Erra Ncognita: Instructor: Email: Office: Office Hours: Course Description

T ERRA I NCOGNITA
Course Times, Sections, and Locations: MWF

09:05 A5 Skiles 314; MWF 10:05 J7 Skiles 314;
MWF 12:05 G5 Clough Commons 127
Instructor: Dr. Valerie B. Johnson
Email: valerie.johnson@lmc.gatech.edu
Office: Skiles 307
Office Hours: MWF 13:30 to 14:30; by appointment
Course Description: The dominant theme of this
course is re-visioning in the sense of seeing anew
and also revision. The proverb holds that history is
written by the victors, but history is a story, not a
fact. These biased stories trap and entangle the
descendants of both sides of a conflict, miring them
in generations of confusion that continue to do
Figure 1. Map by D. Gutirrez and H. Cock:
damage centuries later. Consequently, this course will
Antwerp, 1562. British Library. Discussion:
http://www.bl.uk/magnificentmaps/map3.html
examine the literatures produced in the wake of
conquest and colonization but since the stories of the conquerors are well known, we will study
the stories of the conquered. The driving theoretical approach in this course will be post-colonial
theories of contact, oppression, and change. Invading explorers, map makers, and colonizers
often marked unknown geographies with designations like terra incognita, postulating what
wonders and monsters inhabited those places. Yet these places were rarely uninhabited, and
never uncultivated, yet many stories of first (and second, and third) contact persistently depict
the new lands as pristine wildernesses awaiting cultivation. This romanticized perspective
facilitated mistreatment and dehumanization of native inhabitants. We will read well-known
stories, like Shakespeare's The Tempest or the poetry of Rudyard Kipling, through the lens of
post-colonial theory and seek to dismantle the common structures which have dominated our
readings of these canonical texts. Likewise, we will read authors whose works have not be
admitted to the literary canon and seek to reverse the marginalization of texts whose voices
speak back and reshape the discussion of colonization. Through the synthesis of multimodal
communication, we will think critically about the standard modes of communication, and seek to
understand the impact of our language upon others through writing, speaking, visual design,
electronic communication, and non-verbal language cues (WOVEN).
Writing and Communication Program Common Policies:
http://blogs.iac.gatech.edu/wcppolicies/engl-1101-and-engl-1102-common-policies/
Follow the above link to read the Writing and Communication Programs policies on attendance,
participation, academic misconduct, learning objectives, evaluation rubrics, non-discrimination,
accommodations, and the reflective portfolio. All these policies will be used in this class; make
sure you understand the policies and assessment rubric.
Required Texts and Other Expenses:
Texts:
These texts should be brought to class on the day we use them; if you do not have your texts or if
you have not read them, then you are unprepared and cannot participate effectively. Make sure
you have note-taking materials in class daily, as well as means of reading your texts while taking
notes. Any device you bring should be fully charged, and remember that notebooks and writing
utensils never run out of battery! If you need to use technology for access purposes, let me know
the details privately and I will never require you to turn off, turn over, or otherwise put away that
device.
Bedford Book of Genres, Amy

Braziller and Elizabeth Kleinfeld.
Bedford / St. Martins Press,
2014. (ISBN-10: 145765413X
and ISBN-13: 978-1457654138)
Writer / Designer, Kristin L. Arola,

Jennifer Sheppard, Cheryl E. Ball.
Bedford / St. Martins Press, 2014.
(ISBN-10: 1-4576-0045-5 and
ISBN-13: 978-1-4576-0045-6)
Note: Book of Genres and Writer / Designer are available as a discounted bundle at Georgia Techs two bookstores:
Barnes & Noble in Tech Square, and the Engineers Bookstore on Marietta Street. You can rent these books or get
them as e-books, but I highly recommend paper copies for ease of reference and note-taking.
You must use the following editions:

The Tempest,
William Shakespeare.
Norton Critical
Edition, 2003 (ISBN
978-0-393-97819-3)
A Short Account of
the Destruction of
the Indies,
Bartolom de las
Casas. Trans. Nigel
Griffin, intro.
Anthony Pagden. Penguin,
1992 (ISBN 9780140445626)
1491: New
Revelations of the
Americas Before
Columbus, Charles
C. Mann. Second ed.,
Vintage Books,
2011. (ISBN 978-1-40003205-1)
Note: These books are all available at Georgia Techs two bookstores: Barnes & Noble in Tech Square, and the
Engineers Bookstore on Marietta Street. You can also purchase them online (for delivery or as ebooks), but you
must have it by the time we begin using it and you may not get the right edition. Both timing and edition are vital
concerns.
Other readings are available in PDF format in the Readings folder in T-Square.
Software:
You will be writing papers using the word processing software of your choice with these
restrictions: you must be able to save and submit files in .doc or .docx file formats. If the
document is not in this format, it will not be considered on time and will accrue late
penalties. Document titles should be descriptive and include your surname
(e.g.,JohnsonReviewDraft.doc). Failure to conform to these basic standards may result in point
deductions on assignments.
You will also prepare presentations using programs including Prezie or Powerpoint and require
audio and video recording or editing software, such as Audacity and Windows Movie Maker or
iMovie. For these programs, generic, Open Source, or other programs are acceptable as long as
files are output into commonly usable (Windows-based) formats such as MP3, .wav, etc.
In sum, always submit your assignments in formats that can be read without purchase of specific
programs (never submit material in a proprietary software format like Pages). Small printing and
multimedia costs may be required to complete class projects.
Versioning:
You must get into the habit of saving each draft of your work separately (with a new name) on
your computer. Back up your work onto an external drive, in the cloud, in email, etc. If your
computer is damaged, you must complete your work on time! You will also be submitting
multiple drafts via T-Square and your final portfolio requires you to demonstrate process which
means you must have a selection of draft versions.
Access:
T-Square (https://t-square.gatech.edu/), and email are going to be the main venues for
communication within this course. We will use Mahara (https://mahara.gatech.edu/) for Project
III and the final portfolio. Please familiarize yourself with T-Square and Mahara as soon as
possible, and get into the habit of checking our course site and your email regularly.
Our final projects will be displayed on outward facing web sites, and video material will be
loaded to a common YouTube account for the course. Those details will be shared during class
with common logins, instructions, and passwords available. Because we will use outward facing
sites, you will be required to select a pseudonym you may select a personal name from this list
(http://www.britishbabynames.com/blog/2013/10/most-popular-elizabethan-names.html) and
your surname will be connected to your peer group (arranged by Elizabethan theatre names). File
names for material presented on outward-facing sites must include your pseudonyms full name
(e.g. OrielEmperorArtistStatement.doc).
While we will go over the basics of sharing content digitally as a class, it is ultimately your
responsibility to learn how to use the tools you decide to employ. To that end, I suggest that you
establish free user accounts (if you dont have them already) for those services that require them
now, and begin familiarizing yourself with the possibilities offered by each. The Multimedia Lab
and Lynda.com are excellent resources for you to take advantage of when employing advanced
technologies in your work. Free downloads of Tech supported programs are available at
http://software.oit.gatech.edu/. The gadgets reserves available through the Librarys circulation
desk will also come in handy they have everything from video cameras to iPads to tripods,
which youll need for our projects.
Assignments and Grading (Overview):
Each of the assignments overviewed below will be explained in more detail when formally
introduced in class and full descriptions will be posted on T-Square / Mahara. What follows is
simply meant to give you a sense of the types of projects you will be producing and how they
will be used to calculate your final grade. Revision, peer review, and self-reflection will all play
major roles in every assignment.
Major Assignment Categories:
Project I (Individual):
To Boldly Go...
Written argumentative essay, multimodal artifact, audio recorded oral reflection, and
Gallery Show presentation of artifact.
200 points; 20% of final grade.
Project II (Group):
The Oncoming Storm.
Written artifacts (annotated bibliography, proposal, script, storyboard, etc.), video
performance, movie poster.
Project III (Individual):
The Red Book of Westernesse.
Collecting materials from Unexpected Journey to develop a research project on a topic
and position of your own choosing; producing written artifacts (proposal, argument), peer
pitch, multimodal artifacts, presentation. Delivered via T-Square from Mahara.
Semester Observation Journals (Individual):
Unexpected Journey.
Written artifacts (weekly journal entries, report).

Portfolio (Individual):
Programmatic requirement, in lieu of a final exam. Delivered via T-Square from Mahara.
Written essays and reflections, portfolio of artifacts in WOVEN modes.
Additional:
Participation (Individual):
Engagement with class discussions, activities, and correspondence; preparation for
activities (in class and outside class); also includes attendance.
Warm-ups / Quizzes (Individual):
Completion of warm-up writing activities or points scored in reading quizzes.
Some are scheduled. There will be unannounced quizzes (surprise!) and if the class fails
to do its reading, I will begin assigning daily reading quizzes.
50 points; 5% of final grade
Revision:
I will allow you to revise components of major projects. I will regrade the revised project and
then average the two grades. You must tell me you wish to revise via email, and then meet with
me in person to develop a revision plan (timeline, visits to the Comm Lab, research assistance,
etc.). You may not individually revise group work (such as a video performance), though you
may revise your individual components (such as your annotated bibliography entries). Project III
and the Portfolio are not eligible for revision due to their due dates and the cumulative nature of
those assignments.
Revisions must be completed and submitted to me by the start of Dead Week (the week
preceding final exams).
Final Grading Scale:
A: 900-1000; B: 800-899; C: 700-799; D: 600-699; F: 599 and below.
Please note: because you have a one-hundred point window within which to receive each final
grade, I do not round final course grades. At all. I will also not respond to requests for "extra"
points to bring up your final grade (or individual components); if you ask, you demonstrate that
you have not read the syllabus and thus have no grounds to request unearned points. Do not ask.
Your feedback for individual projects or artifacts will be based on the programmatic rubric
(included in the link above) as well as rubrics that help you see each skill used in the assignment
and your performance.
Submitting Assignments:
Major projects should be delivered electronically via T-Square by 6 am on the day they are due,
unless otherwise specified in the syllabus or assignment prompt. Unexpected Journeys will be
due every Saturday by 7 pm. Every assignment must be submitted to T-Square for grading and
grade return; that system is FERPA compliant with regards to the privacy of student performance
data. Note: I reserve the right to alter this syllabus as necessary during the course of the
semester.
Syllabus
Week 1: Foundations
Monday 5 January
Class Topic:
Course introductions and welcome
Due:
Nothing
Preparation:
Nothing
Wednesday 7 January
Class Topic:
Discussion of genres, audience
Due:
Syllabus forms
Preparation:
Read syllabus and fill out forms
Read Book of Genres Chapter 1 (4-16)
Read Audience
Friday 9 January
Class Topic:
Syllabus quiz
Discussion of Project I
Discussion of Argument, Book of Genres Chapter 3
Discussion of The Requirement
Due:
Syllabus forms (in class)
Preparation:
Read syllabus and fill out forms; bring forms to class
Read Argument
Read Patricia Seed, The Requirement: A Protocol for Conquest, Ceremonies of
Possession (69-99) (in Readings Folder)
Reminders: Unexpected Journey entry due by 6 pm Saturday!
Week 2: Arguments and Multimodality
Monday 12 January
Class Topic:
Reading quiz
Discussion of multimodal arguments
Discussion of de las Casas and Mann
Preparation:
Read Writer / Designer Chapter 1
Read Bartolom de las Casas, Introduction, A Short Account of the Destruction of the
Indies (xiii-xlv)
Read Charles Mann, Introduction, 1491 (3-31), and Amazonia, 1491 (319-59)
Wednesday 14 January
Class Topic:
Multimodal projects and making arguments
Preparation:
Read Writer / Designer Chapter 2
Read de las Casas, 3-30
Read Mary Louise Pratt, Introduction, Imperial Eyes (1-12) (in Readings Folder)
Friday 16 January
Class Topic:
Fact as fiction, fiction as fact discussion of Campbell, de las Casas, and the efficacy of
persuasive genres
Workshop: Project I ideas with peer groups
Due:
Project I rough ideas
Preparation:
Read Mary Campbell, Introduction, Witness and the Other World (1-11)
Read Book of Genres Chapter 4 (176-87, 212-30)
Write down your potential argument(s) for Project I written artifact and list potential
ideas for the multimodal artifact
Week 3: Analyzing Arguments
Monday 19 January
NO CLASS: Martin Luther King (MLK) Day
This holiday is an official observance honoring the work of Dr. Martin Luther King.
Think about the connections between modern discussions of civil rights and the material
weve been studying. Write a 500-word essay detailing the connections and making a
brief argument for how study of the past impacts the present (graded on a 1-5 scale).
This essay is due by 30 January.
Class Topic:
Reading quiz
Discussion: What arguments are de las Casas, Campbell, and Seed making? How does
each author present and craft an argument differently? How does each author use
evidence to persuade and quantify the arguments claims? Think about how you can use
your logical outline to determine how and where you need to provide evidence.
Due:
Logical outline of Project I argument
Preparation:
Read Campbell, The End of the East: Columbus Discovers Paradise (165-209)
Read Seed, Introduction: Ceremonies of Possession in Europes Conquest of the New
World, 1492-1640 (1-15)
Friday 23 January
Class Topic:
Discussion: Rudd proposes a very different model of reading that offers useful insight
into the world de las Casas describes. Seed, Pratt, and Campbell are indirectly using
some of these methods as well. How might we use green reading techniques to revision our own environments?
Workshop: Peer review, focusing on the viability of the written argument
Due:
Rough draft of Project I written artifact in T-Square and either a paper copy in class for
peer review or bring your computer to leave comments in the document
Preparation:
Read Gillian Rudd, Green Reading, Greenery
Finish rough draft of Project I written artifact
Week 4: Making Arguments

Monday 26 January
Class Topic:
How are Seed and Mann making arguments? What techniques do you detect in their
texts? Discuss their methods and how we can mimic these techniques.
Preparation:
Review Argument, Book of Genres and Writer / Designer for tips, tricks, and
requirements regarding effective argument.
Read Seed, Conclusion: Habits of History (179-93)
Read Mann, Frequently Asked Questions (110-51)
Class Topic:
Introduction to library research methods
Due:
List of ideas / things you need to do to improve your Project I argument (be specific!) in
T-Square
Preparation:
Read Book of Genres Chapter 5
Brainstorm ideas to improve your project I argument
Friday 30 January
Class Topic:
The reading by Mann and the performances of This Land is Your Land combine to
invert expectations and challenge what we think we knowbut their methods are very
different. Discussion on efficacy of these techniques.
Due:
MLK 500-word essay
Preparation:
Read Mann, Made in America (273 -318)
Watch / listen to This Land is Your Land videos / reflection
Week 5: Citation and Details
Monday 2 February
Class Topic:
Q&A: citation, attribution, academic honesty, and avoiding plagiarism. As you read
Mann, consider how he cites and attributes material, ideas, and topics
Preparation:
Read Mann, Why Billington Survived (33-67)
Read Book of Genres Chapter 7
Wednesday 4 February
Class Topic:
Workshop
Q&A: loose ends
Preparation:
Bring your computers and any questions you have; be prepared to provide peer review
upon request
Friday 6 February
Class Topic:
Gallery Show and presentation of Project I artifacts (be prepared to tell people a little
about your argument!)
Due:
Project I. All electronic materials should be submitted through T-Square and physical
artifacts transported to the classroom for the Gallery Show.
Preparation:
Finish Project I, prepare physical artifacts for transport (dont wait until Friday to print
or fabricate!)
Week 6: Applying Research
Monday 9 February
Class Topic:
Advanced research methods
Due:
Oral reflection on Project I (including reactions during the Gallery Show)
Preparation:
Review Book of Genres Chapter 5
Class Topic:
Discussion of Project II
Due:
Initial ideas (individual) on Project II
Preparation:
Read The Tempest: Preface and A Note on the Text (vii-xi, 78-82)
Think about the Act of The Tempest that your group will adapt review and consider
what you think other readers should focus upon (whats important and whats not?
Whats difficult? Whats problematic? Whats vital to the?)
Write down your ideas and submit them via T-Square.
Friday 13 February
Class Topic:
Act I group will lead discussion of Act I, The Tempest
Consider how the extra readings enhance our understanding of the social systems
operating within both the text and the critical mindset underlying Drydens brief essay
Due:
Act I group: lesson plan (by 7 pm)
Preparation:
Read The Tempest: Act I
Read Bernard M. Magubane, The Foundations of Racism, Race and the Construction
of the Dispensable Other (29-49)
John Dryden, The Character of Caliban, The Tempest (119)
Week 7: Problematizing Shakespeare
Monday 16 February
Class Topic:
Act II group will lead discussion of Act II
Consider how the extra readings (today and Friday) enhance our modern-day
understanding of this text for example, is The Tempests elevated position in AngloAmerican culture damaging to marginalized social groups?
Due:
Act II group: lesson plan (by 7 pm)
Preparation:
Read The Tempest: Act II
Read Magubane, Europe and its Others (50-68)
Class Topic:
Act III and IV groups will lead discussion take 5 minutes at the start of class to
coordinate, and feel free to break free of the plays chronology if necessary.
Due:
Act III and Act IV groups: lesson plans (by 7 pm)
Preparation:
Read The Tempest: Act III - IV
Finalize schedules with group members for filming your adaptations
Friday 20 February
Class Topic:
Act V group will lead discussion of Act V
Due:
Act V group: lesson plan (by 7 pm)
Preparation:
Read The Tempest: Act V
Read Theodore Meron, Crimes and Accountability in Shakespeare, War Crimes Law
Comes of Age: Essays (67-121)
Reminders: Finish pre-production and begin filming this weekend. Unexpected Journey entry
due by 6 pm Saturday!
Week 8: Making Arguments through Performance
Monday 23 February
Class Topic:
Project II class-wide check-in: Discuss initial ideas, arguments, and research needs
between groups.
Due:
Storyboards
Preparation:
Come to class prepared to tell the other groups what your group is doing, be ready to
ask for help or inspiration, and generally be ready to share your progress / methods
Finalize storyboards
Class Topic:
Project II: Workshop / Group meetings / Filming *
*If your group needs to film during class time, elect one member to email me before
class and then, during class, to send me a group selfie once the group is assembled (this
is how I will take roll)
Due:
Draft scripts
Preparation:
Remain in contact with the group and arrange your schedules
Prepare draft of script
Friday 27 February
Class Topic:
Project II: Workshop / Group meetings / Filming *
Due:
Draft annotated bibliography
Preparation:
Remain in contact with the group and arrange your schedules
Annotate your sources and submit the draft annotated bibliography via T-Square
Reminders: Keep filming and editing! Unexpected Journey entry due by 6 pm Saturday!
Week 9: Filming
Monday 2 March
Class Topic:
Brief meeting in classroom: each group has now had a chance to film or rehearse, and
praxis always alters planning. How has each group decided to adjust genres, audience
goals, plot points, costuming, etc. in other words, share what you are actually doing!
Project II filming during class time after check-in
Preparation:
Coordinate with your group to get filming underway and to identify what needs to be
done
Wednesday 4 March
Class Topic:
Project II: Filming *
Due:
Project III check in and self-review what have you noticed you focus upon in your
weekly reflections? What topics interest you? What sorts of arguments do you think you
could make and what sort of research would you conduct to support those arguments?
Submit via T-Square.
Preparation:
Rehearse and have your costumes / equipment ready
Friday 13 March
Class Topic:
Project II. Submit videos via T-Square and load into class YouTube channel / gallery
presentation site; submit final scripts; submit final annotated bibliographies; submit
electronic copy of movie poster and bring physical copy to class for the screening
Due:
Project II. Submit videos by first loading files into class YouTube channel / gallery
presentation site, and then providing direct YouTube link in T-Square. Submit final
scripts, final annotated bibliographies, and electronic copy of movie poster via TSquare. Bring physical copy of movie poster to class for the screening
Preparation:
In-class screening of The Tempest by the Globe Initiative Theatres (aka, the class!) with
poster display
SPRING BREAK: March 16-20
Optional 500-word essay, to replace a quiz score of your choice (NOT extra credit!). Spring
Break is a chance to leave our normal locations and go to new places or return to our homes.
We think nothing of it and even expect it. However, travel has historically been a privilege that
carries high risks and few rewards. In this essay, combine the readings from the course with the
locations of your journey(s) to create an argument (the topic is up to you). Grading will be on a
scale of 1-5; due by 27 March.
Week 11: Transitions and Brainstorming
Monday 23 March
Class Topic:
Project II wrap up, discussion of decisions
Project III brainstorming

Discussion of Mann
Due:
Project III brainstorming
Preparation:
Think about the decisions you made (individually and as a group) and what youd avoid
or do again
Brainstorm for Project III and submit a rough outline via T-Square
Read Mann, Artificial Wilderness (350-66)
Wednesday 25 March
Class Topic:
Group brainstorming / peer review of Project III idea outlines (small and large group, at
need)
Discussion of Mann
Due:
Outline or proposal of Project III in T-Square
Preparation:
Make sure your Project III ideas are ready for peer review proposal format is ideal
and bring a copy of those ideas to class for review
Read Mann, Made in America (273-314)
Friday 27 March
Class Topic:
Project III workshop
Preparation:
Keep working on Project III
Week 12: Application: Here There Be Dragons
Monday 30 March
Class Topic:
Judgment Day: Peer approval or denial of project topics
Due:
Project III Proposal and Pitch: Materials
Preparation:
Perfect your project proposal / pitch the format is your choice.
Study the evaluation sheet so you may accurately assess your peer partner(s) and offer
effective feedback; submit the assessment and feedback to your partner and also in TSquare by 6 am Wednesday
Wednesday 1 April
Class Topic:
Reading quiz
Discussion of Kipling and the problematic concepts in White Mans Burden
Due:
Peer assessment and feedback to partner; submit materials in T-Square as well
Preparation:
Read Rudyard Kipling, White Mans Burden
Think about what the poem is saying on the literal, intentional, and post-writing /
post-authorial levels if this poem is part of our culture as speakers of English, how do
we come to terms with it? Bring your notes to class and be prepared for discussion.
Friday 3 April
Class Topic:
Applications: How can we use Mann as a research source? Pratt? Campbell?
Due:
Minimum 100 words answering Class Topic questions in T-Square; bring a copy to
class as well.
Preparation:
Think about and submit answers to the Class Topic questions. Present your ideas in
class, and be prepared to talk about how the past and present intersect through research.
Reminders: Last Unexpected Journey entry due by 6 pm Saturday!
Week 13: Workshops
Monday 6 April
Class Topic:
Preparation:
Bring your computer, questions, and ideas for discussion with peer groups
Wednesday 8 April
Class Topic:
Preparation:
Keep working on Project III and bring your work to class.
Friday 10 April
Class Topic:
Preparation:
Keep working on Project III and bring your work to class. Finish stuff up!
Reminders: Project III and presentations are next week, so make sure you practice your
presentation and prepare your visual aids ahead of time. You only have 5 minutes so timing is
very important.
Week 14: Presentations
Monday 13 April
Class Topic:
Presentations
Due:
Project III, all materials submitted via T-Square
Presentation materials due by 7 pm on the day you present
Preparation:
Prepare for glory!
Wednesday 15 April
Class Topic:
Presentations
Due:
Preparation:
Prepare for glory!
Friday 17 April
Class Topic:
Presentations
If time: Portfolio discussions
Due:
Preparation:
Prepare for glory!
Review the Portfolio instructions; come prepared with questions
Reminders: Eat your vegetables and get plenty of sleep. Youre almost done; dont falter now!
Week 15: Portfolios and Dead Week

Monday 20 April
Class Topic:
Portfolio workshop
Preparation:
Work on your portfolio
Wednesday 22 April
Class Topic:
Portfolio workshop
Preparation:
Friday 24 April (LAST DAY OF CLASS, YEAH)
Class Topic:
Portfolio workshop
Preparation:
Reminders: Portfolios are due during the exam period for each section. You may turn in your
portfolio early.
Week 16: Exams (Youve Got This Edition)
Monday 27 April
Due:
Section J7, Exam Period 2 (11:30 am 2:20 pm): Final Portfolio
Friday 1 May
Due:
Section A5, Exam Period 14 (8-10:50 am): Final Portfolio
Section G5, Exam Period 15 (11:30 am 2:20 pm): Final Portfolio
Reminders: Portfolios are submitted electronically via T-Square remember to provide both
the Mahara Secret URL and the zip file (Leap2 format). You may submit your portfolio early
but you MAY NOT submit after the time of your exam period (it will be marked down as late).
Forward to Glory!
Figure 2. Image Sourced from http://joyreactor.com/post/1290061
PLEASE READ, SIGN, AND RETURN THESE FORMS TO DR. JOHNSON

Form 1: Use of Your Work, Permission Form
The major projects for this course are presented on outward facing web sites (not accessible to
search engines) where you are required to use a pseudonym. Your privacy is protected under
FERPA guidelines, as interpreted by Georgia Tech. This form is asking for you to give
permission to Dr. Johnson to use your work as examples in limited circumstances beyond
presentation on our course web site. This form also asks you to specify whether or not you wish
to be identified at all, by your class pseudonym, or by your full name.
Here are the contexts I anticipate using your work:
In academic work presented at professional conferences (where the audience would be
other professors, teachers, and academic professionals, a somewhat limited audience)
In teaching portfolios that are part of Dr. Johnsons job applications (where the audience
would be hiring committees at colleges, a very limited audience)
In academic publications (where the audience would be other professors, teachers, and
academic professionals, but possibly also other interested readers, a somewhat limited
audience)
In other classes that I teach, as examples of successful completion of assignments (a
somewhat limited audience; your name would be erased to the best of my ability)
If you have questions or concerns, please ask me in person or write to me by email!
Form 2: Syllabus Comprehension
I am required to document that you have read and understood the syllabus for this course, the
policies specific to this course, and the broader policies of the Writing and Communication
Program. Please read the syllabus and policies, and follow the link in the syllabus to the common
policies shared by the Writing and Communication Program.
If you have questions or concerns, please ask me in person or write to me by email!
PERMISSIONS FORM
DIRECTIONS: Read carefully and check all that apply.
No permission:
I do not want my work used as examples in any situations, beyond the existence of our
course web site.
I give my instructor, Valerie B. Johnson, permission to use copies of the work I do for this course,
ENGL 1102, as examples in (check all that apply):
Academic presentations
Teaching portfolios
Print and electronic publications
Other classes taught by Dr. Johnson
If you give permission for your work to be used, please indicate how you want to be acknowledged:
Please acknowledge me by name.
Please acknowledge me by my course pseudonym.
Please use my work, but do not acknowledge me by name.
The following information enables me to contact you if your work is used.
_________________________________________________________________________
Print full name
_________________________________________________________________________
Legible signature
_________________________________________________________________________
Permanent e-mail address
_________________________________________________________________________
Date
Syllabus Comprehension Form
I affirm that I have read the entire syllabus and policy sheet for ENGL 1102 Terra Incognita and
understand the information and the responsibilities specified.
_________________________________________________________________________
Print full name
_________________________________________________________________________
Legible signature
_________________________________________________________________________
Date

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T ERRA I NCOGNITA

Course Times, Sections, and Locations: MWF

Bedford Book of Genres, Amy

Writer / Designer, Kristin L. Arola,

You must use the following editions:

Written artifacts (weekly journal entries, report).

Week 4: Making Arguments

Project III brainstorming

Week 15: Portfolios and Dead Week

Figure 2. Image Sourced from http://joyreactor.com/post/1290061

PLEASE READ, SIGN, AND RETURN THESE FORMS TO DR. JOHNSON

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