Stony Brook University - SUNY Digital Repository

Stony Brook University - SUNY Digital Repository Stony Brook University - SUNY Digital Repository

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However, because the students had to specify the “variables” of that question – What particular “mass media” product? What particular “influence” and upon what particular “perceptions”? Whose “perceptions”? What particular “audience”? – it afforded them a great deal of room to pursue their very own personal interests. Ideally, I wanted students to mold and shape that question based upon what they felt had relevance or significance to their own experiences and identity: how they perceived the reality or “truth” of their world and their place in it and how those perceptions influenced their sense of “self.” Furthermore, as I stated in the assignment: “What I want you to do is come to a research question of your own that exhibits uncertainty and, thus, will allow you to explore what you DON’T know about some issue.” But the exploration of those thusly developed questions was only a part of the research paper. Because the research paper was based upon the “I-Search Paper” model, the assignment was also very much a “meta-research paper,” demanding that students reflect upon their research: to explain their process, their findings, their analysis, and their conclusion. As a result, their final report was separated into these respective parts, much like a laboratory report. Furthermore, besides this step-by-step method of the final report, the research itself was also separated into required parts: a research question and proposal, an annotated 184

ibliography, and a final report, which itself went through a drafting process. The journey that was the students’ research projects ended with in-class research presentations during the last three or four days of the course. Now that I have described the progression of my courses’ units and essays, I would take a step back and try to offer my rationale - my philosophy - behind them. I based the courses I taught at the University of Delaware, as well as most of those before them, upon that thematic foundation of “Identity, Individuality, and Perspective” because I have deemed this essential conversation of the “self” that it establishes a fertile breeding ground, so to speak, for the arousing of and confrontation with perplexity and relativism. However, this can only – only – happen if the conversation is formulated in such a way that it exists, dynamically, as a dialectic. A liminal space where what was before concrete and set in stone – again, “fixed and immutable,” “absolute and unshakeable” – in terms of perceptions of the “self” faces the possibility of disruption, of dissolution. A “contact zone” of the sort announced by Mary Louise Pratt in her “Arts of the Contact Zone,” where “cultures meet, clash, and grapple with each other, often in contexts of highly asymmetrical relations of power” (34) and where, amidst this conflict, the writing “self” “undertake[s] to describe [itself] in ways that engage with representations others have 185

ibliography, and a final report, which itself went through a<br />

drafting process. The journey that was the students’ research<br />

projects ended with in-class research presentations during the<br />

last three or four days of the course.<br />

Now that I have described the progression of my courses’<br />

units and essays, I would take a step back and try to offer my<br />

rationale - my philosophy - behind them. I based the courses I<br />

taught at the <strong>University</strong> of Delaware, as well as most of those<br />

before them, upon that thematic foundation of “Identity,<br />

Individuality, and Perspective” because I have deemed this<br />

essential conversation of the “self” that it establishes a<br />

fertile breeding ground, so to speak, for the arousing of and<br />

confrontation with perplexity and relativism. However, this can<br />

only – only – happen if the conversation is formulated in such a<br />

way that it exists, dynamically, as a dialectic. A liminal<br />

space where what was before concrete and set in stone – again,<br />

“fixed and immutable,” “absolute and unshakeable” – in terms of<br />

perceptions of the “self” faces the possibility of disruption,<br />

of dissolution. A “contact zone” of the sort announced by Mary<br />

Louise Pratt in her “Arts of the Contact Zone,” where “cultures<br />

meet, clash, and grapple with each other, often in contexts of<br />

highly asymmetrical relations of power” (34) and where, amidst<br />

this conflict, the writing “self” “undertake[s] to describe<br />

[itself] in ways that engage with representations others have<br />

185

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