroom
and out), we will discuss various sources, such as newspaper articles,
visual representations of Hawai'i, Youtube videos, documentaries,
stories and legends, and essays that deal with these issues.
Course Work: You will be required to complete five formal essays
and frequent writing exercises.
Required texts: Readings will be disseminated electronically. I
encourage student feedback on topics that they are interested in
(in regards to Hawai‘i and/or language) and try to shape
the reading list accordingly. For example, this semester, our assigned
texts included HO‘IHO‘I HOU and music by and about
George Helm, translations of articles from the Hawaiian-language
newspapers, testimony against the genetic modification of kalo,
Hawaiian poetry, stories about surf spots, etc.
ENGLISH 100 (13): Composition I (MWF 10:30-11:20) – Feroza
Jussawalla
Finding Your Voice: The Personal Versus the Transactional.
This English composition course will help you progress from personal
and/or creative writing, where you are writing primarily to express
yourself to "transactional writing" or writing for audiences
and situations where you have a specific goal or purpose to communicate
or achieve. We will use Natalie Goldberg's WRITING DOWN THE BONES
to free the writer within you and OLD FRIEND FROM FAR AWAY to explore
memories and personal communication.
But can we write "that way" in college courses? Or,
when we want someone to do something specific for us? What are
the "genres" within composition that we need to learn
to write effectively as students?
What is the difference between Persuasion and Argumentation? We
will use the NORTON FIELD GUIDE TO WRITING to learn these writing
techniques. We will read essays from Knepler and Knepler's CROSSING
CULTURES to see how we can write about ourselves and the spaces
we inhabit and the cultures we come from. There will be three short
essays, one 8-12 page argument research paper and daily journal
writing to complete in this class. We will do group work and edit
with our peers to revise and make our writing better and our meaning
clearer.
NORTON FIELD GUIDE TO WRITING
ISBN 978-0-393-93020-7
CROSSING CULTURES 7th Edition
Knepler and Knepler
ISBN 978-0618-9106-5
Natalie Goldberg's WRITING DOWN THE BONES
Shambhala; Expanded edition
ISBN 978-1590302613
Natalie Goldberg's OLD FRIEND FROM FAR AWAY
Free Press
ISBN 978-1416535034
ENGLISH 100 (14): Composition I (MWF 10:30-11:20) – Cynthia
Ward
Your major work in this course will consist of planning, writing,
editing, designing, and laying out the copy and graphics for a
journal that will be professionally published in hard copy at the
end of the semester. You will also be assigned relevant readings
for discussion and online and in-class exercises to improve your
writing skills.
You will be working in teams of 4-5 students for the entire semester.
For that reason, a portion of your grade will be determined by
peer evaluation and a portion of your grade will be collective
(all group members will receive the same grade on the final project).
Because most of the work will be done in teams, regular attendance
and handing in work on time is crucial to success in this class.
Late work and work missed in class will receive an "F," with
no chances to make it up (except in cases of documented emergencies).
We will be using Laulima (the Learning and Collaborative Server
for the UH Community) extensively, so it would help to familiarize
yourself with it before the course begins: https://laulima.hawaii.edu/portal
MAJOR ASSIGNMENTS (note that the length of assignments will be
in words, not pages):
- Three substantive pieces:
• Personal essay: memoir, profile of someone else, etc. 1000-1500
words
• Analysis essay: analyze of a work of art, popular culture, etc.
1000-1500 words
• Research essay: an in-depth analysis or report on a topic that
will involve substantial research (bibliography
also required) 1800-2000 words (excluding bibliography).
- Four shorter pieces:
•
Two "columns" "or "sketches" 500-800
words (opinion, commentary on current events, descriptive
sketches, satire,
etc.)
•
Two "reviews" 250-500 words (review a book, movie,
play, video game, restaurant, etc.).
- Five original "creative pieces" of any length/size
• short fiction, poetry, original art work, collage, photograph,
comic/cartoon, mock ad, etc.
- A collaborative introduction to your team's section of
the journal, explaining the contents and theme.
- In addition, regular blog entries and responses to others'
blogs will be required.
TEXTS: Your are not required to purchase a textbook for this course.
You will be assigned readings and other material online. However,
the final journal will be professionally published and available
for purchase at the end of the semester.
ENGLISH 100 (15): Composition I (MWF 10:30-11:20) – Tom
Gammarino
Course Description: Writing is one means by which human beings
can give form to the primordial chaos inside their heads. It is,
in other words, an art—and in this sense all writing is creative
writing: the short story, the argument, the grocery list, the syllabus.
As with any art, writing emerges as a series of choices, and we’ll
spend this semester looking at these critical junctures under a
microscope. But first we’ll begin most classes with ten minutes
of freewriting; as poet Donald Hall observes, “Our minds
are muscle-bound, not by intellect, but by formulas of thought,
by clichés both of phrase and of organization,” and
freewriting is one of the best tools I know of for breaking old
habits. The rest of class time will be dedicated to lectures, readings,
and discussion of the major paper for each of the four units (portrait,
collage, exploratory essay, argumentative essay—each of which
may require several smaller “feeder” assignments).
We’ll also spend some time on more nuts-and-bolts matters
of grammar and style (each student will give a presentation), as
well as working together in groups. Writing is never a wholly solitary
activity—we always write to some imagined audience and inside
a whole ecosystem of influences—so students should be prepared
to share their writing with the rest of the class (freewriting
excluded). The major assignments will move from the personal towards
the academic and culminate in a synthesis of the two. While our
discussions will focus on writing as an art in itself, the first
two major assignments—the portrait and the collage—will
lend themselves to analogy with the visual arts, while the latter
two—the exploratory essay and the argumentative essay—will
invite discussion of the rhetorical arts of the ancient world.
By the end of the semester, students should have developed a facility
in several different genres and a new level of critical self-awareness,
which they’ll then be ready to bring to bear on most any
situation they encounter, academic or otherwise.
REQUIRED TEXTS:
Diana Hacker, A POCKET STYLE MANUAL, any edition. Bedford/St. Martin’s.
ISBN: 0-312-40686-3; THE BASIC LIBRARY RESEARCH HANDBOOK (3rd edition)—both
available at the UH bookstore—and course packet from Professional
Image, 2633 S. King Street.
ENGLISH 100 (16): Composition I (MWF 11:30-12:20) – Kathy
Phillips
This class has two purposes. One is to learn writing techniques
that carry over to other courses or work tasks. The other is to
learn about the power of language, for good or for ill: how it
can dazzle and delight us, but also, if we don't question it, how
it might manipulate us.
To meet these goals, we'll read a series of essays on language:
language and advertising, language and media, language and prejudice,
language and gender, language and the environment, and so on. Students
will be expected to understand and react to the essays: by occasionally
writing summaries, passing quizzes on vocabulary and content, and
contributing to oral discussion about the ideas. Students will
write about seven 2-3-page essays in these subject areas, counting
one unit each. A 3-5-page paper requiring research will count 2
units. Class discussion counts one unit.
A Course Reader on the topics about language will be available
from Professional Image, 2633 S. King Street, between Univ. Ave.
and Kokua Market. A library research handbook will possibly be
available from UH bookstore.
ENGLISH 100 (17): Composition I (MWF 11:30-12:20) – Instructor
TBD
ENGLISH 100 (18): Composition I (MWF 11:30-12:20) – Tom
Gammarino
Course Description: Writing is one means by which human beings
can give form to the primordial chaos inside their heads. It is,
in other words, an art—and in this sense all writing is creative
writing: the short story, the argument, the grocery list, the syllabus.
As with any art, writing emerges as a series of choices, and we’ll
spend this semester looking at these critical junctures under a
microscope. But first we’ll begin most classes with ten minutes
of freewriting; as poet Donald Hall observes, “Our minds
are muscle-bound, not by intellect, but by formulas of thought,
by clichés both of phrase and of organization,” and
freewriting is one of the best tools I know of for breaking old
habits. The rest of class time will be dedicated to lectures, readings,
and discussion of the major paper for each of the four units (portrait,
collage, exploratory essay, argumentative essay—each of which
may require several smaller “feeder” assignments).
We’ll also spend some time on more nuts-and-bolts matters
of grammar and style (each student will give a presentation), as
well as working together in groups. Writing is never a wholly solitary
activity—we always write to some imagined audience and inside
a whole ecosystem of influences—so students should be prepared
to share their writing with the rest of the class (freewriting
excluded). The major assignments will move from the personal towards
the academic and culminate in a synthesis of the two. While our
discussions will focus on writing as an art in itself, the first
two major assignments—the portrait and the collage—will
lend themselves to analogy with the visual arts, while the latter
two—the exploratory essay and the argumentative essay—will
invite discussion of the rhetorical arts of the ancient world.
By the end of the semester, students should have developed a facility
in several different genres and a new level of critical self-awareness,
which they’ll then be ready to bring to bear on most any
situation they encounter, academic or otherwise.
REQUIRED TEXTS:
Diana Hacker, A POCKET STYLE MANUAL, any edition. Bedford/St. Martin’s.
ISBN: 0-312-40686-3; The Basic Library Research Handbook (3rd edition)—both
available at the UH bookstore—and course packet from Professional
Image, 2633 S. King Street.
ENGLISH 100 (19): Composition I (MWF 11:30-12:20) – Phillip
Drake
“SUSTAINABILITY AND ENVIRONMENTAL ENGAGEMENT THROUGH WRITING”
This course is designed to help attune students to writing processes,
to develop strategies for more successful writing inside and outside
the university, and
to engage with issues of sustainability. Our tasks will include drafting, revising,
editing, and responding to papers in a variety of different genres we encounter
at UHM: these genres include reflective, narrative, critical, and interpretive
writing, as well as a collaborative research project. Major coursework will
include three writing projects, each corresponding a unit in the course, several
shorter essays, weekly postings, and a short presentation.
It is my belief that writing is a skill that is never perfected. Regardless
of experience and professional goals, all of us can improve our writing. Expect
to spend time with classmates, your mentor, and myself discussing our writing.
Equally important, we will also have a modest reading schedule designed to
illustrate different rhetorical strategies.
Our focus on sustainability is intended to be a conceptual point of departure
that will lead us through a variety of topics and discourses, including but
not limited to discussions of health, agriculture, environmentalism, animal
rights, poverty, disasters, gender, space, place, economics, the sciences,
modernity, postmodernism, utopias, tourism, technology, and futurity. More
specifically, we will explore notions of sustainability and its ethics through
three primary categories: body, space, and time. Through our course readings
and discussions, we will think and write about the implications of sustainability
on ourselves, on environments (particularly those we encounter on these islands),
and the ways conceptions of nature develop over time.
The course reader will be available at the Campus Copy Center.
ENGLISH 100 (20): Composition I (MWF 12:30-1:20) – Frank Ardolino
In this course there will be 9 essays which will cover the major types of expository
writing. In addition, there will be in-class writing on assigned readings related
to the essays and at- home writing on the videos we will see. A major feature
of this course will be the use of comparison-contrast formats in which the
students will compare the written text with its cinematic version. There is
no formal textbook, but we will have a course text composed of various assignments,
lessons, and readings. Attendance is an essential part of the course.
ENGLISH (21): Composition I (MWF 12:30-1:20) – Instructor
TBD
ENGLISH 100 (22): Composition I (MWF 12:30-1:20) – Kai
Gaspar
ENGLISH 100 (23): Composition I (MWF 12:30–1:20) – David
Odhiambo
"
WRITING: AS CULTURAL CRITIQUE AND IDENTITY CONSTRUCTION"
This course is based on the belief that writing is a process of
articulating one's place in the world. In order to grow and develop
as critical thinkers we need to write, write, and then write some
more. We ?become “better” thinkers only by writing
consistently and by engaging in all steps of the writing process – drafting,
revising, responding, reflecting, and copy-editing. We all learn
and improve by doing: by ?experimenting with new strategies, by
having a receptive audience, by receiving feedback from others
about our ideas, and by reflecting on our work. So in this class,
this is what you can expect to do – write a lot and work
your way through all the steps of the writing process in order
to evolve as critical thinkers.
The course is designed to help you communicate effectively in both
a verbal and a written format as well as to develop the ability
to think critically. Consequently, you will develop in your ability
to write ?full-length essays that are well organized and well developed.
ENGLISH 100 (24): Composition I (MWF 1:30 – 2:20) – Jim
Henry
This section of Composition I will focus on sustainability as part
of an ACE cluster of courses that includes Ethnobotany and Hawaiian
Studies. The course also includes a UH Writing Mentor who will
be working with you closely during the semester to help you excel
in writing and to help you compose an e-portfolio of your work
in English 100 and other courses. As a sustainbility course, we
will use very little paper. All course materials will be stored
on Laulima, and much of your writing will be posted to this site.
You will be using a field journal for handwritten observations
during the many out-of-classroom writing activities, and occasionally
you will be sharing drafts in paper form (recycled, please, and
printed in draft mode to save ink). Nearly every writing assignment
will also include writing about your own writing, so that you can
step back from it and appraise it, and so that you can compose
a capstone reflective commentary linking together these entries
in your e-portfolio at the end of the semester. The course will
not have a final exam, and this capstone commentary will take its
place.
Our beginning writing activities will include a focus on where
we are coming from, geographically and genealogically, so that
we can get to know each other and establish relationships. (I will
be participating in this writing activity, too, and in some of
the following ones.) During this phase we will document our respective
carbon footprints and our consumption habits, along with watching
Manufactured Landscapes. We will also read some fiction and nonfiction
on Hawai?i and you will post responses to it in Laulima, developing
skills in summarizing and analyzing. During this phase you will
be studying techniques for responding to the writing of one another
and providing constructive response, and you will be graded on
your performance as a respondent.
Your next contribution to your writing portfolio will be a mapping
description of the UH campus, accompanied by a mental map (hand-drawn,
and elaborated over time) of the kinds of thinking you are doing
in Composition, Ethnobotany, and Hawiian Studies. During this phase,
we will participate in workshops at Hamilton Library to learn techniques
for effective, valuable, responsible information retrieval on the
Internet. You will also learn the layout of the library and receive
an orientation to the Hawaiian Collection. We will surely view
at least one other film, such as Noho Hewa, and you will conduct
one interview with an authority on a topic and post a synopsis
to Laulima. To complete this phase, you will work with your mentor
on a report on some sustainability topic, chosen from a long list
of sources: http://www.english.hawaii.edu/henry/Sustainability/Sustainability%20Links.html
We will compile these reports into a composite web page representing
our class efforts.
From these efforts, we will proceed to a number of outings in
Honolulu—the Water Works, the Tour de Trash, Kuka‘o‘o
Heiau—and other sites that might become relevant through
your work in ethnobotany and Hawaiian Studies. We will document
each of these outings in field journals, and we will share our
documentation to add to our class web site. In the final weeks
of the course, you will study possible careers that would enable
you to make use of a sustainability-focused undergraduate experience
at UH Manoa and you will compose a futuristic nonfiction creative
writing depiction of your work as a sustainably-focused "knowledge
worker," to be added to your e-portfolio and demonstrating
to the world that the "Manoa Experience" is unique indeed.
No required textbooks; everything will be available online or
in the library.
ENGLISH 100 (25): Composition I (MWF 1:30-2:20) – Linda
Middleton
This section of English 100 will aid students in understanding
the essential nature of the well-written essay to their college
experience. By studying how the writer’s context influences
her or his articulation of purpose and meaning, students should
find their compositional skills improving. The reading-writing
connection, and the significance of the rhetorical triangle will
be important principles in this section of Composition I. Through
reading good writing, and understanding why it is exemplary, and
through considering their own writing processes, students will
learn competency in university-level writing, which should both
aid their academic progress and enhance their personal satisfaction
with the writing experience.
Students will write five 3-page essays, with one rewrite possibility
(but not for any essay submitted beyond the deadline). The final
essay will be an argument requiring research. These essays will
count for 75% of their grade, while occasional casual writing assignments
and grammar work will represent 15%; the remaining 10% will be
based on participation. Regular attendance is very important, and
can also affect a student’s semester grade.
TEXTS: A Reader and a Grammar Handbook (specifics to be announced).
ENGLISH 100 (26): Composition I (MWF 1:30 - 2:20) – Instructor
TBD
ENGLISH 100 (27): Composition I (MWF 1:30 - 2:20) – David
Odhiambo
" WRITING: AS CULTURAL CRITIQUE AND IDENTITY CONSTRUCTION"
This course is based on the belief that writing is a process of
articulating one's place in the world. In order to grow and develop
as critical thinkers we need to write, write, and then write some
more. We ?become “better” thinkers only by writing
consistently and by engaging in all steps of the writing process – drafting,
revising, responding, reflecting, and copy-editing. We all learn
and improve by doing: by ?experimenting with new strategies, by
having a receptive audience, by receiving feedback from others
about our ideas, and by reflecting on our work. So in this class,
this is what you can expect to do – write a lot and work
your way through all the steps of the writing process in order
to evolve as critical thinkers.
The course is designed to help you communicate effectively in both
a verbal and a written format as well as to develop the ability
to think critically. Consequently, you will develop in your ability
to write full-length essays that are well organized and well developed.
ENGLISH 100 (28): Composition I (MWF 2:30 - 3:20) – Instructor
TBD
ENGLISH 100 (29): Composition I (MWF 2:30 - 3:20) – Instructor
TBD
ENGLISH 100 (30): Composition I (TR 7:30-8:45) – Richard
Nettell Required text:
Hacker: The Bedford Handbook (6th Edition).
This course aims to have students produce university-level writing
and will involve discussion of notions such as style, register,
fluency, and appropriacy, as well as consideration of the role
and significance of Standard English, particularly within the context
of the university. There will also be a substantial review of grammar.
Core course elements are
* an engaged reception of selected works of fiction, non-fiction, and film
* an awareness of the varieties of English, their uses and significance
* an ability to produce writing appropriate to a particular context and readership
* a discussion of, and practice in, Standard English for Academic Purposes.
The class will emphasize analytic and argumentative writing, but elements of
creative and personal writing will also be encouraged. There will be several
required conferences, and students will receive extensive instructor and peer
feedback on as much of their writing as possible.
The final research paper (on Sustainability) will be presented
orally (using Powerpoint).
Final grades will be based on the following:
1) three research papers (35%)
2) five short papers (25%)
3) weekly pre-and post-class short responses (10%)
4) final drafts of all writing as presented in a final portfolio (20%)
5) attendance (10%)
ENGLISH 100 (31): Composition I (TR 7:30-8:45) – Carmen
Nolte
The American linguist Benjamin Lee Whorf once said, “Language
shapes the way we think, and determines what we can think about.” In
this course, we will shed light on Whorf’s quote by examining
how writing and storytelling construct the world around us, and
how through writing we become part of this process. Specifically,
we will focus on fairy tales, a genre often conceived of as socializing
and helping to educate children (and, sometimes, adults as well).
We will read classic fairy tales by the Brothers Grimm and Charles
Perrault but also examine more recent rewritings by Angela Carter
and Sibylle Berg to discuss how conceptions of gender and sexuality
have changed over time. More generally, we will explore the politics,
or ideologies, implicit in those tales to gain a better understanding
of how stories and writing help to shape how we see the world.
We will also watch two fairy-tale films, PAN’S LABYRINTH
and FREEWAY.
You will write five formal papers over the course of the semester:
a personal narrative, a fairy-tale revision, a film review, a summary-and-response
essay, and a compare-and-contrast essay. Because revision is an
integral part of the writing process, drafts of the five formal
papers will be reviewed in peer groups, and participation in these
groups is essential.
REQUIRED TEXTS
1.) Diana Hacker’s A POCKET STYLE MANUAL, available at Revolution
Books.
2.) Sibylle Berg’s BY THE WAY, DID I EVER TELL YOU…,
available at Revolution Books.
3.) Handouts to be distributed in class.
ENGLISH 100 (32): Composition I (TR 7:30-8:45) – Ida
Yoshinaga
Writing in this class will be used as a tool for individual creativity,
community expression, and critical thinking. Through activities
geared to help you learn to brainstorm, organize, read, and edit
effectively, you will write four papers, each of them for different
target audiences:
•
An introductory letter describing your roles within a specific
community
•
A detailed autobiographical story concluding in an ethical lesson?
•
An analytical essay deconstructing a visual image that typifies
a social or philosophical concept important in your life
•
A persuasive research paper arguing logically for a sociopolitical
or moral viewpoint.
Course Requirements: (1) The four papers (altogether about 20 pages
of finished writing, not including pre-writing exercises and drafts);
(2) for each of the four papers, a short reflective letter evaluating
your writing process and results; (3) participation in morning
activities to stretch your imagination and sharpen your language
and analysie (games, role plays, storytelling, mindmaps); (4) revision,
feedback, and editing contributions to peer review groups; (5)
summary portfolio of two of the last three papers revised to reflect
peer and instructor feedback, to be turned in at the end of the
semester; and (6) regular use of an Internet-connected computer,
preferably a wireless laptop, for course writing exercises on UH’s
Laulima course management system.
REQUIRED TEXTS: Buscemi, Santi V., and Charlotte Smith, eds. 75
READINGS: AN ANTHOLOGY, 11TH EDITION. New York: McGraw-Hill, 2009;
Maimon, Elaine P., Janice H. Peritz, and Kathleen Blake Yancey,
eds. THE BRIEF MCGRAW-HILL HANDBOOK, MLA UPDATE. New York: McGraw-Hill,
2009. Packaged together at a discount: ISBN 0078088259.
ENGLISH 100 (33): Composition I (TR 9:00-10:15) – Instructor
TBD
ENGLISH 100 (34): Composition I (TR 9:00-10:15) – Melanie
Ried
The purpose of English 100 is to develop your writing skills to
meet the expectations and requirements of college-level writing
across the University and to prepare you for your post-college
career. This course will focus on grammar, sentence structure,
and essay organization to help you present your ideas clearly,
logically, and persuasively. In addition to proper mechanics, we
will work on developing your ability to critically analyze the
writings and the images that surround you in your daily life. We
will explore various forms of communication, from newspaper and
magazine articles and advertisements to scholarly texts and theatrical
plays. We will work to identify the authors’ purposes, intended
audiences, and other rhetorical strategies. You will further explore
these rhetorical strategies through assignments that require you
to write in different formats for different audiences and purposes.
Today’s media—TV, radio, newspapers, magazines, the
internet, etc.—exposes us to an almost non-stop stream of
images and messages that we consciously and subconsciously negotiate
daily. Much of what we see and hear we ignore or disregard, other
nformation we accept, but in neither instance do we usually delay
our judgment and fully research and consider all sides of the issue
(be it government policy or an advertisement for soap). This class
encourages you to become more aware of this information flow and
requires you to analyze and research various aspects of it, including
written arguments, advertisements, and your own reactions to such.
The goal of these projects is not only an enlarged awareness of
the complexities and rhetorical strategies that surround us, but
also the ability to clearly and methodically articulate well-considered
responses. Blogs, instant messages, and emails enable us to communicate
and react quickly, but alsosuperficially. This class offers you
the space and time to slow down, investigate, and evaluate the
world and the issues that are important to you.
Communication is not only the topic we will explore, but also a
tool we will use in our exploration. For each essay you will be
required to bring drafts to class and discuss them with your peers.
Articulating your argument and exchanging ideas with others should
help you to clarify and strengthen your argument for your final
draft. You, in turn, will help your fellow students do the same.
You will also be required to meet with the Writing Mentor and the
Instructor outside of class several times during the semester.
We will discuss your progress and your own personal goals for the
class. At the end of the semester, you write a self-reflexive essay
analyzing your progression during the semester.
ENGLISH 100 (35): Composition I (TR 9:00-10:15) – John Rieder
The goal of this course is to help you understand and perform
college-level writing tasks. We will pay attention to all stages
of the writing process, including the thinking and reading that
have to be done before writing begins, ways to get started and
produce a draft, and, probably most important, editing and rewriting
in order to produce the best possible finished product. Small group
discussion of one another's drafts will be a significant part of
the class routine.
There will be a variety of assignments, including descriptive,
summary, analytic and persuasive tasks, and a research paper.
Required Text: Hacker, Diana. A WRITER’S REFERENCE. Sixth Edition. Bedford
/ St. Martin’s.
ENGLISH 100 (36): Composition I (TR 9:00-10:15) – Ida
Yoshinaga
Writing in this class will be used as a tool for individual creativity,
community expression, and critical thinking. Through activities
geared to help you learn to brainstorm, organize, read, and edit
effectively, you will write four papers, each of them for different
target audiences:
•
An introductory letter describing your roles within a specific
community
•
A detailed autobiographical story concluding in an ethical lesson?
•
An analytical essay deconstructing a visual image that typifies
a social or philosophical concept important in your life
•
A persuasive research paper arguing logically for a sociopolitical
or moral viewpoint
Course Requirements: (1) The four papers (altogether about 20 pages
of finished writing, not including pre-writing exercises and drafts);
(2) for each of the four papers, a short reflective letter evaluating
your writing process and results; (3) participation in morning
activities to stretch your imagination and sharpen your language
and analysie (games, role plays, storytelling, mindmaps); (4) revision,
feedback, and editing contributions to peer review groups; (5)
summary portfolio of two of the last three papers revised to reflect
peer and instructor feedback, to be turned in at the end of the
semester; and (6) regular use of an Internet-connected computer,
preferably a wireless laptop, for course writing exercises on UH’s
Laulima course management system.
REQUIRED TEXTS: Buscemi, Santi V., and Charlotte Smith, eds. 75
READINGS: AN ANTHOLOGY, 11TH EDITION. New York: McGraw-Hill, 2009;
Maimon, Elaine P., Janice H. Peritz, and Kathleen Blake Yancey,
eds. THE BRIEF MCGRAW-HILL HANDBOOK, MLA UPDATE. New York: McGraw-Hill,
2009. Packaged together at a discount: ISBN 0078088259.
ENGLISH 100 (37): Composition I (TR 10:30-11:45) – Aiden
Gleisberg
ENGLISH 100 (38): Composition I (TR 10:30-11:45) – Rodney
Morales
In this course we will engage in the art and practice of writing
clear, coherent, effective university level prose.
Course objectives:
a) that you learn to recognize the difference between a decent draft and a
more truly realized essay, which comes with faith in the revision process;
b) that you become familiar with organizing schemes that help keep your essays
focused and well balanced;
c) that you develop editing skills that you can apply to your work as well
as the work of others;
d) that you embrace the writing process as something familiar, even routine;
e) that you learn not only to value good writing, but also that telling your
story, and dealing with stories and issues that matter to you, makes for passionate
and powerful writing; and
f) that you are not intimidated, when you are assigned in some future class, “the
big paper,” that is, a research paper of considerable length.
Writing Assignments:
For this class you will be assigned four 3-4-page papers: a personal
narrative, a report, an argumentative essay, and a film or book
review. You will be asked to revise two of these papers. Then
you will commence with your research essay, which will be the
culmination of a four-week-long process of selecting a topic,
finding sources, drafting and revising. This paper should be
at least 6 pages long, not counting documentation. There will
also be a short “final thoughts” piece, consisting
of 1 to 2 pages.
Required texts:
Kawaharada, Dennis. LOCAL GEOGRAPHY. University of Hawai‘i
Press: 2005.
Hacker, Diana. THE WRITER’S REFERENCE, 6th ed. Boston: Bedford/St.
Martin’s: 2006.
An ENGLISH 100 COURSE READER (available at Professional Image).
ENGLISH 100 (39): Composition I ONLINE (Class Times TBA) – John
Zuern
In this class you will develop your skills in writing, reasoning,
argumentation, and research. For many of the assignments, you will
be able to choose research topics that integrate your own interests
with the discourses and vocabularies of specific academic disciplines.
This approach gives you the opportunity to explore fields you might
like to pursue in your further studies at the university. Your
writing assignments will build your skills in all the key dimensions
of research-based composition. You will also gain experience with
collaborative research and writing, which will prepare you for
team-based projects in future classes and in your careers. While
much of your work in this class will prepare you for the kinds
of communication situations you will encounter here at the university,
the fundamental goal of the class is to help you become a confident
and effective communicator in a variety of professional situations.
This is an online class. All interaction with the instructor and
your classmates will be online, synchronously and asynchronously,
for the whole semester, though I will require at least one in-person
conference. Check your Laulima account for the syllabus, schedule,
and first-week instructions. These materials will be available
August 1. If you have questions about the online format, contact
the instructor at <zuern@hawaii.edu>.
This course fulfills the Foundations requirement in Written Communication
(FW). The learning outcomes for this course, established by the
UHM General Education Committee, are as follows: " Students
will be introduced to the rhetorical, conceptual, and stylistic
demands of writing at the college level; courses give instruction
in composing processes, search strategies, and composing from sources.
This course also provides students with experiences in the library
and on the Internet and enhances their skills in accessing and
using various types of primary and secondary materials.”
Most of your assignments will emphasize the process of writing;
you will submit a draft of your essay, which I will review along
with a group your peers. You will have a chance to revise in response
to the comments you receive, and I will grade only the revised
versions of your projects.
You will complete three (3) short Writing Projects (3-4 pages
each; 15% each), one longer Writing Project (7-8 pages; 25%), an
in-class writing exercise that will help you prepare for future
essay-based examinations (5%), a one-page abstract for your longer
Writing Project (10%), and a Wiki-based collaborative Writing Project
(15%).
PLEASE NOTE: While they are often easier to fit into your schedule,
online classes demand a high level of commitment and self-discipline.
They can offer excellent training in the modes of planning, time
management, and peer interaction that characterize the work lives
of many professionals, but you have to be ready to meet the particular
challenges of the format. If you’re not sure this kind of
class is right for you, get in touch with me <zuern@hawaii.edu> and
we’ll talk about it.
ENGLISH 100 (40): Composition I (TR 10:30-11:45) – Frederika
Bain
ENGLISH 100 (41): Composition I (TR 12:00-1:15) – Paul
Lyons
ENGLISH 100 (42): Composition I (TR 12:00-1:15) – Aiden
Gleisberg
ENGLISH 100 (43): Composition I (TR 12:00-1:15)– S.
Shankar
This course aims to teach students to write essays in college.
The focus will therefore be on learning how to write persuasively
with a specific audience in mind. Some of the writing will be
narrative in nature, though most will be argumentative (i.e.,
aiming to produce a convincing argument on a topic). There will
be an emphasis on revision and the process of writing. You will
learn to develop ideas, do research, produce a thesis, draft,
revise, edit one another’s work, and proofread. In doing
this, we will draw at certain points during the semester on literature
and films. Aside from a reader containing essays on a variety
of topics (probably the ARLINGTON READER, which contains essays
on such topics as environmentalism, identity and science/technology),
the following will be required reading/viewing: Michael Ondaatje,
THE ENGLISH PATIENT, THE ENGLISH PATIENT (the film), THE AUTOBIOGRAPHY
OF MALCOLM X, MALCOLM X (the film).
During the semester, students will engage in special writing exercises,
produce rough drafts, and participate regularly in peer editing
(critiquing one another’s works in groups). They will produce
one research paper (six to seven double-spaced pages building on
one of the topics covered in the reader) and five essays (each
about three to four double-spaced pages) during the semester, in
addition to more informal in-class writing assignments.
ENGLISH 100 (44): Composition I (TR 12:00-1:15)– Nadia
Inserra
ENGLISH 100 (45): Composition I (TR 1:30-2:45) – Steven
Goldsberry
This will be the best writing class
you've ever taken. Your grade is based on class participation,
attendance, a speech, quiz average,
and your 5 best essays. Save all handouts, class notes, drafts,
and final papers for presentation at semester's end. Your portfolio
of these works, organized with a table of contents, will show your
commitment to earn an A grade for this course. One short book to
buy: THE WRITER'S BOOK OF WISDOM. You will create your own book
as well, the portfolio. Heavy focus on editing. All who enroll
must pledge to do A-quality work. Strictly limited enrollment.
ENGLISH 100 (46): Composition I (TR 1:30-2:45) – Joe
Lew
This course will introduce a range of skills important for success
in writing at UH-Manoa, using a range of verbal, visual, and
audial ‘texts’ to explore questions of violence and
desire. Students will write, peer-edit, and revise short (about
1,000 word) papers on popular music, journalistic reportage,
and a horror movie (Aliens). In addition, students will write
a longer, research-oriented essay applying the ideas we discuss
about desire and/or violence to a topic they choose and I approve.
Required texts include WRITING WORTH READING and ORIENTALISM.
Other texts will be placed on reserve in Sinclair Library.
Sample syllabi, assignment descriptions, and other course material
will be available through myuhportal.
ENGLISH 100 (47): Composition I with Mentoring (TR 1:30-2:45) – R.
McHenry
This is a course in written argument: it stresses development of
the skills needed for effective writing. The aim of the work is
to formulate precise and interesting ideas and present them convincingly
to your audience. An essential element in any definition of higher
education in the liberal arts, this ability contributes to critical
thinking and cultivates a complex, educated sense of how to read
and judge ideas expressed by others. Employers in Hawai’i
are complaining to the Chancellor’s office that UHM graduates
can’t write. This course is designed to provide exceptions
to that generalization. It will consist of readings, discussions,
and writing assignments designed to hone the understanding of the
tools of argument and incorporate them into essays. There will
be a number of in-class assignments, short papers, medium-length
papers, and one longer research paper based on the reading of a
contemporary book-length argument, Richard A. Posner’s A
LITTLE BOOKS OF PLAGIARISM (2007). Classes will stress discussion
and group work, so attendance is essential. There will be a number
of required conferences during the term.
Jacobus, Lee A., Ed. A WORLD OF IDEAS: ESSENTIAL READINGS FOR COLLEGE
WRITERS. 8th Ed. Boston: Bedford Books, 2010. ISBN 0-312-38533
(paper)
Raimes, Ann, POCKET KEYS FOR WRITERS. 3rd. Ed. Boston: Wadsworth,
2010. ISBN: 10: 0547152949
Marius, Richard. A WRITER'S COMPANION. 4th Ed. Boston: McGraw-Hill
College, 1999. ISBN-10: 0073040150 (paper)
Posner, Richard A., A LITTLE BOOK OF PLAGIARISM. Pantheon, 2007.
ISBN-10: 037542475X
ENGLISH 100 (48): Composition I (TR 1:30-2:45) – Nadia
Inserra
ENGLISH 100 (49): Composition I (TR 12:00-1:15) – Ranjan
Adiga
Based on the idea that effective writers are strong communicators
in any context, this course prepares students for the writing they
will need to do throughout their lives. The goal is to help students
grow as writers and critical thinkers. Starting out with basic
questions such as why we write and whom we write for, students
will be required to write personal essays and eventually submit
a research-based essay. In the process we will explore areas such
as critical reading, analytical writing, argumentative essays,
etc. One unit will also focus on creative writing in which students
will be required to write a short story and analyze how fiction
can act as a bridge between the personal essay and the research-based
essay.
ENGLISH 100 (50): Composition I (MWF 11:30-12:20) – Instructor
TBD
ENGLISH 100A (01): Composition I/Honors (MWF 10:30-11:20) – Frank
Stewart
What makes this an Honors class? You’re expected to read
more than non-Honors students, read more difficult stuff, become
meta-thinkers and meta-learners, tackle more research, take the
initiative for your own learning, and (at the end) write well.
During this course, you'll be writing all the time, including
about seven essays, each based on readings that I’ll give
you or are in the book I’ve ordered. The essays will often
concern issues of the environment, sustainability/dynamic change,
human nature, and our responsibilities to one another in a global
community. However, you will have the freedom to pursue aspects
of these topics in ways that interest you the most. Course goals
are to give you the ability to 1) generate and present ideas precisely
and effectively, 2) develop a central idea in a piece of writing
and support it logically and clearly, 3) produce effective sentences
and paragraphs that support a central idea, 4) present good questions
provoked by an essay’s ideas and facts, 5) revise and proofread
so that your sentences and grammar are technically correct, and,
not least, 6) understand an essay's relationship to audience and
how that relationship may influence style, diction, level of formality,
and other aspects of the writing. Your last assignment will be
an extended, unified research project.
The structure of this course requires that you have a lot of self-discipline
and a lot of generosity. In addition to writing, you’ll be
expected to practice active listening, reading, speaking, and reflecting.
In discussing the work of your peers, you’ll have obligations
to other students as well as to me and to yourself. I hope you’ll
come to see that writing is a process that involves many people,
and hardly ever just the writer alone. Students with diverse interests
are welcome.
REQUIRED TEXTS:
THE MEDUSA AND THE SNAIL: MORE NOTES OF A BIOLOGY WATCHER by Lewis
Thomas, and a standard college handbook of grammar, of your choice.
ENGLISH 100A (02) Composition I/Honors (TR 9:00-10:15) – Craig
Howes
Since this is an A Section, I am assuming that students enrolled
in the course are planning to continue in Selected Studies, and
eventually enter the Honors Program. This course is therefore a
foundation for academic, professional, or creative writing at the
most accomplished and challenging levels.
Invention, drafting, revision, and editing will be my principal
concerns during the semester. Each of these writing stages requires
critical thinking, imagination, and precision. And because both
the reader and the writer of a text are to a certain extent created
by the work, we will be talking about this dynamic as well.
Course Requirements: During the semester there will be many assignments,
and an extensive section on research methods and resources. In
addition to classroom sessions, all students will be meeting with
me very regularly (at least twelve to fifteen times) for conferences
on assignments. You will be writing and rewriting a great deal.
Text: THE MLA HANDBOOK FOR WRITERS OF RESEARCH PAPERS 7TH EDITION
(Paperback)
ENGLISH 190: COMPOSITION FOR TRANSFER STUDENTS
ENGLISH 190 (01): Composition I for Transfer Students
(MWF
11:30-12:20)—Kosanke
This course fulfills the Foundations in Written Communication
(FW)
requirement for students who transfer into UHM with more than 24
credits, who do not have FW on their transcripts, and who are not
transferring a course equivalent to FW from another institution.
The primary requirement of any FW course is twenty pages of writing,
but students will also read nonfiction essays, review other students'
writing, use internet sources, and practice thinking critically
about
what they read and write. Expect re-search and I-search activities
that will help take stock of “where you are coming from,” where
you
are now (an academic community in Hawaii), and where you are headed
(certainly a place that will require effective, clear writing).
Required text: THE SEAGULL READER: ESSAYS, 2nd edition (available
at
Revolution Books) as well as internet and community resources
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