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IN01_LUNS_64526_FM00_i_xiv.qxd:LUNSFORD_01 (035-112).qxd 12/21/10 5:44 PM Page i INSTRUCTOR’S NOTES The St. Martin’s Handbook seventh edition IN01_LUNS_64526_FM00_i_xiv.qxd:LUNSFORD_01 (035-112).qxd 12/21/10 5:44 PM Page ii IN01_LUNS_64526_FM00_i_xiv.qxd:LUNSFORD_01 (035-112).qxd 12/21/10 5:44 PM Page iii INSTRUCTOR’S NOTES The St. Martin’s seventh edition Handbook Andrea A. Lunsford Stanford University Alyssa O’Brien Stanford University Bedford/St. Martin’s Boston ♦ New York IN01_LUNS_64526_FM00_i_xiv.qxd:LUNSFORD_01 (035-112).qxd 12/21/10 5:44 PM Page iv Copyright © 2011, 2008, 2003 by Bedford/St. Martin’s All rights reserved. Instructors who have adopted The St. Martin’s Handbook, Seventh Edition, as a textbook for a course are authorized to duplicate portions of this manual for their students. Manufactured in the United States of America. 543210 fedcba For information, write: Bedford/St. Martin’s, 75 Arlington Street, Boston, MA 02116 (617-399-4000) ISBN: 978-0-312- 64526-7 Acknowledgments Judy Brady. Excerpt from “Why I Want a Wife.” Copyright © 1970 by Judy Brady. Reprinted with the permission of the author. J.M.S. Careless. Reprinted by permission from Canada: A Story of Challenge by J.M.S. Careless (St. Martin’s Press, 1964). Emily Dickinson. “Much madness is divinest sense” is reprinted by permission of the publishers and The Trustees of Amherst College from The Poems of Emily Dickinson, Thomas H. Johnson, ed., Cambridge, Mass.: The Belknap Press of Harvard University Press. Copyright © 1951, 1955, 1979, 1983 by the President and Fellows of Harvard College. Robert Francis. “The Pitcher.” From The Orb Weaver by Robert Francis, copyright © 1960 by Robert Francis. Reprinted with permission of Wesleyan University Press. Queen Latifah. Words and Music by Shane Faber, Queen Latifah, and Mark James. © 1989 Warner-Tamerlane Publishing Corp., Now & Then Music, WB Music Corp., Queen Latifah Music Inc., Forty Five King Music, Forked Tongue Music, and Simone Johnson Pub. Designee. All rights on behalf of itself and Now & Then Music. Administered by Warner-Tamerlane Publishing Corp. All rights on behalf of itself, Queen Latifah Music Inc., Forty Five King Music, Forked Tongue Music, and Simone Johnson Pub. Designee. Administered by WB Music Corp. All Rights Reserved. Used by permission of Alfred Music Publishing Co., Inc. “Unique” [definition]. By permission from Webster’s Third New International® Dictionary, Unabridged, by Merriam-Webster, Incorporated (www.merriam -webster.com). “War of 1812.” From The World Book Encyclopedia. Copyright © 1998 World Book, Inc. All rights reserved. By permission of the publisher. www.worldbookonline.com. IN01_LUNS_64526_FM00_i_xiv.qxd:LUNSFORD_01 (035-112).qxd 12/21/10 5:44 PM Page v Preface These Instructor’s Notes grew out of the extensive marginal notes origi- nally created for The St. Martin’s Handbook by Cheryl Glenn, Roger Graves, R. Gerald Nelms, Dennis Quon, and Andrea Lunsford. In subse- quent editions, the Notes were revised and expanded by other important contributors, including Alyssa O’Brien, Melissa Goldthwaite, Jennifer Cognard-Black, Jeff Loew, Marvin Diogenes, and Christine Alfano. The Seventh Edition of the Instructor’s Notes builds on this pedagogical foun- dation and works to improve and extend the usefulness of the Notes for teachers of writing today. The present book signifies a revision, corresponding to the revamped Seventh Edition of the Handbook: not only have we updated resources, added a number of practical strategies, and responded to current trends in the field of teaching writing, but we have also increased the coverage of collaborative work. We have added new content on expectations for col- lege writing and on thinking critically about arguments in diverse media. The Instructor’s Notes have also been informed by new research into the top twenty errors that first-year students make in their writing. In order to explore these aspects of writing and teaching, we have tested the materials for the new edition in the crucible of our classrooms, thereby making the necessary, if not always successful, connection between theory and practice. In this way, the current edition continues a tradition developed with each incarnation of this project. Once again we found ourselves collaborating in the same ways we ask our students to do, and like our students, we struggled with the concept of audience, attempt- ing to address both beginning and experienced instructors of composi- tion. Ultimately, creating the revised Instructor’s Notes offered us a rich opportunity to practice what we so often preach and to provide a set of notes for use by teachers in the writing classroom. In approaching the question of audience for this edition, our first thought was again of everyday classroom needs — teaching suggestions, additional collaborative activities for student writers, working with tech- nology in the classroom, and so on. As we began our work, however, we v IN01_LUNS_64526_FM00_i_xiv.qxd:LUNSFORD_01 (035-112).qxd 12/21/10 5:44 PM Page vi vi Preface came upon materials and ideas for teaching that expanded our original horizons, providing not only the what to teach but, more important, the how and the why. Our experience mirrors the history of composition scholarship. In the past thirty years, the what has changed from a product-oriented approach to a process approach, and now this in turn has become what some refer to as a “post-process” approach. Our teaching today focuses on the mate- rial conditions for student writing (and our teaching of it); on the social nature of writing and reading; on an enriched sense of rhetorical situa- tions and the key writing occasions they entail; on changes in the nature, status, and scope of writing; on recently emerging genres of writing; and on the impact of technologies and social media on writing. Accompanying this shift in what we focus on have been increasingly sophisticated pedagogy and research — the how — and greater justifica- tion — the why. In our experience, the what cannot be separated from the how and the why. This book, therefore, contains various materials that respond not only to everyday classroom needs but also to broad pedagogi- cal concerns. In this revision, we have kept the best of the earlier notes, linking each heading to the language of the Handbook rubrics for greater ease in cross-referencing. We have kept our dedication to reaching all learners through the notes on “Attending to Disabilities,” and we have sug- gested ways to enrich pedagogy through digital means with our advice in “Teaching with Technology” notes. More specifically, this edition includes: • Background notes, prefaced with “On,” present useful historical, the- oretical, and contextual information. • For Teaching notes offer practical classroom strategies, exercises, and activities. • For Collaboration notes, expanded in this edition, provide suggestions for group work and exercises that students can do in peer-review pairs and small groups. • For Multilingual Writers notes offer suggestions for teaching writers whose home language is not English. • Teaching with Technolog y notes offer classroom-tested strategies for using new technologies effectively to teach writing. • Attending to Disabilities notes provide theoretically informed and classroom-tested advice on how to teach all our students as well as con- crete strategies for transforming classroom culture to rethink the ways in which we conceptualize the writers in our communities. IN01_LUNS_64526_FM00_i_xiv.qxd:LUNSFORD_01 (035-112).qxd 12/21/10 5:44 PM Page vii Preface vii • Useful Readings and Useful Web Sites provide annotated reference lists of books, articles, and Web sites that explore issues addressed in each chapter. • Quotes about Writing suggest a starting point for class discussion; they can also illuminate the subject at hand or simply entertain. We’re also pleased to offer Michael Hennessy’s comprehensive guide, “Using The St. Martin’s Handbook with Sample Syllabi.” In this opening section of the Instructor’s Notes, Mike offers wonderfully clear and cogent suggestions for teaching students how to use a handbook, for using a hand- book as a classroom tool, and for developing your course through his sam- ple syllabi by pairing The St. Martin’s Handbook with a thematic reader, a literature anthology, or an argument/rhetoric. Our collaboration on this most recent revision includes a number of friends and colleagues to whom we are indebted. At Bedford/St. Martin’s, we wish to thank our development editors, Carolyn Lengel and Cecilia Seiter, as well as our managing editor, Shuli Traub; our project editor, Ryan Sullivan; our production supervisor, Samuel Jones; and our editorial assis- tant, Nicholas McCarthy. Perhaps most importantly, however, we would like to thank all the instructors to whom this book is addressed. Everything in this book is written for you — but in fact much, perhaps most, of it has been inspired by you. Andrea A. Lunsford Alyssa J. O’Brien IN01_LUNS_64526_FM00_i_xiv.qxd:LUNSFORD_01 (035-112).qxd 12/21/10 5:44 PM Page viii Ordering Information To order any of the ancillaries for The St. Martin’s Handbook, please contact your Bedford/St. Martin’s sales representative, email sales support at sales_support @bfwpub.com, or visit our Web site at bedfordstmartins.com. The St. Martin’s Handbook packaged with: Bedford/St. Martin’s Research Pack With clothbound book: ISBN 978 - 0-312-55476-7 With paperbound book: ISBN 978 - 0-312-55478 -1 The St. Martin’s Pocket Guide to Research and Documentation, Fifth Edition Andrea A. Lunsford and Marcia Muth ISBN 978 - 0-312-56864-1 CompClass With clothbound book: ISBN 978 - 0-312-55783- 6 With paperbound book: ISBN 978 - 0-312- 66192-2 E-book With clothbound book: ISBN 978 - 0-312-55784-3 With paperbound book: ISBN 978 - 0-312-55832-1 Re:Writing Plus With clothbound book: ISBN 978 - 0-312-55828 -4 With paperbound book: ISBN 978 - 0-312-55899-4 VideoCentral: English With clothbound book: ISBN 978 - 0-312-55829-1 With paperbound book: ISBN 978 - 0-312-55901-4 Book Companion Site for The St.
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  • An Exploration of in Cold Blood and Columbine

    An Exploration of in Cold Blood and Columbine

    Deconstructing the Binary of Good and Evil: An Exploration of In Cold Blood and Columbine Jamie R. Pledger English Departmental Honors Thesis University of Colorado at Boulder Defended April 3, 2013 Thesis Advisor Dr. Jeremy Green | Dept. of English Defense Committee Dr. William Kuskin | Dept. of English Dr. Michael Grant | Dept. of Ecology and Evolutionary Biology Pledger 2 Table of Contents Abstract | 3 I: Introduction | 4 II: Establishing the Binary of Good and Evil | 5 III: Deconstruction of the Good and Evil Binary | 14 IV: The Spectrum of Good and Evil as Illuminated by the Murderous Pairs | 17 V: Sexuality | 38 VI: Conclusion | 46 Bibliography | 50 Pledger 3 Deconstructing the Binary of Good and Evil: An Exploration of In Cold Blood and Columbine Abstract: This thesis explores the representation of the good and evil binary through the analysis of Truman Capote’s In Cold Blood and Dave Cullen’s Columbine. The texts recount true murders in the history of the U.S.: the murders of 4 Clutter family members by Dick Hickock and Perry Smith in 1959 in Holcomb, Kansas and the school shooting massacre at Columbine High School by Eric Harris and Dylan Klebold in 1999 in Littleton, Colorado. These narratives open with the cities in which these murders occur juxtaposed with descriptions of the killers. In the event of the murders these two seemingly opposite entities merge, the beginning of the deconstruction of the good and evil binary. The deep exploration into each of the killers’ character, lives and sexuality furthers the deconstruction of the binary by establishing one man as sympathetic and the other as an embodiment of true evil.