Solved by verified expert:I am an international student. So please write it through the eyes of an international student. I need 500 words today and other words for the rest of days. Below, is the requirement for 500 words.The prompt for the whole paper is in the file I attached.This partial draft of your literacy narrative should be a minimum of 500 words. This draft should include your introduction paragraph (which will be an anecdote with a situation, issue, and claim). The introduction should be around 200 words or so. After this introduction, you should include (at least) the next two paragraphs of the the literacy narrative. These paragraphs support your claim in the introduction with both narrative and analysis of that narrative. You should also include a list of the narrative moments you might next include. Under each new narrative moment (examples: “high school Spanish class,” “reading Shakespeare’s Othello,” or “living abroad in Japan”) write what is significant about that narrative moment (examples: “This is when I finally was able to have a conversation in Spanish”; “Othello made me realize there was another level to English that I was not literate in”; or, “I learned how the culture was inflected in certain words I learned). Have a at least three moments listed in bullet points on your draft. You will have, then, 3 paragraphs and at least 3 additional narrative moments for this draft. *In the introduction, the following paragraphs, and/or the list of narrative moments you plan to include, you should engage with (at least) one of the authors we have read so far. It could be a frame that you use in your introduction (maybe there’s a helpful term that you want to borrow/quote). You could quote from one of them in the following paragraphs to support one of your points. It’s up to you how you would like to incorporate 1-2 of our authors (from any of the texts we have read).
literacy_narrative_writing_prompt_w18__2_.pdf
bartholomae_and_petrosky_ways_of_reading__1_.pdf
bunn_read_like_a_writer.pdf
literacy_narrative_writing_prompt_w18__1_.pdf
marshall_poets_in_the_kitchen.pdf
williams_home_and_away.pdf
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Winter 2018
Writing Project #1: Literacy Narrative
Purpose
The Literacy Narrative Project primarily connects to the UWP1 learning outcome of critically self-reflecting on
reading and composing processes. The purpose of a literacy narrative is to understand how your past literacy
experiences shape your current literacies. While you will share this experience in the form of a narrative, your
analysis of the story is crucial for readers to understand the significance of the experience. This analysis should
explain how your experiences have shaped you as a reader and/or writer.
Genre
Literacy narratives are a storytelling genre where writers use descriptive language and narrative to discuss a
significant event or series of events that shaped their literacies. We’ll read and discuss examples of literacy
narratives in class and additional example literacy narratives are available on the class Canvas site. You’ll have
three options for the subject of your literacy narrative: You can write a narrative about 1) past reading and
composing experiences that have had an impact on your literacy development, 2) your most important current
literacies, or 3) a person who has had an impact on your literacy development. You can write about positive
impacts or about barriers to literacy or conflicts connected to literacies or both. The narrative should, as
discussed, have a sharp focus. While it is a storytelling genre, you will have a main claim in the introduction
which guides your paper and which you develop. Choose 1-2 course texts to engage with in your literacy
narrative. These texts can help frame your narrative and give you some counterpoints and ideas to strengthen
your own analysis.
Format
This first project will be composed as a written document of 1,200-1,400 words and will be uploaded
to Canvas. For ease with reading, use a serif font like Times New Roman and double-spaced, indented
paragraph structure with page numbers and author’s (your) last name in the upper right-hand side.
Include a title that is specific to your literacy narrative. So that you can have a visual representation, I
will upload an example of this format, which is essentially adapted the Modern Language Association
(MLA).
Audience and Circulation
The primary audience for your literacy narrative is you. By reflecting on your literacy history, you’ll learn more
about your present literacy and be a more reflective reader and writer. The secondary audience is me as your
teacher. By learning more about your history as a reader and writer, I’ll be better able to respond to your current
writing. You’ll also have the option of circulating your literacy narrative to a wider audience outside the
classroom. One option is to submit your literacy narrative to the Digital Archive of Literacy Narratives (DALN)
at http://daln.osu.edu/. Another possible avenue for circulating your literacy narrative is submitting it for
consideration for the University Writing Program first-year composition student writing journal, Readings about
Writing.
Cover Memo
You’ll include a cover memo with your peer response workshop draft and the revised draft you submit to me.
The cover memo for the peer response workshop draft should be two paragraphs: one paragraph describing
what you think the strengths and weaknesses of the draft are and one paragraph with any questions or concerns
you have for your peer responders.
The cover memo for the revised draft you submit to me should be three paragraphs: one paragraph
describing what you think the strengths and weaknesses of the draft are, one paragraph summarizing the
feedback you got from your peer responders and what revisions you made based on your peers’ response, and
one paragraph with any questions or concerns you have for me.
I’ll return your revised draft with feedback within a week so that you will have plenty of time to revise it for
your portfolio.
Criteria
The criteria will be given to you as a separate rubric.
Important Dates
Thursday, January 18: Upload partial draft to Canvas and bring printed draft to class. The criteria for this
partial draft will be discussed in class.
Tuesday, January 23: Upload a rough draft of your Literacy Narrative Project with a cover memo to the class
Canvas “Assignments” tool before class and bring two print copies to class for the peer response workshop.
This draft should be at least 1,000 words.
Thursday, January 25: Upload revised narrative with marked/underlined revision. Bring copy to class.
Friday, January 26 (by 5 pm): Upload a revision of your Literacy Narrative Project with a cover memo to the
“Assignments” tool by 5 pm. This draft should be 1,200-1,400 words.
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Introd uction:
Ways of Reading
Makillg a Mark
R
EADING iO’olvcs a fair measure of push and shove. You make your
mark on a book and it makes its mark on you. Reading is not simply a
matter of hanging back and waiting for a piece, or its author, to tell you what
the writing has to say. In fact, one of the difficult things about reading is that
the pages before you will begin to speak onl)’ when the authors are silent and
you begin to speak in their place, sometimes for them-doing their work,
continuing their projects-and sometimes for yourself, following your own
agenda.
This is an unusual way to talk about rCt1ding, we know. We have not
mentioned finding information or locating an author’s purpose or identifying main ideas, useful though these skills are, because the purpose of our
book is to offer ),ou occasions to imagine other ways of reading. We think of
reading as a social interaction-sometimes peaceful and polite, sometimes
not 50 peaceful and polite.
We’d like you to imagine that when you read the works we’ve collected
here, somebody is saying something to )’ou, and we’d like you to imagine
that you are in a position to speak back, to say something of your own in
Makillg a Mnrk
INTROOUcnON: V A YS OF READING
tum. In other words, we are not presenting our book as a miniature library
(a place to find information) and we do not think of you, the reader, as a
term-paper writer (a person looking for information to write down on threeby-five cards).
When you read, you hear an author’s voice as you move along; you believe a person with something to say is talking to you. You pay attention,
even when you don’t completely understand what is being said, trusting that
it will all make sense in the end, relating what the author says to what you already know or expect to hear or learn. Even if you don’t quite grasp everything you are reading at every moment (and you won’t), and even if you
don’t remember everything you’ve read (no reader does-at least not in long,
complex pieces), you begin to see the outlines of the author’s project, the patterns and rhythms of that particular way of seeing and interpreting the
world.
When you stop to talk or write about what you’ve read, the author is
silent; you take over-it is your tum to write, to begin to respond to what the
author said. At that point this author and his or her text become something
you construct out of what you remember or what you notice as you go back
through the text a second time, working from passages or examples but filtering them through your own predisposition to see or read in particular
ways.
In “The Achievement of Desire,” one of the essays in this book, Richard
Rodriguez tells the story of his education, of how he was drawn to imitate his
teachers because of his desire to think and speak like them. His is not a
simple story of hard work and success, however. In a sense, Rodriguez’s education gave him what he wanted-status, knowledge, a way of understanding himself and his position in the world. At the same time, his education
made it difficult to talk to his parents, to share their point of view; and to a
degree, he felt himself becoming consumed by the powerful ways of seeing
and understanding represented by his reading and his education. The essay
can be seen as Rodriguez’s attempt to weigh what he had gained against
wha t he had lost.
If ten of us read his essay, each would begin with the same words on the
page, but when we discuss the chapter (or write about it), each will retell and
interpret Rodriguez’s story differently; we will emphasize different sections-some, for instance, might want to discuss the strange way Rodriguez
learned to read, others might be taken by his difficult and changing relations
to his teachers, and still others might want to think about Rodriguez’s remarks about his mother and father.
Each of us will come to his or her own sense of what is significant, of
what the point is, and the odds are good that what each of us makes of the
essay will vary from one to another. Each of us will understand Rodriguez’s
story in his or her own way, even though we read the same piece. At the
same time, if we are working with Rodriguez’s essay (and not putting it
aside or ignoring its peculiar way of thinking about education), we will be
working within a framework he has established, one that makes education
stand, metaphorically, for a complicated interplay between permanence and
change, imitation and freedom, loss and achievement.
In “The Achievement of Desire,” Rodriguez tells of reading a book by
Richard Hoggart, The Uses of Lileracy. He was captivated by a section of this
book in which Hoggart defines a particular kind of student, the “scholarship
boy.” Here is what Rodriguez says:
Then one day, leafing through Richard Hoggart’s The Uses of
Literacy, I found, in his description of the scholarship boy, myself. For the first time I realized that there were other students
like me, and so I was able to frame the meaning of my academic success, its consequent price-the loss.
For Rodriguez, this phrase, “scholarship boy:’ became the focus of Hoggart’s book. Other people, to be sure, would read that book and take different
phrases or sections as the key to what Hoggart has to say. Some might argue
that Rodriguez misread the book, that it is really about something else, about
British culture, for example, or about the class system in England. The power
and value of Rodriguez’s reading, however, are represented by what he was
able to do with what he read, and what he was able to do was not record information or summarize main ideas but, as he says, “frame the meaning of
my academic success.” Hoggart provided a frame, a way for Rodriguez to
think and talk about his own history as a student. As he goes on in his essay,
Rodriguez not only uses this frame to talk about his experience, but he resists
it, argues with it. He casts his experience in Hoggart’s terms but then makes
those terms work for him by seeing both what they can and what they cannot
do. This combination of reading, thinking, and writing is what we mean by
51rollg readillg, a way of reading we like to encourage in our students.
When we have taught “The Achievement of Desire” to our students, it
has been almost impossible for them not to see themselves in Rodriguez’s description of the scholarship boy (and this was true of students who were not
minority students and not literally on scholarships). They, too, have found a
way of framing (even inventing) their own lives as students-students
whose histories involve both success and loss. When we have asked our students to write about this essay, however, some students have argued, and
quite conVincingly, that Rodriguez had either to abandon his family and culture or to remain ignorant. Other students have argued equally convincingly
that Rodriguez’s anguish was destructive and self-serving, that he was
trapped into seeing his situation in terms that he might have replaced with
others. He did not necessarily have to tum his back on his family. Some have
contended that Rodriguez’s problems with his family had nothing to do with
what he says about education, that he himself shows how imitation need not
blindly lead a person away from his culture, and these student essays, too,
have been convincing.
Reading, in other words, can be the occasion for you to put things to-
II’ITRODUCfJON: WAYS OF READING
Ways of Readillg
gether, to notice this idea or theme rather than that one, to follow a writer’s
announced or secret ends while simultaneously following your own. When
this happens, when you forge a reading of a story or an essay, you make
your mark on it, casting it in your terms. But the story makes its mark on you
as well, teaching you not only about a subject (Rodriguez’s struggles with his
teachers and his parents, for example) but about a way of seeing and understanding a subject. The text provides the opportunity for you to see through
Woolf) have captured and altered the way our culture sees and understands
daily experience. The essays have changed the ways people think and write.
In fact, every selection in the book is one that has given us, our students, and
colleagues that dramatic experience, almost like a discovery, when we suddenly saw things as we had never seen them before and, as a consequence,
we had to work hard to understand what had happened and how our thinking had changed.
If we recall, for example, the first time we read Susan Griffin’s “Our Secret” or John Edgar Wideman’s “Our Time,” we know that they have radically shaped our thinking. We carry these essays with us in our minds,
mulling over them, working through them, hearing Griffin and Wideman in
someone else’s powerful language, to imagine your own familiar settings
through the images, metaphors, and ideas of others. Rodriguez’s essay, in
other words, can make its mark on readers, but they, too, if they are strong,
active readers, can make theirs on it.
Readers learn to put things together by writing. It is not something you
can do, at least not to any degree, while you are reading. It requires that you
work on what you have read, and that work best takes shape when you sit
down to write. We will have more to say about this kind of thinking in a later
section of the introduction, but for now let us say that writing gives you a
way of going to work on the text you have read. To write about a story or
essay, you go back to what you have read to find phrases or passages that define what for you are the key moments, that help you interpret sections that
seem difficult or troublesome or mysterious. It you are writing an essay of
your own, the work that you are doing gives a purpose and a structure to
that rereading.
Writing also, however, gives you a way of going back to work on the
text of your own reading. It allows you to be self-critical. You can revise not
just to make your essay neat or tight or tidy but to see what kind of reader
you have been, to examine the pattern and consequences in the choices you
have made. Revision, in other words, gives you the chance to work on your
essay, but it also gives you an opportunity to work on your reading-to
qualify or extend or question your interpretation of, say, “The Achievement
of Desire.”
We can describe this process of “re-vision,” or re-seeing, fairly simply.
You should not expect to read “The Achievement of Desire” once and completely understand the essay or know what you want to say. You will work
out what you have to say while you write. And once you have constructed a
reading-once you have completed a draft of your essay, in other wordsyou can step back, see what you have done, and go back to work on it.
Through this activity-writing and rewriting-we have seen our students
become strong, active, and critical readers.
Not everything a reader reads is worth that kind of effort. The pieces we
have chosen for this book all provide, we feel, powerful ways of seeing (or
framing) our common experience. The selections cannot be quickly summarized. They are striking, surprising, sometimes troubling in how they challenge common ways of seeing the world. Some of them (we’re thinking of
pieces by Michel Foucault, Clifford Geertz, Adrienne Rich, and Virginia
sentences we write or sentences we read; we introduce the essays in classes
we teach whenever we can; we are surprised, reading them for the third or
fourth time, to find things we didn’t see before. It’s not that we failed to “get”
these essays the first time around. In fact, we’re not sure we have captured
them yet, at least not in any final sense, and we disagree in basic ways about
what Griffin and Wideman are saying or about how these essays might best
be used. Essays like these are not the sort that you can “get” like a loaf of
bread at the store. We’re each convinced that the essays are ours in that we
know best what’s going on in them, and yet we have also become theirs,
creatures of these essays, because of the ways they have come to dominate
our seeing, talking, reading, and writing. This captivity is something we welcome, yet it is also something we resist.
Our experience with these texts is a remarkable one and certainly hard to
provide for others, but the challenges and surprises are reasons we read-we
hope to be taken and changed in just these ways. Or, to be more accurate, it is
why we read outside the daily requirements to keep up with the news or
conduct our business. And it is why we bring reading into our writing
Courses.
Ways of Readiug
Before explaining how we organized this book, we would like to say
more about the purpose and place of the kind of strong, aggressive, laborintensive reading we’ve been referring to.
Readers face many kinds of experiences, and certain texts are written
with specific situations in mind and invite specific ways of reading. Some
texts, for instance, serve very practical purposes-they give directions or information. Others, like the short descriptive essays often used in English textbooks and anthologies, celebrate common ways of seeing and thinking and
ask primarily to be admired. These texts seem self-contained; they announce
their own meanings with little effort and ask little from the reader, making it
dear how they want to be read and what they have to say. They ask only for
a nod of the head or for the reader to take notes and give a sigh of admiration
INTRODUCTION: WAYS OF READING
Ways of Reading
(“yes, that was very well said”). They are clear and direct. It is as though the
authors could anticipate all the questions their essays might raise and solve
all the problems a reader might imagine. There is not much work for a reader
to do, in other words, except, perhaps, to take notes and, in the case of textbooks, to work step-by-step, trying to remember as much as possible.
This is how assigned readings are often presented in university classrooms. Introductory textbooks (in biology or business, for instance) are good
examples of books that ask little of readers outside of note-taking and memorization. In these texts the writers are experts and your job, as novice, is to digest what they have to say. And, appropriately, the task set before you is to
summarize—so you can speak again what the author said, so you can better
remember what you read. Essay tests are an example of the writing tasks that
often follow this kind of reading. You might, for instance, study the human
nervous system through textbook readings and lectures and then be asked to
write a summary of what you know from both sources. Or a teacher might
ask you during a class discussion to paraphrase a paragraph from a textbook
describing chemical cell communication to see if you understand what
you’ve read.
Another typical classroom form of reading is reading for main ideas.
With this kind of reading you are expected to figure out what most people
(or most people within a certain specialized group of readers) would take as
the main idea of a selection. There are good reasons to read for main ideas.
For one, it is a way to learn how to imagine and anticipate the values and
habits of a partic …
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