batti engl 1101 syllabus fall 2019 · our course will have a specific theme in order for us to...

LUDONARRATIVE FRAMEWORKS

defining games & play

ENGL 1101 | FALL 2019

COURSE DESCRIPTION Welcome to ENGL 1101, a course in which you will learn about written, oral, visual, electronic, and nonverbal (WOVEN) communication so that you will be more capable communicators and more successful in your academic work. English 1101 teaches students communication and critical thinking skills that will prepare them to succeed academically at Georgia Tech and professionally in the work place. While writing is a primary focus of English 1101, the course imagines written communication as part of a larger WOVEN framework that also includes oral, visual, electronic, and nonverbal communication. English 1101 introduces students to the complexities and challenges of writing to audiences in contexts where the written word interacts closely with visual and oral elements.

Our course will have a specific theme in order for us to establish a connective thread that ties together the work that we do collectively and individually for class this semester. We will work together to determine definitions, frameworks, and contexts for games and play, and we will specifically interrogate ludonarrative frameworks (that is, the intersection of gameplay—from the Latin word ludus, which means “play”—and narrative). From board games to digital games and other modes of play, games are a particularly pervasive ludonarrative medium in our contemporary moment, and many of us interact with games every day. Because games make use of WOVEN modes of communication, they afford us a productive medium through which to explore the different elements that go into multimodal composition. As such, this semester we will examine theories of game design, play, fun, and gaming representations and will

INSTRUCTOR Dr. Bianca Batti

Office: Skiles 313 OH: Weds. 2:00-3:30pm, and by appt. [email protected]

engl 1101 | batti | fall 2019 | pg. 2

practice playful modes of communication through assignments like design reports, game analyses, board game prototyping, and crowdfunding campaigns in order to become better multimodal communicators.

LEARNING GOALS & OUTCOMES Four concepts will be addressed in detail in this course; these concepts are the core of the program, common to every course and every section. These concepts are part of what students in this course will learn to understand, practice, and develop confidence in articulating and regularly using. Students will learn these critical concepts:

• Rhetoric. Students learn rhetorical strategies to create purposeful, audience-directed artifacts that present well-organized, well-supported, well-designed arguments using appropriate conventions of written, oral, visual, and/or nonverbal communication.

• Process. Students develop confidence in using recursive strategies, including planning, drafting, critiquing, revising, publishing/presenting/disseminating, and reflecting.

• Multimodality. Students develop competence in major communication modalities (Written, Oral, Visual, Electronic, and Nonverbal) and understand the ways that the modalities work synergistically.

• Collaboration. Students learn to be productive in communities of practice—for example, as readers and critics, as team members and leaders—balancing their individual and collaborative responsibilities.

The learning outcomes for ENGL 1101 and ENGL 1102 are as follows:

Category Outcomes by the USG Board of Regents

Outcomes by the Council of Writing Program Administrators

Additional Expectations of the GTWCP

Critical Thinking Critical thinking involves understanding social and cultural texts and contexts in ways that support productive communication and interaction.

• Analyze arguments.

• Accommodate opposing points of view.

• Interpret inferences and develop subtleties of symbolic and indirect discourse.

• Use writing and reading for inquiry, learning, thinking, and communicating.

• Integrate ideas with those of others.

• Understand relationships among language, knowledge, and power.

• Recognize the constructedness of language and social forms.

• Analyze and critique constructs such as race, gender, and sexuality as they appear in cultural texts.

Rhetoric

• Adapt communication to

• Use a variety of technologies to

• Create artifacts that demonstrate


Rhetoric focuses on available means of persuasion, considering the synergy of factors such as context, audience, purpose, role, argument, organization, design, visuals, and conventions of language.

circumstances and audience.

• Produce communication that is stylistically appropriate and mature.

• Communicate in standard English for academic and professional contexts.

• Sustain a consistent purpose and point of view.

address a range of audiences.

• Learn common formats for different kinds of texts.

• Develop knowledge of genre conventions ranging from structure and paragraphing to tone and mechanics.

• Control such surface features as syntax, grammar, punctuation, and spelling.

the synergy of rhetorical elements.

• Demonstrate adaptation of register, language, and conventions for specific contexts and audiences.

• Apply strategies for communication in and across both academic disciplines and cultural contexts in the community and the workplace.

Process Processes for communication—for example, creating, planning, drafting, designing, rehearsing, revising, presenting, publishing—are recursive, not linear. Learning productive processes is as important as creating products.

[No USG BOR outcomes are specifically related to process.]

• Find, evaluate, analyze, and synthesize appropriate primary and secondary sources.

• Develop flexible strategies for generating, revising, editing, and proofreading.

• Understand collaborative and social aspects of writing processes.

• Critique their own and others’ works.

• Balance the advantages of relying on others with [personal] responsibility.

• Construct and select information based on interpretation and critique of the accuracy, bias, credibility, authority, and appropriateness of sources.

• Compose reflections that demonstrate understanding of the elements of iterative processes, both specific to and transferable across rhetorical situations.

Modes and Media Activities and assignments should use a variety of modes and media—written, oral, visual, electronic, and nonverbal (WOVEN)—singly and in combination. The context and culture of

• Interpret content of written materials on related topics from various disciplines.

• Compose effective written materials for various academic and professional contexts.

• Use digital environments for drafting, reviewing, revising, editing, and sharing texts.

• Locate, evaluate, organize, and use research material collected from electronic sources, including scholarly

• Create WOVEN (written, oral, visual, electronic, and nonverbal) artifacts that demonstrate interpretation, analysis, synthesis, evaluation, and judgment.


multimodality and multimedia are critical.

• Assimilate, analyze, and present a body of information in oral and written forms.

• Communicate in various modes and media, using appropriate technology.

library databases; other official (e.g., federal) databases; and informal electronic networks and internet sources.

• Exploit differences in rhetorical strategies and affordances available for both print and electronic composing processes and texts.

• Demonstrate strategies for effective translation, transformation, and transference of communication across modes and media.

For more information on these items, see the Georgia Tech Writing and Communication Program's common policies.

COURSE MATERIALS For this course, you will need the following texts:

Amy Brazillier, Elizabeth Kleinfeld, Georgia Tech’s Writing and Communication Program. WOVENText: Georgia Tech’s Bedford Book of Genres (2019). Bedford. ISBN: 1319267807. (Ebook, which you can find here: https://redshelf.com/book/1155437/)

Sam Barlow. Her Story (2015). iOS, OS X, Android, Windows. (Video game, available via Steam)

Jeremy Holcomb. The White Box (2017). Atlas Games. ISBN: 1589781821.

Raph Koster. A Theory of Fun for Game Design (2013). O’Reilly Media. ISBN: 1449363210. (Ebook, available through the library)

Jennifer Malkowski and TreaAndrea Russworm. Gaming Representation: Race, Gender, and Sexuality in Video Games. Indiana UP. ISBN: 0253026474. (Ebook, optional)

Miguel Sicart. Play Matters (2017). MIT. ISBN: 9780262534512. (Ebook, available through the library)

Other course texts (readings, reports, videos, images, etc.) will be available as PDFs or links from our class Canvas site and are indicated on the course schedule. All other


class materials (slideshows, videos, handouts, etc.) will also be available on Canvas. All course texts are required, unless otherwise noted.

ASSIGNMENTS AND GRADING

Note that these are just brief descriptions; each project has several required components, and full assignments will be posted on Canvas. Please see the Class Schedule for due dates. Late Work: I do not accept late work unless arrangements have been made at least 48 hours prior to the due date. Final drafts of projects must be uploaded to Canvas by 11:59pm on the assignment due date, unless otherwise specified on the syllabus.

Common First Week Project.......................................................................................5% You will create a video (90-120 seconds) in which you will articulate a challenge relating to one of the modes—written, oral, visual, electronic, or nonverbal communication—that the course will engage with course projects and materials this semester. You will articulate to fellow first-year students at Georgia Tech the concerns, challenges, and opportunities posed by the course assignments. You will then submit a reflective memo of approximately 750 words in which you will reflect on your process and experience with the common assignment. (approximately the equivalent of 1000-1500 typewritten words)

Interface & Design Report…..…..………..…...……………...…………………............15% You will analyze, in a multimodal report, the design of the 2015 video game Her Story, breaking the interface down into its component parts and answering broader questions about its significance. You will include images and/or short clips from the game in your report in order to support your analysis of its interface design. This writing project will include multiple multimodal components, including a statement of purpose, a rough draft, peer review, a final design report, and a reflective memo. Through examining the rhetorical significance behind this gaming interface, you will experiment with technical writing and with audience consideration and analysis. (approximately 2250–2750 words)

Board Game Prototype……...…………………….......................……………………...25% In this collaborative project, you will work in groups to design and prototype a board

percentage (for assignments)

letter grade (for final course grade)

100–98 = A+ 97–94 = A 93–90 = A- 89–88 = B+ 87–84 = B 83–80 = B- 79–78 = C+ 77–74 = C 73–70 = C- 69–68 = D+ 67–64 = D 63–60 = D- 59% or below = F

4.0 = A 3.0 = B 2.0 = C 1.0 = D 0.0 = F


game, using Jeremy Holcomb’s The White Box as a foundation for your prototyping work. This prototyping project will include multiple multimodal components, including a design pitch, playtesting, a final board game prototype, and a reflective memo. By prototyping a board game, you will have the opportunity to practice using multiple technologies to design multimodal projects and explore the ways rhetoric works in playful spaces and mediums. (approximately the equivalent of 2200-2500 typewritten words)

Board Game Crowdfunding Campaign...........……………………………..…………30% Your board game groups will create a crowdfunding campaign for your board game prototypes. You will construct both a crowdfunding narrative and short video suitable for presentation on a crowdfunding platform of your choice. You will then engage in in-class presentations in which you will imaging pitching your games to an audience of investors, using your crowdfunding narratives and videos to support your pitch, after which you will submit a reflective memo examining your process in this project. By constructing crowdfunding campaigns for your board game prototypes, you will have the opportunity to explore how rhetorical appeals are used in public-facing and multimodal communications to gain support for developing projects. (approximately the equivalent of 2500-2750 typewritten words)

Final Digital Portfolio…………………..…………………………………….……………15% In lieu of a final exam, ENGL 1101 and 1102 require you complete a final multimodal portfolio due during your section’s scheduled final exam time (see here for the final exam schedule). The portfolio will include examples of your WOVEN work products, a substantial reflective essay, and brief introductions to each artifact. You must submit a portfolio in order to pass the course. The portfolio is an opportunity for you to showcase your written communication skills, how they have developed, and how you can adapt and negotiate your skills based on context.

Discussion Journals….……………………………..………………………….…………10% Over the course of the semester, you will be asked to submit 1–2 page responses to course readings and/or topics, designed to contribute to your understanding of course concepts. These will be averaged to form your short writing grade. Additional information on these short assignments will be given on Canvas.

ATTENDANCE

The Writing and Communication Program has a Program-wide attendance policy which allows a specific number of absences without penalty, regardless of reason. After that, penalties accrue. Students may miss a total of four (4) days for M/W/F classes over the course of the semester without penalty. The attendance policy does not make any distinction about the reasons for your absences. Only absences officially exempted by the Institute (e.g., due to participation in official Georgia Tech athletics, to religious


observance, to personal or family crisis confirmed by documentation from the Dean of Students) will not be counted among your allotted absences.

Each additional absence after the allotted number deducts one-third of a letter grade from a student’s final grade. Missing eight (8) classes for a M/W/F course may result in failure of the class, as determined by the instructor of the course in consultation with the Director and Associate Director of the Writing and Communication Program. Students are expected to keep up with their own attendance record.

TECHNOLOGIES

In order to participate in course activities, the following technologies are required:

• A high-speed internet connection, which you will access daily for course communication through email, as well as Canvas use

• A laptop or desktop computer with Windows Vista or higher, or Mac OS 10.6 Snow Leopard or higher

• A program that can open PDFs (such as Acrobat or Preview) • Microsoft Office, Apple’s Office suite, or open source equivalents (please save

documents in .doc, .docx, or .pdf formats—no PAGES files, please!)

ACADEMIC HONESTY When writers use material from other sources, they must acknowledge this source. Not doing so is called plagiarism, which means using without credit the ideas or expression of another. You are therefore cautioned (1) against using, word for word, without acknowledgment, phrases, sentences, paragraphs, etc. from the printed or manuscript material of others; (2) against using with only slight changes the materials of another; (3) against using the general plan, the main headings, or a rewritten form of someone else's material. These cautions apply to the work of other students as well as to the published work of professional writers. If you have questions about what is and is not plagiarism, do not hesitate to ask me during office hours, during conferences, or via e-mail.

If you engage in plagiarism or any other form of academic misconduct, you will fail the assignment in which you have engaged in academic misconduct and be referred to the Office of Student Integrity, as required by Georgia Tech policy. I strongly urge you to be familiar with these Georgia Tech sites:

• Honor Challenge — http://osi.gatech.edu/content/honor-code • Office of Student Integrity — http://www.osi.gatech.edu/index.php/


DISABILITIES & ACCOMMODATION Georgia Tech supports students through the Office of Disability Services. Any student who may require an accommodation for a documented disability should inform me privately during the first week of class or as soon as you become aware of your disability. Anyone who anticipates difficulties with the content or format of the course due to a documented disability should arrange a meeting so we can create a workable plan for your success in this course. The Office of Disability Services serves any Georgia Tech student who has a documented, qualifying disability.

Official documentation of the disability is required to determine eligibility for accommodations or adaptations that may be helpful for this course. Please make sure I receive a Faculty Accommodation Letter form verifying your disability and specifying the accommodation you need during the first week of class.

• Visit: Smithgall Student Services Bldg, Suite 210 on 353 Ferst Drive • Email: [email protected]. • Call: 404-894-2563 (V); 404-894-1664 (TDD); 404-894-9928 (fax)

MENTAL HEALTH RESOURCES Attending college can be a stressful time; don’t hesitate to ask for help if you’re feeling overly anxious, stressed, or depressed. Georgia Tech has two main ways to seek support: through the Office of the Dean of Students and through the Counseling Center. Both units work closely together to support Georgia Tech students. You can seek support by using the contact information below.

Office of the Dean of Students http://studentlife.gatech.edu/content/services Charles A. Smithgall Jr Student Services Building (also known as the Flag Building), Suite 210 (404) 894-6367

Counseling Center http://www.counseling.gatech.edu Charles A. Smithgall Jr Student Services Building (also known as the Flag Building), Suite 328 404-894-2575 (including 24-hour, seven-day-a-week access to a counselor on call).

NAUGLE COMMLAB Georgia Tech’s Naugle CommLab is located in Clough Commons, Suite 447. It is an excellent resource for all students (undergraduate or graduate) who want help with a communication-related project, from their multimodal assignments for English 1101 and English 1102 to graduate school applications, from engineering and science reports to


oral presentations, from storyboards for videos to poster designs, from grant proposals to job cover letters and resumes. For information on making an appointment please visit this website. If you need assistance with the appointment system, you can call 404-385-3612 or stop by the center.

EMERGENCIES

Classroom and campus safety are of paramount importance at Georgia Tech. Safety is the shared responsibility of all of us throughout the entire campus. Please make sure you are familiar with GTENS (Georgia Tech’s Emergency Notification System), which allows you to receive time-sensitive emergency messages in e-mail, voice mail, and text messages, as well as the LiveSafe app, a comprehensive safety app that enables you to call or text GTPD quickly on your mobile phone.

Review the Georgia Tech Emergency Preparedness notification information and register (if you haven’t already) through the link at https://passport.gatech.edu. Use this link — http://www.livesafe.gatech.edu/ — to download the LiveSafe app to your Smartphone (if you haven’t already). Make sure the Georgia Tech Police Department number is in your Smartphone: (404) 894-2500. Call this number for any on-campus emergency.

And in an emergency, you can always dial 9-1-1. If you call 9-1-1 from your cell phone, the call will be directed to the City of Atlanta Dispatch Center. Immediately tell the dispatcher that you are calling from Georgia Tech, and your call will be transferred to the Georgia Tech Police Department Operations Center.

CLASS SCHEDULE This schedule is tentative. If additional readings are posted or anything is changed, a revised class schedule will be posted.

week topic, readings & videos assignments 1 course introduction; articulating

challenges related to WOVEN communication (8/19–8/24) read/play/watch • Weds, 8/21: WOVENText pages

about portfolio (Chapter 4, pp. 95-99)

• Fri, 8/23: WOVENText Chapter 3: “The Synergy of Modes & Media in Academic & Professional Communication” (pp. 52-85)

• Weds, 8/21: Review syllabus; come to class with questions/concerns about the syllabus; sign and return syllabus form; brainstorming, planning, and reflection activity (discussion journal #1) due by 11:59pm

• Fri, 8/23: Two responses to discussion journal #1 due by 11:59pm


week topic, readings & videos assignments 2 writing to describe and inform,

considering process, beginning research skills (8/25–8/31) read/play/watch/listen • Mon, 8/26: WOVENText Chapter 2:

“Critical Concepts of Communication (pp. 38-51)

• Weds, 8/28: Raph Koster, A Theory of Fun for Game Design, Chapters 1-4

• Fri, 8/30: Crimetown Chapter 1: “Divine Providence” and Chapter 2: “The Wiseguys”

• Mon, 8/26: Common Assignment Video due by 11:59pm

• Weds, 8/28: Reflective Memo due by 11:59pm

• Fri, 8/30: Brainstorming, planning, and reflection activity (discussion journal #2) due by 11:59pm

3 investigating design choices; analyzing digital gaming interfaces (9/1–9/7) read/play/watch • Weds, 9/4: Sam Barlow, Her Story • Weds, 9/4: Raph Koster, A Theory

of Fun for Game Design, Chapters 5-9

• Fri, 9/6: WOVENText Chapter 13: “Considering Communication: Performance, Difference, Language, & Culture” (pp. 254-290)

Note: No class 9/2 for Labor Day. • Weds, 9/4: Play Journal (discussion

journal #3) due by 11:59pm • Fri, 9/6: Statement of Purpose due by

11:59pm

4 drafting and organizing multimodal communication (9/8–9/14) read/play/watch • Mon, 9/9: Sam Barlow, Her Story • Mon, 9/9: Bill Hart-Davidson,

“Describe-Evaluate-Suggest: Giving Helpful Feedback”

• Mon, 9/9: Play Journal (discussion journal #4) due by 11:59pm

• Weds, 9/11: Interface & Design Report rough draft due by 11:59pm

• Fri, 9/13: Peer feedback on report draft due by 11:59pm


week topic, readings & videos assignments 5 revising and reflecting; considering

process and research skills (9/15–9/21) read/play/watch • Mon, 9/16: WOVENText Chapter 24:

“Revising & Delivering Your Project” (pp. 712-731)

• Weds, 9/18: Jennifer Malkowski and TreaAndrea Russworm, “Introduction: Identity, Representation, and Video Game Studies Beyond the Politics of the Image” (Gaming Representation)

• Fri, 9/20: Raph Koster, A Theory of Fun for Game Design, Chapters 10-12

• Mon, 9/16: Come to class prepared to revise and workshop your reports

• Weds, 9/18: Final Interface and Design Report due by 11:59pm

• Fri, 9/20: Reflective Memo due by 11:59pm

6 defining play; exploring gameworlds and rule systems (9/22–9/28) read/play/watch • Mon, 9/23: Miguel Sicart, Play

Matters, Chapters 1-4 • Weds, 9/25: Chapter 19 section on

transformative games (pp. 527-535)

• Mon, 9/23: Come to class prepared to brainstorm and plan your board game prototypes

• Weds, 9/25: Come to class prepared to brainstorm and plan your board game prototypes

• Fri, 9/27: Brainstorming, planning, and reflection activity (discussion journal #5) due by 11:59pm

7 board game prototyping (9/29–10/5) read/play/watch • Mon, 9/30: Jeremy Holcomb, The

White Box, Chapters 4-6 • Weds, 10/2: Miguel Sicart, Play

Matters, Chapters 5-6

• Mon, 9/30: Come to class prepared to brainstorm and plan your board game prototypes

• Weds, 10/2: Come to class prepared to brainstorm and plan your board game prototypes

• Fri, 10/4: Design Pitch due by 11:59pm EST

8 board game prototyping, continued (10/6–10/12) read/play/watch • Mon, 10/7: Jeremy Holcomb, The

White Box, Chapters 7-8 • Weds, 10/9: Miguel Sicart, Play

Matters, Chapters 7-8 • Fri, 10/11: WOVENText Chapter 5:

“How Does Rhetoric Work in Multimodal Projects?” (pp. 118-131)

• Mon, 10/7: Come to class prepared to workshop and prototype your board games

• Weds, 10/9: Come to class prepared to workshop and prototype your board games

• Fri, 10/11: Prototyping Journal (discussion journal #6) due by 11:59pm


week topic, readings & videos assignments 9 peer review and playtesting (10/13–

10/19) read/play/watch • Weds, 10/16: Jeremy Holcomb, The

White Box, Chapters 13, 24-25 • Fri, 10/18: WOVENText Chapter 7:

“Designing Multimodal Projects with Technologies” (pp. 158-180)

• Fri, 10/18: Bonnie Ruberg, “Playing to Lose: The Queer Art of Failing at Video Games” (Gaming Representation)

Note: No class 10/14–10/15 for Fall Break. • Weds, 10/16: Bring your board game

prototypes to class for playtesting and peer review

• Fri, 10/18: Bring your board game prototypes to class for playtesting and peer review; Playtest Journal 1 (discussion journal #7) due by 11:59pm

10 peer review and playtesting, continued (10/20–10/26) read/play/watch • Mon, 10/21: WOVENText Chapter 8:

“Collaborating Cooperatively: Tips for Terrific Team Projects” (pp. 186-197)

• Mon, 10/21: Bring your board game prototypes to class for playtesting and peer review

• Weds, 10/23: Bring your board game prototypes to class for playtesting and peer review; peer feedback on board game prototypes due by 11:59pm

• Fri, 10/25: Playtest Journal 2 (discussion journal #8) due by 11:59pm

11 revising and finalizing board game design (10/27–11/2) read/play/watch • Mon, 10/28: WOVENText Chapter

17 section on digital stories (pp. 404-414)

• Weds, 10/30: Lisa Nakamura, “Racism, Sexism, and Gaming’s Cruel Optimism” (Gaming Representation)

• Mon, 10/28: Come to class prepared to revise and finalize your board games

• Weds, 10/30: Final Board Game Prototype due by 11:59pm

• Fri, 11/1: Reflective Memo due by 11:59pm

12 visual modes of communication and persuasion; writing, storyboarding, and creating crowdfunding campaign videos (11/3–11/9) read/play/watch • Mon, 11/4: WOVENText Chapter 10:

“Oral Presentations, Audience, & Evidence” (pp. 210-229)

• Mon, 11/4: Crowdfunding Journal 1 (discussion journal #9) due by 11:59pm

• Weds, 11/6: Crowdfunding Video Storyboard rough draft due by 11:59pm

• Fri, 11/8: Peer feedback on storyboard draft due by 11:59pm


week topic, readings & videos assignments 13 creation of call-to-action; writing,

storyboarding, and creating crowdfunding campaign videos (11/10–11/16) read/play/watch • Mon, 11/11: WOVENText Chapter

11: Organizing & Developing Oral Presentations” (pp. 230-241)

• Weds, 11/13: WOVENText Chapter 12: “Practice, Delivery, & Evaluation for Oral Presentations” (pp. 242-253)

• Mon, 11/11: Crowdfunding Narrative rough draft due by 11:59pm

• Weds, 11/13: Peer feedback on narrative draft due by 11:59pm

• Fri, 11/15: Crowdfunding Journal 2 (discussion journal #10) due by 11:59pm

14 using rhetorical appeals to gain support for developing projects (11/17–11/23) read/play/watch • No assigned readings this week, due

to in-class presentations

• Mon, 11/18: Crowdfunding presentations in class

• Weds, 11/20: Crowdfunding presentations in class, continued; Final Crowdfunding Videos & Narratives due by 11:59pm

• Fri, 11/22: Crowdfunding presentations in class, continued; Reflective Memo due by 11:59pm

15 portfolio workshopping, continued; reflecting on and developing multimodal composition over time (11/24–11/30) read/play/watch • No assigned readings this week, due

to final portfolio development

Note: No class 11/27–11/29 for Thanksgiving Break.

• Mon, 11/25: Come to class prepared

to workshop and develop your multimodal portfolios

16 portfolio workshopping, continued; reflecting on and developing multimodal composition over time (12/1–12/7) read/play/watch • No assigned readings this week, due

to final portfolio development

• Mon, 12/2: Come to class prepared to workshop and develop your multimodal portfolio

• Weds, 12/4: I will hold optional office hours during class time if you need any additional support on your portfolios

• Fri, 12/6: I will hold optional office hours during class time if you need any additional support on your portfolios

F presenting and reflecting (12/8–12/14) • Final multimodal portfolio due during your section’s scheduled final exam time


STATEMENT OF UNDERSTANDING PLEASE READ, SIGN, AND RETURN THESE STATEMENTS TO BIANCA BATTI

I affirm that I have read the entire syllabus and Common Policies site for ENGL 1101 and understand the information and the responsibilities specified.

____________________________________________ print full name ____________________________________________ legible signature ____________________________________________ date

DIRECTIONS: Read carefully and check all that apply. c I give my instructor, Bianca Batti, permission to use copies of the work I do for this course, ENGL 1101 as examples in presentations and in print and electronic publications. c I do not want my work used as examples in any situations.

If you give permission for your work to be used, please indicate how you want to be acknowledged: c Please acknowledge me by my full name. c Please use my work, but do not acknowledge me by name.

The following information enables me to contact you if your work is used. _________________________________________________________________________ print full name _________________________________________________________________________ legible signature _________________________________________________________________________

_________________________________________________________________________ print permanent home address _________________________________________________________________________

_________________________________________________________________________ print campus address _________________________________________________________________________ cell and home phones _________________________________________________________________________ school and home email addresses

_________________________________________________________________________ date

batti engl 1101 syllabus fall 2019 · our course will have a specific theme in order for us to...

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