For next, and last time:
Here’s a website you should bookmark; it serves as a clearinghouse for CFPs (calls for proposals) for a huge range of scholarly journals and conferences: http://call-for-papers.sas.upenn.edu/
Searching specifically for some upcoming conferences related to our class, I found the following:
full name / name of organization: ACLA 2014 Meeting
contact email: firstname.lastname@example.org
In Pascalian Meditations Pierre Bourdieu implies that the acquisition of cultural capital through the exercise of academic discourse simultaneously devalues alternative discourses. Given that academic discourse underwrites the University as a privileged site of inquiry, how might academic discourse operate as a dominant discourse, or with respect to the Western university a colonial discourse, that erases modes of inquiry governed by the rules of other discourses? Does—or can—the University (e)valu(at)e discourses in opposition to academic discourse? Are academic and oppositional discourses mutually definitive? This session invites proposals of critical, creative, and pedagogical projects that advance inquiry by describing and/or demonstrating oppositional discourse.
To submit a proposal for this seminar, please visit the ACLA website: http://acla.org/acla2014/annual-meeting-theme/
Deadline for proposals: November 15, 2013.
full name / name of organization: NeMLA
contact email: email@example.com
45th Annual Convention, Northeast Modern Language Association (NeMLA)
April 3-6, 2014
Host: Susquehanna University
This panel seeks proposals that demonstrate awareness of technology’s effect on discourse – not simply as a means of delivery, but as a mode of signification necessary for today’s college composition students. We hope to stimulate a conversation about facilitating our students’ engagement with these discourses in the writing classroom by exploring deep structural integration of technology in these courses. Please send 250-300 word abstracts to William Magrino and Peter Sorrell, firstname.lastname@example.org.
Deadline: September 30, 2013
Please include with your abstract:
Name and Affiliation
A/V requirements (if any; $10 handling fee with registration)
The 2014 NeMLA convention continues the Association’s tradition of sharing innovative scholarship in an engaging and generative location. This capitol city set on the Susquehanna River is known for its vibrant restaurant scene, historical sites, the National Civil War museum, and nearby Amish Country, antique shops and Hershey Park. NeMLA has arranged low hotel rates of $104-$124.
The 2014 event will include guest speakers, literary readings, professional events, and workshops. A reading by George Saunders will open the Convention. His 2013 collection of short fiction, The Tenth of December, has been acclaimed by the New York Times as “the best book you’ll read this year.” The Keynote speaker will be David Staller of Project Shaw.
Interested participants may submit abstracts to more than one NeMLA session; however, panelists can only present one paper (panel or seminar). Convention participants may present a paper at a panel and also present at a creative session or participate in a roundtable. http://www.nemla.org/convention/2014/cfp.html
Also, here are links to two more generic CFPs from the major scholarly organizations in college writing, CCCC and NCTE:
There’s an incoherent moral lesson here, which many staffers and other ghostwriters have unsurprisingly failed to learn. “I’m hiring you to write stuff that I’m going to pretend that I wrote, and that’s OK; but you can’t give me stuff that someone else wrote and pretend that you wrote it, because That Would Be Plagiarism.” There’s a political rather than moral form of this lesson, which is much easier to understand: “If you copy stuff from someone else, we’re both going to get in a lot of trouble.”
Language Log is a great blog, and this recent post discusses an issue we’ve been talking about in class.
As promised, here are links to two Writing at Queens pages with resources regarding plagiarism:
Here is the language I use in my undergrad classes that have a portfolio-type assignment (from a 110 on the theme of film):
EVALUATION / GRADING: Students will be evaluated in three broad areas:
1) their ability and diligence in completing all writing assignments on time, reading and reflecting on assigned readings before class, and participating in class discussions.
2) their competence in meeting the learning objectives identified above.
3) their ability to demonstrate, through the pieces in their final portfolio and their meta-reflective cover letter, that they have made thoughtful and careful revision from earlier drafts.
In practice, the final grade will be more of a “negotiation” than a reward. Sometime during the final third of the semester, students should meet with me one-on-one. During this time we will discuss their current strengths and weaknesses and establish a set of expectations for the remainder of the semester. The student and I will agree on what is an appropriate final grade, dependent upon their completing a list of expectations. This list might include specific revision of certain assignments, good faith effort to participate more, or mastery of certain recurring problem areas. Students will submit a short memo outlining our conversation, to serve as a grading contract.
Here are the learning objectives for that particular course (this is what they get asked about in #2 above):
LEARNING OBJECTIVES for students will include:
I find that students don’t really pay attention to the learning objectives, and perhaps see them as a bunch of mumbo-jumbo. So, one thing I have them do before we meet is a “Midterm Syllabus Quiz“[doc] that asks them to rank their progress on the learning objectives. It’s also an opportunity for me to discuss with the whole class what the learning objectives actually mean and to point out to them how my assignments indeed help them achieve those objectives.
Here’s my generic participation policy (it’s essentially the same one for our class):
PARTICIPATION: This is a linked course, so the themes and discussions in this course intersect with and compliment the issues in your Media Studies class. If you drop this course, you must also drop MDST 144. Since participation is crucial to your success, you should not miss more than three classes. I do not differentiate between excused and unexcused absences. If you come unprepared to class, you are not present; “coming unprepared” includes such things as not doing the reading, not bringing the text to class, sleeping during class, not making an effort to participate, arriving late or leaving early. If you know you cannot attend, contact me before to ask about homework; I do not accept late assignments.
Last, I can’t believe I forgot to say this in class, but the most important piece of paper grading advice I have is (I’ll even put it in bold):
Never spend more time grading a group of papers than you think the average student spent writing the paper. So, if you think an assignment takes 3 hours for a student to complete, then divide that by the number of students you have and spend that many minutes on each paper.
Leave comments to this post with your questions, ideas, thoughts, wishes, etc about all aspects practical or philosophical of peer review and student conferencing (both re. 110 and creative writing workshops)!
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