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ENGL 131 Sequence Design in the UW Classroom

Sequence design can be difficult and overwhelming the first time you do it! One of the most helpful things you can do for yourself is “work backwards” from the major papers as you develop your short assignments, so that each short assignment focuses on a specific outcome or a specific skill that will give my students the tools they need to successfully complete their major assignments.

This packet contains a 131 sequence for a 10-week course (eight weeks of material development and two weeks of portfolio work). This includes five short assignments and two major papers/projects. The theme for this course was “Environment in Conflict.” The first sequence was comprised of two short assignments, a major paper rough draft, and a major paper final draft. The second sequence was comprised of three short assignments and a major project.

Sequence 1: Weeks 1-4Sequence 1 focuses primarily on developing the key skills in the four outcomes in a formal, academic context.

Short Assignment 1: Environment and Genre (Outcome 1) Rhetorical Situation/Awareness Genre Translations

Short Assignment 2: Environment in Conflict (Outcomes 1 and 2) Reading/comprehending complex texts Synthesizing course texts Integrating quotes/citing sources Developing a simple claim

Major Paper 1: Advocating for Change (Outcomes 1, 2, 3, and 4) Developing a complex claim Integrating quotes in service of claim Revision Formal academic paper

Sequence 2: Weeks 5-8Sequence 2 addresses the same, or similar, skills as the first sequence, but applies the skills a public-facing audience and focuses on developing multimodal texts and projects. By cycling back through the same skills, you can focus on the transfer of the outcome skills to different kinds of rhetorical situations.

Short Assignment 3: Rhetorical Analysis of a Multimodal Artifact (Outcomes 1 and 2)

Developing a vocabulary to discuss multimodality Identifying rhetorical situation/awareness – special focus on audiences

and mediums

Short Assigment 4: Proposal and Annotated Bibliography (Outcomes 1, 2, and 3)

Writing in a new genre (proposal) Connecting academic sources to a public-facing project Developing a line of inquiry/complex claim that the multimodal project

will address

Short Assignment 5: Storyboard and Mockup (Outcomes 1, 2, 3, and 4) Creates a rough draft of major project Identifies possible audience, genre, conventions, etc. Communicates a complex claim through a multimodal artifact Directs student attention to project shortcomings, gaps in knowledge,

forces them to revise plans to create the major project

Major Project 2: Multimodal Artifact (Outcomes 1, 2, 3, and 4) Communicates a complex claim through a multimodal artifact Identifies public-facing audience Analyzes integration of academic sources into public-facing rhetoric Considers the way objects can be created and read as “texts”

Short Assignment 1: Environment and Genre

Outcome(s) Targeted: 1

During our first few classes, we discussed the relationship between genre and audience and how and why one makes certain rhetorical choices in order to achieve a specific purpose (to educate, entertain, enrage, persuade, etc.). We have also practiced translating a concept from one genre into another in order to reach different audiences and achieve different purposes. Remember that a writer always writes with a purpose, to a specific audience or discourse community, according to the conventions of genre.

Your Task:Pick an environmental issue that matters to you and then introduce this issue to two different audiences in two different genres. Each introduction should be a minimum of 250 words.

Whichever topic, audience, and genre you choose, the most important part of the assignment is that:

The rhetorical choices you make in your translation still work to communicate the specific purpose of the original issue

The who, what, why and when of the new rhetorical situation is clear Beyond the basics of the issue, any other information you include (and

how you choose to include it) will depend on your audience and the conventions of the genre you have chosen (there are details you would share with an academic audience that you wouldn’t share with a kindergarten class, for example)

Think about the life experiences that your readers bring to the text – what role might race, gender, age, class, political orientation, religious affiliation, etc., play?

Based on your word choice, the style and tone of your writing, and the images you include (or not), your intended audience should be clear. For example, if you use terms like “deep ecology” and “Anthropocene” I’m going to assume you’re writing to an educated group of ecologists rather than teenagers

When choosing a genre to work in, be mindful of the conventions of that genre and use them appropriately. A podcast will use particular language and tone that a church sermon might not; an SNL skit might be irreverent and ironic in the way that a political debate will not be. Keep these conventions in mind.

Requirements: 500–750 wordsMLA style header and formatting12 pt. Times New Roman, double spaced, 1 inch margins (format might stray from standard MLA, depending on your genre, but you will still need to meet the required word count)

DUE: Post on Canvas by Friday, October 9th at 5 PM

Short Assignment 2: Environment in Conflict

Outcomes Targeted: 1 and 2

In class we have been working on how to break down rhetorical choices made by others in their own writing (rhetorical analysis) as well as how to evaluate sources. We have also been talking about intertextuality and putting texts into conversation with one another.

Your Task: For Short Assignment 2 you will two of the texts that we have been discussing in class and in 500–750 words (2 to 3 pages) you will compare two rhetorical choices made by each author in the form of a synthesis essay. You will want to summarize the authors’ main arguments, analyze how the arguments are articulated and supported, and then provide your own evaluation (a baby claim) of whether or not their arguments are effective and why. Because you are working with two texts instead of one, organization is important. You, as a writer, will also want to keep in mind the rhetorical choices you make based on the audience for which you are writing.

Be sure your synthesis includes: Clear summary of arguments Clear analysis of two rhetorical choices made by the authors A clearly-articulated baby claim that states whether or not you think

the chosen rhetorical choices are effective, and why (or why not) Consistent tone Clear organization

Requirements: 500–750 words, or 2 to 3 pages MLA heading and page numbers Double spaced, 12 pt. Times New Roman font, 1-inch margins Two articles, with bibliography

Due Date: Post to Canvas by 5 PM on Friday, October 16th

MAJOR PAPER 1: Advocating for Change

In your first short assignment, you were asked to consider issues of audience while attending to the conventions of various genres. In the following assignment, you practiced the art of rhetorical analysis and synthesis by considering two very different takes on a single topic and analyzing how those arguments were constructed. Now, for your first major project, you will have the chance to use those skills you developed in your first two assignments and focus them toward producing your own complex, analytic, and persuasive argument.

OUTCOMES TARGETED: 1, 2, 3, 4

ASSIGNMENT: Write a 5 to 7 page paper (1250–1750 words) in which you create your own complex claim that advocates for a change that is informed by feminist ideology. The change could be small and personal, such as something you might change in your own language or behavior, or it might be a more systemic change, such as advocating for equal pay for female and male athletes in a particular sport, like surfing, for example. You will want to use at least two texts that support your argument and you want to include one counterargument or concession.

Make sure you pick a topic that is reasonable for the length of this assignment. For example, you may find it outside the scope of this paper to argue for a wholescale institutional policy that properly addresses the issue of rape on university campuses, but it might not be outside the scope of this paper to argue for more educational tools about sexual violence for UW Greek housing. It is important that you feel confident in the attainability and potential success of the thing for which you are advocating.

Some questions to guide you: 1. Is your argument feasible? Can it realistically be put into practice? How?2. Is your claim complex? Does it meet the criteria of the Big 5? 3. What arguments can you foresee against your own? How can you respond to such

an objection in a way that strengthens your own argument? 4. Has your argument been suggested by others? If so, who are your allies? Are you

suggesting the same policy, or is yours slightly different in some crucial way? That is: are you attempting to improve on a policy that has already been proposed?

5. Who is the audience to which you are offering your resolution? Is it readers of a local newspaper? A group of literary scholars? Government officials? Is your audience like-minded or resistant? Are you writing to leaders who you’d like to see put your policy into practice or are you writing to a more general population?

6. Is your paper written in an appropriately formal, academic style and tone?

EXPECTATIONS: A Successful Paper Will:

Define the issue that you plan to address, including a brief background on why you are advocating for change for this particular issue;

Establish an audience who is, or should be, invested in your argument; Clearly state your proposed argument and policy for change, which should

effectively address the concern and suggested solution or modification; Marshal emotional appeals, logical reasoning, details and examples to enhance your

points through ethos; Appropriately paraphrase, quote from, and summarize the arguments made by other

sources in a way that clearly enriches and supports your argument; Acknowledge and respond to opposing viewpoints; and

Convey why it is important that this issue be resolved (i.e. answer “so what?” or articulate your stakes)

Length and Format: 1250–1750 words (5-7 pages), double spaced, 12 pt. Times New Roman font, 1-inch margins, MLA formatting and Works Cited Page. Essays that stray from these requirements will not be accepted.

DUE DATES:Rough Draft Due: Sunday, January 31st by 11:59 PM on CanvasPeer Review: Bring two copies of your rough draft to class on Monday, February 1st Second Draft Due: Post to Canvas by 11:59 PM on Sunday, February 7th

SEQUENCE 2Short Assignment 3: Rhetorical Analysis of a Multimodal Artifact

Remember that during the first few weeks of class this quarter we discussed the relationship between genre and audience and how and why one makes certain rhetorical choices in order to achieve a specific purpose. This week we have transitioned into an examination of the relationship between media (what affordances to particular mediums allow in order to achieve a specific purpose), modalities (how the senses are engaged in rhetorical maneuvers), and audiences (especially considering the differences between primary and secondary audiences and how meaning is created and communicated to them) as we discuss what it might mean to create texts or artifacts for a public audience.

Your Task:Using the multimodal artifact that you brought to class, you will TRANSFER the skills we have developed in class rhetorically analyzing the visual elements of the “Never Alone” website and analyze the rhetorical situation, the visual or multimodal elements, and the possible meaning of your artifact.

Your paper should do the following: Clearly describe the setting, subject, participants, writers, and

readers in the artifact’s rhetorical situation; Articulate what the multimodal elements are, how they relate to each

other, and what kind of rhetorical effects they elicit (as described in the Wysocki article);

Speculate on the meaning of the artifact: what ideologies are present in the work? What shared knowledge is there? What is assumed? What do participants need to know to participate? Who is invited? Excluded? Is there a primary audience and a secondary audience? How might meaning shift between the two?

A successful paper will: Introduce the artifact and establish it in its rhetorical situation before

moving into an analysis of its multimodal components Include examples from the artifact to support your analysis Engage with the skills and concepts learned in class and apply them

in new, innovative, and meaningful ways Have a creative title


DUE: Post to Canvas by Friday, November 6th at 5 PM

Short Assignment 4: Proposal and Annotated Bibliography

For this assignment, you will write a project proposal in 500 words, as well as a two-source annotated bibliography with a 100–125 word summary of each source.

Why are you writing a proposal in this class, for this project?

Learning how to write a strong proposal is essential to succeeding in almost any profession. While different professions demand different types of project proposals that include different types of information organized according to different conventions, all of them are about the art of being about to articulate the purpose of your longer project in a concise and precise manner. It is likely that you might be asked to write proposals in your upper-level college courses, as well. So this is a chance to develop a skill you will most certainly be asked to use later on.

The other purposes of writing a proposal in this class are 1) To get you thinking seriously about what you want to construct for your final major project and whether or not that project is feasible and 2) So that, based on your proposal, I can help you properly develop your paper. In journalism, this is what they call “front end editing.” Front-end editing is crucial to helping any writer use their time well. It’s often the case that writers without good front-end editing will waste a lot of time pursuing stories that go nowhere. Good front-end editing helps a writer find the path of least resistance when researching and it also ensures that they don’t pursue story ideas that have no legs. There is nothing worse than spending hours on something that you eventually have to scrap because it was simply a poorly developed idea.

What your proposal needs to include:

1. Topic: The topic is the general theme or subject for your project. Examples of topics are things like: “the transmission and preservation of Alaska Native oral narratives,” “the Great Pacific Garbage Patch,” “representations of American Indians in television,” “octopuses,” etc. Topics tend to be broad, and are like the "field" in which questions are asked.

2. Question (Line of Inquiry): Topics are not questions. You ask a question within the area of the topic. As we discussed in the last sequence, a topic could lead to many different questions. For example, the topic "representations of American Indians in television" could have the following questions: “where do we see American Indians in television?” “What roles do they typically play?” “How might these representations be fair or unfair?” “What could television producers do to change unfair representations?” or even “Should American Indians be played by non-American Indians on television?” You can see that there could be hundreds of possible questions.

When you find a question, or a few possible questions that truly intrigue or interest you, you should analyze them. Is your question too vague? Is it too narrow? Can it be answered with a yes or a no, or does it demand a more complex answer? Think about other ways to ask the same question (that is, reword it). Do whatever it takes to become as clear as possible about the question you are asking. Also be sure that your question can produce a complex answer.

It is also important to learn to recognize the kinds of questions asked in particular disciplines. For example, literary scholars often pose questions about what certain texts

mean, how they were produced, and what they reflect about the context in which they were produced. Historians, on the other hand, often ask cause and effect sorts of questions—they want to know why certain historical events happened. And legal scholars tend to be interested in how laws have been, are, or should be interpreted. Remember: A good complex claim will come from good questions; a poor complex claim will come from unclear questions.

3. Working Thesis: Your working thesis should attempt to answer your question based on some preliminary research. It should not be based on a hunch, but on information you have started to analyze and synthesize. For that reason, you must find at least two sources in order to develop your working thesis.

The way you will find the three sources you need to develop a good working thesis is through the question you are asking. Look for sources that attempt to answer your question. And make sure to evaluate your sources carefully. Ask yourself whether the answers they are providing are sophisticated and complex. And be sure not to use the first three sources you find. Look at a few sources and then pick the ones that, based on your analytical reading, seem like the richest sources to start building your argument and your research paper.

4. Roadmap: The proposal needs to make clear how you are going to answer your question, or how you are going to defend your thesis (that's two ways of saying the same thing). If you have a good question and good sources, it should be clear how you need to go about answering it.

5. Annotated Bibliography: The proposal needs to have two sources on which you will build your project. These should be scholarly sources. It might be the case that you find good sources that are not considered scholarly per say. You may use these sources, but only in conjunction with at least two scholarly sources, which may include entire books, chapters of books, and scholarly journal articles. Be careful, because not all books are considered scholarly resources.

After you write your proposal:

The final project may deviate from your proposal. As you begin to think more critically, you might decide to use entirely different sources or make an entirely different argument or even ask a different question. That’s ok. That’s part of the researching and writing process. Hopefully, by writing a proposal and doing some initial research, you won’t be in a situation where you have to find an entirely new topic a day before your project is due.

A good proposal will:

-Concisely and clearly state the topic, research question, and working thesis for your major project -It will incorporate relevant information from scholarly sources-It will clearly outline a potential roadmap for how you might construct your project-Include rhetorical choices appropriate for your chosen audience

Audience:

The audience for your project will be a public-facing audience. Still, you need to decide who it is that you are specifically targeting. For example, if you are writing about American Indians in television, are you writing about this for an audience of indigenous people? For a

group of Hollywood producers? For the general viewing public? You’ll need to know which audience you are writing for so:

1. You can use the appropriate language/discourse/jargon of that discourse community 2. Know what information your audience will already have so that you don’t state the

obvious3. Be aware of the current conversation people in this community are having about

your chosen topic

To this end, you want to be sure that you are reading your sources not only for their content, but also for how they are being written (that is: you must also read rhetorically). Make sure to identify the conventions being used. What terms do these scholars regularly use (we often call this sort of discipline specific language “jargon?” What information do they include that, say, a newspaper article might not (for example, they will likely be way more in depth)? What information do they exclude that, say, a magazine article for a more general audience might (for example, they might not include basic information that they know other scholars will already have)?

SPECIFICATIONS

-Your proposal must be 500, NOT INCLUDING your Annotated Bibliography-It must include an Annotated Bibliography page with at least two scholarly sources-It must be in MLA formatting and include MLA citations

Any paper that does not meet these specifications will not be accepted.


DUE: Bring to class on Thursday, November 12th for peer reviewPost to Canvas by Friday, November 13th at 5 PM

Short Assignment 5: Mock-Ups and Storyboards

This is the first big step toward creating your multimodal artifact. As we’ve been talking about all quarter, drafting and revision are key practices in producing something of good quality. The mock-ups and storyboards will be a way of drafting your artifact ideas that helps you visualize and begin to consider the kind of work it might take to complete your multimodal artifact. The goal of this project is to help you capture as much information as possible to help you decide what you need before starting to create your multimodal artifact.

Your Task: Using chapter 6 from Writer/Designer, select either a mock-up or storyboard format and create an outline, or a roadmap, that shows where everything will actually go in your final project. You will then give a three-minute presentation of your mock-up or storyboard in class, in which you explain your project as if you were presenting it at a poster session. Your classmates will ask clarifying questions and together we will all generate feedback and help make sure you’re on the right track.

Mock-UpMay include actual textual content, but not requiredIncludes proposed layout, colors, images, fonts, and recurring elements, like headersMay be done by hand, on paper, digitallyQuestions to Consider:

Is the proposed layout evident? Is it consistent across all possible iterations (pages) of text? If layout needs to change from page to page (slide to slide, etc), are those variations indicated in separate or supplementary mock-ups?

Is the color scheme clearly indicated? Is it appropriate for the rhetorical situation, and for readability?

If images are used, is their relative placement on the page or screen mock-up purposeful and consistent?

Are example fonts provided, and if so, do they adequately reflect the rhetorical needs of the text (think headers versus subtext, etc. You may refer back to Wysocki’s “Multiple Medias” article for more direction here)

Are navigational tools shown or indicated, and clear for users? StoryboardsRepresents texts that move through time, like a video, animation, game, etc. Uses visuals to show sequence of the text, plus written descriptions of the actions and sound effectsIndicates what elements will be included (images, audio, camera angles, lighting, etc.)Questions to Consider:

Have you indicated the setting, movement by characters or objects, script/dialogue, soundtrack or sound effects, shooting angle?

Is the initial setting or context clearly evident? Are different characters/people/animals differentiated clearly? Are important movements or events indicated? Is important dialogue indicated beneath storyboard box? Are sound effects, musical scores, noted? Do you indicate what these

audio elements will be and how long or loud they will be?

Remember to refer back to your genre conventions checklist made in class to make sure that you take full advantage of or manipulate the specific genre conventions of your chosen genre!

Writer’s Memo 4: In 1-2 pages, write a reflection on what you learned about creating your project from drafting the mock-up or storyboard. In what ways was this assignment helpful in conceptualizing your final project? Were there ideas you had that ended up not working once you started drafting it? Were there new ideas that surfaced as you drafted? In what ways was this a helpful, or unhelpful, process? (Remember that “unhelpful” does not mean “inconvenient” or “boring.” Was this short assignment useful in thinking through the process of creating your own MM artifact? Why or why not?)

Presentations:Five minute maximum, per person. Three minute presentation plus an additional two minutes for questions and comments. In three minutes, describe:

Your artifact The rhetorical situation for your artifact The rhetorical choices you’ve made for it Why this artifact matters

Offering Feedback: You will all be expected to take notes on all of your classmates’ presentations and offer at least one verbal comment to a classmate during the course of the presentations. After the presentations, choose five presenters and post your questions or suggestions for their project to the Canvas discussion board.

As always, you’ll be graded on quality, completeness, and creativity.

Due: Monday in class. Writer’s Memo posted to Canvas by Monday at 12:30 PM.

Major Project #2: Creating a Multimodal Artifact

Over the course of the quarter, we have touched on the importance of being able to translate information across multiple genres, according to the kinds of affordances those genres allow and who your intended audience is. We have also worked on developing our own lines of inquiry by choosing a topic of interest, building a set of questions, and creating a complex claim that addresses one of those questions in a way that resists binary, or black and white, thinking. And lastly, we have discussed the ways in which texts and artifacts can be multimodal, because they engage more than one of your senses (oral, gestural (performative/embodied), spatial, or visual).

Your Task: Your task for the second major project in this class is two-fold: (1) you will create your own multimodal artifact that communicates a message to a public audience of your choice, and (2) you will write a short, “Head’s Up” paper that explains and rhetorically analyzes your artifact. The artifact should engage at least two senses and should utilize well-thought out and intentionally chosen rhetorical strategies in order to persuasively communicate your purpose or message. Your “Head’s Up” paper will build on and extend from the proposal you turned in for SA4 by including detailed information about the rhetorical choices you made in constructing your artifact and why you find the genre, medium, and rhetoric of the piece to be effectively persuasive for your intended audience.

A Successful Project Will: Multimodal Artifact

Engage at least two of the senses (oral, gestural (performative/embodied), spatial, linguistic, or visual);

Have a clearly intended public audience (museum visitors, comic book readers, video game players, game players, etc.);

Choose a genre and medium based on the affordances that best suit your project goal;

Incorporate knowledge gained through your research in some way (explicitly or implicitly);

Demonstrate creative and intentional engagement with the concepts we have learned in this class this quarter

“Head’s Up” Paper Be 2–3 pages in length (500 to 750 words), MLA format, Times New

Roman; Written in the persona of a designer rather than a student Detail the rhetorical choices you made for both textual and visual

modes, why you made those choices, how those choices adhere/push against the conventions of your chosen genre, what the genre allows

you to do/doesn’t allow you to do, and why you chose that genre given your audience;

Explain how your artifact “works” to communicate the message that you developed during your proposal, and how you incorporated your outside research into your artifact;

Engages with and situates your assessment within the language of the outcomes. In other words, the paper will show me that you’re making connections between your project and the goals for this class (will be immensely helpful when it comes time to build your portfolio)

Include a final Works Cited page that includes all resources that you used to complete your project

DUE: Monday, November 30th by the beginning of classTurning in your MM project: All “Head’s Up” papers will be turned in on Canvas by 12:30 PM on Monday, 11/30.

Electronic projects: will also be uploaded to Canvas by 12:30 PM on 11/30

Physical projects: will be turned in at the beginning of class on 11/30

FALL QUARTER 2015: COURSE CALENDARWEEK 1 IN-CLASS ACTIVITIES HOMEWORKMon 9/28Tue 9/29Wed 9/30 First Day of Instruction

Syllabus, IntroductionsRe-write the four outcomes in your own words; Read CfI Intro. (1-14) and worksheet; Personal Reflection essay due on Canvas, Friday 10/2 by 5 PM

Thur 10/1 Course Outcomes

Inquiry, Complexity, and Conversation: Our Writerly Identities

Intro to Canvas

Read CfI ch. 1 (21-40) and worksheet; Personal Reflection essay due on Canvas, Friday 10/2 by 5 PM

Fri 10/2 Personal Reflection essay due on Canvas, Friday

10/2 by 5 PMWEEK 2Mon 10/5 Evaluating the Rhetorical Situation and Intro to

Genre AnalysisRead CfI ch. 3 (94-112) and worksheet; come up with an environmental issue that you are concerned about

Tue 10/6 Genre Analysis In Cold Blood Writer’’s Memo;

Read CfI ch. 9 (301-317) and outline key concepts

Wed 10/7 Translating genres; Developing Appropriate Lines of Inquiry

Writer’s Memo: In Cold Blood cont.

Thu 10/8 Intro. to Textual Analysis and Reading for Understanding

Read CfI ch. 4 (131-141) and outline key concepts

Fri 10/9 SA 1 Due: post to Canvas by 5 PM on Fri. 10/9

WEEK 3Mon 10/12 Identifying Rhetorical Strategies (the Big Five)

Tue 10/13 Rhetorical Strategies cont.

Wed 10/14 OWRC Resources IntroductionSynthesizing Texts

Thu 10/15 Identifying Complex Claims Read CfI ch. 10 (321-335) and outline key concepts


WEEK 4Mon 10/19 Developing a Complex Claim

Tue 10/20 Reading in Service of Writing, Day 1

Wed 10/21 Reading in Service of Writing, Day 2

Thu 10/22 Major Paper 1 Draft 1 Due in ClassPeer Review Workshop

WEEK 5Mon 10/26 Conferences

Tue 10/27 Conferences

Wed 10/28 Revision and Rewriting: Metacognition

Thu 10/29 Revision Plans for MP 1

Fri 10/30 Major Paper 1 Draft 2 Due: post to Canvas by 5 PM

on Fri. 10/30WEEK 6Mon 11/2 FIELDTRIP: Burke Museum

Public-Facing Learning EnvironmentsTue 11/3 Public-Facing Audiences and Genres

Wed 11/4 P-F Audiences and Genres, cont.Thu 11/5 P-F Lines of Inquiry and Rhetorical Strategies


WEEK 7Mon 11/9 PF Rhetorical Strategies cont.

Tue 11/10 LIBRARY DAY

Wed 11/11 VETERANS DAY—NO CLASS

Thu 11/12 Intertextuality and Synthesis of PF textsProject Proposals: Discuss MP2

Fri 11/13 SA 4 Due: Project

ProposalsPost to Canvas by 5 PM

on Fri. 11/13

WEEK 8Mon 11/16 Annotated Bibliography: Introduction

Tue 11/17 Annotated Bib: Role of Research in Public-Facing Genres

Wed 11/18 Annotated Bibliography: Intertextuality

Thu 11/19 SA 5 Due: Annotated Bibliography in classPeer Review Workshop

WEEK 9Mon 11/23 Synthesizing texts in public-facing projects

Tue 11/24 Discuss MP2

Wed 11/25 NO CLASS – MP2 workshop day (extra credit)

Thu 11/26 THANKSGIVING—NO CLASS

Fri 11/27 Major Paper 2 Draft 2 Due: post to Canvas by 5 PM

on Fri. 11/27WEEK 10Mon 11/30 Portfolios

Tue 12/1 Portfolios

Wed 12/2 Portfolios

Thu 12/3 Portfolios

WEEK 11Mon 12/7 Conferences

Tue 12/8 Conferences

Wed 12/9 Canvas Tutorial in CIC

Thur 12/10 Portfolios

Portfolios Due: Upload to Canvas by 11:59 PM on Monday, De

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