A weblog for Pete Ellertsen's mass communications students at Benedictine University Springfield.

Thursday, August 18, 2011

COMM 150 syllabus - Fall 2011


Communications 150
(introduction to mass comm.)
Benedictine University Springfield
Fall Semester 2011


[Television] is not a tool by which the networks conspire to dumb us down. TV is a tool by which the networks give us exactly what we want. That's a far more depressing thought. -- "The Vent," The Atlanta Journal-Constitution, Jan. 19, 1999.

Communications 150 meets from 11 to 11:50 a.m. MWF, Dawson 220. Instructor, Pete Ellertsen. Email, pellertsen@sci.edu eellertsen@ben.edu. Office hours TBA. Home: 2125 South Lincoln, Springfield, IL 62704.

I. Course Description:

Course Title: Introduction to Communication
Course Number: COMM 150
Credits: 3.00

Description
A writing and speaking-intensive introduction to communication arts theory and research, with an emphasis on analyzing mass media messages and understanding their underlying cultural and historical contexts.

II. Textbooks. Vivian, John. The Media of Mass Communication. (10th or any recent edition). ISBN 978-0205693054 . Pearson Education, Inc., Boston, MA, 2008. In this course, you will be expected to use AP style writing. A copy of The Associated Press Stylebook and Libel Manual is on reserve at the circulation desk in Becker Library. If you plan to major in mass comm., I encourage you to purchase this book as a supplement for all communication classes and your future professional career.

III. Mission statement of Benedictine University. Benedictine dedicates itself to the education for the undergraduate and graduate students from diverse ethnic, racial and religious backgrounds. As academic community committed to liberal arts and professional education distinguished and guided by its Roman Catholic tradition and Benedictine heritage - the University prepares its students for a lifetime as active, informed and responsible citizens and leaders in the world Community.

IV. GOALS, OBJECTIVES, AND STUDENT LEARNING OUTCOMES

A. Degree Program Goals
The Communication Arts degree program goals are as follows:
1. Prepare graduates for careers in advertising, electronic and print media, journalism, public relations, publishing, writing or other careers requiring sophisticated communications skills;
2. Prepare graduates for continued study in graduate or professional school;
3. Develop the student's critical and imaginative thinking, reading and writing skills;
4. Develop skills to empower the student to communicate ideas effectively, through speaking, writing and the use of technology;
5. Develop skills for critical interpretation of the media;
6. Foster aesthetic understanding in both production and interpretation of media texts;
7. Develop knowledge of the methods to make responsible social and personal decisions;
8. Develop primary and secondary research methodologies;
9. Develop an understanding of the history, structure and operation of the mass media;
10. Provide an understanding of the impact of mass media industries and messages on the individual, society and culture;
11. Develop professional-level skills in written and oral communication for a variety of media and audiences;
12. Develop professional-level production skills for both print and electronic media;
13. Encourage the development of creative expression; and
14. Help the student develop a professional media portfolio.

Course Goals
1. The main goal of this course is to develop a critical understanding of mass communication and its influence in society.
2. Students will understand the practice, theory and ethics of various communication industries or careers.
3. Students will gain practical experience through observations of their own personal interactions with the media in daily life.

B. Course Objectives/Outcomes
As a course requirement within the degree program, COMM 150 was designed with the above goals in mind. Thus, upon successful completion of this course, the student will be able to demonstrate mastery of the following objectives and student learning outcomes:
1. Discuss the historical and social context of mass communication and how it evolved.
2. Describe the major media, functions, and models of mass communication.
3. Demonstrate critical thinking skills by discussing and evaluating mass-media issues.

V. Teaching Methods. Small group and whole classroom discussion, in-class research and writing assignments, and occasional lectures by the instructor to introduce points of discussion. The instructor reserves the right to pre- and post-testing CATs and embedded questions in test instruments as appropriate will be used for assessment of learning outcomes.

VI. Course Requirements, Readings, Written Assignments and Tests
A. Attendance Policy. Attendance is mandatory. To avoid class disruption, students in COM 150 must be on time. If a student misses class, is the student's responsibility to get class notes, assignments, etc., from classmates. Missed in-class work, by its very nature, cannot be made up.

If a student knows (s) he will miss class, it is the student's responsibility to alert the instructor. Assignments should be turned in via e-mail by the beginning of the class period the assignment is due. Absences are not an excuse for missed assignments. Coordinate with fellow students to get class notes. Contact the instructor or classmates to get assignments due for the next class period.

Participation and class discussion are key to your success in this course. Be prepared to discuss the weekly reading assignments and contribute thoughtful, topical questions and comments about the material. Please be considerate and respectful of one another. Web logs evaluated for course credit in my classes comprise a virtual community and an electronic extension of my classroom. In asking students to post to blogs, as in all of my classes, I encourage you to think for yourselves and try out new ideas; to do that safely, we have to respect and trust each other. Therefore, I must ask that we refrain from negative personal comments or "flame wars" on line. What sounds like friendly kidding when we're F2F (face-to-face) with each other can look hostile and intimidating in writing. Distractions in class will not be tolerated (e.g. disrespectful interruptions of instructor, guest speakers, fellow students, cell phones, and discussions irrelevant to class topics) and can affect your grade. Comments or concerns about specific material presented by the instructor or fellow students (should a student be dissatisfied or concerned) need to be brought to the instructor’s attention before or after class.

B. Reading Assignments, Please see the tentative calendar for reading schedule. In addition to the readings outlined below, you may be given additional reading assignments including articles, journals, websites, etc. Quizzes and/or tests may cover any of the assigned readings or discussions.

C. Written Assignments and Tests,

• Writing expectations. In your assignments for COMM 150, try to follow the standards you see in professional writing for a public audience. Sources of information in all of your writing must be attributed or otherwise documented. If you write down anything that you didn’t know before, say where you found it! Failure to do so, even unintentional, is plagiarism. In our field, it may also be copyright infringement.
Each student will write, (1) a documented term paper (at least 2,000 words or eight pages) on a subject to be chosen by the instructor dealing with some aspect of mass communications, to be agreed upon ahead of time by the instructor and the student; or (2) two documented essays (at least 1,000 words of four pages each) reflecting on topics to be assigned by the instructor. Additional in-class writing may be assigned without notice. Details will be posted to The Mackerel Wrapper.
• Tests. Both midterm and final will be a combination of essay questions, in which students will discuss broad trends related to course goals and objectives; and short answer questions. I reserve the right to give another test during the course of the semester but your final will be a demonstrated understanding of the material.

Note to students, If you are considering going on to major in communications, English or the social sciences, you should begin nowto keep copies of your written work for your senior portfolio.

Benedictine University at Springfield Student Academic Honesty Policy
The search for truth and the dissemination of knowledge are the central missions of a university. Benedictine University at Springfield pursues these missions in an environment guided by our Roman Catholic tradition and our Benedictine heritage. Integrity and honesty are therefore expected of all University students. Actions such as cheating, plagiarism, collusion, fabrication, forgery, falsification, destruction, multiple submission, solicitation, and misrepresentation are violations of these expectations and constitute unacceptable behavior in the University community.

Student’s Responsibility
Though there is no formal honor code at Benedictine University at Springfield, students are expected to exhibit academic honesty at all times. Violations against academic honesty are always serious and may result in sanctions that could have profound long-term effects. The final responsibility for understanding the Academic Honesty Policy of the institution, as well as the specific policies for individual courses normally found in syllabi, rests with students. If any doubt exists about what constitutes academic dishonesty, students have the responsibility to talk to the faculty member. Students should expect the members of their class to be academically honest. If students believe one or more members of the class have been deceitful to gain academic advantage in the class, students should feel comfortable to approach the faculty member of the course without prejudice.

Violations of the Academic Honesty Policy will be reported to the Office of the Dean of Academic Affairs. Along with a verbal warning, the following are consequences a student may face for academic dishonesty:
• a failing grade or “zero” for the assignment;
• dismissal from and a failing grade for the course; or
• dismissal from the Institution.

VII. Means of Evaluation. Written work for COMM 150 will be graded for mastery of student learning objectives as evidenced by an evaluation of content, including clarity of thought and the use of relevant detail to support the student's conclusions. A final examination will be given, consisting of essay and short-answer questions, which will be evaluated for content. Quizzes and in-class journal exercises may be assigned without notice at the discretion of the instructor. Contribution to class discussion and participation in on-line research exercises in class will weigh heavily in each student's grade. Final grade weighting is as follows,

• Class participation, 25 percent
• Term paper and/or oral presentation, 25 percent
• Midterm and Final Exam, 25 percent
• In-class and online writing, including blogging, 25 percent
Grading scale, A = 90-100. B = 80-89. C = 70-79. D = 60-69. F = 0-59.

If a student believes that an error has been made in reporting a grade, an appeal must be made in writing to the instructor and must be initiated 90 days prior to the end of one semester after the course in question has been completed. The appeal should contain specific information on why it is believed the grade reported is inaccurate. See the Student Handbook for details.

Add/Drop Dates
Please refer to the current Academic Calendar for add/drop dates.

Incomplete Request
To qualify for an “I” grade, a minimum of 75% of the course work must be completed with a “C” or better, and a student must submit a completed “Request for an Incomplete” form to the Registrar’s Office. The form must be completed by both student and instructor, but it is the student’s responsibility (not the instructor’s) to initiate this process and obtain the necessary signatures.

Student Withdrawal Procedure
It is the student’s responsibility to officially withdraw from a course by completing the appropriate form, with appropriate signatures, and returning the completed form to the Advising Office. Please refer to the Student Handbook for important financial information related to withdrawals.

VIII. Course Outline and/or Calendar.

I. Introduction and overview



a. Media literacy
b. Technology and mass communications
c. Postmodernist
critiques of media

II. Media forms and history



a. Print – books, newspapers and magazines
b. Recordings – audio and video
c. Broadcast – radio and television
d. Internet

III. Media functions



a. News, PR and advertising -- Information and persusasion
b. Entertainment
c. Transmission of culture

IV. Research

V. Mass media effects



a. On society
b. On government

VI. Media law and ethics

Please see also the tentative calendar below.

IX. Americans with Disabilities Act. Benedictine University at Springfield provides individuals with disabilities reasonable accommodations to participate in educational programs, actives and services. Students with disabilities requiring accommodations to participate in class activities or meet course requirements should contact the Director of the Resource Center as early as possible.

If documentation of the disability (either learning or physical) is not already on file, it may be requested. Once on file, an individual student’s disability documentation is shared only at that individual’s request and solely with the parties whom the student wishes it shared. Requests are kept confidential and may be made by emailing jharris@sci.edu or by calling 217-525-1420, ext. 306.

X. Assessment. Goals, objectives, and learning outcomes that will be assessed in the class are stated in this syllabus in Sections IV and VI. Instructor will use background knowledge probes, one-minute papers, reflective essays and/or other Classroom Assessment Techniques as deemed necessary in order to provide continuous improvement of instruction.

Tentative Calendar

All readings listed herein are in Vivian. In addition to the textbook, I will link to World Wide Web sites for supplemental reading on issues as they arise. Due to the nature of mass communications, we will discuss real-world events as they arise – even though they may not follow the exact order listed in the textbook. [Newsmakers have a distressing habit of not consulting with me before they do things that might be relevant to our class.] You need to keep up with the assigned readings in Vivian, however, order to understand the context for events as they arise.

First Week. Introduction to Class, syllabus, academic integrity, etc. Read Chapter 1, Mass Media Literacy; Chapter 2, Media Technology. Write: How much of what you know did you learn from mass media? How many of your attitudes, interests, tastes, etc., derive from mass media?

Second Week. Read Chapter 3, Books; Chapter 4, Newspapers; and Chapter 5, Magazines Media Economics

Third Week. Read Chapter 6, Sound Recording; and Chapter 7, Motion Pictures Continue Chapter 3 on economics.

Fourth Week. Read Chapter 8, Radio; and Chapter 9: Television Chapter 4, Ink on Paper.

Fifth Week. Read Chapter 10, Internet Chapter 5, Sound Media.

Sixth Week. Midterm over Chapters 1-10. Read Chapter 11, News; and Chapter 12, Public Relations Read Chapter 6, Motion [ie visual] Media.

Seventh Week. Read Chapter 14, Entertainment Chapter 7, New Media Landscapes; midterm essay exam .

Eighth Week. Read Chapter 15, Media Research 8, News.

Ninth Week. Read Chapter 16, Mass-Media Effects on Society 9, Entertainment.

10th Week. Read Chapter 17, Global Mass Media 10,Public Relations.

11th Week. Read Chapter 19, Mass Media and Governance 11, Advertising; and 12, Mass Audiences. Paper due on "mass media messages" and career prospects.

12th Week. Read Chapter 20, Mass Media Law 13, Mass Media Effects; 14, Media and Democracy; and 15, Globalization.

13th Week. Read Chapter 21, 16, Media Law; and 16, Ethics. Self-reflective essay due.

Final exam TBA.

COMM 337 syllabus - Fall 2011


COMM 337: Advanced Journalism Writing
Benedictine University at Springfield
Fall Semester 2011

"There are no dull subjects. There are only dull writers." -- H.L. Mencken

Communications 337 meets from 2:30 to 3:45 p.m. Tuesdays and Thursdays. Location: Dawson 220. Much of the communication between instructor and students will be on line, and students are required to check their email on a daily basis. Instructor is Pete Ellertsen, adjunct office in RC; home: 2125 S. Lincoln Ave., Springfield, Ill. 62704, email: eellertsen@ben.edu. tel. 793-2587.

I. Course Description.
Course Title: Advanced Journalism Writing
Course Number: COMM 337
Credits: 3.00

Description
Students practice the major styles of journalistic writing beyond newswriting: public affairs reporting, feature writing, magazine writing and editorial writing. Periodically.
Prerequisites
COMM 209

II. Textbooks . You have three: (1) Donald M. Murray, "Writing to Deadline" ISBN 978-0325002255; (2) "The Writer's Digest Handbook of Magazine Article Writing" ISBN 978-1582973340; and (3) "The Associated Press Stylebook and Libel Manual" ISBN 978-0465012626 or any recent edition. Also required are the readings on the World Wide Web linked below in the Tentative Calendar.

III. MISSION STATEMENT
Benedictine University is dedicated to the education of undergraduate and graduate students from diverse ethnic, racial and religious backgrounds. As an academic community committed to liberal arts and professional education distinguished and guided by our Roman Catholic tradition and Benedictine heritage, we prepare our students for a lifetime as active, informed and responsible citizens and leaders in the world community.

IV. GOALS, OBJECTIVES, AND STUDENT LEARNING OUTCOMES

A. Common Learning Objectives

Benedictine University is committed to assist all students in the acquisition of knowledge and cultivation of skills in six major areas. Graduates of the university's degree programs will develop:

1. Disciplinary Knowledge:


a. Acquire, understand and synthesize discipline-based knowledge
b. Apply
disciplinary methodologies in their qualitative and quantitative dimensions
c. Understand the content and interrelationships of specific areas of study
d. Communicate effectively within and across the disciplines

2. Communication Skills:


a. Express oneself clearly and concisely in multiple forms
b. Appreciate and
develop creative expression

3. Problem-Solving Skills:



a. Reason and communicate informed judgments
b. Identify and solve problems,
independently and cooperatively
c. Understand the nature of and evaluate
evidence

4. Social Responsibility:



a. Confront and resolve ethical issues and contribute to the work of peace and
social justice
b. Exhibit stewardship of self and environment
c. Develop
good citizenship

5. Global Perspectives:



a. Benefit from diversity of opinion, abilities, and culture
b. Recognize
the importance of the interdependence of cultures and nations
c. Communicate
effectively within and across cultural boundaries

6. Self-Direction and Personal Growth:



a. Develop a sense of intellectual curiosity and a desire for lifelong learning
b. Strive for a life lived in balance
c. Develop leadership potential
d. Foster spiritual growth


B. Course Goals/Objectives/Outcomes

COMM 337 was designed with the above Common Learning Objectives in mind. Thus, upon successful completion of this course, the student will be able to demonstrate mastery of the following objectives and student learning outcomes:

Course Goals: Students will understand the techniques, attitudes, values and craft agenda of professional writers, and practice their mastery of the craft by preparing a publishable article and by publishing their analysis of current published writing in a Web log of their own creation.

B. Course Objectives/OutcomesAs a course requirement within the degree program, COMM 337 was designed with the above goals in mind. Thus, upon successful completion of this course, the student will be able to demonstrate mastery of the following objectives and student learning outcomes:


1. To write a publishable feature, news-feature or opinion article
2. To research markets for a free-lance article and write a query letter
3. To explain the attributes of and criteria for judging newspaper and magazine
feature writing, public affairs writing and social/political commentary.
4. To create a Web log and publish their analysis of current journalistic writing
on the blog, using the criteria and attributes referenced above.

V. TEACHING METHODS/DELIVERY SYSTEM
The classroom is a writing and discourse community. This course is a combination of lecture, in-class discussion, and posting to the class blog and students' individual blogs, individual conferences, and formal evaluations. Regular, brief quizzes will be administered to ensure that readings have been completed; these quizzes may take place on paper or in discussion Q&A. This class is very interactive. In order to complete the course successfully, students must come to class and must be prepared to discuss the reading assignments and to do the in-class work. Please be considerate and respectful of one another. Web logs evaluated for course credit in my classes comprise a virtual community and an electronic extension of my classroom. In asking students to post to blogs, as in all of my classes, I encourage you to think for yourselves and try out new ideas; to do that safely, we have to respect and trust each other. Therefore, I must ask that we refrain from negative personal comments or "flame wars" on line. What sounds like friendly kidding when we're F2F (face-to-face) with each other can look hostile and intimidating in writing. Distractions in class will not be tolerated (e.g. disrespectful interruptions of instructor, guest speakers, fellow students, cell phones, and discussions irrelevant to class topics) and can affect your grade. Comments or concerns about specific material presented by the instructor or fellow students (should a student be dissatisfied or concerned) need to be brought to the instructor’s attention before or after class.

VI. COURSE REQUIREMENTS
A. Attendance is required during all class sessions. Quizzes and other in-class work that are missed for any reason may not be made up. If the final exam is missed for any reason, it may not be made up. If the absence occurs on the date an assignment is due, the late penalty for assignments (outlined below) still applies.

B. Reading Assignments. Please see the Tentative Calendar below

C. Written Assignments. (1) Students will write a 1,500- to 2,000-word article on a current political, social, cultural or artistic issue, research potential markets for it and write a one-page query letter tailored to a specific market. (2) Students will create a web Log (blog) and write analyses professional writing of 1,000 words each of: (a) a newspaper feature story, (b) a magazine feature, (c) a piece of public affairs reporting and (d) an opinion or op-ed piece on the blog. (3) Both the midterm and final exam will be take-home essay examination. (4) Students also will be assigned to cover public gatherings on campus (which tend to happen during the noon hour) without notice. These assignments, by their nature, cannot be made up; missing deadlines will hurt your grade.

The instructor's grading scale is as follows: A = 100-90. B = 89-80. C = 79-70. D = 69-60. F = 59-0.


Benedictine University at Springfield Student Academic Honesty Policy
The search for truth and the dissemination of knowledge are the central missions of a university. Benedictine University at Springfield pursues these missions in an environment guided by our Roman Catholic tradition and our Benedictine heritage. Integrity and honesty are therefore expected of all University students. Actions such as cheating, plagiarism, collusion, fabrication, forgery, falsification, destruction, multiple submission, solicitation, and misrepresentation are violations of these expectations and constitute unacceptable behavior in the University community.

Student’s Responsibility
Though there is no formal honor code at Benedictine University at Springfield, students are expected to exhibit academic honesty at all times. Violations against academic honesty are always serious and may result in sanctions that could have profound long-term effects. The final responsibility for understanding the Academic Honesty Policy of the institution, as well as the specific policies for individual courses normally found in syllabi, rests with students. If any doubt exists about what constitutes academic dishonesty, students have the responsibility to talk to the faculty member. Students should expect the members of their class to be academically honest. If students believe one or more members of the class have been deceitful to gain academic advantage in the class, students should feel comfortable to approach the faculty member of the course without prejudice.

Violations of the Academic Honesty Policy will be reported to the Office of the Dean of Academic Affairs. Along with a verbal warning, the following are consequences a student may face for academic dishonesty:
• a failing grade or “zero” for the assignment;
• dismissal from and a failing grade for the course; or
• dismissal from the Institution.

VII. Means of Evaluation . Your final grade will be based on assignments weighted as follows: (A) class participation and journals, including the four analyses of professional writing, worth 50 percent of the total grade; (B) reporting assignments, including coverage of noontime events as well as the 1,500-word article and query letter, in total worth 25 percent of the total; and (C) quizzes and tests including the midterm and the final exam, worth 25 percent.

If a student believes that an error has been made in reporting a grade, an appeal must be made in writing to the instructor and must be initiated 90 days prior to the end of one semester after the course in question has been completed. The appeal should contain specific information on why it is believed the grade reported is inaccurate. See the Student Handbook for details.

Add/Drop Dates
Please refer to the current Academic Calendar for add/drop dates.

Incomplete Request
To qualify for an “I” grade, a minimum of 75% of the course work must be completed with a “C” or better, and a student must submit a completed “Request for an Incomplete” form to the Registrar’s Office. The form must be completed by both student and instructor, but it is the student’s responsibility (not the instructor’s) to initiate this process and obtain the necessary signatures.

Student Withdrawal Procedure
It is the student’s responsibility to officially withdraw from a course by completing the appropriate form, with appropriate signatures, and returning the completed form to the Advising Office. Please refer to the Student Handbook for important financial information related to withdrawals.

Add/Drop Dates. Please refer to the current Academic Calendar for add/drop dates.

Incomplete Request
To qualify for an “I” grade, a minimum of 75% of the course work must be completed with a passing grade, and a student must submit a completed Request for an Incomplete form to the Registrar’s Office. The form must be completed by both student and instructor, but it is the student’s responsibility (not the instructor’s) to initiate this process and obtain the necessary signatures.

VIII. Course Outline and Calendar. Please see Tentative Calendar below. The schedule of assignments is tentative, and departures from it will be announced at the class meeting prior to the change -- or via the Message Board. Students who miss class are responsible for keeping up with rescheduled assignments.



IX. AMERICANS WITH DISABILITIES ACT (ADA)
Benedictine University at Springfield provides individuals with disabilities reasonable accommodations to participate in educational programs, activities, and services. Students with disabilities requiring accommodations to participate in campus-sponsored programs, activities, and services, or to meet course requirements, should contact the Director of the Resource Center as early as possible.

If documentation of the disability (either learning or physical) is not already on file, it may be requested. Once on file, an individual student’s disability documentation is shared only at that individual’s request and solely with the parties whom the student wishes it shared. Requests are kept confidential and may be made by emailing jharris@sci.edu or by calling (217) 525-1420, ext. 306.

X. ASSESSMENT
Goals, objectives, and learning outcomes that will be assessed in the class are stated in this syllabus in Sections IV and VI. Instructor will use background knowledge probes, one-minute papers, reflective essays and/or other Classroom Assessment Techniques as deemed necessary in order to provide continuous improvement of instruction.


Tentative Calendar

Week 1. Read Murray, Chapters 1-2, on craft and process; "Writer's Digest Handbook," foreword, intro and Chapter 1 on free-lancing and finding ideas; Chapter 2 on querying; and Chapter 4 on finding markets (which are an integral part of finding ideas if you want someone to buy your story). Choose a name and open your Web log. Post your reaction to the reading assignment in Murray, plus questions I will post to the blog.

Week 2. Re-read "Handbook" Chapter 5 and 6 on research and interviewing. Read Murray, Chapters 3-4, on "reporting for surprise" and finding the flow (Murray calls it "tension," among other things) of a story. As you read Murray, try to figure out what he means by "surprise." It's almost impossible to explain, but it's important. It may be the single most important thing that makes your work stand out in the crowd. Post your reaction to the reading assignment in Murray, plus questions I will post to the Mackerel Wrapper.

Week 3 Read Murray, Chapters 5-6, on pre-writing (much of which you do in your head) and writing a story. Post your reaction to the reading assignment in Murray, plus questions I will post to the Mackerel Wrapper.

Week 4 Read "Handbook" Chapters 8-9 on writing and revision; Murray, Chapters 7-8, on writing, editing and revising so readers will want to read what you wrote. (Hint: How do you do that? Surprise them.) Post your reaction to the reading assignment in Murray, plus questions I will post to the Mackerel Wrapper.

Week 5 Read "Handbook" Chapter 10 on working with editors; and Murray, Chapter 9, on how to think like a professional -- i.e. like an apprentice! Post your reaction to the reading assignment in Murray, plus questions I will post to the Mackerel Wrapper.

Week 6 Midterm. Post your 1,000-word analysis of a public affairs (politics, government, society or cultural) story to your blog, plus questions I will post to the Mackerel Wrapper.

Week 7 Post your 1,000-word analysis of an opinion article or op-ed piece to your blog, plus questions I will post to the Mackerel Wrapper.

Week 8 Post your 1,000-word analysis of a newspaper feature story to your blog, plus questions I will post to the Mackerel Wrapper.

Week 9 Post your 1,000-word analysis of a magazine article to your blog, plus questions I will post to the Mackerel Wrapper.

Week 10. Work on feature story. Readings from Writer's Digest and internet TBA.

Week 11 Work on feature story. Readings from Writer's Digest and internet TBA.

Week 12 Work on feature story. Readings from Writer's Digest and internet TBA.

Week 13 Work on feature story. Readings from Writer's Digest and internet TBA.

Week 14 Review and assessment.

Final exam schedule TBA.

Bellman - Fredmans sånger n:o 5C - MIDI

Midi file rendered by Kapten Kaos


Wednesday, April 27, 2011

D R A F T COMM 337 - syllabus - Fall 2011

D R A F T





COMM 337: Advanced Journalism Writing
Benedictine University at Springfield
Fall Semester 2011


"There are no dull subjects. There are only dull writers." -- H.L. Mencken


Communications 337 meets from 2:30 to 3:45 p.m. Tuesdays and Thursdays. Location TBA. Much of the communication between instructor and students will be on line, and students are required to check their email on a daily basis. Instructor is Pete Ellertsen, adjunct office in RC; home: 2125 S. Lincoln Ave., Springfield, Ill. 62704, email: eellertsen@ben.edu. tel. 793-2587.

I. Course Description.
Course Title: Advanced Journalism Writing
Course Number: COMM 337
Credits: 3.00

Description
Students practice the major styles of journalistic writing beyond newswriting: public affairs reporting, feature writing, magazine writing and editorial writing. Periodically.
Prerequisites
COMM 209

II. Textbooks . You have three: (1) Donald M. Murray, "Writing to Deadline" ISBN 978-0325002255; (2) "The Writer's Digest Handbook of Magazine Article Writing" ISBN 978-1582973340; and (3) "The Associated Press Stylebook and Libel Manual" ISBN 978-0465012626 or any recent edition. Also required are the readings on the World Wide Web linked below in the Tentative Calendar.

III. MISSION STATEMENT
Benedictine University is dedicated to the education of undergraduate and graduate students from diverse ethnic, racial and religious backgrounds. As an academic community committed to liberal arts and professional education distinguished and guided by our Roman Catholic tradition and Benedictine heritage, we prepare our students for a lifetime as active, informed and responsible citizens and leaders in the world community.

IV. GOALS, OBJECTIVES, AND STUDENT LEARNING OUTCOMES

A. Common Learning Objectives

Benedictine University is committed to assist all students in the acquisition of knowledge and cultivation of skills in six major areas. Graduates of the university's degree programs will develop:

1. Disciplinary Knowledge:



a. Acquire, understand and synthesize discipline-based knowledge
b. Apply disciplinary methodologies in their qualitative and quantitative dimensions
c. Understand the content and interrelationships of specific areas of study
d. Communicate effectively within and across the disciplines

2. Communication Skills:



a. Express oneself clearly and concisely in multiple forms
b. Appreciate and develop creative expression

3. Problem-Solving Skills:



a. Reason and communicate informed judgments
b. Identify and solve problems, independently and cooperatively
c. Understand the nature of and evaluate evidence

4. Social Responsibility:



a. Confront and resolve ethical issues and contribute to the work of peace and social justice
b. Exhibit stewardship of self and environment
c. Develop good citizenship

5. Global Perspectives:



a. Benefit from diversity of opinion, abilities, and culture
b. Recognize the importance of the interdependence of cultures and nations
c. Communicate effectively within and across cultural boundaries

6. Self-Direction and Personal Growth:



a. Develop a sense of intellectual curiosity and a desire for lifelong learning
b. Strive for a life lived in balance
c. Develop leadership potential
d. Foster spiritual growth


B. Course Goals/Objectives/Outcomes

COMM 337 was designed with the above Common Learning Objectives in mind. Thus, upon successful completion of this course, the student will be able to demonstrate mastery of the following objectives and student learning outcomes:

Course Goals: Students will understand the techniques, attitudes, values and craft agenda of professional writers, and practice their mastery of the craft by preparing a publishable article and by publishing their analysis of current published writing in a Web log of their own creation.

B. Course Objectives/OutcomesAs a course requirement within the degree program, COMM 337 was designed with the above goals in mind. Thus, upon successful completion of this course, the student will be able to demonstrate mastery of the following objectives and student learning outcomes:



1. To write a publishable feature, news-feature or opinion article
2. To research markets for a free-lance article and write a query letter
3. To explain the attributes of and criteria for judging newspaper and magazine
feature writing, public affairs writing and social/political commentary.
4. To create a Web log and publish their analysis of current journalistic writing
on the blog, using the criteria and attributes referenced above.
V. TEACHING METHODS/DELIVERY SYSTEM
The classroom is a writing and discourse community. This course is a combination of lecture, in-class discussion, and posting to the class blog and students' individual blogs, individual conferences, and formal evaluations. Regular, brief quizzes will be administered to ensure that readings have been completed; these quizzes may take place on paper or in discussion Q&A. This class is very interactive. In order to complete the course successfully, students must come to class and must be prepared to discuss the reading assignments and to do the in-class work.

VI. COURSE REQUIREMENTS
A. Attendance is required during all class sessions. Quizzes and other in-class work that are missed for any reason may not be made up. If the final exam is missed for any reason, it may not be made up. If the absence occurs on the date an assignment is due, the late penalty for assignments (outlined below) still applies.

B. Reading Assignments. Please see the Tentative Calendar below

C. Written Assignments. (1) Students will write a 1,500- to 2,000-word article on a current political, social, cultural or artistic issue, research potential markets for it and write a one-page query letter tailored to a specific market. (2) Students will create a web Log (blog) and write analyses professional writing of 1,000 words each of: (a) a newspaper feature story, (b) a magazine feature, (c) a piece of public affairs reporting and (d) an opinion or op-ed piece on the blog. (3) Both the midterm and final exam will be take-home essay examination. (4) Students also will be assigned to cover public gatherings on campus (which tend to happen during the noon hour) without notice. These assignments, by their nature, cannot be made up; missing deadlines will hurt your grade.

The instructor's grading scale is as follows: A = 100-90. B = 89-80. C = 79-70. D = 69-60. F = 59-0.


Benedictine University at Springfield Student Academic Honesty Policy
The search for truth and the dissemination of knowledge are the central missions of a university. Benedictine University at Springfield pursues these missions in an environment guided by our Roman Catholic tradition and our Benedictine heritage. Integrity and honesty are therefore expected of all University students. Actions such as cheating, plagiarism, collusion, fabrication, forgery, falsification, destruction, multiple submission, solicitation, and misrepresentation are violations of these expectations and constitute unacceptable behavior in the University community.

Student’s Responsibility
Though there is no formal honor code at Benedictine University at Springfield, students are expected to exhibit academic honesty at all times. Violations against academic honesty are always serious and may result in sanctions that could have profound long-term effects. The final responsibility for understanding the Academic Honesty Policy of the institution, as well as the specific policies for individual courses normally found in syllabi, rests with students. If any doubt exists about what constitutes academic dishonesty, students have the responsibility to talk to the faculty member. Students should expect the members of their class to be academically honest. If students believe one or more members of the class have been deceitful to gain academic advantage in the class, students should feel comfortable to approach the faculty member of the course without prejudice.

Violations of the Academic Honesty Policy will be reported to the Office of the Dean of Academic Affairs. Along with a verbal warning, the following are consequences a student may face for academic dishonesty:
• a failing grade or “zero” for the assignment;
• dismissal from and a failing grade for the course; or
• dismissal from the Institution.

VII. Means of Evaluation . Your final grade will be based on assignments weighted as follows: (A) class participation and journals, including the four analyses of professional writing, worth 50 percent of the total grade; (B) reporting assignments, including coverage of noontime events as well as the 1,500-word article and query letter, in total worth 25 percent of the total; and (C) quizzes and tests including the midterm and the final exam, worth 25 percent.
Student Withdrawal Procedure. It is the student’s responsibility to officially withdraw from a course by completing the appropriate form, with appropriate signatures, and returning the completed form to the Advising Office. Please refer to the Student Handbook for important financial information related to withdrawals.

If a student believes that an error has been made in reporting a grade, an appeal must be made in writing to the instructor and must be initiated 90 days prior to the end of one semester after the course in question has been completed. The appeal should contain specific information on why it is believed the grade reported is inaccurate. See the Student Handbook for details.

Add/Drop Dates
Please refer to the current Academic Calendar for add/drop dates.

Incomplete Request
To qualify for an “I” grade, a minimum of 75% of the course work must be completed with a “C” or better, and a student must submit a completed “Request for an Incomplete” form to the Registrar’s Office. The form must be completed by both student and instructor, but it is the student’s responsibility (not the instructor’s) to initiate this process and obtain the necessary signatures.

Student Withdrawal Procedure
It is the student’s responsibility to officially withdraw from a course by completing the appropriate form, with appropriate signatures, and returning the completed form to the Advising Office. Please refer to the Student Handbook for important financial information related to withdrawals.

Add/Drop Dates. Please refer to the current Academic Calendar for add/drop dates.

Incomplete Request
To qualify for an “I” grade, a minimum of 75% of the course work must be completed with a passing grade, and a student must submit a completed Request for an Incomplete form to the Registrar’s Office. The form must be completed by both student and instructor, but it is the student’s responsibility (not the instructor’s) to initiate this process and obtain the necessary signatures.

VIII. Course Outline and Calendar. Please see Tentative Calendar below. The schedule of assignments is tentative, and departures from it will be announced at the class meeting prior to the change -- or via the Message Board. Students who miss class are responsible for keeping up with rescheduled assignments.



IX. AMERICANS WITH DISABILITIES ACT (ADA)
Benedictine University at Springfield provides individuals with disabilities reasonable accommodations to participate in educational programs, activities, and services. Students with disabilities requiring accommodations to participate in campus-sponsored programs, activities, and services, or to meet course requirements, should contact the Director of the Resource Center as early as possible.

If documentation of the disability (either learning or physical) is not already on file, it may be requested. Once on file, an individual student’s disability documentation is shared only at that individual’s request and solely with the parties whom the student wishes it shared. Requests are kept confidential and may be made by emailing jharris@sci.edu or by calling (217) 525-1420, ext. 306.

X. ASSESSMENT
Goals, objectives, and learning outcomes that will be assessed in the class are stated in this syllabus in Sections IV and VI. Instructor will use background knowledge probes, one-minute papers, reflective essays and/or other Classroom Assessment Techniques as deemed necessary in order to provide continuous improvement of instruction.


Tentative Calendar

Week 1. Read Murray, Chapters 1-2, on craft and process; "Writer's Digest Handbook," foreword, intro and Chapter 1 on free-lancing and finding ideas; Chapter 2 on querying; and Chapter 4 on finding markets (which are an integral part of finding ideas if you want someone to buy your story). Choose a name and open your Web log. Post your reaction to the reading assignment in Murray, plus questions I will post to the blog.

Week 2. Re-read "Handbook" Chapter 5 and 6 on research and interviewing. Read Murray, Chapters 3-4, on "reporting for surprise" and finding the flow (Murray calls it "tension," among other things) of a story. As you read Murray, try to figure out what he means by "surprise." It's almost impossible to explain, but it's important. It may be the single most important thing that makes your work stand out in the crowd. Post your reaction to the reading assignment in Murray, plus questions I will post to the Mackerel Wrapper.

Week 3 Read Murray, Chapters 5-6, on pre-writing (much of which you do in your head) and writing a story. Post your reaction to the reading assignment in Murray, plus questions I will post to the Mackerel Wrapper.

Week 4 Read "Handbook" Chapters 8-9 on writing and revision; Murray, Chapters 7-8, on writing, editing and revising so readers will want to read what you wrote. (Hint: How do you do that? Surprise them.) Post your reaction to the reading assignment in Murray, plus questions I will post to the Mackerel Wrapper.

Week 5 Read "Handbook" Chapter 10 on working with editors; and Murray, Chapter 9, on how to think like a professional -- i.e. like an apprentice! Post your reaction to the reading assignment in Murray, plus questions I will post to the Mackerel Wrapper.

Week 6 Midterm. Post your 1,000-word analysis of a public affairs (politics, government, society or cultural) story to your blog, plus questions I will post to the Mackerel Wrapper.

Week 7 Post your 1,000-word analysis of an opinion article or op-ed piece to your blog, plus questions I will post to the Mackerel Wrapper.

Week 8 Post your 1,000-word analysis of a newspaper feature story to your blog, plus questions I will post to the Mackerel Wrapper.

Week 9 Post your 1,000-word analysis of a magazine article to your blog, plus questions I will post to the Mackerel Wrapper.

Week 10. Work on feature story. Readings from Writer's Digest and internet TBA.

Week 11 Work on feature story. Readings from Writer's Digest and internet TBA.

Week 12 Work on feature story. Readings from Writer's Digest and internet TBA.

Week 13 Work on feature story. Readings from Writer's Digest and internet TBA.

Week 14 Review and assessment.

Final exam schedule TBA.

Saturday, February 26, 2011

Little magazines ... directories ... and an ISU prospectus/call to action for the "independent literary community"

http://www.newpages.com/literary-magazines/

Publisher's blurb:
Browse the literary magazines listed in NewPages to find short stories and longer fiction, poetry, creative nonfiction, essays, literary criticism, book reviews, author interviews, art and photography. The magazine editor's description for each sponsored literary magazine gives you an overview of editorial styles—what writers they have published and what they are looking for (with contact information, subscription rates, submission guidelines, and more).

(Check out Big Muddy, at Southeast Missouri State.)

Also this directory of Illinois journals, on Litline.org, a website published by Illinois State:

http://www.litline.org/illinks/journals.html


Litline bills itself as a "website for the Independent Literary Community" ... [from blurb]: contains "regularly updated set of links to all things literary on the web. Find hundreds of presses, journals, organizations, online journals and other recommended sites here." ... also has a kind of prospectus that makes a case for the arts ... excerpts:
The Independent Literary Community consists of noncommercial literary presses and magazines, literary centers, writers conferences and festivals, writers who publish with noncommercial literary presses and magazines, service organizations which support the community, and independent bookstores which are the chief purveyors of noncommercial press books. ...

* * *

Most art lovers know that art museums, symphony orchestras, ballet companies, and many theaters cannot sustain themselves by ticket sales alone. Art lovers understand that the fate of a symphony orchestra, for example, should not be determined by the marketplace, that we should not be denied Bach because U2 can fill up an orchestra hall and make money while Bach is forever a drain on public and private funds. Art lovers recognize that if we want an active, vital theater in this country, we must recognize the difference between a Broadway production of Cats and a nonprofit regional theaterÉs production of Chekhov or Beckett or even Sam Shephard (whose plays are almost never produced on Broadway). One is intended to make money, the other is intended to provide a cultural benefit.

Quality literature is now at that point where it must be sustained by subsidy or it will become less and less available to present and future generations. Art lovers should understand that a collection of poems or a literary translation or an innovative novel is as different from a Hollywood biography or a new diet book or a best-selling novel as Bach is from U2. More generally, art lovers should recognize the difference between a commercial publisher driven by the market and a nonprofit publisher existing to serve a cultural function. While the first is self-supporting and may make large amounts of money, the second is devoted to literary art and requires subsidy to stay in business just like the art museum or the symphony orchestra or the ballet company or serious theater.

As a national center for the literary arts, the Unit for Contemporary Literature at Illinois State University is committed to the advancement of the independent literary community and to the writers, presses, magazines, bookstores, and literary arts organizations that comprise that community. We urge art lovers everywhere to support the best in modern and contemporary literature by doing business with independent literary presses and magazines, literary centers, and bookstores and by giving what you can to make their efforts a success. The health--indeed, the survival--of serious literature in America depends upon it.

Wednesday, February 23, 2011

Electronic chastity belt - churning out a press release

Funny video on fake stories planted in U.K. newspapers ... which swallowed them hook, line and sinker. One of the stories, about a girdle that allegedly broadcast signals when its wearer was getting sexually excited, made it to North American media, too.

Good for journ classes in the fall?

Tuesday, January 11, 2011

X387: Jon Stewart on satire - something we would have discussed in class if COMM 387 hadn't been canceled

An academic point, since we won't be having the class.

But, hey, I'm an academic. ...

And the issue is important. I want it linked here in case I want to come back to it later without endlessly combing the internet for something I only halfway remember.

When he came back on air Monday night after the shooting of U.S. Rep. Gabrielle Gifford, Jon Stewart's monolog attempted to put the tragedy -- and the Daily Show's treatment of it -- in perspective. In so doing, he came as close as I've seen yet to saying out loud what the standards behind his satire are. Some excerpts (quoted from the Huffington Post transcript):
STEWART: It's hard to know what to say. The events this weekend in Arizona weigh heavily. Sadly, it is a feeling that this country has experienced all too often and unfortunately for our show, the closer that we have gotten towards discussing and dealing with current events the harder it becomes in situations where reality is truly sad. ...

Someone or something will shatter our world again ... and wouldn't it be a shame
if we didn't take this opportunity, and the loss of those incredible people and the pain that their loved ones are going through right now ... wouldn't it be a shame if we didn't take that moment to make sure that the world we are creating now [...] wouldn't it be a shame if that world wasn't better than the one that was previously lost? ...

Tomorrow we go back to doing what we normally do which is highlight absurdity in a comical way that is a catharsis for people and not a sadness.
Which is as good a definition of satire, as it plays out in the 21st century, as anything Swift and Pope said in the London coffeehouses about rewarding Virtue and reforming Vice.

And Ken Tucker's column for Entertainment Weekly's EW.com website aptly headlined "Jon Stewart struggled admirably with the funny on Monday's 'Daily Show'" ended with this:
It may sound like a flimsy show, but simply by expressing the confusion, sadness, and frustration he felt, Stewart was performing a small service — that is, mirroring our own confusion, sadness, and frustration about the awful event in Arizona. That’s something that shouldn’t be dismissed lightly.

Sunday, January 09, 2011

Comedian: "Hey, Sarah Palin, how's that hatey, killy, reloady, crosshairsy thing working out for ya?"

http://www.themudflats.net/2011/01/08/palins-reload-hits-target/

Posted by Shannyn Moore to the Mudflats blog about 1 p.m. AKST Jan. 8
Palin’s “Reload” Hits “Target”: Updated
Sarah Palin’s call to arms, “Don’t Retreat, Reload” finally results in a tragic shooting of an Arizona Congresswoman. Three term Representative Gabrielle Giffords, representing Arizona’s 8th district and caught in Palin’s cross-hairs, was gunned down today and shot in the head. One of her aides was killed and at least 12 others injured.

In March, Sarah Palin posted this ad on her facebook page and tweeted, “Commonsense Conservatives & lovers of America: “Don’t Retreat, Instead – RELOAD!” Pls see my Facebook page.” ...
[followed by screen grab of map w/ crosshairs]

http://abcnews.go.com/Politics/sarah-palins-crosshairs-ad-focus-gabrielle-giffords-debate/story?id=12576437

Quote in hed is from an ABC news story on Palin's ad:
Comedian Frank Conniff tweeted: "Hey, Sarah Palin, hows that hatey, killy, reloady, crosshairsy thing working out for ya?"
More on Gifford, who maybe ought not to throw stones at people in glass houses, at http://en.wikipedia.org/wiki/Frank_Gifford. Still a good quote, tho'.

Saturday, January 08, 2011

COMM 387 Cancelled

Friday, January 7, 2011 1:11 PM

From: "David Logan"

To: "'peter ellertsen'"

Pete,

Due to low enrollment, it looks like the Literature of Journalism will be cancelled. ...

David Logan, M.A.
Chair & Assistant Professor, Division of Arts and Letters
Prose Editor, Quiddity International Literary Journal
Benedictine University at Springfield
1500 N. Fifth St.
Springfield, IL 62702

Wednesday, January 05, 2011

COMM 387: Joseph Addison, Tatler No. 155

http://www.gutenberg.org/files/31645/31645-h/31645-h.htm#No_155

The Project Gutenberg EBook of The Tatler, Volume 3, by Various


Title: The Tatler, Volume 3 (1899)

Author: Various

Editor: George A. Aitken

Release Date: March 15, 2010 [EBook #31645]

This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever. You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.net



No. 155.[Addison.

Tuesday, April 4, to Thursday, April 6, 1710.——Aliena negotia curat,

Excussus propriis.—Hor., 2 Sat. iii. 19.


From my own Apartment, April 5.

There lived some years since within my neighbourhood a very grave person, an upholsterer,[190] who seemed a man of more than ordinary application to business. He was a very early riser, and was often abroad two or three hours before any of his neighbours. He had a particular carefulness in the knitting of his brows, and a kind of impatience in all his motions, that plainly discovered he was always intent on matters of importance. Upon my inquiry into his life and conversation, I found him to be the greatest newsmonger in our quarter; that he rose before day to read the Postman; and that he would take two or three turns to the other end of the town before his neighbours were up, to see if there were any Dutch mails come in. He had a wife and several children; but was much more inquisitive to know what passed in Poland than in his own family, and was in greater pain and anxiety of mind for King Augustus' welfare than that of his nearest relations. He looked extremely thin in a dearth of news, and never enjoyed himself in a westerly wind. This indefatigable kind of life was the ruin of his shop; for[Pg 219] about the time that his favourite prince left the crown of Poland, he broke and disappeared.

This man and his affairs had been long out of my mind, till about three days ago, as I was walking in St. James's Park, I heard somebody at a distance hemming after me: and who should it be but my old neighbour the upholsterer! I saw he was reduced to extreme poverty, by certain shabby superfluities in his dress: for notwithstanding that it was a very sultry day for the time of the year, he wore a loose great-coat and a muff, with a long campaign-wig out of curl; to which he had added the ornament of a pair of black garters buckled under the knee. Upon his coming up to me, I was going to inquire into his present circumstances; but was prevented by his asking me, with a whisper, whether the last letters brought any accounts that one might rely upon from Bender? I told him, none that I heard of; and asked him, whether he had yet married his eldest daughter? He told me, No. "But pray," says he, "tell me sincerely, what are your thoughts of the King of Sweden?" For though his wife and children were starving, I found his chief concern at present was for this great monarch. I told him, that I looked upon him as one of the first heroes of the age. "But pray," says he, "do you think there is anything in the story of his wound?" And finding me surprised at the question, "Nay," says he, "I only propose it to you." I answered, that I thought there was no reason to doubt of it. "But why in the heel," says he, "more than in any other part of the body?" "Because," says I, "the bullet chanced to light there."

This extraordinary dialogue was no sooner ended, but he began to launch out into a long dissertation upon the affairs of the North; and after having spent some time on them, he told me, he was in a great perplexity how to[Pg 220] reconcile the Supplement with the English Post, and had been just now examining what the other papers say upon the same subject. "The Daily Courant," says he, "has these words, 'We have advices from very good hands, that a certain prince has some matters of great importance under consideration.' This is very mysterious; but the Postboy leaves us more in the dark, for he tells us, that there are private intimations of measures taken by a certain prince, which time will bring to light. Now the Postman," says he, "who used to be very clear, refers to the same news in these words: 'The late conduct of a certain prince affords great matter of speculation.' This certain prince," says the upholsterer, "whom they are all so cautious of naming, I take to be"——. Upon which, though there was nobody near us, he whispered something in my ear, which I did not hear, or think worth my while to make him repeat.

We were now got to the upper end of the Mall, where were three or four very odd fellows sitting together upon the bench. These I found were all of them politicians, who used to sun themselves in that place every day about dinner-time. Observing them to be curiosities in their kind, and my friend's acquaintance, I sat down among them.

The chief politician of the bench was a great asserter of paradoxes. He told us, with a seeming concern, that by some news he had lately read from Muscovy, it appeared to him that there was a storm gathering in the Black Sea, which might in time do hurt to the naval forces of this nation. To this he added, that for his part, he could not wish to see the Turk driven out of Europe, which he believed could not but be prejudicial to our woollen manufacture. He then told us, that he looked upon those extraordinary revolutions which had lately happened in these parts of the world, to have risen chiefly from two[Pg 221] persons who were not much talked of; "and those," says he, "are Prince Menzikoff and the Duchess of Mirandola." He backed his assertions with so many broken hints, and such a show of depth and wisdom, that we gave ourselves up to his opinions.

The discourse at length fell upon a point which seldom escapes a knot of true-born Englishmen, whether in case of a religious war, the Protestants would not be too strong for the Papists? This we unanimously determined on the Protestant side. One who sat on my right hand, and, as I found by his discourse, had been in the West Indies, assured us, that it would be a very easy matter for the Protestants to beat the Pope at sea; and added, that whenever such a war does break out, it must turn to the good of the Leeward Islands. Upon this, one who sat at the end of the bench, and, as I afterwards found, was the geographer of the company, said, that in case the Papists should drive the Protestants from these parts of Europe, when the worst came to the worst, it would be impossible to beat them out of Norway and Greenland, provided the Northern crowns hold together, and the Czar of Muscovy stand neuter.

He further told us for our comfort, that there were vast tracts of land about the Pole, inhabited neither by Protestants nor Papists, and of greater extent than all the Roman Catholic dominions in Europe.

When we had fully discussed this point, my friend the upholsterer began to exert himself upon the present negotiations of peace, in which he deposed princes, settled the bounds of kingdoms, and balanced the power of Europe, with great justice and impartiality.

I at length took my leave of the company, and was going away; but had not been gone thirty yards, before the upholsterer hemmed again after me. Upon his advancing[Pg 222] towards me, with a whisper, I expected to hear some secret piece of news which he had not thought fit to communicate to the bench; but instead of that, he desired me in my ear to lend him half a crown. In compassion to so needy a statesman, and to dissipate the confusion I found he was in, I told him, if he pleased, I would give him five shillings, to receive five pounds of him when the Great Turk was driven out of Constantinople; which he very readily accepted, but not before he had laid down to me the impossibility of such an event, as the affairs of Europe now stand.

This paper I design for the particular benefit of those worthy citizens who live more in a coffee-house than in their shops, and whose thoughts are so taken up with the affairs of the Allies, that they forget their customers.

FOOTNOTES:
[190] The original of the Political Upholsterer of Nos. 155, 160 and 178 is said to have been an Edward Arne, of Covent Garden. It is clear that he cannot—as some have said—be the same person as the Arne at whose house the Indian kings lodged (see No. 171). Steele was attacked in the Examiner (vol. i. No. 11, vol. iv. No. 40) for the liberties here taken by Addison.

Tuesday, January 04, 2011

COMM 387: Ben Hecht, [excerpts] "A Thousand and One Afternoons in Chicago"

Ben Hecht, newspaperman, novelist, playwright and author of more than 70 movie scripts, co-authored "The Front Page," a play about newspapering that was adapted into a movie we'll watch in COMM 337. Robert Schmuhl, a journalism prof at Notre Dame who wrote about it for a think tank called the Poynter Institute, says it's like a "a theatrical Rorschach test" for news people: "While most journalists and kindred spirits applaud the anarchic antics and comic cynicism involved in covering a big story, others find the irresponsibility and devotion to sensationalism an affirmation of their complaints about the press." Because it raises those issues, we'll study Hecht's play and a movie remake of the play called "His Girl Friday" starring Lillian Russell and Cary Grant.

But first, we'll take a look at Ben Hecht's newspapering. It raises the same issues, and the best way to start dealing with them is to read some of his stuff. He wrote a column for The Chicago Daily News that was collected under the title "One Thousand and One Afternoons in Chicago" (1922). He said it was hack work, but it was a classic of Chicago journalism. Of journalism anywhere.

A short biography in the Gale Encyclopedia of Biography, available on line at Answers.com, tells how he thrived in the rough-and-tumble of early 20th-century Chicago:
In 1910 he went to Chicago, where he got a job as a reporter for the Chicago Journal. At the time there were seven news-gathering organizations in the city, so the competition was cutthroat. Hecht proved himself one of the best at getting exclusives, although his methods were at least unorthodox. On one occasion he was sent by his city editor to get a photograph of a girl who had joined in a suicide pact with a married clergyman; of course, reporters from other newspapers had been given the same order. But the dead girl's mother and brothers barricaded themselves in their home and refused to have anything to do with the press. The newsmen waited all day with no developments, and the others left. Noticing that the family had lit a fire in their fireplace, Hecht secured a ladder and some boards, climbed up onto the roof, put the boards over the top of the chimney, waited until the resultant smoke had driven the residents from the house, dashed inside, and grabbed a photo.

But at the same time as he was establishing himself as one of the wilder members of a wild journalistic fraternity, Hecht had hopes of making a reputation as a serious writer. Among the literary figures he met and befriended were the leaders of the "Chicago Renaissance," Sherwood Anderson, Carl Sandburg, Maxwell Bodenheim, and Vincent Star-rett. He began to publish short stories in Margaret Anderson's The Little Review, the voice of the movement.

In 1914 he moved from the Chicago Journal to the Chicago Daily News, where he stayed for nine years, with a brief interval (1918-1919) spent as a correspondent in Berlin. It was during these years that he began to publish vignettes about Chicagoans, mostly the dispossessed and the downtrodden. These pieces purported to be about real people, but in his autobiography Hecht later confessed: "It was not my talents as a news gatherer that I offered my paper but a sudden fearless flowering as a fictioneer. … I made them all up."
But maybe he was making that up, too.

Hecht aways downgraded his work, movies and newspapering alike. "Hollywood held this double lure for me," he once said, "tremendous sums of money for work that required no more effort than a game of pinochle." When he won one of his Oscars for best picture, he used it for a doorstop. That's not entirely a bad thing. He had an old newspaper guy's unwillingness -- or inability -- to take himself too damn seriously. But it makes it hard for us to evaluate his career.

Translation: I like his stuff. And I don't think he made it up.

A least not all of it.

In "Front Page," Hecht (and/or co-author Charles MacArthur) had a character say:
Journalists! Peeking through keyholes! Running after fire engines like a lot of coach dogs! Waking people up in the middle of the night to ask them what they think of Mussolini. Stealing pictures off old ladies of their daughters that get raped in Oak Park. A lot of lousy, daffy buttinskis, swelling around with holes in their pants, borrowing nickels from office boys! And for what? So a million hired girls and motormen’s wives’ll know what’s going on.
But the character who talks about "lousy, daffy buttinskis" -- people who butt in on others -- obviously "both hates and loves" the newspaper business. That's what Schmuhl said for the Poynter Institute.

So, apparently, did Ben Hecht.

When Hecht's Daily News columns were collected in a book, editor Henry Justin Smith struggled with that love-hate ambiguity about his work in the foreword:
... It does not seem possible to support his theory that "One Thousand and One Afternoons," springing from a literary passion so authentic and continuing so long with a fervor and variety unmatched in newspaper writing, are hack-work, done for a meal ticket. They must have had the momentum of a strictly artistic inspiration and gained further momentum from the need of expression, from pride in the subtle use of words, from an ardent interest in the city and its human types.
But the trouble is, Hecht didn't talk about his work. And when he did, he underplayed it. His attitude came through in what he wrote. In the introduction, Smith said the columns collected in the book:
... were the first fruits of his Big Idea--the idea that
just under the edge of the news as commonly understood, the news often
flatly and unimaginatively told, lay life; that in this urban life there
dwelt the stuff of literature, not hidden in remote places, either, but
walking the downtown streets, peering from the windows of sky scrapers,
sunning itself in parks and boulevards. He was going to be its
interpreter. His was to be the lens throwing city life into new colors,
his the microscope revealing its contortions in life and death.
In class we'll read three of Hecht's columns and come to our own conclusions. As you read, ask yourself: How did Hecht feel about the people he wrote about? Here's another: In his Nobel Prize speech in 1949, novelist William Faulker spoke ofthe "old universal truths lacking which any story is ephemeral and doomed - love and honor and pity and pride and compassion and sacrifice." Do you hear echoes of those truths in Hecht's columns? Be ready to post your answers to the class blog.

Here are three of Hecht's columns, from the Project Gutenberg EBook edition of "One Thousand and One Afternoons in Chicago" (2003). The original is in the public domain and the files are reproduced for educational purposes.

Also available at: http://www.searchengine.org.uk/ebooks/06/28.pdf

THE MOTHER

She sat on one of the benches in the Morals Court. The years had made a
coarse mask of her face. There was nothing to see in her eyes. Her hands
were red and leathery, like a man's. They had done a man's work.

A year-old child slept in her arms. It was bundled up, although the
courtroom itself was suffocating. She was waiting for Blanche's case to
come up. Blanche had been arrested by a policeman for--well, for what?
Something about a man. So she would lose $2.00 by not being at work at the
store today. Why did they arrest Blanche? She was in that room with the
door closed. But the lawyer said not to worry. Yes, maybe it was a
mistake. Blanche never did nothing. Blanche worked at the store all day.

At night Blanche went out. But she was a young girl. And she had lots of
friends. Fine men. Sometimes they brought Blanche home late at night.
Blanche was her daughter.

* * * * *

The woman with the sleeping child in her arms looked around. The room was
nice. A big room with a good ceiling. But the people looked bad. Maybe
they had done something and had been arrested. There was one man with a
bad face. She watched him. He came quickly to where she was sitting. What
was he saying? A lawyer.

"No, I don't want no lawyer," the woman with the child mumbled. "No, no."

The man went back. He kept pretty busy, talking to lots of people in the
room. So he was a lawyer. Blanche had a lawyer. She had paid him $10. A
lot of money.

"Shh, Paula!" the woman whispered. Paula was the name of the sleeping
child. It had stirred in the bundle.

"Shh! Mus'n't. Da-ah-ah-ah--"

She rocked sideways with the bundle and crooned over it. Her heavy
coarsened face seemed to grow surprised as she stared into the bundle. The
child grew quiet.

The judge took his place. Business started. From where she sat the woman
with the child couldn't hear anything. She watched little groups of men
and women form in front of the judge. Then they went away and other groups
came.

The lawyer had said not to worry. Just wait for Blanche's name and then
come right up. Not to worry.

"Shh, Paula, shh! Da-ah-ah-ah--"

There was Blanche coming out of the door. She looked bad. Her face. Oh,
yes, poor girl, she worked too hard. But what could she do? Only work. And
now they arrested her. They arrested Blanche when the streets were full of
bums and loafers, they arrested Blanche who worked hard.

Go up in front like the lawyer said. Sure. There was Blanche going now.
And the lawyer, too. He had a better face than the other one who came and
asked.

"And is this the woman?"

The lawyer laughed because the judge asked this.

"Oh, no," he said; "no, your honor, that's her mother. Step up, Blanche."

What did the policeman say?

"Shh! Paula, shh! Da-ah--" She couldn't hear on account of Paula moving so
much and crying. Paula was hungry. She'd have to stay hungry a little
while. What man? That one!

But the policeman was talking about the man, not about Blanche.

"He said, your honor, that she'd been following him down Madison Street
for a block, talking to him and finally he stopped and she asked him--"

"Shh! Paula, don't! Bad girl! Shh!"

That man with the black mustache. Who was he?

"Yes, your honor, I never saw her before. I walk in the street and she
come up and talk to me and say, 'You wanna come home with me?'"

"Blanche, how long has this been going on?"

Look, Blanche was crying. Shh, Paula, shh! The judge was speaking. But
Blanche didn't listen. The woman with the child was going to say,
"Blanche, the judge," but her tongue grew frightened.

"Speak up, Blanche." The judge said this.

* * * * *

She could hardly hear Blanche. It was funny to see her cry. Long ago she
used to cry when she was a baby like Paula. But since she went to work she
never cried. Never cried.

"Oh, judge! Oh, judge! Please--"

"Shh, Paula! Da-ah-ah-ah--" Why was this? What would the judge do?

"Have you ever been arrested before, Blanche?"

No, no, no! She must tell the judge that. The woman with the child raised
her face.

"Please, judge," she said, "No! No! She never arrested before. She's a
good girl."

"I see," said the judge. "Does she bring her money home?"

"Yes, yes, judge! Please, she brings all her money home. She's a good
girl."

"Ever seen her before, officer?"

"Well, your honor, I don't know. I've seen her in the street once or
twice, and from the way she was behavin', your honor, I thought she needed
watchin'."

"Never caught her, though, officer?"

No, your honor, this is the first time."

"Hm," said his honor.

Now the lawyer was talking. What was he saying? What was the matter?
Blanche was a good girl. Why they arrest her?

"Shh, Paula, shh! Mus'n't." She held the child closer to her heavy bosom.
Hungry. But it must wait. Pretty soon.

He was a nice judge. "All right," he said, "you can go, Blanche. But if
they bring you in again it'll be the House of the Good Shepherd. Remember
that. I'll let you go on account of her."

A nice judge. "Thank you, thank you, judge. Shh, Paula! Goo-by."

Now she would find out. She would ask Blanche. They could talk aloud in
the hallway.

"Blanche, come here." A note of authority came into the woman's voice. A
girl of eighteen walking at her side turned a rouged, tear-stained face.

"Aw, don't bother me, ma. I got enough trouble."

"What was the matter with the policeman?"

"Aw, he's a boob. That's all."

"But what they arrest you for, Blanche? I knew it was a mistake. But what
they arrest you for, Blanche? I gave him $10."

"Aw, shut up! Don't bother me."

The woman shrugged her shoulders and turned to the child in her arms.

"Da-ah-ah, Paula. Mamma feed you right away. Soon we find place to sit
down. Shh, Paula! Mus'n't. Da-ah-ah--"

When she looked up Blanche had vanished. She stood still for a while and
then, holding the year-old child closer to her, walked toward the
elevator. There was nothing to see in her eyes.



CLOCKS AND OWL CARS


As they say in the melodramas, the city sleeps. Windows have said
good-night to one another. Rooftops have tucked themselves away. The
pavements are still. People have vanished. The darkness sweeping like a
great broom through the streets has emptied them.

The clock in the window of a real estate office says "Two." A few windows
down another clock says "Ten minutes after two."

The newspaper man waiting for a Sheffield Avenue owl car walks along to
the next corner, listening for the sound of car wheels and looking at the
clocks. The clocks all disagree. They all hang ticking with seemingly
identical and indisputable precision. Their white faces and their black
numbers speak in the dark of the empty stores. "Tick-tock, Time never
sleeps. Time keeps moving the hands of the city's clocks around and
around."

Alas, when clocks disagree what hope is there for less methodical
mechanisms, particularly such humpty-dumpty mechanisms as tick away inside
the owners of clocks? The newspaper man must sigh. These clocks in the
windows of the empty stores along Sheffield Avenue seem to be arguing.
They present their arguments calmly, like meticulous professors. They say:
"Eight minutes of two. Three minutes of two. Two. Four minutes after two.
Ten minutes after two."

Thus the confusions of the day persist even after the darkness has swept
the streets clean of people. There being nobody else to dispute, the
clocks take it up and dispute the hour among themselves.

The newspaper man pauses in front of one half-hidden clock. It says "Six."
Obviously here is a clock not running. Its hands have stopped and it no
longer ticks. But, thinks the newspaper man, it is not to be despised for
that. At least it is the only clock in the neighborhood that achieves
perfect accuracy. Twice a day while all the other clocks in the street are
disputing and arguing, this particular clock says "Six" and of all the
clocks it alone is precisely accurate.

In the distance a yellow light swings like an idle lantern over the car
tracks. So the newspaper man stops at the corner and waits. This is the
owl car. It may not stop. Sometimes cars have a habit of roaring by with
an insulting indifference to the people waiting for them to stop at the
corner. At such moments one feels a fine rage, as if life itself had
insulted one. There have been instances of men throwing bricks through the
windows of cars that wouldn't stop and cheerfully going to jail for the
crime.

But this car stops. It comes to a squealing halt that must contribute
grotesquely to the dreams of the sleepers in Sheffield Avenue. The night
is cool. As the car stands silent for a moment it becomes, with its
lighted windows and its gay paint, like some modernized version of the
barque in which Jason journeyed on his quest.

* * * * *

The seats are half filled. The newspaper man stands on the platform with
the conductor and stares at the passengers. The conductor is an elderly
man with an unusually mild face.

The people in the car try to sleep. Their heads try to make use of the
window panes for pillows. Or they prop their chins up in their palms or
they are content to nod. There are several young men whose eyes are
reddened. A young woman in a cheap but fancy dress. And several
middle-aged men. All of them look bored and tired. And all of them present
a bit of mystery.

Who are these passengers through the night? And what has kept them up? And
where are they going or coming from? The newspaper man has half a mind to
inquire. Instead he picks on the conductor, and as the car bounces gayly
through the dark, cavernous streets the mild-faced conductor lends himself
to a conversation.

"I been on this line for six years. Always on the owl car," he says. "I
like it better than the day shift. I was married, but my wife died and I
don't find much to do with my evenings, anyway.

"No, I don't know any of these people, except there's a couple of
workingmen who I take home on the next trip. Mostly they're always
strangers. They've been out having a good time, I suppose. It's funny
about them. I always feel sorry for 'em. Yes, sir, you can't help it.

"There's some that's been out drinking or hanging around with women and
when they get on the car they sort of slide down in their seats and you
feel like there was nothing much to what they'd been doing. Pessimistic?
No, I ain't pessimistic. If you was ridin' this car like I you'd see what
I mean.

"It's like watchin' people afterwards. I mean after they've done things.
They always seem worse off then. I suppose it's because they're all
sleepy. But standin' here of nights I feel that it's more than that.
They're tired sure enough but they're also feeling that things ain't what
they're cracked up to be.

"I seldom put anybody off. The drunks are pretty sad and I feel sorry for
them. They just flop over and I wake them up when it comes their time.
Sometimes there's girls and they look pretty sad. And sometimes something
really interestin' comes off. Once there was a lady who was cryin' and
holdin' a baby. On the third run it was. I could see she'd up and left her
house all of a sudden on account of a quarrel with her husband, because
she was only half buttoned together.

"And once there was a man whose pictures I see in the papers the next day
as having committed suicide. I remembered him in a minute. Well, no, he
didn't look like he was going to commit suicide. He looked just about like
all the other passengers--tired and sleepy and sort of down."

The mild-faced conductor helped one of his passengers off.

"Don't you ever wonder what keeps these people out or where they're going
at this time of night?" the newspaper man pursued as the car started up
again.

"Well," said the conductor, "not exactly. I've got it figured out there's
nothing much to that and that they're all kind of alike. They've been to
parties or callin' on their girls or just got restless or somethin'.
What's the difference? All I can say about 'em is that you get so after
years you feel sorry for 'em all. And they're all alike--people as ride on
the night run cars are just more tired than the people I remember used to
ride on the day run cars I was on before my wife died."

The clock in a candy store window says "Three-twelve." A few windows down,
another clock says "Three-five." The newspaper man walks to his home
studying the clocks. They all disagree as before. And yet their faces are
all identical--as identical as the faces of the owl car passengers seem to
the conductor. And here is a clock that has stopped. It says "Twenty after
four." And the newspaper man thinks of the picture the conductor
identified in the papers the next morning. The picture said something like
"Twenty after four" at the wrong time. It's all a bit mixed up.


THE MAN WITH A QUESTION

Late afternoon. An hour more and the city will be emptying itself out of
the high buildings. Now the shoppers are hurrying home to get dinner on
the table.

A man stands on the corner of Michigan Avenue and Adams Street.
Unwittingly he invites attention. A poorly dressed man, with a work-heavy
face and coarsened hands. But he stands motionless. More than that, he is
not looking at anything. His deep-set eyes seem to withhold themselves
from the active street.

In the sauve spectacle of the avenue his motionless figure is like an
awkward faux pas in a parlor conversation. The newspaper man on his way to
the I. C. station pauses to light his pipe and his eyes take in the figure
of this motionless one.

The newspaper man notices that the man stands like one who is braced
against something that may come suddenly and that his deep-set eyes say,
"We know what we know." There are other impressions that interest the
newspaper man. For a moment the motionless one seems a blurred little unit
of the hurrying crowd. Then for a moment he seems to grow large and his
figure becomes commanding and it is as if he were surveying the blurred
little faces of the hurrying crowd. This is undoubtedly because he is
standing still and not looking at anything.

* * * * *

"Can I have a light, please?"

The man's voice is low. A bit hoarse. He has a pipe and the newspaper man
gives him a match. Ah, the amiable, meaningless curiosity of newspaper
men! This one must ask questions. It is after work, but, like the
policeman who goes to the movies with his club still at his side, he is
still asking questions.

"Taking in the sights?"

The man, lighting his pipe, nods slowly. Much too slowly, as if his answer
were fraught with a vast significance.

"I like it myself," insinuates the newspaper man. "I was reading Junius
Wood's article on Bill Shatov, who is running things now in Siberia. He
quotes Bill as saying what he misses most in life now is the music of
crowds in Chicago streets. Did you read that?"

This is a brazen lead. But the man looks like a "red." And Bill Shatov
would then open the talk. But the man only shakes his head. He says, "No,
I don't read the papers much."

Now there is something contradictory about this man and his curtness
invites. He seems to have accepted the presence of the newspaper man in an
odd way, an uncity way. After a pause he gestures slightly with his pipe
in his hand and says:

"Quite a crowd, eh?"

The newspaper man nods. The other goes on:

"Where are they going?"

This is more than a question. There is indignation in it. The deepset eyes
gleam.

"I wonder," says the newspaper man. His companion remains staring in his
odd, unseeing way. Then he says:

"They don't look at anything, eh? In a terrible hurry, ain't they? Yeah,
in a rotten hurry."

The newspaper man nods. "Which way you going?" he asks.

"No way," his companion answers. "No way at all. I'm standin' here, see?"

There is a silence. The motionless one has become something queer in the
eyes of the newspaper man. He has become grim, definite, taunting. Here is
a man who questions the people of the street with unseeing eyes. Why? Here
is one who is going "no way." Yet, look at him closely and there is no
sneer in his eyes. His lips hold no contempt.

There you have it. He is a questioning man. He is questioning things that
no one questions--buildings, crowds, windows. And there is some sort of
answer inside him.

* * * * *

"What you talking to me for?"

The newspaper man smiles disarmingly at this sudden inquiry.

"Oh, I don't know," he says. "Saw you standing still. You looked
different. Wondered, you know. Just kind of thought to say hello."

"Funny," says the motionless one.

"I got a hunch you're a stranger in town."

This question the companion answers. "Yeah, a stranger. A stranger. That's
what I am, all right. I'm a stranger, all right. You got me right."

Now the motionless one smiles. This makes his face look uncomfortable.
This makes it seem as if he had been frowning savagely before.

"What do you think of this town?" pursues the newspaper man.

"Think of this town? Think? Say, I ain't thinking. I don't think anything
of it. I'm just looking at it, see? A stranger don't ever think, now, does
he? There, that's one for you."

"When'd you come here?"

"When'd I come here? When? Well, I come here this noon. On the noon train.
Say, don't make me gabby. I never gab any."

Nothing to be got out of this motionless one. Nothing but a question. A
pause, however, and he went on:

"Have you ever seen such a crowd like this? Hurrying? Hm! Some town! There
used to be a hotel over here west a bit."

"The Wellington?"

"Yeah. I don't see it when I pass."

"Torn down."

"Hm!" The deep-set eyes narrow for an instant. Then the motionless one
sighs and his shoulders loosen. His face grows alive and he looks this way
and that. He starts to walk and walks quickly, leaving the newspaper man
standing alone.

* * * * *

The newspaper man watched him. As he stood looking after him some one
tapped him on the shoulder. He turned. "Specs" McLaughlin of the detective
bureau. "Specs" rubbed his chin contemplatively and smiled.

"Know that guy?"

"Who?"

"No; just bumped into him. How come?"

"You might have got a story out of him," "Specs" grinned. "That's George
Cook. Just let out of the Joliet pen this morning. Served fourteen years.
Quite a yarn at the time. For killing a pal in the Wellington hotel over
some dame. I guess that was before your time, though. He just landed in
town this noon."

The detective rubbered into the moving crowd.

"I'm sort of keeping an eye on him," he said, and hurried on.

About Me

Springfield (Ill.), United States
I'm a retired English, journalism and cultural studies teacher at Springfield College in Illinois (acquired by Benedictine University and subsequently closed). I coordinate jam sessions for the "Clayville Pioneer Academy of Music" at Clayville Historic Site and the Prairieland Strings dulcimer club, and I sing in the choir and the contemporary praise team at Peace Lutheran Church in Springfield. On Hogfiddle I post links and video clips for our sessions and workshops on the mountain dulcimer (a.k.a. "hog fiddle"), as well as research notes on folklore and cultural studies, hymnody and traditional Anglo-Celtic and Scandinavian music. I also posted assignments and readings in my interdisciplinary humanities classes. The Mackerel Wrapper (now on hiatus), carried assignments and readings for my mass comm. students. I started teaching b/log when I chaired SCI-Benedictine's assessment committee, and reopened it as the privatization of public schools grew increasingly troubling and closer to home.