Syllabus

Kate Hoyt - Communication Studies, University of Denver
COMN 1011 - Communication Through Literature
TR 4-5:50pm, Sturm 476
Office Hours: By appointment only, Sturm Ste 166 Room 169 (1st floor by the entrance from guest parking lot)
“The act of creation for the new artist is not so much the invention of new objects as the revelation of previously unrecognized relationships between existing phenomena, both physical and metaphysical. So we find that ecology is art in the most fundamental and pragmatic sense, expanding our apprehension of reality.”
-Gene Youngblood
Catalog Description
This course emphasizes the analysis and performance of diverse forms of literature. In addition to the dramaturgical elements of interpretation that are highlighted in this course, students learn how to contextualize serious public issues through literature while developing confidence and skills as performers and public speakers.
After successfully completing this course, you will:
1.) Understand aesthetic communication as temporal, dynamic and emergent acts whose definitive significance lies in its complexity
2.) Possess greater sensitivity to aesthetic acts, recognizing their distinct rhetorical forms and inherent characteristics, while being comfortable in challenging established conventions pertaining to performances.
3.) Understand how to utilize performance as a methodology for examining human communication and the various ways social norms are inscribed on identities
4.) Increase critical-thinking abilities to give constructive and thoughtful critiques of artistic performances in written, oral and mediated forms.
Class Schedule, Resources and Canvas Site
Class schedule is subject to change; although I will email with any pressing changes, you are responsible for regularly checking the class site for updates, supplemental readings and blog-response assignments. Real-time updates on class schedule and other resources and information can be found on the class blog: http://commthrulit2016.blogspot.com/


Required Texts
Pelias, Ronald J. and Tracy Stephenson Shaffer. Performance Studies: The Interpretation of Aesthetic Texts. 2nd ed. Dubuque: Kendall/Hunt Publishing (2007). Print.


All other texts will be provided/posted via PDF or link. Other equipment may be optimal for certain assignments, and a full list of equipment available for checkout is located at: http://library.du.edu/services/computers-tech-availability.html. Equipment utilized beyond this list will be up to your discretion, and any (reasonable) requests for additional technology will be sought by myself in conjunction with the University of Denver Department of Communication Studies.
Is this class right for you? A few considerations
-Please be aware that, despite the misleading title, Communication Through Literature is a performance-based class. This means that the basis of the class is rooted in Performance Studies, which presents not only performance as a way of analyzing communicative acts, but as a mode of understanding communicative situations by embodying them as well as a way of presenting or expressing experiences and research on various topics related to communication. As such, there will be a number of required performances that will count significantly toward your grade (see below). You do not need to be a master thespian or have ever performed at all -- think of it as a more creative approach to a public speaking class, plus the opportunity to learn about performance theory as a means of better understanding human communication.
-A fundamental to Performance Studies is the idea that our identities are socially and culturally constructed through everyday performances (i.e. “performing” masculinity or femininity).  These are often politically-charged topics. If you are uncomfortable with the idea of politics entering the classroom, I urge you to talk to me about it so I can advise you on whether this class is right for you. If there is anything that upsets you or makes you uncomfortable throughout the quarter, my door is always open, and I am open to feedback.
-We critique structures, not people. For example, while we will study how patriarchal power structures in our society have created social norms surrounding the performance of femininity as passive or less authoritative, it would be a mistake to construe such study as blaming or attacking men. As such, I will not tolerate attacks on individual people, because we all validate these power structures by performing our identities in line with what has been deemed socially acceptable.
-Because this class requires a series of performances from the students, this classroom must be maintained as a safe space for encouraging vulnerability, risk-taking and sharing personal experiences. If someone allows themselves to be vulnerable in such a way, I expect such an experience to remain within the walls of the classroom.
-Finally, if any of these disclaimers have dissuaded you from taking the class, please just let me know via email so I can let anyone on the waitlist know that a spot is available for them. Again, there will be absolutely no hard feelings!

Dropping and Adding
You are responsible for understanding the policies and procedures about add/drops, academic renewal, and similar topics found at http://www.du.edu/registrar/regbill/reg_dropadd.html
*Since this is a full class, please EMAIL me if you plan to drop the class so I can let in students on the waitlist.


University Policies
Academic integrity
Your own commitment to learning, as evidenced by your enrollment at the University of Denver, and the University’s Honor Code (see http://www.du.edu/honorcode) requires you to be honest in all your academic course work. The University of Denver expects students to recognize the strength of personal differences while respecting institutional values. Students are encouraged to think and act for themselves, as that is the purpose of higher education. However, they must also understand that the University has non-negotiable values in which it believes strongly. The purpose of the Honor Code is to communicate these values to the University community, and promote an environment conducive to education, work, recreation, and study. Faculty members are required to report all infractions to the Office of Student Conduct. The policy on academic integrity can be found at the Office of Student Conduct website at http://www.du.edu/studentlife/ studentconduct/policies.html
You should, therefore, submit your own, original work for this course. I will uphold University of Denver’s policy on academic honesty. Consequently, an instance of academic misconduct (e.g., plagiarism, cheating, taking credit for others’ work, submitting work for another course as work for this one, etc.) will likely result in a failing course grade at a minimum.


University Disability Services
The Learning Effectiveness Program (LEP) is a comprehensive, fee-for-service program that provides academic support services beyond basic academic accommodations. See http:// www.du.edu/studentlife/disability/lep/index.html for more information. Students with Disabilities/Medical Issues
If you qualify for academic accommodations because of a disability or medical issue please submit a Faculty Letter to me from Disability Services Program (DSP) in a timely manner so that your needs may be addressed. DSP is located on the 4th floor of Ruffatto Hall; 1999 E. Evans Ave.303.871. / 2372 / 2278/ 7432. Information is also available on line at http://www.du.edu/disability/dsp; see the Handbook for Students with Disabilities.
Religious Accommodations Policy
University policy grants students excused absences from class or other organized activities or observance of religious holy days, unless the accommodation would create an undue hardship. You must notify me by the end of the first week of classes if you have any conflicts that may require an absence. It is your responsibility to make arrangements with me in advance to make up any missed work or in-class material.
Student Athletes
If you are a student-athlete, you should inform me of any class days to be missed due to DU sponsored varsity athletic events in which you are participating. Please provide me with an absence policy form by the end of the first week of class. You will need to make up any missed lectures, assignments, and/or exams.
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Attendance, Participation and Late Work Policy
Communication Through Literature is a participation-intensive class. Your willingness remain open to in-class exercises and to take risks will enhance your mastery of the course learning objectives outlined above. Additionally, a large percentage of your grade will be determined by the frequency, quality and thoughtfulness of your participation in this class. You will be allowed one (1) unexcused absence in this class which will not affect your grade, with the exception of additional personal and health emergencies (must have doctor’s note); unexcused absences beyond your one freebie will result in 5% drop in participation points and a 5% drop in the attendance grade. Three late arrivals (15 minutes late or more) will count as one absence. Four or more absences will result in automatic failure of the course. If you miss class on a day in which you are expected to give a presentation, you will not be able to make up that opportunity unless it is a genuine emergency and you contact me beforehand.


Please also note that there are a number of in-class assignments. If you are absent on a day where the class is expected to complete an assignment in class, you must a.) notify me before the class and b.) turn in the assignment digitally by midnight of the day it was completed.
You will receive points for your participation grade (out of 30 points) every two (2) weeks. The rubric for participation grades is as follows:
30 - Superior thought and effort in participation, unique perspectives offered and respect shown to fellow students/instructor
27 - Adequate thought and effort in participation, respect shown to fellow students/instructor  
24 - Student was present and alert but did not verbally participate; respect shown to fellow students/instructor
21 - Student actively avoided/rejected opportunities to participate (i.e. did not speak during group presentations)
18 - Student disrupted the class, was disrespectful to fellow students/instructor or affected the class negatively


-7 points for every unexcused absence beyond the first freebie
You may also comment on the blog for additional participation points. Blog comments may add no more than 5 points to your participation grade per section (1 section = 2 weeks). If you would like to supplement your participation virtually, please post your comment on the appropriate blog post and be sure to get the comment in before the end of the 2 week section for credit.
Please be aware that I will only accept late work in cases of extreme personal emergency; furthermore, such work may be subject to a fifty percent grade penalty and/or additional, elaborative assignments. You should be aware of the importance of backing up your work and frequent saving, as technological failure is not an acceptable excuse for late work.
Electronic Devices
All cellphones must be silenced or turned off before the start of class. Laptops may be used during class discussions for note-taking and looking up references pertaining to class only. All laptops must remain closed during presentations given by students; inappropriate usage of laptops/smartphones will result in a reduction of your total participation grade. *Note - if it is the first time you are using a mobile device or computer out of turn, or if multiple students in the class are doing this, I will issue a warning; after that I will simply deduct 7 points for that section’s participation grade. I will be especially strict about this policy on days on which your peers are giving presentations.
Email Protocol
Although I typically receive and read your emails in a timely manner, please do not expect an immediate response during nights/weekends.
Although I welcome thoughtful and pressing inquiries about how to take your work further, if you are truly stuck on an assignment, please come see me during office hours, as face-to-face communication is more ideal in talking through your ideas about your work. Furthermore, your ability to find answers to your questions about assignments/readings on the website or in this syllabus will factor in to the priority your email takes. Please do contact me regarding emergencies, as these emails will take priority and I have an open-door policy about these matters.


Assignments*:
*Please note that all word count specifications are meant as a ballpark figure. I do not count words but do expect all requirements to be fulfilled (i.e. if you are significantly under the word count, I will not deduct points for that, but it is likely that there is required substance missing from your paper). Additionally, please note that I only accept digital submissions for writing assignments (i.e. by email or through Canvas)
  • Cut-Up Assignment (100) - In studying the interpretation of aesthetic texts, this assignment is intended to elucidate the creator’s/performer’s power in structuring texts to fit his/her interpretation and conveying that to the audience. Using digital platforms to “cut up” originally-written aesthetic texts with reappropriated ones, students will re-interpret their writing from a different point of view and be forced to make sense of it, particularly in conjunction with performing the new text in class.
    • Go to : http://www.cutnmix.com/macversion/ or http://www.robopoem.com/ for PC users
    • Write a brief aesthetic text from your or another’s perspective (if writing from another’s perspective please complete Alcoff’s steps recommended for “Speaking for Others.”)
    • Find one or more other texts to cut up with your text (this can be lyrics, a poem, a movie script, a set of directions - anything!)
    • Cut N Mix:
      • 1.) Download the app for your respective computing machine
      • 2.) Open the app and go to "Input Tracks" tab;
      • 3.) Select "Track 1" tab and write in your composed piece (sorry, this does not do "cut' and "paste"!)
      • 4.) Select "Track 2/3/4" tab and insert your reappropriated piece(s)
      • 5.) Tab back to "Output" and determine your parameters (i.e. turning down one track, etc., size filtering out words)
      • 6.) Hit "Mix Tracks"
      • 7.) Cut N Mix cannot cut and paste so hit "Save Mix" and save it somewhere you will be able to locate. It will save as a TextEdit file. You can use that to print it out or cut and paste into Word/GoogleDocs/Open Office.
    • Refine the language to make as much (or little sense) as you would like. This is another layer of your aesthetic interpretation.
    • *At least 20 lines, please!
  • Body/Posture/Gesture Assignment (In-Class) (50) - This in-class assignment requires students to bring their laptops to class. You will watch the video of your Cut-Up performance on mute 2-3 times and write a 250-500 word reflection covering: 1.) subjective reactions to viewing the video; 2.) analysis of body language, posture and gesture as it reflects the emotional state of the performer, the aesthetic interpretation of the performance and opportunities for growth.
  • Peer Critique (100) - After reading Ch 12 of Pelias/Shaffer, consider all of the evaluative tools and models, then view your partner's video and write an in-depth critique of your partner's performance. Around 500 words, please.
    • Choose at least 3 out of the 5 views presented by Pelias and Shaffer on p. 185 for critiquing a performance.
    • Include a balance of positive, critical and transformative feedback (transformative = concrete suggestions for improvement such as different approaches, additional “features”)
    • Write about both the content and the delivery of the performance
    • Please write at least three sentences relating the piece you are critiquing to the final section of Ch. 12 "Evaluation and Ethics"
  • Vocal Analysis Assignment (In-Class, except for creating recordings) (50) - This exercise is designed to analyze the tonality, speech patterns and inflection of the voice as it shifts in response to one's perceived audience, environment and social norms. Please use a personal recording device (the voice memo app on your smart phone is an acceptable option - or, if you don't have one, the library rents them out, see http://library.du.edu/services/computers-tech-availability.html) to record yourself participating in at least two different types of conversations. These different types can include:
    • You talking to friends and/or peers
    • You talking to someone you consider a superior/someone who has more authority
    • You talking to someone you consider a subordinate (or a conversation where you feel like you have more authority than the other speaker)
    • You talking to family (if the family member is considered also a peer AND a friend, please do not use this option in conjunction with the first one)
    • You talking to someone you consider an adversary
  • Flipped Script Assignment (Group, In-Class) (50) - This performance will be your chance to not only interpret a literary work that has already been written, but to re-write a literary work. Therefore with your assigned partner you will be interpreting through writing and performing. You will choose a well-known narrative text (i.e. a fairy tale, folk tale, movie, TV show, comic, play, book, etc.) and re-write in such a way that makes visible a particular aspect of culture or identity. This is your chance to be creative and serious. Some ideas for how you might re-write the story include: silencing one character and giving voice to another, telling the story from a marginalized perspective, changing the ending, or rewriting the story so it highlights some issue of oppression or social (in)justice. You may also make visible (expose) previously invisible stereotypes or dominant ideologies. The performance selection does not need to be memorized, but you can’t hide your performance behind your script. After the performance, please turn in your script to me.
  • Group Presentation (Group) (200) - Throughout the quarter, there will be group presentations of supplemental material pertaining to that day’s lesson. These readings will typically be denser, more advanced, and require a much closer reading than the reading assigned to the general class. Groups will sign up ahead of time to read the supplemental material and conduct a 10-15 minute presentation, lead the class in a brief exercise that embodies the lesson of the material, and then debrief with a class discussion. Presentations should include an overview of the general topic, how it connects to previous concepts from class, and any key terms from the material. You will then lead the class through a brief exercise of your own design (you are allowed to find other instructors’ class exercise and tailor it to your particular topic). Discussions should be facilitated through 2-3 thoughtful, probing questions (no yes/no questions) posed to the class. Please start preparing early for this, as I am available to help you with interpretation of the reading as well as planning the class exercise, if you arrange an appointment with me ahead of time.
  • Intermedia Assignment (200) - The objective of this assignment is to begin to utilize the synthesis of multiple senses to create a more immersive experience for your audience. Remember that "media" is anything that can deliver a message from the producer to the audience - so when we talk about media, we're not just talking about videos, music, technology, etc. We might be talking about setting or physical artifacts that the audience can perhaps feel if they are passed around or interacted with, or hear as it encounters other objects within the environment.
    • For this project, please choose an event from your own life that you feel is significant in shaping your personal/cultural/spiritual/political/etc. perspective. This can also be a story that was told to you by someone you know, if it had an impact on how you saw the world.
    • Create an aesthetic text about this experience (it can be poetry or prose, narrative or persuasive, you can use cut n mix, but please have the end product be original)
    • Gather at least two materials that add another "sense" to your text. For example:
      • Tactile - you can find a physical artifact (object) to pass around to your audience
      • Acoustic - you can use an audio clip or allow the sounds of a physical artifact to add to your performance
      • Kinesthetic - you can integrate movement or you can invite your audience to move
      • Olfactory - please no burning objects! But anything else that adds a scent to your performance :)
      • Taste - you can bring treats that might be relevant to the issue you are talking about (for example, if you are talking about a specific culture, the audience can further connect by tasting some food from that culture)
      • Visual - Pictures, physical artifacts and/or video
  • Final Performance Topic (50)- This is your chance to examine all of the potential tools at your disposal for your final performance in order to create a plan of action. Review the description of the Final Activist Performance and post to the blog about your topic:
    • 500 Words
    • The concept of your final performance: What is the issue you’d like to present to the class? Why is this event significant to you? Is there a particular stance you would like to persuade the class on?
    • What are the senses you wish to engage? What are different options for engaging various senses? Please list more options than you plan to use and evaluate the possible effectiveness or lack of effectiveness of each.
  • Final Activist Performance (200) - The final performance project will focus on an activist approach to storytelling. Please choose a social/cultural/political issue about which you feel passionate. It doesn’t necessarily need to be serious in nature, but you must care about this topic. Your assignment is to inform and persuade your audience through a performance. Although the concept for your performance is relatively open-ended, please keep the following parameters in mind:
    • You must create an original aesthetic text for the performance (the method of delivery, however, is up to you). Cut N Mix is considered a method for original text if the final product is crafted by you.
    • You must utilize at least one activist performance methodology that was presented in class (wrap up on all of these will occur on 3/1 in class).
    • Any videos used that include narration or spoken word must be under 30 seconds in length (unless the person speaking in the video is you). You may use videos beyond 30 seconds in length if they include background noise/ambient sounds or imagery. Basically, you cannot have your media perform instead of you.
    • You must arrange for the use of laptops yourselves; my laptop will be used for recording the performances only.
    • The performance MUST clock in at under 10 minutes. The timer will go off at 9 minutes, and you will be cut off after 10 minutes.
  • Participation (200) - In addition to contributing to class discussions, factors also include attendance, handing in signed and initialed copies of the syllabus, reading response prompts, participating in Group Presentation in-class discussions/exercises, responding to lecture prompt questions, and participation in group and solo exercises.
  • Total 1200
Grades
Doing adequate work where you have followed directions and incorporated necessary items into your assignments constitutes “C” work. Going above and beyond the baseline of expectations requires taking ownership of your work, risk-taking and pushing yourself out of your comfort zone. As a class based in emerging media literacy, the above three qualities are imperative for both finishing the course with the necessary skill set to advance within the Communication Studies program and to receive a competitive grade.
Grades will be entered on Canvas in a timely manner; for in-depth assignments, please click into the details of the grade you have received to read feedback, as I comment on both the successes and areas for improvement on all students’ in-depth assignments.

It is your right and responsibility to take an active interest in how you are evaluated in this or any class. When you discuss grades with me, be prepared to make a well-developed case regarding the evaluation. Your argument must be related to your assignment as presented, and based on how it compares with the criteria for the assignment (not how hard you tried, how you think it compares with someone else’s work or how it will affect your final grade in the class or GPA). Any grade appeals must occur in writing no sooner than 24 hours after but no later than ONE WEEK after receiving the evaluation.


Grading Rubric

Participation
200
Group Presentation
200
Cut-Up Assignment
100
Body/Posture/Gesture Assignment
50
Peer Critique
100
Vocal Analysis Assignment (partially in-class)
50
Flipped Script Assignment (Group, In-Class)
50
Intermedia Performance
200
Final Topic Blog Post
50
FINAL Activist Performance
200
Total
1200
Grading Breakdown

  • A = This grade is reserved for work that goes above and beyond the expectations, demonstrates conceptual expertise and conveys mastery of application. It is work that you could show outside the walls of the classroom. A-level work also requires risk-taking, demonstration of personal/intellectual growth outside of one’s comfort zone and respect shown for audiences, fellow students and instructor. *Please note that the University does not allow the assignment of an A+ grade.
    • A (930 - 1000)
    • A- (900 - 929)
  • B = This grade is for above-average work. B-level work indicates that the student met and in some cases exceeded expectations, demonstrates competence with concepts and application, and has shown potential for intellectual/personal growth beyond the class.
    • B+ (870 - 899)
    • B (830 - 869)
    • B- (800 - 829)
  • C = Indicates average work. Student met all requirements and expectations, followed directions, and correctly applied the lessons from class. Risk-taking and intellectual/personal growth were not demonstrated in the completion of the assignment.
    • C+ (770 - 799)
    • C (730 - 769)
    • C- (700 - 729)
  • D = Indicates below average work. Not all requirements and expectations were met, directions were not followed and concepts from class may have been incorrectly applied. In some cases, a D grade may indicate that the work did not show respect for all audiences.
    • D+ (670 - 699)
    • D (630 - 669)
    • D- (600 - 629)
  • F = Indicates a failing grade for the assignment, meaning that the majority of requirements and expectations were not met, concepts were incorrectly applied or were absent and/or a general disrespect was shown within the work.
    • F (0 - 599)
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