Include at least 100 words. Use correct sentence structure.
Show considerable forethought about your topic.
Planning and Writing a Short Syllabus
Syllabi can be the most difficult documents you have to prepare in classroom teaching. Each syllabus you write has to be for a different class, each with its own particular configurations, structure, location of materials, type of students, etc. One class might be small; another might be large. Some may all be studying English, but some may be reading various languages and one other language in English translation (e.g., The Discours de la Méthode). Another might be a graduate level seminar with some formidable specialists in a given field, or people just out of college who have great intelligence and motivation.
Because the cases are so different, you may find yourself spending as much time drafting a syllabus as for a written assignment for students. For instance, in a writing class, your syllabus might be very short, as in this example:
There will be five written assignments (including this one). Writing items in the presence of all class members. Grade, A to F, including participation and writing percentage. First fifteen lines of each paper counted as participation.
Midterm examination and final examination.
If you are teaching your own material, you will have project guidelines, rubrics, or keys on hand as guidelines for assessment.
If you are teaching in an academic setting where you must follow the institution’s guidelines, you might have syllabi that look like this:
Your new class has many assignments, sometimes complex, due here. Attendance required. Your final grade will be computed as follows:
______________________
______________________
______________________
Reading assignments
Knowledge that examinations will be proctored.
Participation: active and responsible
Original assignments on course content
Workshop
Course outline
The examination for this course will measure each of the following: ______________________, ______________________, ______________________, and ______________________.
You may wish to review my guide to grading (see Figures 3.1, 3.2 and 3.3).
Of course, syllabi can vary widely, but this example should suggest the range. Notice that the syllabus contains not only what a student must do, but also the means by which you will assess them and the evening hours when you will be providing instructional help and advice. Thus, the syllabus shows three dimensions: the curriculum itself, the assessment process, and the teaching.
Definitely prepare a syllabus early in the semester, preferably before some of your basic decisions (for instance, on required work and evaluation procedure) have been forced on you. Attempt to make the syllabus both responsive to what you are teaching and to what administrators require.
You will find that an extremely important aspect of a syllabus is a clear assignment section.
ASSIGNMENTS:
____________ _________________________________
4. _______________________________________
____________ ________________
____________________.
Bibliographic Note. In classic expository writing instruction, one learns to write “L-1” (Locution-1) essays in which all material is presented directly in the text, comprising both topic sentences and the supporting treatment. For example, see Figure 8.12, which represents an opening paragraph of no fewer than fourteen topic sentences.
The modern form of expository writing instruction is the locution-replacement approach. In the locution method, students begin without a specific subject, and then pick out certain elements from the examples of others, offer these in a paragraph, and make editorial changes as required. Assuming that students know what writers really know and can do, the locution course mimics the actual process of authorship for students. By working on the locution course, students realize that some thoughts need to be “said” with a brief introductory formulation (the topic sentence) and the bulk of the locution material should be introduced, discussed, and improved by substitution of subject matter. Furthermore, in locution work the instructor may ask his or her students to examine the topic sentences in a given work, after it has been published, to see if they perform well as they do affect the rest of the locution. In short, the locution method has as acts of writing: choosing, introducing, listing or summarizing a material, and writing the locution.
In an important earlier work (Smith, 1985) we presented a general account of the locution method, supported by reference to the Locution Course offered by Michigan State University through its Writing Success program. Our later research (Smith & Greenberg, 1995) examines in great detail the way students approach each of the steps and strategies of the locution method, what topics students find productive, how and why students edit, how to classify and describe the genre choices of students, and more. Other researchers who have reported on locution-based research and teaching include Dan Britton (1993), James O’Halloran (1993), Michael Clyne (1987), Michael Waters, Jr. (1994), and others in articles in Journal of the Writing Program.
RiskFactor for: Topic Sentences. The number, length, and content of topic sentences all contribute to risk scores, as follows:
T-score Tool
_______ + 1 per each thirty Type I topics.
Literature T-scores. The T-scores listed here have been computed by the qualitative scoring method described in Chapter 6. (These are not computed by the program, however, so even if you have heavily weighted scores, they won’t appear here).
It should be noted that, as a result of our writing course research, we are now recommending several different ways of using topic sentences in writing instruction programs, in addition to what we’ll call the MAIN PAPER and PART COURSE, described above. For a detailed look at these, please see Chapter 11.
Fixed Assignment _______, Type I Topic. 1
Analytic _______, Type II Topic. 1
Class Activities _______, Type III Themes. 1
Synthesis _______, Type IV Themes. 1
(Literature Topic). 2.5
Literature Analysis (MAIN PAPER). 3.5
Technical Article _______. 3
The Tip-of-the Iceberg (PART COURSE). 3
A “fixed” assignment is one where all students do exactly the same assignment and the grade for each part is within the instructor’s control. This elimination of unknown-other leads to one kind of error behavior in such sentence elements: putting all the more interesting thoughts into the academic footnotes. Most articles at the rate in footnotes and endnotes are written, nearly all endnotes are either redundant citations for the sources of documents or highly questionable connections of the material. Again, if the instructor does not weight these parts of the assignment, then most of the more interesting thoughts will usually not get into the body of the text.
A problem related writing as a Part of a Course (unlike the fixed assignments). The questions that are raised are: What is the actual quality of the locution phrases spoken into the group? Can they be specific? There is the required time. Has the part been well planned. Again, you get the idea. Due to the true success of a part, we believe that the weight made u p to 15 or 20 per cent of the overall score. Thus, we clearly have not followed the T-score or discipline papers that question the importance of including a section of the IA-WR essay to novices in our instrument (e.g m. Smith, 1985, 1986a, 1986b, 1994).
Again we emphasize that the whole essay be reduced to elements like you did for writing other compositions. Students are taught to include topic sentences and locate sources for students. It is assumed that each composition is an opportunity for students to make the connections among themselves and between the course and the world. It is not about memorizing the format for a topic:
Introduction: intro locutor topic sentence paragraph here. Body: each point locutor, topic sentence. Conclusion: sum locutor topic sentence final paragraph here.
Instead, it is about teaching students how to personalize their answers to off-the-shelf questions relating to previous work done in class: Just what is so interesting in the author’s subject matter and never quite knew? Can I actually write down a concise map or essay of what the article means that doesn’t sound verbose? How can I make this argument in my essay? Or—what could I change in a previous attempt at organizing an essay on this subject? Is my exposure at the graduate level in management or economics worth writing about in a meaningful way?
These are the sorts of questions that challenge good writers; they also helped to promote good writing. In sum, the writing class need not be the space for discussing grammar and vocabulary, but rather the complex level of analysis and argumentation.
To summarize, we need to include topic sentences in highly critical essays, where students are learning:
(1) critical reading the literature (2) how to read and write the interpretation of that reading
(3) write uses of the topic sentence information into the sentence and discussion interactions
(4) not merely accepting, but explaining and analysing common explanations
Just what is so interesting in the author’s subject matter and never quite knew? Can I actually write down a concise map or essay of what the article means that doesn’t sound verbose? How can I make this argument in my essay? Or—what could I change in a previous attempt
It must be with thesis and attested by the lecturers and reader!
the study materials are available in the next link:
http://www.cuaba.net/cairo-waar-een-reistocht-tot-djara.html
(you can use an online tool like Bing Translator or Google Translator to translate Arabic content
to English)
To get the notes / materials, register then attend all the lectures !
the deadline is next 3th of April 2016
