Check out the upcoming events sponsored by CTAL–the Center for Teaching and Assessment of Learning!
Download the flyer HERE
Have questions about how to request a classroom change? How to set up your Canvas site? Who to call with classroom technology issues?
For answers to Frequently Asked Questions, and other important links and resources for E110 instructors, download the FAQ Reference Sheet (linked).
The Fall Composition Faculty Summit was held on August 28, 2017. Our writing faculty had the opportunity to hear from representatives from CTAL, The Center for Teaching and Learning, as well as Lauren Wallis from Morris Library. The powerpoint presentations that accompanied their talks are included below.
CTAL offers resources and support to all teachers at UD, including events that encourage discussions about teaching and learning. Remaining events this semester include:
- Friday Roundtables, on October 6th and November 3rd at 3:30pm in 208 Gore hall;
- TA Teaching and Learning Conversations, on October 9th and November 13th at 12:30pm in the Faculty Commons (116 Pearson Hall);
- Teaching Freshmen series, on September 27th and October 11th at 12:00pm in the Faculty Commons (116 Pearson Hall).
Lauren Wallis, First Year Experience and Student Success Librarian, asked how we can support emerging student researchers. She described ways to connect library instruction to class instruction, in order to make sessions with research librarians more productive for students.
You can download Lauren’s presentation here. If you have questions about how library instruction could fit into your English 110 course, or if you would like to set up an session with a research librarian, contact Lauren Wallis at email@example.com. For more information on multimedia library instruction, contact Nico Carver at firstname.lastname@example.org.
Many thanks to all who attended the Fall Composition Summit. We look forward to meeting again in the spring!
- Maintenance Concerns (i.e. broken/missing furniture, broken shades/blinds, room left in disarray, etc.): Call or email the Scheduling Office, email@example.com or 302-831-2114
- Request a classroom change: Submit “Classroom Change Request Form“
- Reserve a classroom: Submit “Classroom Reservation Request Form“
Classroom Technology Problems
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- Follow this page or call 302-831-2273
IT Support/General Assistance
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Lost & Found
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On top of the in-services we hold in the Composition Program and the lectures, workshops, and events of the English Department, there are several other opportunities across campus to talk and learn about teaching and scholarship.
One example is this week’s First Friday Roundtable held by CTAL, where participants will discuss Teaching and Learning grants. A few Composition graduate students already plan to attend and we encourage further participation. CTAL, along with other UD centers such as the Center for the Study of Diversity, Academic Technology Services, and more, continually create opportunities for great discussion.
While the individual centers post these events on their respective pages, generally the Comp Program also adds them to our calendar. Email Christine Cucciarre to gain access to the calendar.
We’ve added a page to the website with updated contact information for publisher representatives. You can find it here (or, in the resources for teachers menu).
If you’re interested in adding a book to your course, switching your text, or exploring new options, you can contact the representatives below with questions, desk copies, or recommendations. Speaking with our book reps is the fastest way to access different texts, and also offers the opportunity to learn more about what’s available to you and your students.
In the faculty retreat we will discuss academic honesty and ethical source use. Often, we think about this primarily in regard to written work. With digital texts, and within more “traditional” texts, students also frequently use a range of media: images, audio, video, etc. It’s important that students have an understanding of how to ethically incorporate these materials as well – where attribution frequently differs and even the vocabulary is different. We talk copyright violations as opposed to plagiarism.
A note about copyright, one Hannah Lee was always sure to bring our attention to in the Student Multimedia and Design Center: copyright is intended “to promote creativity, innovation, and the spread of knowledge” (Article 1 Section 8, US Constitution). It should balance the rights of owners with users. This has changed over the last several decades, with copyright lasting longer and longer and failing to adapt and transform in the wake of new forms of knowledge and knowledge production. Still, it’s useful to think about the goals of licensing work when thinking about how writers might use it.
Below are resources that can serve as references or discussion points on intellectual property and copyright, particularly online. General resources are those I think are especially useful for both faculty and students (provide overviews, key terminology, useful breakdowns). Faculty-specific resources get more in-depth with the intricacies of these conversations; I have provided links to direct, primary resources as well as secondary scholarship. Student-specific resources talk more about writing and citation practices.
I’d particularly recommend taking a look at Creative Commons – students can license their own work through CC as well as search for open access and CC-licensed resources through Creative Commons’ databases and google.
- Creative Commons: Alternative copyright system. Includes a range of licensing options for protecting, monetizing, sharing, and deriving from CC-licensed works.
- Multimedia Literacy Guide: This section of UD’s Student Multimedia and Design Center’s research guide offers not only resources on producing multimodal work, but handouts and suggested readings on copyright and fair use.
- Eric Faden, “A Fair(y) Use Tale”: Video source explaining fair use using clips from various Disney films. Video is licensed under Creative Commons. You can also reference the transcript.
- The Code of Best Practices in Fair Use for Media Literacy Education: Published by the Center for Media and Social Impact and coordinated through Temple University, American University, and American University Washington College of Law. Offers a more detailed overview but also talks specifically about educators’ source use and potential teaching practices.
- Organization of Transformative Works: The OTW has worked extensively for the legal advocacy of fair use on the internet, especially in relationship to noncommercial remix. This is one place to read primary legal documents relating to intellectual property and copyright, such as this letter to Congress detailing the values and assumptions at stake.
- Copyright Office: Always consider going straight to the source. You can also view their recent initiatives summary.
- Lawrence Lessig, Remix: Making Art and Commerce Thrive in the Hybrid Economy: Lessig has been a prominent voice in copyright reform. Remix, available for free under its Creative Commons license, details what’s at stake in reformers’ (and many creators’) push for copyright change.
- Steve Westbrook, Ed, Composition and Copyright: Perspectives on Teaching, Text-Making, and Fair Use: From the back cover, “Drawing on connections between legal developments, new media technologies, and educational practice, Composition and Copyright examines how copyright law is currently influencing processes of teaching and writing within the university, particularly in the dynamic contexts of increasing digital literacy, new media, and Internet writing.” Also available at the Morris Library, KF3020 .C66 2009.
- Martine Courant Rife, Shaun Slattery, and Dànielle Nicole DeVoss, eds.Copy(write): Intellectual Property in the Writing Classroom: Available at link in free .pdf and epub format. Edited anthology around questions of intellectual property, copyright, plagiarism, and more. Also available in the Morris Library, KF3030.1 .C67 2011.
Multimedia Creative Commons-Licensed Sources:
- CC-Search: Broad search feature to find resources under different CC licenses.
- Creative Commons Music Communities – Links to several hosting pages to find CC-licensed music to use potentially in your work.
- Free Stock Images: Viralsweep.com has assembled a list of twenty websites that offer wide usage on images. Note that the author points out to do your own research to ensure the license still allows for the use you have in mind.
Looking for more?
Teaching Copyright has an extensive list of further resources, including books, articles, organizations, podcasts, videos, FAQs, quizzes, worksheets, and more.
In the academic paradigms of twenty-first century scholarship, the notion that technology is here to support our research is often taken for granted. What is lost in the expectation that such technology exists expressly for our collective benefit is the reality that countless hours of labor—both intellectual and manual—are involved in the production of the very resources we increasingly rely upon to conduct digital scholarship. The fact remains that these digital resources do not emerge “out of thin air.” Accordingly, having some knowledge of what goes into producing the more commonly used digital resources can help us to better understand some of the difficulties inherent to the processes involved with their production. Here is a brief list of some examples of these resources, the labor involved with their production, and the challenges one can encounter when using them:
1. Digital surrogate – The digital surrogate, otherwise known as a digitized primary source document, is a high resolution image of an individual item or a research collection. These can be surrogates of photographs, drawings, prints, manuscripts, printed books, monographs, correspondence, or a range of other materials. The items have to be physically scanned or photographed by specialists in order to produce the surrogate. Researchers should recognize that, as surrogates, not every physical characteristic of the physical item can be captured in the digital image. Some research questions might necessitate an analysis of the original source.
2. Online Index/Bibliography – These resources help researchers to navigate through a large body of primary or secondary sources. They are intended to promote either discovery or the singling out of relevant materials for one’s subject of study. Production of these resources is time consuming, meticulous, and involves both subject-level expertise and a knowledge of metadata standards. Researchers should understand that the level of comprehensiveness and the range of metadata will vary widely across different platforms.
3. Online transcript – The online transcript is a readable reproduction of a handwritten, audio, or even a printed physical document. Since the information must be manually typed into a word processing program and then coded for online access, researchers should be aware that the end result can include errors, deviations, and omissions when compared with their source of origin.
4. Oral History – The oral history is a multifaceted online resource that can include surrogates, indexes, and transcripts in addition to audio/visual files and born digital information objects. Ordinarily, there are a number of legal and privacy issues involved with the production of these resources which can delay or even prevent their public release. When consulting these materials, a researcher should consider that these resources can take anywhere from several months to several years to produce. They should also expect to find a wide variety of informational granularity from one oral history to the next with some examples containing audio or video recordings, some with transcripts, some featuring indexes, and others having all of the above.
On 9/29 the English department’s own Emily Davis presented on UD’s revised multicultural requirement to a crowd of about twenty instructors, administrators, and graduate and undergraduate students. The presentation was a part of the Center for the Study of Diversity’s Brown Bag series and brought our attention to the work students can do engaging difference in the classroom.
Emily’s talk focused on the history of the requirement’s revision (who was involved, how it moved through university committees, the faculty senate, etc., and the work remaining). She indicated the complexity of this development and the importance of faculty specialists’ involvement moving forward. At first glance, this might not seem relevant to the work of E110, given that the course does not fulfill the multicultural requirement (although, if you do teach another course that does, be sure to submit your course for re-evaluation by Dec. 1). I argue, however, that the general university movement toward active and purposeful engagement of diversity – seen in the revised requirement as well as the inclusion of diversity study in First-Year Experience, not to mention being a general part of UD’s mission – signals that this is important work.
The new criteria for the requirement is published on the Faculty Senate’s webpage. The descriptions of the larger categories of “Diversity Self-Awareness and Perspective Taking,” “Cultural Difference,” “Personal and Social Responsibility,” and “Understanding Global Systems” indicate the stakes of the work at hand. They also indicate the complexity. Engaging diversity in the classroom is work done purposefully and often with training and guidance. The Center for Teaching and the Assessment of Learning often holds brown bags and events on “handling hot topics” and the Center for the Study of Diversity has developed a diversity competency rubric and also holds several events. All of these events are on the Writing Program Calendar. If teachers are interested in bringing this work to the reading, writing, and critical thinking work of E110, there are multiple important resources on-campus as we consider how this might fit into students’ study and the university’s larger goals.