Talk, Tools, and Texts tackles a perplexing issue: how can we envision writing as developing throughout a lifetime, from the first purposeful marks made on paper to the last? How can we make accounts of writing development that keep the complexity of our lives in mind while also providing useful insight to researchers, teachers, and writers?
Drawing on eleven accounts of writers at different points in the lifespan (ages 12 to 80) and in different social circumstances (from a middle-school classroom to a bird-sanctuary newsletter), Talk, Tools, and Texts constructs a “logic-in-use” for following writers and their writing development at a variety of points in the lifespan. It also offers several strategies scholars can use in pursuit of their own research into lifespan writing.
In Talking Back, a veritable Who’s Who of writing studies scholars deliberate on intellectual traditions, current practices, and important directions for the future. In response, junior and mid-career scholars reflect on each chapter with thoughtful and measured moves forward into the contemporary environment of research, teaching, and service. Each of the prestigious chapter authors in the volume has three common traits: a sense of responsibility for advancing the profession, a passion for programs of research dedicated to advancing opportunities for others, and a reflective sense of their work accompanied by humility for their contributions. As a documentary, Talking Back is the first history of writing studies in autobiography.
Contributors: Jo Allen, Ann N. Amicucci, Akua Duku Anokye, Paige Davis Arrington, Doug Baldwin, John C. Brereton, Judy Buchanan, Hugh Burns, Leasa Burton, Ellen C. Carillo, William Condon, Dylan B. Dryer, Michelle F. Eble, Jennifer Enoch, Joan Feinberg, Patricia Friedrich, Cinthia Gannett, Eli Goldblatt, Shenika Hankerson, Janis Haswell, Richard Haswell, Eric Heltzel, Douglas Hesse, Bruce Horner, Alice S. Horning, Asao B. Inoue, Ruth Ray Karpen, Suzanne Lane, Min-Zhan Lu, Donald McQuade, Elisabeth L. Miller, Rebecca Williams Mlynarczyk, Sean Molloy, Les Perelman, Louise Wetherbee Phelps, Stacey Pigg, Sherry Rankins-Robertson, Jessica Restaino, J. Michael Rifenburg, Eliana Schonberg, Geneva Smitherman, Richard Sterling, Katherine E. Tirabassi, Devon Tomasulo, Martha A. Townsend, Mike Truong, Victor Villanueva, Edward M. White, Anne Elrod Whitney, Kathleen Blake Yancey
Teaching Black: The Craft of Teaching on Black Life and Literature presents the experiences and voices of Black creative writers who are also teachers. The authors in this collection engage poetry, fiction, experimental literature, playwriting, and literary criticism. They provide historical and theoretical interventions and practical advice for teachers and students of literature and craft. Contributors work in high schools, colleges, and community settings and draw from these rich contexts in their essays. This book is an invaluable tool for teachers, practitioners, change agents, and presses. Teaching Black is for any and all who are interested in incorporating Black literature and conversations on Black literary craft into their own work.
Teaching Mindful Writers introduces new writing teachers to a learning cycle that will help students become self-directed writers through planning, practicing, revising, and reflecting. Focusing on the art and science of instructing self-directed writers through major writing tasks, Brian Jackson helps teachers prepare students to engage purposefully in any writing task by developing the habits of mind and cognitive strategies of the mindful writer.
Relying on the most recent research in writing studies and learning theory, Jackson gives new teachers practical advice about setting up writing tasks, using daily writing, leading class discussions, providing feedback, joining teaching communities, and other essential tools that should be in every writing teacher’s toolbox. Teaching Mindful Writers is a timely, fresh perspective on teaching students to be self-directed writers.
In Telling Stories, more than a dozen longitudinal writing researchers look beyond conventional project findings to story their work and, in doing so, offer otherwise unavailable glimpses into the logics and logistics of long-range studies of writing. The result is a volume that centers interrelations among people, places, and politics across two decades of praxis and an array of educational sites: two-year colleges, a senior military college, an adult literacy center, a small liberal arts college, and both public and private four-year universities.
Contributors share direct knowledge of longitudinal writing research, citing project data (e.g., interview transcripts, research notes, and journals), descriptions drawn from memory, and extended personal reflections. The resulting stories, tempered by the research and scholarship of others, convey a sense of longitudinal research as a lived activity as well as a prominent and consequential approach to inquiry. Yet Telling Stories is not a how-to guide, nor is it written for longitudinal researchers alone. Instead, this volume addresses issues about writing research that are germane to all who conduct or count on it. Such topics include building and sustaining good interpersonal research relations, ethically negotiating the institutional power dynamics that undergird writing research, effectively using knowledge from longitudinal studies to advocate for writers and writing educators, and improving both conceptual and concrete resources for long-range research in writing studies.
This is the first book-length study of the status of composition in English studies and the uneasy relationship between composition and literature. Composition studies and institutional histories of English studies have long needed this kind of clarification of the historical and political contexts of composition teaching, research, and administration.
Susan Miller argues that composition constitutes a major national industry, citing the four million freshman-level students enrolled in such courses each year, the $40 million annual expenditure for textbooks, and the more than $50 million in teacher salaries. But this concrete magnitude is not expressed in political power within departments. Miller calls on her associates in composition to engage in a persistent critique of the social practices and political agenda of the discipline that have been responsible for its institutional marginalization. Drawing on her own long experience as a composition administrator, teacher, and scholar, as well as on a national survey of composition professionals, Miller argues that composition teachers inadvertently continue to foster the negative myth about composition’s place in the English studies hierarchy by assuming an assigned, self-sacrificial cultural identity. Composition has been regarded as subcollegiate, practical, a "how-to," and has been denied intellectual rigor in order to preserve literature’s presentations of quasi-religious textual ideals.
Winner of three major book awards:
The Modern Language Association’s Mina P. Shaughnessy Prize
The Conference on College Composition and Communication’s Outstanding Book Award
The Teachers of Advanced Composition’s W. Ross Winterowd Award
Best known for his books We Have Never Been Modern, Laboratory Life, and Science in Action, Bruno Latour has inspired scholarship across many disciplines. In the past few years, the fields of rhetoric and composition have witnessed an explosion of interest in Latour’s work. Editors Paul Lynch and Nathaniel Rivers have assembled leading and emerging scholars in order to focus the debate on what Latour means for the study of persuasion and written communication.
Essays in this volume discern, rearticulate, and occasionally critique rhetoric and composition’s growing interest in Latour. These contributions include work on topics such as agency, argument, rhetorical history, pedagogy, and technology, among others. Contributors explain key terms, identify implications of Latour’s work for rhetoric and composition, and explore how his theories might inform writing pedagogies and be used to build research methodologies.
Thinking with Bruno Latour in Rhetoric and Composition shows how Latour’s groundbreaking theories on technology, agency, and networks might be taken up, enriched, and extended to challenge scholars in rhetorical studies (both English and communications), composition, and writing studies to rethink some of the field’s most basic assumptions. It is set to become the standard introduction that will appeal not only to those scholars already interested in Latour but also those approaching Latour for the first time.
Rediscovered at the end of the nineteenth century in Coptic and Ethiopic versions, the Epistle of the Apostles (Epistula Apostolorum) is a "revelation dialogue," in which the risen Jesus converses with his disciples before his ascension and delivers instructions for strengthening the young church. In the first major study in English of this ancient document, Julian V. Hills probes its remarkable witness to the traditions that circulated in Jesus' name in the second century.
Hills tackles the document's literary framework, collecting and assessing signals to its composition. In detailed analyses of passages about Jesus' miracles, the first appearance of the risen Lord, the second advent, and the commissioning of the Apostles, Hills shows how older traditions were reshaped and interpreted according to the distinctive communal situation and theological vision of the author.
In Hills's careful and insightful work, scholars and students of early Christianity will find clues to the elusive reality of Christianity in the second century. This ancient Epistle can now become a prominent conversation partner among many newly accessible early post-resurrection traditions.
This expanded edition of the out-of-print original, published in 1990, includes a new preface and bibliography.
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