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Columbia College Chicago
English Department Newsletter, Spring 2008
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English Department Newsletter, Spring 2008

Faculty News
Tech/Ped corner

   Faculty News

 

SUZANNE BLUM-MALLEY 

Suzanne will be presenting a paper at the International Writing Research Across Borders conference, Feb 21-24, in Santa Barbara, CA. Says Suzanne, “John Ruiters, our Sharing Cultures colleague from Stellenbosch University -  South Africa, and I will share our perspectives on  ‘Intellectual and technological hospitality in an online, international, collaborative teaching and research project.’ "

Suzanne is also presenting ‘Reflexivity, Representation, and Responsibility in Ethnographic Writing’ at CCCC's in New Orleans in early April, on a panel examining ‘The Ethics of Writing Realities.’"


ARIELLE BYWATER

Arielle writes, “My co-edited anthology, with Rachel Zucker, WOMEN POETS ON MENTORSHIP: EFFORTS AND AFFECTIONS, will be out from the University of Iowa press later this spring. And a selection from a manuscript-in-progress, Home/Birth: a Lyric Essay, co-written with Rachel, is forthcoming in the literary magazine /nor.  Rachel and I will be reading from it at Prairie Lights in Iowa City in April, and these readings are broadcast on the radio as part of the Live from Prairie Lights series, and can be heard on the web (I think).

I have also just heard that a German press, Luxbooks, is planning to publish a volume of my selected work in translation.”

 

PETER CHRISTENSEN

Peter writes, “The translation of Chekhov's "Uncle Vanya" which Yasen Peyankov and I did for the European Repertory Company several years ago is being revived later this year by the TUTA Theatre Chicago.  The run will be from March 13 to April 13.  It won't mean any money for us, but even so it's pleasant to have it happen.”

 
GARNETT KILBERG-COHEN

Garnet writes, “My paper on the role of the linked story in the short story genre has been accepted for the International Short Story Conference in Cork, Ireland, in June 2008. Also, I was nominated for a Pushcart Prize.”

 

SAMUEL PARK

Sam and the English department received a grant from the Multicultural Affairs Office to put together a program geared toward recruiting and retaining minority students. Sam worked with Sheila Baldwin on the proposal.

 

PEGEEN REICHERT POWELL

Pegeen will be presenting at the Conference on College Composition and Communication in New Orleans in April. Her panel is about retention, and her talk is titled “Access to What? Complicating a Composition Commonplace.”


BRENDAN RILEY

Brendan gave two presentations at the Midwest Popular Culture Association meeting in Kansas City last October.  His talks were titled “All Your Base Are Numa Numa Star Wars Kids: Viral Media and Distributed Thinking” and “Operating Under Different Rules: Automatic Kafka's Experiment in Critical Comics”.  


JONN SALOVAARA

Lecturer Jonn Salovaara presented an introduction through sculpting and writing to the 2005 BBC book and DVD, "How Art made the World," to seventeen selective enrollment teachers from Chicago public high schools, at their professional development day on January 25, 2008 at King High School. He will present "The Ethnographic Approach to First-Year Writing" at the annual meeting of the Michigan Academy of Science, Arts, and Letters, on March 7 at Western Michigan University.

 

TONY TRIGILIO

Tony Trigilio's new book, VISIONS AND DIVISIONS: AMERICAN IMMIGRATION LITERATURE, 1870-1930 (an anthology co-edited with Tim Prchal), was published in February by Rutgers University Press.

He published poems this fall in Cream City Review and Pebble Lake Review. The latter poem, "Robert Oswald," is one of the featured audio selections on the magazine's web site (http://www.pebblelakereview.com/poetry/RobertOswald.htm).

Tony was added in January to Anny Ballardini's extensive Poet's Corner web site (http://www.fieralingue.it/modules.php?name=Content).

His review of Mark Yakich's poetry collection, The Making of Collateral Beauty, was published in Milk magazine, Vol. 9 (http://www.milkmag.org/poetryvolume9.html). 

Between fall and spring semesters, he was interviewed by novelist Greg Herriges for a documentary film on T.C. Boyle's short story "Chicxulub."

In December, Tony presented a paper at the MLA Conference titled, "Allen Ginsberg's 1966 United States Senate Testimony: Language, Confession, and the Limit of Romanticism."

Tony's recent book, ALLEN GINSBERG’S BUDDHIST POETICS, was the featured book reviewed in the Winter 2007 issue of Buddhadharma, where it was described as a "pioneering" study of the poet's work.


DAVID TRINIDAD

An interview and two poems appear in the Poetry Foundation’s online journal.

Poems appear in the new issues of Painted Bride Quarterly and Electronic Poetry Review.

Says David, “My poem ‘Movin’ With Nancy’ appears in an anthology of Frank Sinatra Poems: Sinatra . . . but buddy, I’m a kind of poem, edited by Gilbert L. Gigliotti (Entasis Press).  I was nominated for a Pushcart Prize.

Since my book THE LATE SHOW came out, I’ve given readings in Chicago, New York, Los Angeles, and San Francisco, and will be reading in Miami next month.  My book’s been reviewed in Publisher’s Weekly, The Los Angeles Times, The New York Times (and selected as an Editors’ Choice the following week), The Gay & Lesbian Review, Time Out Chicago, Rattle, St. Mark’s Poetry Project Newsletter, and Lambda Book Report.

On February 29th, I will be the keynote speaker at a conference at the Graduate Center of the City University of New York.  The conference is called ‘Talking Trash: Abandoned, Disappeared, Devalued.’  I’ve been asked to speak about Jacqueline Susann and Valley of the Dolls, my relationship to the novel and how it’s informed my own writing, and my experience as the Susann archivist in the ‘90s.”

TONY DEL VALLE

Tony presented two papers at the Hawaii International Conference on Arts and Humanities in January. One was on a soon to be published article entitled, “Subversive Acts: Crossing Interior Borderlands,” the other was entitled “Popular U.S. Latino and Latina Music.”



TECH/PED CORNER

Digital Ethics

My Writing for New Media class has a couple “copyright days,” during which we discuss the function and shape of the American copyright code and how it affects us in the digital age.  As a starting exercise, I ask students these questions.

  1. Is the U.S. Copyright code good the way it is, or should it be changed?  If the code should be changed, how so (stronger? Weaker?)
  2. Should artists be compensated for their work? If so, how long?
  3. On a scale of 1 to 10, 10 being  EVERY CHANCE I GET, 1 being ABSOLUTELY NEVER, how often do you violate copyright law?

The average answers are

  1. It should be changed (made stronger).
  2. Yes, for a very long time.  (They nod or agree when I ask, “for life?”)
  3. Most students answer between 7 and 10.  Almost none answer below 5.

If that was confusing, let me say it another way: students have an ideological respect for the notion of intellectual property, but they regularly pirate media or break copyright in other ways.  I'm fascinated by this dichotomy, by the idea that students believe artists should be paid indefinitely for their work and yet download CDs by the gigabyte.

On one hand, downloading music or movies illegally is so prevalent because it's easy.  There are virtually no penalties, and all the content one could want is available with just a little digging.  The ethical burden doesn't feel so heavy because students feel like they're not stealing from artists, but from grubby record companies and because they “wouldn't have bought the CD anyway.”  At the same time, to borrow a phrase, common sense revolts at the record companies' hysterical proclamations that downloading is exactly the same as shoplifting.  If I take a CD from Best Buy, they have one less CD to sell.  If I download a copy of the CD from a pirate site, no one has lost anything, except my potential revenue for that product.  I'm not defending music piracy here, but rather suggesting it's more complicated than the RIAA would have us believe.

I bring up this dichotomy to highlight the changes new technology has wrought on the plagiarism landscape we instructors encounter in our writing classrooms.  On one hand, plagiarism is now remarkably easy; no longer do students need to copy text from a book or magazine to steal it (in fact, today's eighteen-year-olds have never had to do this). Copy-and-paste takes seconds.  At the same time, Google makes catching plagiarists even easier.  On the other hand, digital authoring tools have become ubiquitous, and methods for digital authoring draw heavily on these same operations, on cut and paste.  Microsoft, hilariously straight-faced, used the slogan “Rip. Mix. Burn.”  This blend of ubiquitous tools and shifting respect for the “original document” complicates the ethics of authorship and blurs the clear lines we like to imagine delineating original work and plagiarism.

Thus, here are some tips to help avoid plagiarism in your writing courses.  Many of these are oldies (plagiarized?  I'm not citing sources), but each helps.

  1. Craft careful assignments: This is the single best line of defense against plagiarism.  Specific assignments that ask students for specific kinds of work are nearly impossible to plagiarize, or cheating takes so much effort that they result in original work anyhow.

  2. Checkpoint assignments: You aren't obligated to read and respond thoroughly to every brainstorming writing, outline, rough draft, peer review, and so on.  But require them.  Check that they were turned in. It's a lot harder to fake a developed process.

  3. Philosophical discussion of plagiarism: Aside from your usual "don't plagiarize" speech, spend some time with your class talking about discourse communities, reputation and attribution, and the ethics of academic conversation.  Helping them see the ethical implications in taking the “easy” way will help them avoid doing it.

  4. Show that you care: The above bits of work do this, but also having an open ear to discuss issues related to development of projects and making yourself available for serious conversations can help immensely.

Philosophically, I keep in mind Ames Hawkins' reminder that most acts of plagiarism are acts of desperation.  Keeping that in mind, my carrot-and-stick line goes something like this: “I am a trained reader of writing.  I will recognize if you take someone else's work and pass it off as your own.  And once you do so, it's too late.  That's cheating, and you'll fail the course.  So if you find yourself in a position where you're considering doing so, stop.  Take a breath.  Email me.  We will work something out.”

But I also encourage you to consider how the work you do with students can explore the philosophical issues at flux in the digital age.  The Cornell boxes and mix culture at issue in “Box Logic” and the collage techniques of art books and avant garde websites all evoke these questions.  Rather than assuming students know answers to issues or understand them in the same way you do, make the exploration of these issues part of the work.

Brendan

Compiled by Samuel Park