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hildren

Introducing, for their very first live performance here in CPR 2 ? ? , coming all the way from CPR 454 and two other cubicles, ready to bring the ENGLISH to you … . C. sk ll. *. Of the. hildren. * they’re umlauts, in case you were wondering.

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hildren

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  1. Introducing,for their very first live performance here in CPR 2 ? ? ,coming all the way from CPR 454 and two other cubicles,ready to bring the ENGLISH to you…

  2. C sk ll * Of the hildren *they’re umlauts, in case you were wondering

  3. Children of the Sküll wanted students to see how the media creates narratives for public figures, so we redesigned each of the projects to develop their understanding and ability to navigate media rhetoric, while still achieving all of the 1101 outcomes. It was a great project.

  4. …

  5. We did not abandon our first idea. Honestly. Alan will tell you what really happened. We decided that our first idea wasn’t helpful enough, you know? It wasn’t giving enough back to FYC.

  6. So we designed THE GREAT GIVING BACK PROJECT * *We’d like to dedicate this project to all our fans. Yeah, we’re talking to you, FYCers - this one is for you guys.

  7. TTHE GREAT GIVING BACK PROJECT The Great Giving Back Project is a compilation of writing prompts, organized and titled so that their purpose and connection to the relevant project is clear. Each band member took the outcomes for a project, and designed a series of writing prompts around those outcomes. Forthwith**:

  8. *Some of these prompts are for in-class writing, and some are for out of class writing: They require the student to prepare by reading, listening, or watching longer works. Some require the instructor to show videos in class. Each prompt, however, is marked according to its requirements. *As far as time requirements go, most prompts can be tweaked to stretch or shrink into whatever length you need them to be.

  9. We created these prompts, and then grouped them into a sort of cross-referenced folder system thingy, Organized by project as well as whether or not the prompt necessitated outside preparation on the part of the student. Each prompt is saved individually – our intent was that each file could be added to the website. An instructor would only have to look at the title of the file to see whether or not the prompt was appropriate for their class, then download the file, print out 22 copies, and head to class. * *What follows are the titles of each prompt, not the prompt itself.

  10. PROJECT ONE PROMPTS Annotated bibliography and expository essay The Art of Effective Summary Even More Artful Summary Even More Artful Summary Source as Subjectivity, Source as Inauthenticity An Appeal to Pathos-Argumentation An Appeal to Ethos--Argumentation Rhetoric: Verbal and Non-Verbal Considerations (Requires the viewing of a six minute Youtube clip) Discourse and Understanding Your Audience

  11. Unpacking Rhetoric: Advertising to Women (requires class time to show videos) Unpacking Rhetoric: Advertising to Women (requires class time to show videos) Unpacking Rhetoric: Advertising to Women (requires class time to show videos) Unpacking Rhetoric: Advertising to Women (requires class time to show videos) PROJECT TWO PROMPTS Ad Analysis • Unpacking Rhetoric: Advertising to Women (requires class time to show videos) Unpacking Rhetoric: Truth and Lies in Dove Advertisements (requires out-of class preparation) Transitioning from Ad Analysis to Remediation Project: How do we Remediate Advertisements? (Requires Viewing a 16 Minute Video) Observe and Analyze: How saturated is your life in advertisements? (requires out-of-class work) Advertising over time: What has changed over time about the advertisements for the products you buy? (requires student research and time out of class)

  12. PROJECT TWO PROMPTS Ad Analysis • Rhetoric in Advertising: How does Apple position itself as the innovative and hip alternative to Microsoft and IBM? (requires class time to watch a commercial) • Advertisement: Creating Your Own Rhetoric (requires out of class time and also having completed the previous writing prompt) • Offensive Advertising: How did/do advertisers get away with it? (requires the student to do research) • Advertising: How advertisers shape cultural trends (requires student to watch documentary) • Unpacking Advertisements: Describe and Analyze two ads using correct MLA format (requires in-class group work)

  13. Personal Historiography: How do your opinions change as you age? (requires out-of-class work) Political Historiography: Why and how do political ads change or stay the same? (requires out-of-class work, and class time to show videos) Personal Historiography: Misunderstandings as similar to history (in-class, no video) Personal Historiography: How do your opinions change as you age? (requires out-of-class work) Political Historiography: Why and how do political ads change or stay the same? (requires out-of-class work, and class time to show videos) Personal Historiography: Misunderstandings as similar to history (in-class, no video) Personal Historiography: How do your opinions change as you age? (requires out-of-class work) Political Historiography: Why and how do political ads change or stay the same? (requires out-of-class work, and class time to show videos) Personal Historiography: Misunderstandings as similar to history (in-class, no video) Personal Historiography: Familial Experience of the Vietnam War (in-class, no video) Living Historiography: McCarthyism today (requires short reading – possible to do in class, but would require 15-20 min. of reading) PROJECT TWO PROMPTS Historiography Personal Historiography: How do your opinions change as you age? (requires out-of-class work) Political Historiography: Why and how do political ads change or stay the same? (requires out-of-class work, and class time to show videos) Personal Historiography: Misunderstandings as similar to history (in-class, no video) Personal Historiography: Familial Experience of the Vietnam War (in-class, no video) Living Historiography: McCarthyism today (requires short reading – possible to do in class, but would require 15-20 min. of reading) Understanding Different Historical Perspectives: the other side of the argument (requires out of class reading)

  14. PROJECTTHREE PROMPTS Google Generation • Define a generation without relying on technology (in-class, no video) • Identifying key generational figures: Why are they important? (in-class, no video) • Discovering Reasons for Existing Labels (in-class, no video) • Generation Interview (requires out of class work) • Does making generalizations about generations (creating generation labels) work? (in-class, no videos)

  15. PROJECTTHREE PROMPTS Remediation Noticing and Evaluating Well-Known Remediations (in-class, no videos) Archetypes: Reasons why genre fiction and mythologies (remediations) are relevant and important (requires instructor coming up with examples) Remediation: Understanding Audience Finding a topic/text to remediate (in-class, no videos) Personal Authority: What you are knowledgeable about? Audience: Are remediations successful? (requires video) What is remediation? (Using any collage would work) (requires showing collage to class)

  16. PROJECTTHREE PROMPTS Remediation Rhetoric of Nostalgia: Beginning Analysis (in-class, no video) Unpacking Visuals: How do you associate imagery with emotion/experience? (in-class, no videos) Audience Identification (in-class, two-parts, requires video) Audience Awareness Medium Analysis (in-class, requires video) Introducing Medium: Evaluating medium (in-class, requires video) Everything is a Remediation: Mythologies (requires out-of class work)

  17. Miscellaneous Writing prompts Bias and Narrative in the Media (requires out of class work, and listening to a podcast) Ideology in the Media, and in Narratives (requires out of class work, listening to a podcast) Understanding Satire: What is satire today, and where do we find it? (could be an in-class exercize) Understanding Literacy (in-class, no videos)

  18. And now, if the slide navigator could please exit the slideshow and pull up THE GREAT GIVING BACK PROJECT, we’ll show you what it looks like in real life.

  19. Thank you, slide navigator. You’ve done a wonderful job.

  20. Children of The skull Are: Lead vocals Alan Shaw, a.k.a. “the dean of Dorian” Guitar /Roadie Bryan “BoneCrusher” mccormack Bass guitar sam “SCREWDRIVER” corbett Keyboard and sometime electric cello Player Kim Karelius, A.k.a. “Mad scientist” Drums Claire. Rebecca claire Shaken, not stirred, please

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