"Most great stories of adventure, from The Hobbit to Seven Pillars of Wisdom, come furnished with a map. That's because every story of adventure is in part the story of landscape, of the interralationship between human beings (or Hobbits, as the case may be) and topography. Every adventure story is conceivable only with refence to a particular set of geographical features that in each case sets the course, literally, of the tale."-Michael Chabon



Tuesday, August 31, 2010

August 31


-Blog for 10 minutes about Terry Tempest Williams--respond to one of the following questions:

1-On page 746, Terry Tempest Williams describes her family's relationship to the land--how would you describe the role of geography in your family? What role does the place(s) you're from play in your family's history?

2-On page 747, Terry Tempest Williams details the ritual of bird watching with her grandmother and how it shaped her understanding of the land. What rituals shape your experience of "place"? Hiking? Camping? Fishing? Gardening? Hunting? Farming? Describe those experiences in as much detail as possible and reflect on how they've changed your perception of environment.

3-Describe an experience of environmental loss.

Land/Art Earthart Activity:


Robert Smithson: "Spiral Jetty"


-Photograph: Robert Smithson's landart/Earthart sculpture Spiral Jetty--which extends 1,500 feet into the Great Salt Lake.

Questions to ponder: How does Smithson's "Spiral Jetty" invite viewers to interact with it? How does it reflect both the environment of the Great Salt Lake and environmental damage to the Great Salt Lake?

http://www.smarthistory.org/earth-artsmithsons-spiral-jetty.html

Patrick Dougherty: "Restless by Nature"




Questions to ponder: How does Dougherty's process reflect his intent? What does the impermanence of his materials mean to his art? What does his art say about environment and community?
Tyree Guyton: "The Heidleberg project"















Photographs:
Artist Tyree Guyton represented and revitalized his Detroit neighborhood through his work at the Heidelberg Project.



Questions to ponder: What's hopeful about his artwork? What's painful about it? How does it represent his perception of place?

http://www.studio360.org/episodes/2008/01/11/segments/91625





In Groups: Chose one of the artworks we talked about in class. Discuss: What do you think the artists intent was? How would you support your conclusions in a visual analysis paper?


Homework: From Refuge, “Epilogue,” pp. 732-759, (Matthew Boggard), Eula Biss essay (will be handed out in class)(Jordan Bose)(Journal on one)

Thursday, August 26, 2010

August 26


"Most great stories of adventure, from The Hobbit to Seven Pillars of Wisdom, come furnished with a map. That's because every story of adventure is in part the story of landscape, of the interralationship between human beings (or Hobbits, as the case may be) and topography. Every adventure story is conceivable only with refence to a particular set of geographical features that in each case sets the course, literally, of the tale."-Michael Chabon


In a course which explores the ways we represent the "places" we inhabit and the implications of those representations it makes sense to begin with mapping--to start by exploring the way we visually depict geographical spaces. What is gained by mapping a place? What is represented? What is lost? What does the map portray about the mapmaker?

This American Life: Episode 110: Mapping

http://www.thisamericanlife.org/radio-archives/episode/110/Mapping

"Maps have meaning because they filter out all the chaos in the world...and this is the age of maps...something like 99.9 percent of all maps have been made in this century. Every map is the world seen through a different lens."-Ira Glass

Check out How Stuff Works: Maps:
http://science.howstuffworks.com/environmental/earth/geophysics/map.htm

What lens do you see the world through? What places are you able to map through memory?

In class: Sketch a map of a place you've lived or traveled to. It can be your dorm room, your hometown, your childhood neighborhood, your family's vacation route, or any place that your remember well. Add as many details and memories into your depiction as possible.

Writing prompt: (To go with memory map--taken from Tell it Slant: Writing and Shaping Creative Nonfiction ) Write down every element of a place you can remember, quickly, with as much detail as possible. What odd details do you remember (e.g the gargoyle-shaed knot in the wood, a gray rug with a dark stain the shape of Brazil)? Now fill in the emotional tone of each detail: Did the wallpaper make you feel safe or frightened? What were your favorite things to look at in this place? Your least favorite? Why? What felt like yours and what felt like someone else's?


Connect your blog to the class page by clicking "Follow."

Homework:
-Set up your blog and link it to our 250 class page. Please copy/paste the link as a "comment" on our class schedule
-From Refuge by Terry Tempest Williams, pp. 739-752. (Kyle Anderson, Dillon Baker)

Monday, August 23, 2010

August 24

What is place? What is the environmental imagination?

In this course we will explore the environment, environmental writing, and environmental movements--however it will not be "an environmentalist course" as much as a class which engages the environmental imagination. We will examine not only the American wilderness but man-made considerations of the urban world and broader questions of community and identity, not limited to the natural environment.

To begin to examine these considerations, I want to look at five different musicians, all inspired by their environment, in very different ways:

Joni Mitchell: Big Yellow Taxi



(Traditional environmentalism, what we think of when we imagine activism and the environment)


Lynyrd Skynyrd: Sweet Home Alabama



("Hometown" as environment, environmental writing as defence of one's "place")

The Weakerthans: One Great City



(Nostalgic dislike of home, troubled relationship with place)

Radiohead: Fake Plastic Trees


Radiohead - Fake Plastic Trees
Uploaded by nopulse. - Explore more music videos.

("Unplaces", a lack of connection to place)

Bruce Springstein: The River



(Place as part of the larger human narrative, a backdrop for issues of class, relationships, and human relationships)

Homework:
"Everything Is a Human Being,” by Alice Walker, p. 659
from Leaves of Grass, “This Compost,” by Walt Whitman, pp. 62-63, and "Manhood for Amateurs: The Wilderness of Childhood" by Michael Chabon
(http://www.nybooks.com/articles/archives/2009/jul/16/manhood-for-amateurs-the-wilderness-of-childhood/) (Journal on one)

Friday, August 6, 2010

Schedule: Unit 1: Visual Analysis

Note: Assigned readings need to be completed and responded to in your notebook by the day they are listed. Homework assignments are due on the day that they are listed.

August 24: Tuesday
-In Class: Music Activity, Introduce Course Policies

August 26: Thursday
-In Class: Mapping Activity
-“Everything Is a Human Being,” by Alice Walker, p. 659
from Leaves of Grass, “This Compost,” by Walt Whitman, pp. 62-63
, and "Manhood for Amateurs: The Wilderness of Childhood" by Michael Chabon (http://www.nybooks.com/articles/archives/2009/jul/16/manhood-for-amateurs-the-wilderness-of-childhood/) (Journal on one)
___________________________________________

August 31: Tuesday
-In Class: Introduce Photo Project, Disaster and Environment, Spiral Jetty, Heidelberg
-Set up your blog and link it to our 250 class page. Please copy/paste the link as a "comment" on our class schedule
-From Refuge by Terry Tempest Williams, pp. 739-752.

September 2: Thursday
-Watch "When the Levees Broke"
-From Refuge, “Epilogue,” (Matthew Boggard) pp. 732-759, Eula Biss essay (will be handed out in class) (Jordan Bose)
(Journal on one)
_____________________________________________

September 7: Tuesday
-Introduce "Into the Wild" visual analysis assignment
-Blood Dazzler, by Patricia Smith, first half (Chelsea Branderhorst)
“Place,” by WS Merwin, p. 716, “The Summer Day,” by Mary Oliver, p. 737
(Emily Bright)

September 9: Thursday
-In Class: Listen to Patricia Smith's poetry podcast, share poems, sign up for scene groups
-Imitate one of Patricia Smith's poems integrating your own experience of place, disaster, home, or loss
-Blood Dazzler, by Patricia Smith, second half. (Journal)-JOURNALS COLLECTED (Cayla Bullerman, Samuel Carlson)
______________________________________________

September 14: Tuesday
-In Class: Begin watching Into the Wild

September 16: Thursday
-In Class: Continue watching Into the Wild
_____________________________________________

September 21: Tuesday
-In Class: Discuss film and reading, listen to director interview with Sean Penn
-From Walden; or, Life in the Woods, by Henry David Thoreau, pp. 9-25 (Journal) (David Davis)

September 23: Thursday
-In class: Peer Response
--Rough Draft Visual Analysis Due
-“A First American Views His Land,” by N. Scott Momaday, p. 570 (Victoria Foerster)
_____________________________________________

September 28: Tuesday
-Conferences in my office, LA 5
BRING YOUR DRAFT, your peer feedback, and your questions/ideas

September 30: Thursday
-Conferences, in my office LA 5
BRING YOUR DRAFT, your peer feedback, and your questions/ideas
_______________________________________________________

October 2: SATURDAY FIELD TRIP VISIT CASEY PROPERTY
_______________________________________________________

October 5: Tuesday
-Final Draft Visual Analysis Due
--“Speech at Grand Canyon, Arizona, May 6, 1903,” by Teddy Roosevelt (Clinton Hagedorn)
“Polemic: Industrial Tourism and the National Parks,” by Edward Abbey, p. 413
(Kelsey Keiran) (Journal on one)

Course Policy Sheet

Speaking in Place:
The Environmental Language of Here and
Now

Instructor: Rachael Button
Office: Landscape Architecture Room 5
Office Hours: Before or after class, by appointment
Email: rbutton@iastate.edu

“An argument can be made that environmental writing is America’s most distinctive contribution to the world’s literature . . . . Other cultures are older and perhaps therefore more subtle in their observation of the endlessly fascinating dance of human beings. But only on this continent was Culture fully conscious while Economy went about the business of knocking down Nature.”
-from the “Introduction,” by Bill McKibben, in American Earth


Course Description:

The American landscape has long played a role in American literature. This course will explore how writers both reflect and construct “place” in their texts. Students will encounter readings by a diverse group of writers including Henry David Thoreau, Aldo Leopold, Rachel Carson, and Annie Dillard.

This course will not only require analysis of American environmental literature—it will also push students to use those same analytical skills to examine their own ideas about environment, landscape, and home. Students will work in written, oral, visual, and electronic mediums to synthesize their understanding of “place” in a multi-modal way. Work will include two formal essays, a visual photo project, a research project/presentation, and regular journaling/blogging.

Texts

American Earth, edited by Bill McKibben
Blood Dazzler, by Patricia Smith
The Aims of Argument
Student Guide, ISU Foundation Courses
The Brief Penguin Handbook

Note: Reading well requires a great deal of work and attention: it demands self-reflection, as well as a knowledge of forms and genres of literature and a familiarity with some of the historical, political, and social concerns that underlie texts. Reading in an analytical way not only entails understanding a text but considering it, digesting it, breaking it down, and wrestling with its implications. In this course, I expect you to not just skim through the readings but to consider what the writer is saying and how he or she is conveying his/her message on a craft level. I also expect you to think about how the readings impact, support, or contradict your own perceptions of the environment. For that reason it is essential that you spend time with each of the readings and come to class prepared to write about and discuss each assignment.

Assignments:

-Visual Analysis 25%
-Rhetorical Analysis 25%
-Participation 10%
-Photo Project 10%
-Casey Land Research Project/Presentation 20%
-Creative Portfolio 10%

All work completed outside of class should be typed. Make sure you have a backup copy of all work before you turn it in to be graded. Major essays will be penalized one letter grade (e.g., from B to C) for each class period they are late.
Class Attendance and Participation/ Etc.

To ensure that you stay on track with your attendance and submission of work, the following policies, developed by the Director of ISUComm Foundation Communication, will be enforced in sections of English 250:

• Missing more than three classes will lower your grade, and excessive absences (more than three weeks) will result in a failing grade for the course.
o Specifically, absences after four will reduce your class grade by one step (a B+ becomes a B; a C becomes a C-), and after a total of nine absences, you must drop the course or you will receive an F.
• Even with a valid reason to miss, you can accumulate so many absences in a semester that your work and classroom experience are too compromised for you to remain in the class. The Director of ISUComm Foundation Courses and your instructor will advise you if your absences—regardless of their reason—are too numerous for you to remain in English 250 or whether you need to drop the class and take it in a semester when your schedule permits regular attendance. If you are more than 15 minutes late to class, you will be counted absent.
• Missing during group work or on the day of your oral presentation means taking an F for that activity, as it cannot be made up individually.

Notes

• It is essential that you attend the Casey Land Field trip, if you are not able to attend the field trip, you cannot be in this course.
• Check your E-mail and the class blog! If I need to make changes to the class location or schedule I will do so via the blog or e-mail.
• Check the course blog. I will update it regularly.
• I often use my office hours to make copies or use the computer lab—so I appreciate it if you let me know if you’re dropping by—shoot me a quick e-mail or let me know before/after class. If you cannot make it in during my office hours I’m usually willing to arrange an alternative time.

Grading and Evaluation

In English 250, as in other university courses, the work required of you at the university will often be different in type and level of difficulty from what you did in high school. Be realistic in your expectations about grades; start assignments early, work steadily to avoid last-minute rushing. Make an appointment with me if you do not understand an assignment’s grade.

A The qualities of a B assignment, plus imagination, originality, and engaging expression.

B Thorough analysis of the communication problem; a satisfactory solution to the problem, judgment and tact in the presentation of this solution; good organization and solid expression.

C Satisfactory analysis of the problem, clear organization, and competent style; nothing remarkably good or bad. A C means your work met the demands of the assignment in a minimally acceptable way.

D Presence of a significant defect in context, substance, organization, style, or delivery in a lackluster paper; inadequate treatment of the assignment.

F Inadequate coverage of essential points, uncertain or misguided purpose, poor organization; ineffective and inconsistent expression; significant defects in standard usage.

Academic Honesty:

Read thoroughly all of the material covered in your Student Guide: English 150–250, including the section regarding ethics and plagiarism in the academy. Understanding what constitutes plagiarism and academic dishonesty will help prevent you from committing these acts inadvertently and will strengthen your writing. Plagiarism is a serious legal and ethical breach, and it is treated as such by the university. Detecting plagiarism in English 150 and 250 is often fairly easy for an instructor who is familiar with your work, and once detected, it is mandatory that the Director of Foundation Communication be notified and consulted about consequences. If you have any questions about using work other than your own in your paper, see your instructor before you turn in an assignment.

Computer Ethics:

Please check the Student Guide: English 150–250 for information on the university's computer ethics policy. You are expected to use the university computers responsibly and to communicate courteously with others in your class—including the instructor—electronically. You are also expected to follow your instructor’s instructions on class days in the lab, using the computers for class-related activity only.

Diversity Affirmation:

Iowa State University does not discriminate on the basis of race, color, age, religion, national origin, sexual orientation, sex, marital status, or disability. An effective learning environment values and supports diversity.
An effective learning environment values and supports diversity. No disrespect will be tolerated. Any discriminatory remarks or disrespectful behavior will result in dismissal from the classroom which will be counted as an absence.

Disability Accommodation:

If you have a disability and require accommodations, you must contact your instructor early in the semester so that your learning needs may be appropriately met. You will need to provide documentation of your disability to the Disability Resources (DR) office, main floor of the Students Services Building, Room 1076, 515-294-7220 515-294-7220 .