Notes on Rhetoric, Reading, and the Death of the Author (Crash Course, John Green, and Context)

John Green, Crash Course, and the Purpose of Reading

• Day 2 overview: emphasis on preparation for discussion (watch/read/listen before class) but no obligation to have responses written beforehand. You may write during class or later; the goal is to be prepared for discussion.
• Instructor intention: to highlight clips selectively to focus discussion; full-length clips shown only rarely.
• Crash Course context:
  • John Green is the creator; Crash Course was an early YouTube educational channel funded by YouTube to promote popular creators to produce content (including education-focused shows).
  • Hank Green collaborates with John; they brought in professional educators and innovative thinkers to help write and present material.
  • Goal: explain topics in a way that goes beyond traditional textbook reading; emphasis on accessibility and engagement.
• John Green’s persona:
  • Noted as a “two personality” or dual public persona; success and financial security enable philanthropy.
  • Involved in charitable work, including maternal health care in Sierra Leone and tuberculosis reduction/eradication efforts.
• The topical focus today: literature and rhetoric; use of Crash Course as a springboard to discuss how we read and understand texts and how we analyze authors and audiences.

Reading, Writing, and Civilization: Why We Read and How We Read

• Writing and reading as markers of civilization (connects to world history discussions).
• Challenge to the idea: oral tradition can also carry strong stories and vibes (e.g., Mules and Men by Zora Neale Hurston; The Odyssey). Reading/writing privilege is about better sharing across distances and giving voices to the dead.
• Writing as communication: language use is an act of conveying complex ideas and experiences; grammar exists to allow clear, unblocked communication (e.g., flying through a cloud, jumping over a puddle).
• Language mechanics and comprehension:
  • Good writing reduces barriers between speaker and listener; confusing language erects barriers.
  • The aim is not to torture students with grammar rules but to enable clearer transmission of ideas.
• Writing as empathy in reading:
  • Reading is an act of empathy: imagining what it’s like to be another person.
  • When writers use certain devices (e.g., Shakespeare’s iambic pentameter; Salinger’s red hunting hat), the purpose is to give the story a larger life in the reader’s mind.
  • The question of author intention is less interesting than the reader’s engagement with the text; this leads into the death of the author concept.

The Death of the Author and Contextual Understanding

• Death of the author: the idea that once a story is released, it becomes the reader’s story; author’s life and intended meaning are not the final arbiter of a text’s meaning.
• JK Rowling example:
  • Rowling’s public stances and transphobia complicate how readers engage with Harry Potter.
  • Goblins as stereotypes and house-elves as enslaved figures are problematic elements that invite critical discussion.
  • Despite author’s flaws, readers can still find value in the text; what matters to readers can be valid even if the author is flawed.
• Popular artists often have real-world flaws; Beatles example: John Lennon’s abusive behavior contrasted with the beauty of his music. The work remains valuable even if the artist behaved badly.
• The counterpoint: author context can sometimes deepen understanding of a text (e.g., knowing more about John Green can illuminate Looking for Alaska), but it is not a prerequisite for extracting value from the work.
• Key takeaway: you can learn from a text independently of the author’s personal life, but authorial context can provide additional insights.

Empathy, Popular Media, and Cultural Relevance

• Examples of reading/watching to gain empathy:
  • The Hate U Give as a modern example of empathy with a teenage Black girl navigating systemic issues.
  • The discussion of aging and changing social contexts (e.g., differences between reading The Odyssey in ancient Greece vs. today).
• Reading as a means to understand morals, systems, and historical contexts:
  • WWII example to illustrate that evil deeds by powerful figures can coexist with virtues in some individuals; complex moral landscapes cannot be reduced to simple lessons.
• Common experience across generations:
  • People are drawn to stories (romance, fear, heroism) as safe ways to explore difficult experiences (e.g., fear through horror or true crime).
  • Storytelling shapes our concepts of love, fear, heroism, and morality more than direct life experience alone.
• Examples of literary devices and their purposes:
  • Grim or challenging narratives can reveal perspectives we might not encounter in our own lives.
  • Some literature may not have an explicit moral, yet still offer meaningful insights or questions.
• Relevance of comfort and constraint in reading choices:
  • Youths often abandon reading when forced to read “dull” material; personal choice in reading is important for sustained engagement.
  • Practical note: in higher education, instructors often must assign canonical texts due to institutional constraints and logistical realities (e.g., teaching loads, quotas, standardized materials) rather than personal preference.

The Rhetorical Triangle: Analyzing Persuasive Communication

• Core concept: rhetoric is about purposeful communication and persuasive presentation.
• Three components (the rhetorical triangle):
  • Speaker/Author: who is delivering the message; in Crash Course, John Green plus collaborators, animation teams, educators, etc.; the on-screen presentation advances the message beyond the spoken word.
  • Subject: what is being discussed; e.g., the introductory purpose of the literature series; why certain rhetorical choices (energy, animations) were used.
  • Audience: who is receiving the message; e.g., high school students, but the speaker notes that even older audiences can find value.
• Context (the 4th essential element): the larger cultural, historical, and situational backdrop that shapes interpretation (time, place, audience expectations).
• Practical application: analyze any piece of art or media by asking:
  • Who is telling the story (and who helped them)? What is their background and motivation?
  • What is being said (the content and claims)? What is being emphasized or omitted?
  • Who is the audience, and what is their context? How does time and culture affect reception?
  • What is the larger context for the work (historical, social, political)? How does this affect interpretation now vs. when it was produced?
• Examples discussed for the triangle:
  • The Crash Course video choices (animation, energy, pacing) reflect producer and audience considerations.
  • The Odyssey context: ancient Greek audience expectations and relevance to modern readers.
  • JK Rowling’s audience evolution: how reception changes as audiences shift from childhood to adulthood.
  • Jim Lovell (historical figure) as a case study for audience interest and interpretation.
• Important caveat: you cannot fully isolate any one vertex (author, text, audience) from the others; they constantly influence each other.

Practical Study Notes and Assignments

• Daily response expectations:
  • 100 to 250 words; be thoughtful and provide substance beyond simple agreement.
  • If a response seems too short or lacks depth, it will be graded accordingly.
  • Due by midnight on the 22nd; two readings assigned on Canvas:
  • "What is academic writing?" (longer essay).
  • "Four levels of questioning" (linked on Canvas).
• How to approach assignments:
  • Use the readings to ground your understanding of rhetoric and academic writing.
  • Apply the rhetorical triangle to analyze discussed media (the Crash Course video, John Green’s work, etc.).
  • Consider author background, text content, audience, and context when interpreting passages or media.

Quick Recap of Key Concepts and Terms

• Crash Course and John Green:
  • Educational channel; collaboration with educators; aims to explain topics clearly.
• Death of the author:
  • The interpretation of a text is not wholly determined by author intent; the reader’s experience matters.
• Empathy in reading:
  • Reading as imagining oneself in another's place; helps understand morals, systems, and experiences beyond one’s own.
• The rhetorical triangle and context:
  • Speaker/Author, Subject, Audience; context as a crucial factor in interpretation.
• Civilization through writing:
  • Writing enables collective knowledge, collaboration, and the building of technologies and culture; earliest writing often served as receipts or records, showing the move from isolated invention to shared, cumulative knowledge.
• Real-world examples and implications:
  • JK Rowling’s public stances versus the text’s enduring value.
  • The Hate U Give as a contemporary exploration of race and power.
  • The difference between appreciating a story and endorsing an author’s personal actions.
• Practical takeaway for exams and essays:
  • Always identify the three vertices, the context, the purpose, and the audience.
  • Look for what the author leaves out as well as what is included.
  • Connect readings to broader cultural and historical contexts to deepen analysis.

Connecting to Your Own Practice

• Before class: engage with assigned materials to participate meaningfully in discussions.
• After class: reflect on how rhetoric shapes your interpretation and why certain stylistic choices matter.
• In writing: emphasize clarity and evidence, frame arguments within the rhetorical triangle, and acknowledge both content and context to construct persuasive, nuanced analyses.

References to Course Materials and Assignments

• In-class emphasis on preparing for discussion using Crash Course materials and related readings.
• Canvas assignments due by the specified date:
  • "What is academic writing?" (longer essay).
  • "Four levels of questioning" (link provided).
• Daily response submission: 100–250 words; due by midnight on the 22nd.

Acknowledgments and Remarks

• The instructor’s tired but candid note about the room temperature and the pace of class discussions.
• Encouragement to engage with both canonical and contemporary texts to understand how rhetoric operates across time and media.