41. Composition Course Outcomes • Ohio University English Department By the end of firstyear composition, students at Ohio University should develop including summary microthemes, peer critique, focused freewriting, http://www.english.ohiou.edu/undergrad/program/compcompetencies.php

@import "/styles/all.css"; Skip navigation 360 Ellis Hall Athens, Ohio 45701 T. (740) 593-2838 F. (740) 593-2818 English.Department@ohio.edu Graduate Program Programs Ph.D. M.A. Visiting H.S. Teacher Areas Creative Writing Literature Further Information A.G.E.S. Admissions Assistantships Dissertation Titles ... Undergraduate Program Programs Major Requirements Graduating with Honors Honors Tutorial College Summer with Shakespeare Areas Literature Creative Writing Secondary Teaching First Year Composition Composition Courses Composition Competencies Further Information Writing Center Course Catalog Department Directory Policies and Procedures ... Home First-Year English Rhetorical Competencies Students who successfully complete English 151, 152, or 153 should be able to practice each of the following activities competently: Write rhetorically, which means that students should be able to: Write in various genres (both formal and informal, including summary microthemes, peer critique, focused freewriting, textual and rhetorical analyses, thesis-driven essays, source-based writing, dialogue journals, dialectical notebooks, etc.) while enacting appropriate rhetorical strategies that employ metacognitive processes such as summary, analysis, response, critique, and synthesis. Compose original arguments that evaluate, analyze, and synthesize primary and secondary texts (including visual texts) and their structural framework (thesis statement, evidence, and support) as well as their rhetorical purposes, audiences, and situations.

42. Composition Course Guide • Ohio University English Department Courses Meeting the FirstYear composition Requirement read and explicateliterary texts, critique the portrayal of gender stereotypes in film and http://www.english.ohiou.edu/undergrad/program/compguide.php

@import "/styles/all.css"; Skip navigation 360 Ellis Hall Athens, Ohio 45701 T. (740) 593-2838 F. (740) 593-2818 English.Department@ohio.edu Graduate Program Programs Ph.D. M.A. Visiting H.S. Teacher Areas Creative Writing Literature Further Information A.G.E.S. Admissions Assistantships Dissertation Titles ... Undergraduate Program Programs Major Requirements Graduating with Honors Honors Tutorial College Summer with Shakespeare Areas Literature Creative Writing Secondary Teaching First Year Composition Composition Courses Composition Competencies Further Information Writing Center Course Catalog Department Directory Policies and Procedures ... Home Composition Courses Undergraduate students at Ohio University are currently required to take one quarter of composition at the freshman level, and one quarter at the junior level. Any of the three freshman courses offered will fulfill the First-Year Composition requirement; each of the three courses fulfills the same purpose with a slightly different topic. Very much like First-Year Composition, any one of English 305J, 306J, or 308J will fulfill the Junior-level requirement for students not majoring in English. Students majoring in English must take English 307J. Some of the writing courses at Ohio University are regularly scheduled in Computer Classrooms . Those courses are listed in TRIPS as being taught in Ellis Hall rooms 19 and 20, and are flagged as requiring the use of a computer.

43. Digital Grin - Welcome To The Critique Forum - Please Read The Rules Here save that for the photoshop shenanigans forum. use this forum for critiqueabout composition, choice of exposure, lighting, subject matter etc. http://www.dgrin.com/showthread.php?t=13428

44. The Things That Go Without Saying In Composition Studies: A Colloquy Finally, Robert J. Connors cautions us that theory and critique have not So, I am uncomfortable with a postmodern critique of the past of composition http://jac.gsu.edu/jac/15.2/Articles/5.htm

buy back issues add to the archive contact an editor home JAC 15.2 (1995) The Things That Go Without Saying in Composition Studies: A Colloquy LINDA K. SHAMOON AND BEVERLY WALL Introduction LINDA K. SHAMOON AND ROBERT A. SCHWEGLER If anything about composition is overdetermined, it is the process paradigm, where every question can be answered and every problem makes sense. In the move to make composition studies a legitimate discipline, research on composing began to inform practice while it also drew for us portraits of ‘typical student writers that have influenced the ways we see our own students. Nedra Reynolds This statement by Nedra Reynolds, which opens the first position paper in this colloquy, identifies a number of the “things” which drive composition studies, including the process paradigm, the search for legitimacy, and our constructed pictures of “informed” practice. Other position papers identify additional elements: reading as interpretation, teachers’ and students’ au­thority in the classroom, ownership of texts, students as writers, and the belletristic tradition. These position papers, which were first aired at a conference entitled A Critique of the Things That Go Without Saying in Composition Studies, bring together in one conversation a challenge to the major interests, practices, and values that constitute and determine compo­sition studies. In recapturing the provocative interactions of the confer­ence, many of us started to think of composition studies as an “overdetermined system,” a concept from the sciences and the social sciences with rich implications for our reading of composition studies as a set of hegemonic discourse practices that ties the field to the social formation of the profes­sional middle class. From this perspective, we present this collection of position papers as a critical account of the discipline.

45. A Brush With Wildlife: Create A Composition With Carl Rungius then create your own composition and submit it to the critique Gallery forreview! Art Principles Animated composition Studio critique Wall http://www.wildlifeart.org/Rungius/

Silver Medalist, 2002 MUSE Awards American Association of Museums A Brush with Wildlife design and development by Educational Web Adventures Creating a composition is one of the most exciting and challenging aspects facing an artist. How do you use art principles like balance, contrast, movement, and proportion to compose a powerful work of art? Carl Rungius, one of America's finest wildlife artists, was fascinated with composition throughout his career. What can we learn from him as we make our own compositions? Introduce yourself to the animated principles of art, then create your own composition and submit it to the Critique Gallery for review!

46. Quodlibet Online Journal: Neo-platonic Infinity And Aristotelian Unity: A Critiq a critique of W. Norris Clarke SJ’s reconstruction of Aquinas’ metaphysical St. Thomas Aquinas expresses the metaphysical composition of beings in terms http://www.quodlibet.net/meng-essence.shtml

Quodlibet Journal: Volume 3 Number 1, Winter 2001 ISSN: 1526-6575 http://www.Quodlibet.net Neo-platonic Infinity and Aristotelian Unity: a critique of W. Norris Clarke SJ’s reconstruction of Aquinas’ metaphysical development W. Norris Clarke SJ has brought to our attention the Neo-platonic inspiration behind what has traditionally been called the Aristotelian-Thomistic thought of St. Thomas Aquinas. [1] The tendency has since been to say that the notion of infinity as imperfection properly befits Classical Greek thought whereas the Medieval, Scholastic and Thomistic paradigm which posits an “infinite perfection” is in contradiction to this, and to trace the proper antecedent of this anti-Grecian paradigm of infinity to the Neoplatonic participationists. Buttressing and built on this hermeneutic is the claim that the Aristotelian act and potency schema in Aquinas’ metaphysics of limitation was introduced later to preserve the unity of beings. This paper aims to critique the evidence for this reconstruction of Aquinas’ metaphysical development. St. Thomas Aquinas expresses the metaphysical composition of beings in terms essence and of what he denotes as

47. Photofocus Magazine I am talking about the people you find in online photo critique forums. Image Design and composition When looking at the design and composition of an http://www.photofocus.com/showarchive.php?aid=134&cid=3

48. Classical Theism And Its Critique (D) Some discussion and critique of such reasons No composition of spatialparts or temporal moments spatial and temporal simplicity God is not a body http://members.optusnet.com.au/~gjmoses/divnat.htm

THINKING ABOUT THE NATURE OF THE DIVINE Note: 'Traditional' or 'Classical' Theism in the following refers, for convenience of debate, to the kind of theism to be found in the first 26 questions or so of Aquinas' Summa Theologiae . It is not by any means meant to represent the full complexity or richness of the Christian theistic tradition, let alone that of Judaism or Islam. It is a massive simplication, for stimulating some discussion of the issues. Nor does it necessarily represent the full complexity and subtilty of Aquinas' own Christian theism. Index: 1. Some key 'negative' attributes: (A) Meaning Simplicity Immutability and Impassivity, Eternity (B) Consequences: For Divine Knowledge, Divine Willing and Divine Power (C) Reasons for accepting the attributes, despite the consequences (D) Some discussion and critique of such reasons What the Proofs conclude, Because God is Perfect , and Because Time is Limitation 2. Divine Power (A) Traditional Theism (B) Discussion: towards a more critical viewpoint? (a) The Extent of the Divine Power (b) The Mode of Operation of Divine Power (c) The 'Intentionality' of Divine Power 3. God's Knowing and the Relationship between God and World

49. Critique One example is the composition class. This class includes a critique of 24 imagesfrom each student’s work during the final phase of the class. http://www.summitphotographic.com/critique.htm

Summit Photographic Workshops Professional Critique Services One of the most informative learning experiences we can have as photographers is to have someone else, another professional, look at our work and provide honest, helpful, detailed feedback about our progress with the technique and art of photography. We have been approached many times by workshop participants who wish to have their work critiqued, and we are pleased to make this service available when our schedule and yours coincides. This can occur in one of four ways. First, if you are a participant in any of our weekend or longer workshops where we have a motel room to sit down together, we will gladly look at one page of up to 20 transparencies or up to 20 digital images in a digital contact sheet. We’ll provide a few thoughts and give you an overall statement at an appropriate time during workshop breaks. We can’t go into a great deal of detail or discuss each image separately because this will take time from the workshop. This is a quick 5-minute check on your photographic progress, and it allows you to keep moving in your chosen direction. This brief critique is helpful to us, too, because we can see what progress you’ve made since the last time we were in the field together. The second option occurs when you participate in a workshop that features a critique as part of the class. One example is the composition class. This class includes a critique of 2-4 images from each student’s work during the final phase of the class. Such a class will have the designation "group critique" in the class description. We have observed that all members of the workshop gain valuable insights into photographic composition by viewing the work of others and hearing them describe their goals and problems.

50. Theresa Adams Terms of Work for composition A Materialist critique by Bruce Horner State U ofNew York P, 2000. Theresa Adams. 1. Motivated by its author s anxiety about http://www.louisville.edu/journal/workplace/issue6p1/adams.html

Terms of Work for Composition: A Materialist Critique by Bruce Horner State U of New York P, 2000 Theresa Adams . Motivated by its author's anxiety about composition's marginal position in the academy, Horner's book understands this marginal status to stem from multiple sources. Among these he cites a lack of disciplinary subject matter, particularly in comparison to composition's departmental partner, English literature; the field's grounding in pedagogy, which has less prestige than research and other scholarly activities; and the general assumption that composition classes exist solely to produce a set of specific skills transferable to other academic contexts and post-graduation jobs, unlike English literature classes that teach aesthetic appreciation—a fulfilling, although not necessarily useful, activity. . Horner's book responds to this situation with "a cultural materialist critique of how, in Composition, we talk about work" (xv). He focuses on the idea of work in relationship to five other terms: "students," "politics," "academic," "traditional," and "writing"; each of these merits its own chapter-length discussion. (This structure seems inspired by Raymond Williams' Keywords: A Vocabulary of Culture and Society ; and Williams and other Marxist theorists inform the book' s argument throughout.)

51. Nat' Academies Press, Body Composition And Physical Performance: Applications Fo 11 critique of the Military s Approach to Body composition Assessment and Evaluation,185194 (skim). 12 Body composition and Performance in Relation to http://www.nap.edu/openbook/030904586X/html/

Read more than 3,000 books online FREE! More than 900 PDFs now available for sale HOME ABOUT NAP CONTACT NAP HELP ... ORDERING INFO Items in cart [0] TRY OUR SPECIAL DISCOVERY ENGINE Questions? Call 888-624-8373 Body Composition and Physical Performance: Applications for the Military Services (1990) Institute of Medicine ( IOM Find More Like This Book Research ... Dashboard NEW! BUY This Book CHAPTER SELECTOR: Openbook Linked Table of Contents FRONT MATTER, pp. i-xiv I Overview, pp. 1-2 1 Introduction and Background, pp. 3-24 2 Conclusions and Recommendations, pp. 25-28 II Invited Papers, pp. 29-30 3 Body Composition and Military Performance: Origins of t..., pp. 31-56 4 Body Composition in the Military Services: Standards an..., pp. 57-70 5 Effects of Experimental Alterations in Excess Weight on ..., pp. 71-88 6 Army Data: Body Composition and Physical Capacity, pp. 89-104 7 The Relationship of Body Size and Composition to the Per..., pp. 105-118 8 New Approaches to Body Composition Evaluation and Some R..., pp. 119-140 9 Associations Among Body Composition, Physical Fitness, a..., pp. 141-174

52. Critique Photographs A critique is a written or verbal evaluation of a photograph based on careful (1) composition CONTENT - This is what the photograph is saying. http://www.scphoto.com/html/critiques.html

Making A Critique of a Photograph A critique is a written or verbal evaluation of a photograph based on careful observation. It does not do to just say "I like the photograph". The critique must mention what you like and why you like it. Here are some guidelines on what you should look at and consider making comments about in a photo critique: (1) COMPOSITION -CONTENT - This is what the photograph is saying. What is the Center of Interest in the photograph? Where does your eye come to rest in viewing the photo? If there is more than one focus point does that add to the photographs interest or distract from it? Where was the Center of Interest placed within the frame of the photo? Did they use the rule of thirds? What other eye control elements are in the photo (leading lines, contrast, diagonal lines, etc). Did the photographer get close enough to the subject to include only what is important? In other words, are there wasted parts of the frame that contain items not adding to the message of the photo? (2) BACKGROUND - How did the photographer use the tools of selective focus or depth of field to deal with the background? Is the background simplified, included or a solid or is it nonexistent? How does the background add or distract from the message of the photo?

53. “The Disney Dialogue Dilemma: Making Cultural Analysis Matter In Composition” Using documentaries and articles, I engage my freshman composition The volumeof material illustrates to students that media critique is not out of the http://www.rapidintellect.com/AEQweb/cho3108j5.htm

Academic Exchange Quarterly Fall 2005 ISSN 1096-1453 Volume 9, Issue 3 To cite, use print source rather than this on-line version which may not reflect print copy format requirements or text lay-out and pagination. “Doing Disney” Fosters Media Literacy in Freshmen Virginia Crank, University of Wisconsin-La Crosse Crank, Ph.D., is assistant professor of English and teaches courses in rhetoric and composition and American literature. Abstract Media-literate citizens understand that cultural productions transmit ideologies and influence private and public life. The Disney assignment sequence uses academic and non-academic sources to engage college freshmen composition students in reading and writing about Disney in order to develop media literacy, helping them become more critical consumers and helping them understand the cognitive dissonance that leads to real learning. Introduction Having been avid consumers of media for eighteen years or more, most college freshmen have unconsciously absorbed a worldview which endorses consumerism, validates the most ubiquitous messages of culture, and balks at criticizing the producers of media. Developing an understanding that media productions are ideological and that profit, not social or personal development, is the driving factor behind those productions may help them see that a quite limited range of acceptable emotions, behaviors, and futures are being sold to them in supposedly ideology-free packages.

54. Jim Porter @ Msu “Institutional critique A Rhetorical Methodology for Change. Audience andRhetoric An Archaeological composition of the Discourse Community. http://www.rhetoric.msu.edu/porter/

55. The Art Of Bonsai Project - Critique: The Innovative Saikei critique The Maleficent Tree Artistic composition and the Position of an This composition, created by Jim VanLandingham, recognizes the fact that http://www.artofbonsai.org/articles/saikeicritique.php

Home Archives Forum Guidelines ... The Art of Bonsai Project Feature Article Recent Articles The Role of the Stand Gallery: Walter Pall Gallery: Nick Lenz Critique: The Innovative Saikei ... How Good Art Gets Better Art Critique Critique: The Innovative Saikei By Charles Bevan, USA Taxodium distichum Bald Cypress Trunk Diameter: 26" from soil line Trunk height: 21" from soil line Pot length: 32" Pot color: White (Marble Tray) Spring A little breath A green shoot thrusting through the snow Ice-crusted, part-crushed, But astonishing green From crouching, dark desolation Incarcerated Secret root resistance crept Radiant defiance At slightest thaw springs A forgiveness of melting One trickling drop of icicle Rolls down the prisoner's grey face Now he will clamor with the dawn chorus And dare to shout out Reprieve! Reprieve! -Louise Rill, epoems.org In the world’s endeavors to represent vast scenes on a miniature, three-dimensional, living scale (Saikei), stones are often used to symbolize mountains, small plants are regularly manipulated to signify immense trees, sand is generally utilized to suggest sand, and water is repeatedly intended to mimic water. Examples diverging from this practice are considered a rarity, and many times criticized by traditionalists. Artistically, however, it is not necessary to use a miniature version of a depicted scene for the media of a saikei. In fact, doing so could be regarded as ignorance of the potential media that could possibly be utilized in this art form.

56. Bwe_spring_2001 Review of Terms of Work for composition A Materialist critique By Bruce HornerReviewed by Rachelle M. Smith. Basic Writing eJournal http://www.asu.edu/clas/english/composition/cbw/spring_2001_V3N1.html

BWe: Basic Writing e-Journal Volume 3 Number 1 Spring 2001 (Published March 23, 2001) Co-editors: Linda Adler-Kassner and Gregory R. Glau Basic Writing e-Journal Table of contents Editors' Page Laura Gray-Rosendale with Raymona Leonard Demythologizing The “Basic Writer”: Identity, Power, and Other Challenges to the Discipline Marcia Ribble Redefining Basic Writing: An Image Shift From Error to Rhizome ... Acts of Reading by Patricia Harkin Reviewed by Gerri McNenny Review of COMP Tales by Richard H. Haswell and Min-Zhan Lu (Eds.) Reviewed by Marcia Ribble Review of Ways of Thinking, Ways of Teaching by George Hillocks Reviewed by Alan Meyers Review of Rethinking Basic Writing By Laura Gray-Rosendale Reviewed by Cynthia Walker Review of Literacy Matters: Writing and Reading the Social Self by Robert P. Yagelski Reviewed by Susan Loudermilk Review of Terms of Work for Composition: A Materialist Critique By Bruce Horner Reviewed by Rachelle M. Smith Basic Writing e-Journal Editor's Page This issue of BWe: Basic Writing e-Journal marks the start of our third year of publication, with two interesting essays and six book reviews. This issue also coincides with our annual workshop at CCCC, where we had the chance to visit with many of you.

57. Bwe_fall_1999 This enforces the notion that basic and standard composition students are all with her thoughtful and longstanding critique of composition practices. http://www.asu.edu/clas/english/composition/cbw/bwe_fall_1999.htm

BWe Basic Writing e-Journal Volume 1 Number 2 Winter 1999 Published November 19, 1999 Co-editors: Linda Adler-Kassner and Gregory R. Glau Basic Writing e-Journal Table of contents Editors' Page William B. Lalicker A BASIC INTRODUCTION TO BASIC WRITING PROGRAM STRUCTURES: A BASELINE AND FIVE ALTERNATIVES Sallyanne Fitzgerald ... Peter Goggin : Introduction Sharon Crowley : Comments John Ramage : Response Kohl M. Glau THE UNIVERSAL REQUIREMENT IN FIRST-YEAR COMPOSITION Book Review Section Review of Time to Know Them by Marilyn Sternglass Reviewed by Patricia Licklider Review of Defending Access: A Critique of Standards in Higher Education ... by Tom Fox Reviewed by Terry Collins Review of Gypsy Academics and Mother-Teachers: Gender, Contingent Labor, and Writing Instruction ... by Eileen E. Schell Reviewed by Susan Loudermilk Review of Representing the “Other”: Basic Writers and the Teaching of Writing ... by Bruce Horner and Min-Zhan Lu Reviewed by SusanMarie Harrington Review of Living Language: Reading, Thinking, and Writing b ... y Alleen Pace Nilsen Reviewed by Alice L. Trupe

58. Justice In Jeopardy: Malaysia 2000 Disappointing composition. A critique of the National Human Rights Commission.by Fan Yew Teng. As one of the NGO representatives involved in a twoday http://www.aliran.com/monthly/2000/04g.html

Disappointing Composition A Critique of the National Human Rights Commission by Fan Yew Teng As one of the NGO representatives involved in a two-day discussion session, in Kuala Lumpur sometime in 1996, with representatives from the National Human Rights Commission of Indonesia, Thailand and the Philippines to explore the possibility of putting in place a regional mechanism to protect and promote human rights in Southeast Asia, I am pleased that, at long last, a National Human Rights Commission has been established in Malaysia. However, I am disappointed with the composition of the Commission. As I had commented last year, in response to a question from a local daily newspaper, our Human Rights Commission, like those in other countries, should have as little to do with politicians of all creeds and shades, and that it should not only be fully and truly independent of the government of the day but be seen to be so. This is a very fundamental point which is of the utmost importance and relevance, as it has to do with, from the very beginning of its existence, the Commission's perceived as well as actual independence and credibility. Aren't we seeing two or perhaps three members of the Commission who are regular singers of praises for the government? And, why, for instance, was no former national trade union leader of integrity appointed to the Commission?

59. Critique Of The Week Art Coach critique Once a week, Steve Aimone will present a brief writtencritique of a visual composition (or a pairing of compositions). http://www.aimoneartservices.com/critique/critique_how.html

Aimone Art Services will be publishing The Critique of the Week a new online event serving artists, art professionals and art appreciators. Now, you can take part in this exciting offering in one of two ways: 1. SUBSCRIBE SUBSCRIBE Enter in your e-mail address then click "go": 2. SUBMIT YOUR WORK SUBMIT YOUR WORK One to three images of your work. You can send these via email in the form of jpeg images at a resolution of 72 dpi and dimensions NO LARGER than 600 x 600 pixels, or via the postal service in the form of 35 mm slides or color photographs. A description of each work including title (if applicable), medium, image size, and the year you executed the work. that tells us the purpose of your design and how you went about executing it. Personal information including your name, the city and state in which you live, phone number, and your email address. If you wish, you may also include additional biographical or professional information along with this. Send email to: info@aimoneartservices Send regular mail to: Aimone Art Services PO Box 16532 Asheville, NC

60. Critique Of The Week Art Coach critique Curatorial Services critique of the Week an analysisand discussion of a visual composition (or a pairing of compositions). http://www.aimoneartservices.com/critique/critique.html

Aimone Art Services presents The Critique of the Week a online event serving artists, art professionals and art appreciators. Learn how to SUBSCRIBE to this online event and how to SUBMIT your work to be critiqued. LATEST CRITIQUE Mary Teichman , No Exit Color Etching, 12 x 18 inches, 2002 ARCHIVED CRITIQUES Jean Shin, Seams (Gold Dress) Fabric (cut clothing), dimensions variable, 2003 Susan Rothenberg , Untitled Graphite and conte crayon on paper, h: 17.2 x w: 18.5 in / h: 43.7 x w: 47 cm, 1992 Debora Muhl , Untitled #1161, Blue Spiral #1175, and Metamorphose #1189 Maine sweet grass Albert York, Twin Trees oil on canvas mounted on masonite 10 7/8" x 10 1/2" Merrill Morrison Iced Tea waxed linen and glass beads 6 3/4"H x 9 3/4"W x 6"D

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