front cover of Gender Roles and Faculty Lives in Rhetoric and Composition
Gender Roles and Faculty Lives in Rhetoric and Composition
Theresa Enos
Southern Illinois University Press, 1997

Combining anecdotal evidence (the personal stories of rhetoric and composition teachers) with hard data, Theresa Enos offers documentation for what many have long suspected to be true: lower-division writing courses in colleges and universities are staffed primarily by women who receive minimal pay, little prestige, and lessened job security in comparison to their male counterparts. Male writing faculty, however, also are affected by factors such as low salaries because of the undervaluation of a field considered feminized. As Enos notes in her preface: "The rhetoric of our institutional lives is connected especially to the negotiations of gender roles in rhetoric and composition."

Enos describes and classifies narratives gathered from surveys, interviews, and campus visits and interweaves these narratives with statistical data gathered from national surveys that show gendered experiences in the profession. Enos discusses the ways in which these experiences affect the working conditions of writing teachers and administrators in various programs at different types of institutions.

Enos points out that fields in which women excel—and are acknowledged—receive less prestige than other fields. On the university level, those genres in which women have demonstrated competence are not taken as seriously as those dominated by men. In practical terms, academia affords more glory for teaching literature than for teaching rhetoric and composition.

Within the field of rhetoric and composition, however, Enos finds it difficult to determine why the accomplishments of women receive less credit than those of men. She speculates as to whether it is part of the larger pattern in society—and in academia—to value men more than women or something in the field itself that keeps women from real power, even though women make up the majority of composition and rhetoric teachers.

Enos provides fascinating personal histories of composition and rhetoric teachers whose work has been largely disregarded. She also provides information about writing programs, teaching, administrative responsibilities, ranks among teachers, ages, salary, tenure status, distribution of research, service responsibilities, records of publication, and promotion and tenure guidelines.

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front cover of Good Knights
Good Knights
Ralph McInerny
St. Augustine's Press, 2010

front cover of Good Teaching
Good Teaching
A Guide for Students
Richard A. Watson
Southern Illinois University Press, 1997

From junior college to Ivy League university, the level of teaching ranges from "great to awful," according to Richard A. Watson, who explains not only how to survive but how to profit from and enjoy your college experience.

To help students make important personal choices—what school? what major? what classes?—Watson explains such broad areas as administrative structure, institutional goals, and faculty aspirations.

Charging the student with the ultimate responsibility for learning, Watson presents certain academic facts of life: teaching is not the primary concern of either the faculty or the administration in most institutions; few professors on the university level have had any training in teaching, and even fewer started out with teaching as their goal; senior professors do not teach much (the higher the rank and salary, the less time in the classroom), and those seeking tenure must emphasize research to survive; and almost certainly, the bad teacher who is a good researcher will get paid more than the good teacher who does not publish.

This is a book about good teaching and how to find it. Rejecting the conventional wisdom that a professor devoted to research will not be effective in the classroom, Watson advises that you take classes from the professor you may have been cautioned to avoid.

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