This pioneering study of African American students in the composition classroom lays the groundwork for reversing the cycle of underachievement that plagues linguistically diverse students. African American Literacies Unleashed: Vernacular English and the Composition Classroom approaches the issue of African American Vernacular English (AAVE) in terms of teacher knowledge and prevailing attitudes, and it attempts to change current pedagogical approaches with a highly readable combination of traditional academic discourse and personal narratives.
Realizing that composition is a particular form of social practice that validates some students and excludes others, Arnetha Ball and Ted Lardner acknowledge that many African American students come to writing and composition classrooms with talents that are not appreciated. To empower and inform practitioners, administrators, teacher educators, and researchers, Ball and Lardner provide knowledge and strategies that will help unleash the potential of African American students and help them imagine new possibilities for their successes as writers.
African American Literacies Unleashed asserts that necessary changes in theory and practice can be addressed by refocusing attention from teachers’ knowledge deficits to the processes through which teachers engage information relevant to culturally informed pedagogy. Providing strategies for unlearning racism in the classroom and changing the status quo, this volume stresses the development and maintenance of a real sense of teaching efficacy—teachers’ beliefs in their abilities to connect with and work effectively with all students—and reflective optimism—teachers’ informed expectations that all students have the potential to succeed.
Both a historical recovery and a critical rethinking of the functions and practices of textbooks, Archives of Instruction: Nineteenth-Century Rhetorics, Readers, and Composition Books in the United States argues for an alternative understanding of our rhetorical traditions. The authors describe how the pervasive influence of nineteenth-century literacy textbooks demonstrate the early emergence of substantive instruction in reading and writing. Tracing the histories of widespread educational practices, the authors treat the textbooks as an important means of cultural formation that restores a sense of their distinguished and unique contributions.
At the beginning of the nineteenth century, few people in the United States had access to significant school education or to the materials of instruction. By century’s end, education was a mass—though not universal—experience, and literacy textbooks were ubiquitous artifacts, used both in home and in school by a growing number of learners from diverse backgrounds. Many of the books have been forgotten, their contributions slighted or dismissed, or they are remembered through a haze of nostalgia as tokens of an idyllic form of schooling. Archives of Instruction suggests strategies for re-reading the texts and details the watersheds in the genre, providing a new perspective on the material conditions of schooling, book publication, and emerging practices of literacy instruction. The volume includes a substantial bibliography of primary and secondary works related to literacy instruction at all levels of education in the United States during the nineteenth century.
Class in the Composition Classroom considers what college writing instructors should know about their working-class students—their backgrounds, experiences, identities, learning styles, and skills—in order to support them in the classroom, across campus, and beyond. In this volume, contributors explore the nuanced and complex meaning of “working class” and the particular values these college writers bring to the classroom.
The real college experiences of veterans, rural Midwesterners, and trade unionists show that what it means to be working class is not obvious or easily definable. Resisting outdated characterizations of these students as underprepared and dispensing with a one-size-fits-all pedagogical approach, contributors address how region and education impact students, explore working-class pedagogy and the ways in which it can reify social class in teaching settings, and give voice to students’ lived experiences.
As community colleges and universities seek more effective ways to serve working-class students, and as educators, parents, and politicians continue to emphasize the value of higher education for students of all financial and social backgrounds, conversations must take place among writing instructors and administrators about how best to serve and support working-class college writers. Class in the Composition Classroom will help writing instructors inside and outside the classroom prepare all their students for personal, academic, and professional communication.
Contributors: Aaron Barlow, Cori Brewster, Patrick Corbett, Harry Denny, Cassandra Dulin, Miriam Eisenstein Ebsworth, Mike Edwards, Rebecca Fraser, Brett Griffiths, Anna Knutson, Liberty Kohn, Nancy Mack, Holly Middleton, Robert Mundy, Missy Nieveen Phegley, Jacqueline Preston, James E. Romesburg, Edie-Marie Roper, Aubrey Schiavone, Christie Toth, Gail G. Verdi
In a provocative book-length essay, Patricia Lynne argues that most programmatic assessment of student writing in U.S. public and higher education is conceived in the terms of mid-20th century positivism. Since composition as a field had found its most compatible home in constructivism, she asks, why do compositionists import a conceptual frame for assessment that is incompatible with composition theory?
By casting this as a clash of paradigms, Lynne is able to highlight the ways in which each theory can and cannot influence the shape of assessment within composition. She laments, as do many in composition, that the objectively oriented paradigm of educational assessment theory subjugates and discounts the very social constructionist principles that empower composition pedagogy. Further, Lynne criticizes recent practice for accommodating the big business of educational testing—especially for capitulating to the discourse of positivism embedded in terms like "validity" and "reliability." These terms and concepts, she argues, have little theoretical significance within composition studies, and their technical and philosophical import are downplayed by composition assessment scholars.
There is a need, Lynne says, for terms of assessment that are native to composition. To open this needed discussion within the field, she analyzes cutting-edge assessment efforts, including the work of Broad and Haswell, and she advances a set of alternate terms for evaluating assessment practices, a set of terms grounded in constructivism and composition.
Coming to Terms is ambitious and principled, and it takes a controversial stand on important issues. This strong new volume in assessment theory will be of serious interest to assessment specialists and their students, to composition theorists, and to those now mounting assessments in their own programs.
While there have been several studies of writing programs at larger, baccalaureate institutions, the community college classroom has often been overlooked. Authors Howard Tinberg and Jean-Paul Nadeau fill this gap with The Community College Writer, a systematic and unique case study of first semester writing students at a community college. Drawing on surveys, interviews, and samples of classroom assignments, Tinberg and Nadeau use their research at one community college to reach out to instructors throughout the nation, fostering communication between community college faculty members in the effort to establish full-fledged writing programs geared toward student success.
At the heart of the book are the voices of the students themselves, as they discuss both their teachers’ expectations and their own. Through a series of case studies, the authors reveal the challenges students face as budding writers, and their firsthand experiences with writing programs at the community college level.
With this informative study, Tinberg and Nadeau seek not only to encourage dialogue between student and teacher or community college instructors, but to expand the conversation about program improvement to include both two- and four-year colleges, bringing composition faculty together in an effort to improve writing programs in all schools. Included in the volume are seven appendices, including surveys and interviews with faculty and students, making The Community College Writer a comprehensive and practical guide to tackling the issues facing writing programs and instructors.
Cindy Johanek offers a new perspective on the ideological conflict between qualitative and quantitative research approaches, and the theories of knowledge that inform them. With a paradigm that is sensitive to the context of one's research questions, she argues, scholars can develop less dichotomous forms that invoke the strengths of both research traditions. Context-oriented approaches can lift the narrative from beneath the numbers in an experimental study, for example, or bring the useful clarity of numbers to an ethnographic study.
A pragmatic scholar, Johanek moves easily across the boundaries that divide the field, and argues for contextualist theory as a lens through which to view composition research. This approach brings with it a new focus, she writes. "This new focus will call us to attend to the contexts in which rhetorical issues and research issues converge, producing varied forms, many voices, and new knowledge, indeed reconstructing a discipline that will be simultaneously focused on its tasks, its knowledge-makers, and its students."
Composing Research is a work full of personal voice and professional commitment and will be a welcome addition to the research methods classroom and to the composition researcher's own bookshelf.
2000 Outstanding Scholarship Award from the International Writing Centers Association.
Cross-Language Relations in Composition brings together the foremost scholars in the fields of composition, second language writing, education, and literacy studies to address the limitations of the tacit English-only policy prevalent in composition pedagogy and research and to suggest changes for the benefit of writing students and instructors throughout the United States. Recognizing the growing linguistic diversity of students and faculty, the ongoing changes in the English language as a result of globalization, and the increasingly blurred categories of native, foreign, and second language English speakers, editors Bruce Horner, Min-Zhan Lu, and Paul Kei Matsuda have compiled a groundbreaking anthology of essays that contest the dominance of English monolingualism in the study and teaching of composition and encourage the pursuit of approaches that embrace multilingualism and cross-language writing as the norm for teaching and research.
The nine chapters comprising part 1 of the collection focus on the origins of the “English only” bias dominating U.S. composition classes and present alternative methods of teaching and research that challenge this monolingualism. In part 2, nine composition teachers and scholars representing a variety of theoretical, institutional, and professional perspectives propose new, compelling, and concrete ways to understand and teach composition to students of a “global,” plural English, a language evolving in a multilingual world.
Drawing on recent theoretical work on genre, complexity, performance and identity, as well as postcolonialism, Cross-Language Relations in Composition offers a radically new approach to composition teaching and research, one that will prove invaluable to all who teach writing in today’s multilingual college classroom.
During a field trip in Detroit on a summer day in 1989, a group of African American fifth-, sixth-, and seventh-graders talked, laughed, and ate snacks as they walked. Later, in the teacher’s lounge, Jeanetta, an African American teacher chided the teachers, black and white, for not correcting poor black students for “eating on the street,” something she saw as stereotypical behavior that stigmatized students.
These thirty children from Detroit’s Cass Corridor neighborhood were enrolled in the Dewey Center Community Writing Project. Taught by seven teachers from the University of Michigan and the Detroit public schools, the program guided students to explore, to interpret, and to write about their community.
According to David Schaafsma, one of the teachers, the “eating on the street” controversy is emblematic of how cultural values and cultural differences affect education in American schools today. From this incident Schaafsma has written a powerful and compelling book about the struggle of teaching literacy in a racially divided society and the importance of story and storytelling in the educational process.
At the core of this book is the idea of storytelling as an interactive experience for both the teller and listener. Schaafsma begins by telling his own version of the “eating on the street” conflict. He describes the history of the writing program and offers rich samples of the students’ writing about their lives in a troubled neighborhood. After the summer program, Schaafsma interviewed all the teachers about their own version of events, their personal histories, and their work as educators. Eating on the Street presents all of these layered stories - by Schaafsma, his collegues, and the students - to illustrate how talking across multiple perspectives can enrich the learning process and the community-building process outside the classroom as well.
These accounts have strong implications for multicultural education today. They will interest teachers, educational experts, administrators, and researchers. Uniting theory and practice, <I>Eating on the Street</I> is on the cutting edge of pioneering work in educational research.
Launched in middle schools in the fall of 2005, the "Writers Matter" approach was designed to discover ways to improve the fit between actual English curricula, district/state standards and, more recently, the Common Core Curriculum Standards for writing instruction. Adapted from Erin Gruwell's successful Freedom Writers Program, "Writers Matter" develops students' skills in the context of personal growth, understanding others, and making broader connections to the world.
Empowering Young Writers explains and expands on the practical aspects of the "Writers Matter" approach, emphasizing a focus on free expression and establishing connections between the curriculum and students' personal lives. Program creator Robert Vogel, and his co-authors offer proven ways to motivate adolescents to write, work diligently to improve their writing skills, and think more critically about the world.
This comprehensive book will help teachers, administrators, and education students apply and reproduce the "Writers Matter" approach more broadly, which can have a profound impact on their students' lives and social development.
In this unique collection, the editors and authors examine, against a rich historical background, the complex contributions that women have made to composition and rhetoric in American education. Using varied and at times experimental modes of presentation to portray teachers and learners at work, including the very young and the elderly, the text provides a generous and fresh feminine perspective on the field.
In an insightful assessment of the study and teaching of writing against the larger theoretical, political, and technological upheavals of the past thirty years, Fragments of Rationality questions why composition studies has been less affected by postmodern theory than other humanities and social science disciplines.
The Grammar Crammer is a concise, sensible grammar handbook that explains lucidly how to remember correct word forms and sentence structures. Useful as a reference tool for high school and beyond, it packs an entire grammar encyclopedia into just over a hundred pages.
Integrating grammar and composition, this comprehensive new edition guides the advanced student through progressively more complex types of writing by organizing the grammar lessons on a functionalist basis around the needs of composition. This innovative approach to teaching Spanish grammar and composition promotes systematic language development and enables students to strengthen their expressive and editing skills in the language in order to write more effectively and more confidently. Refined by years of classroom testing and analysis of the problems students encounter, this bestselling textbook has been substantially rewritten and incorporates current research in composition, pedagogy, second-language acquisition, and linguistics. Expanded self-correcting exercises are also available online, making Gramática para la composición one of the most valuable textbooks available for advanced students of Spanish.
FEATURES: • Focuses on work in six level-appropriate types of composition: description, synopsis, personal narrative, creative narrative, exposition, and argumentation;
• Based on ACTFL guidelines for students progressing from intermediate to advanced levels of proficiency;
• Covers syntax, dictionary skills, problematic word distinctions, and rhetorical features of discourse structure;
• Contains exercises on grammar practice, working with sentences and paragraphs, guided essays, and free composition.
NEW TO THE SECOND EDITION:
• Each lesson has been clearly divided into two distinct parts: Presentación (material that students prepare before class) and Aplicación (the activities they do in class or as homework);
• Prácticas individuales have been expanded and recreated as self-checking exercises that provide immediate feedback and scoring. These prácticas are available for free online at www.gramaticaparalacomposicion.com;
• Images from William Bull's Visual Grammar of Spanish help with distinctions that seem difficult;
• An Instructor's Manual—available for free online—reviews teaching and grading methodology for writing-intensive courses, offers suggestions for syllabus organization and for teaching each lesson, and provides additional exercises and activities. To download this free PDF, visit www.press.georgetown.edu;
• Free website created by authors contains self-checking exercises at www.gramaticaparalacomposicion.com.
E-Textbooks are now available to purchase or rent through VitalSource.com! Please visit VitalSource for more information on pricing and availability.
As of January 1, 2021, Smart Sparrow Companion Websites are no longer available for any of our textbook programs. New companion websites are coming soon, and will be hosted by Lingco. Instructors may sample the new companion websites now by visiting GUPTextbooks.com/companionwebsites. The full websites will be available for fall 2021 course adoption.
Until the new companion websites become available, eBook Workbooks with exercises from the Smart Sparrow Electronic Workbook are available for purchase on the GUP website and VitalSource.com, as are Workbook Answer Keys. They will both be sold in eBook format only.
About Gramática para la composición, tercera edición
This best-selling textbook guides advanced students through progressively more complex types of writing by organizing the grammar lessons on a functionalist basis around the needs of composition. This innovative approach to teaching Spanish grammar and composition promotes systematic language development and enables students to strengthen their expressive and editing skills in the language in order to write more effectively and confidently.
Refined by years of classroom testing and analysis of the problems students encounter, Gramática para la composición features the following:
• A colorful design helps students navigate the book more easily and engage visual learning strategies• Readings for major composition exercises that stress authentic, connected discourse• A Workbook with all of the homework exercises needed for practice (sold separately)• Streamlined treatment of points of grammar, including an explanation for more than twelve functions of se with a rule of subject reflexivization
Exam copies of the textbook, Workbook, and Workbook Answer Keys are available free of charge to instructors and must be requested separately. Textbook exam copies can be ordered on this page. To request digital exam copies of the Workbook and Workbook Answer Keys, please visit the pages for each of those products.
In the late 1960s, colleges and universities became deeply embroiled in issues of racial equality. To combat this, hundreds of new programs were introduced to address the needs of “high-risk” minority and low-income students. In the years since, university policies have flip-flopped between calls to address minority needs and arguments to maintain “Standard English.” Today, anti-affirmative action and anti-access sentiments have put many of these high-risk programs at risk.
In Interests and Opportunities, Steve Lamos chronicles debates over high-risk writing programs on the national level, and locally, at the University of Illinois at Urbana-Champaign. Using critical race theorist Derrick Bell’s concept of “interest convergence,” Lamos shows that these programs were promoted or derailed according to how and when they fit the interests of underrepresented minorities and mainstream whites (administrators and academics). He relates struggles over curriculum, pedagogy, and budget, and views their impact on policy changes and course offerings.
Lamos finds that during periods of convergence, disciplinary and institutional changes do occur, albeit to suit mainstream standards. In divergent times, changes are thwarted or undone, often using the same standards. To Lamos, understanding the past dynamics of convergence and divergence is key to formulating new strategies of local action and “story-changing” that can preserve and expand race-consciousness and high-risk writing instruction, even in adverse political climates.
Keywords in Writing Studies is an exploration of the principal ideas and ideals of an emerging academic field as they are constituted by its specialized vocabulary. A sequel to the 1996 work Keywords in Composition Studies, this new volume traces the evolution of the field’s lexicon, taking into account the wide variety of theoretical, educational, professional, and institutional developments that have redefined it over the past two decades.
Contributors address the development, transformation, and interconnections among thirty-six of the most critical terms that make up writing studies. Looking beyond basic definitions or explanations, they explore the multiple layers of meaning within the terms that writing scholars currently use, exchange, and question. Each term featured is a part of the general disciplinary parlance, and each is a highly contested focal point of significant debates about matters of power, identity, and values. Each essay begins with the assumption that its central term is important precisely because its meaning is open and multiplex.
Keywords in Writing Studies reveals how the key concepts in the field are used and even challenged, rather than advocating particular usages and the particular vision of the field that they imply. The volume will be of great interest to both graduate students and established scholars.
It’s no secret that, in most American classrooms, students are expected to master standardized American English and the conventions of Edited American English if they wish to succeed. Language Diversity in the Classroom: From Intention to Practice works to realign these conceptions through a series of provocative yet evenhanded essays that explore the ways we have enacted and continue to enact our beliefs in the integrity of the many languages and Englishes that arise both in the classroom and in professional communities.
Edited by Geneva Smitherman and Victor Villanueva, the collection was motivated by a survey project on language awareness commissioned by the National Council of Teachers of English and the Conference on College Composition and Communication.
All actively involved in supporting diversity in education, the contributors address the major issues inherent in linguistically diverse classrooms: language and racism, language and nationalism, and the challenges in teaching writing while respecting and celebrating students’ own languages. Offering historical and pedagogical perspectives on language awareness and language diversity, the essays reveal the nationalism implicit in the concept of a “standard English,” advocate alternative training and teaching practices for instructors at all levels, and promote the respect and importance of the country’s diverse dialects, languages, and literatures.
Contributors include Geneva Smitherman, Victor Villanueva, Elaine Richardson, Victoria Cliett, Arnetha F. Ball, Rashidah Jammi` Muhammad, Kim Brian Lovejoy, Gail Y. Okawa, Jan Swearingen, and Dave Pruett.
The volume also includes a foreword by Suresh Canagarajah and a substantial bibliography of resources about bilingualism and language diversity.
In original essays, fourteen nationally known scholars examine the practical, philosophical, and epistemological implications of a variety of research traditions. Included are discussions of historical, theoretical, and feminist scholarship; case-study and ethnographic research; text and conversation analysis; and cognitive, experimental, and descriptive research. Issues that cross methodological boundaries, such as the nature of collaborative research and writing, methodological pluralism, the classification and coding of research data, and the politics of composition research, are also examined. Contributors reflect on their own research practices, and so reflect the current state of composition research itself.
In Mutuality in the Rhetoric and Composition Classroom, David L. Wallace and Helen Rothschild Ewald point out the centrality of rhetoric in the academy, asserting the intimate connection between language and knowledge making. They also stress the need for a change in the roles of teachers and students in today’s classroom. Their goal is mutuality, a sharing of authority among teachers and students in the classroom that would allow everyone an equal voice in the communication of ideas.
Arguing that the impetus to empower students by engaging them in liberatory and emancipatory pedagogies is simply not enough, Wallace and Ewald seek to “help readers identify, theorize, and work through problems faced by teachers who already value alternative approaches but who are struggling to implement them in the classroom." It is not the teacher’s job merely to convey a received body of knowledge, nor is knowledge a prepackaged commodity to be delivered by the teacher. It is “constituted in the classroom through the dialogic interaction between teachers and students alike.”
Wallace and Ewald see mutuality as potentially transformative, but they “do not believe that the nature or that transformation can be designated in advance.” Rather it is located in the interaction between teachers and students. Wallace and Ewald look at how the transformative notion of mutuality can be effected in classrooms in three important ways: reconstituting classroom speech genres, redesigning the architecture of rhetoric and writing courses, and valuing students’ interpretive agency in classroom discourse. Mutuality in alternative pedagogy, they assert, is neither a single approach nor a specific set of valued practices; it is a continuous collaboration between teachers and students.
Fun and innovative exercises and prompts for creative writing students
Once Upon a Time in the Twenty-First Century: Unexpected Exercises in Creative Writing is a unique creative writing text that will appeal to a wide range of readers and writers—from grade nine through college and beyond. Successful creative writers from numerous genres constructed these exercises, including poetry, fiction, and creative nonfiction to one-act plays, song lyrics, genre fiction, travel guides, comics and beyond. The exercises use a broad range of creative approaches, aesthetics, and voices, all with an emphasis on demystifying the writing process and having fun.
Editor Robin Behn has divided the book into three writing sections: Genres and Forms, Sources and Methods, and Style and Subject. In each section, Behn offers a brief introduction which explains how to get started and specific ways to develop one’s writing. Each introduction is followed by extensive exercises that draw on literature from classic to contemporary, as well as other art forms and popular culture. Examples range from Flannery O’Connor and Langston Hughes to Allen Ginsberg and Gertrude Stein, from Jamaica Kincaid and James Joyce to Arlo Guthrie and Harryette Mullen. Integrated within the exercises are apt examples of student writings that have emerged from actual use of the exercises in both the classroom and in writing groups. The book concludes with general advice and direction on how to get published.
Based on years of hands-on experiences in the teaching of creative writing in high schools, colleges, and after-school writing clubs, this volume of exercises offers inestimable value to students and teachers in the traditional classroom, as well as a growing number of homeschoolers, those who are part of a writing club or group, and independent writers and learners of all ages.
One-on-one encounters with writers often contribute more to the development of student writing abilities than any classroom activity because they are personalized and responsive to individual needs. For the encounters to be successful, the writing tutor, teacher, or consultant must be prepared, must be knowledgeable of what it means to write and the factors that make writing more and less effective, and must also know the students.
This guide focuses on what those who conference with second language writers need to know to respond best to students, recognize their needs, and steer conversations in productive directions. One on One with Second Language Writers provides tips about activities that can be adapted to individual contexts, student writing samples that can be analyzed for practice, a glossary, a list of useful resources, and a checklist for conferencing sessions.
The book is appropriate for use in university and secondary school writing or learning centers, teacher training programs for both general composition and ESOL instructors, and as an individual reference tool. The book uses non-technical language where possible, but terminology is introduced where it might be useful when conferencing with students.
Gail Hawisher and Cynthia Selfe created a volume that set the agenda in the field of computers and composition scholarship for a decade. The technology changes that scholars of composition studies faced as the new century opened couldn't have been more deserving of passionate study. While we have always used technologies (e.g., the pencil) to communicate with each other, the electronic technologies we now use have changed the world in ways that we have yet to identify or appreciate fully. Likewise, the study of language and literate exchange, even our understanding of terms like literacy, text, and visual, has changed beyond recognition, challenging even our capacity to articulate them.
As Hawisher, Selfe, and their contributors engage these challenges and explore their importance, they "find themselves engaged in the messy, contradictory, and fascinating work of understanding how to live in a new world and a new century." The result is a broad, deep, and rewarding anthology of work still among the standard works of computers and composition study.
In Performing Prose, authors Chris Holcomb and M. Jimmie Killingsworth breathe new life into traditional concepts of style. Drawing on numerous examples from a wide range of authors and genres, Holcomb and Killingsworth demonstrate the use of style as a vehicle for performance, a way for writers to project themselves onto the page while managing their engagement with the reader. By addressing style and rhetoric not as an editorial afterthought, but as a means of social interaction, they equip students with the vocabulary and tools to analyze the styles of others in fresh ways, as well as create their own.
Whereas most writing texts focus exclusively on analysis or techniques to improve writing, Holcomb and Killingsworth blend these two schools of thought to provide a singular process of thinking about writing. They discuss not only the benefits of conventional methods, but also the use of deviation from tradition; the strategies authors use to vary their style; and the use of such vehicles as images, tropes, and schemes. The goal of the authors is to provide writers with stylistic “footing”: an understanding of the ways writers use style to orchestrate their relationships with readers, subject matter, and rhetorical situations.
Packed with useful tips and insights, this comprehensive volume investigates every aspect of style and its use to present an indispensable resource for both students and scholars. Performing Prose moves beyond customary studies to provide a refreshing and informative approach to the concepts and strategies of writing.
In Reworking English in Rhetoric and Composition, editors Bruce Horner and Karen Kopelson gather leading scholars and new voices in the field of rhetoric and composition to offer a dynamic new perspective on English as it is used today. This provocative volume explores the myriad ways in which English is constantly redefined, revised, and redirected through specific, located acts of writing, rhetoric, teaching, and learning. Contributors provide insightful contributions to the study of English from both national and international perspectives, revealing the language as a fluid and constantly changing manner of expression that challenges established notions.
In part one, “Reworking Language,” writers call into question the idea of language as a static, stable entity. In part two, “Locations and Migrations: Global/Local Interrogations,” contributors explore the impact of writing and teaching English in both in the United States and abroad, from Arkansas and Oklahoma to China, Jamaica, and Lebanon. Part three, “Pedagogical/Institutional Interventions,” addresses English in institutional settings and the implications for future pedagogical work. Each essay in this revolutionary volume substantiates two key premises for the rethinking of English: first, that languages are susceptible to constant change through the very acts of writing, teaching, and learning, and second, that this reworking occurs as it moves between various temporal and spatial locations.
Throughout the volume, the variety and flexibility of English across the globe are both advocated and revealed, rejecting dominant Anglophone perspectives and instead placing language in cross-cultural contexts. Brimming with informative and thought-provoking insights, Reworking English in Rhetoric and Composition breathes new life into the field and provides direction for scholars and teachers looking to the future of English.
In response to those who insist that rhetoric and composition should remain only a service discipline, editor Gary A. Olson’s Rhetoric and Composition as Intellectual Work demonstrates that it already is an intellectual discipline, that for at least a quarter of a century the field has developed an impressive tradition of intellectual work in a remarkable assortment of subject areas. Rhetoric and Composition as Intellectual Work suggests the diversity of intellectual projects that have and will continue to make rhetoric and composition more than a service to the university, more than a field devoted solely to improving writing pedagogy, and more than a preliminary to literary studies.
This collection of nineteen essays by some of the most distinguished scholars in the discipline illustrates that rhetoric and composition has much to contribute to the intellectual milieu of the contemporary university, as the field continues to push its disciplinary borders and discover new sites of investigation.
Progymnasmata, preliminary exercises in the study of declamation, were the cornerstone of elite education from Hellenistic through Byzantine times. Using material from Greek literary, mythological, and historical traditions, students and writers composed examples ranging from simple fables to complex arguments about fictional laws. In the Byzantine period, the spectrum of source material expanded to include the Bible and Christian hagiography and theology.This collection was written by Nikephoros Basilakes, imperial notary and teacher at the prestigious Patriarchal School in Constantinople during the twelfth century. In his texts, Basilakes made significant use of biblical themes, especially in character studies—known as ethopoeiae—featuring King David, the Virgin Mary, and Saint Peter. The Greek exercises presented here, translated into English for the first time, shed light on education under the Komnenian emperors and illuminate literary culture during one of the most important epochs in the long history of the Byzantine Empire.
Yancey and Weiser bring together thirty-one writing teachers from diverse levels of instruction, institutional settings, and regions to create a stimulating volume on the current practice in portfolio writing assessment. Contributors reflect on the explosion in portfolio practice over the last decade, why it happened, what comes next; discuss portfolios in hypertext, the web, and other electronic spaces; and consider emerging trends and issues that are involving portfolios in teacher assessment, faculty development, and graduate student experience.
Contributors include Peter Elbow and Pat Belanoff, Gail Hawisher and Cynthia Selfe, Brian Huot, Sandra Murphy, and William Condon.
In this classic text, Joseph Harris traces the evolution of college writing instruction since the Dartmouth Seminar of 1966. A Teaching Subject offers a brilliant interpretive history of the first decades during which writing studies came to be imagined as a discipline separable from its partners in English studies. Postscripts to each chapter in this new edition bring the history of composition up to the present.
Reviewing the development of the field through five key ideas, Harris unfolds a set of issues and tensions that continue to shape the teaching of writing today. Ultimately, he builds a case, now deeply influential in its own right, that composition defines itself through its interest and investment in the literacy work that students and teachers do together. Unique among English studies fields, composition is, Harris contends, a teaching subject.
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
In Upsetting Composition Commonplaces, Ian Barnard argues that composition still retains the bulk of instructional practices that were used in the decades before poststructuralist theory discredited them. While acknowledging that some of the foundational insights of poststructuralist theory can be difficult to translate to the classroom, Barnard upends several especially intransigent tenets that continue to influence the teaching of writing and how students are encouraged to understand writing.
Using six major principles of writing classrooms and textbooks—clarity, intent, voice, ethnography, audience, and objectivity—Barnard looks at the implications of poststructuralist theory for pedagogy. While suggesting some evocative poststructuralist pedagogical practices, the author focuses on diagnosing the fault lines of composition's refusal of poststructuralism rather than on providing "solutions” in the form of teaching templates.
Upsetting Composition Commonplaces addresses the need to more effectively engage in poststructuralist concepts in composition in an accessible and engaging voice that will advance the conversation about relations between the theory and teaching of writing.
A history of contemporary rhetoric, Visions and Revisions: Continuity and Change in Rhetoric and Composition examines the discipline’s emergence and development from the rise of new rhetoric in the late 1960s through the present. Editor James D. Williams has assembled nine essays from leading scholars to trace the origins of new rhetoric and examine current applications of genre studies, the rhetoric of science, the rhetoric of information, and the influence of liberal democracy on rhetoric in society.
Given the field’s diversity, a historical sketch cannot adopt a single perspective. Part one of Visions and Revisions therefore offers the detailed reminiscences of four pioneers in new rhetoric, while the essays in part two reflect on a variety of issues that have influenced (and continue to influence) current theory and practice. In light of the recent shift in focus of scholarly investigation toward theory, Williams’s collection contextualizes the underlying tension between theory and practice while stressing instruction of students as the most important dimension of rhetoric and composition today. Together, these chapters from some of the most influential scholars in the field provide a range of perspectives on the state of rhetoric and composition and illuminate the discipline’s development over the course of the last forty years.
Margaret A. Syverson discusses the ways in which a theory of composing situations as ecological systems might productively be applied in composition studies. She demonstrates not only how new research in cognitive science and complex systems can inform composition studies but also how composing situations can provide fruitful ground for research in cognitive science.
Syverson first introduces theories of complex systems currently studied in diverse disciplines. She describes complex systems as adaptive, self-organizing, and dynamic; neither utterly chaotic nor entirely ordered, these systems exist on the boundary between order and chaos. Ecological systems are "metasystems" composed of interrelated complex systems. Writers, readers, and texts, together with their environments, constitute one kind of ecological system.
Four attributes of complex systems provide a theoretical framework for this study: distribution, embodiment, emergence, and enaction. Three case studies provide evidence for the application of these concepts: an analysis of a passage from an autobiographical poem by Charles Reznikoff, a study of first-year college students writing collaboratively, and a conflict in a computer forum of social scientists during the Gulf War. The diversity of these cases tests the robustness of theories of distributed cognition and complex systems and suggests possibilities for wider application.
Lucille M. Schultz's The Young Composers: Composition's Beginnings in Nineteenth-Century Schools is the first full-length history of school-based writing instruction. Schultz demonstrates that writing instruction in nineteenth-century American schools is much more important in the overall history of writing instruction than we have previously assumed.
Drawing on primary materials that have not been considered in previous histories of writing instruction—little-known textbooks and student writing that includes prize-winning essays, journal entries, letters, and articles written for school newspapers—Schultz shows that in nineteenth-century American schools, the voices of the British rhetoricians that dominated college writing instruction were attenuated by the voice of the Swiss education reformer Johann Heinrich Pestalozzi. Partly through the influence of Pestalozzi's thought, writing instruction for children in schools became child-centered, not just a replica or imitation of writing instruction in the colleges.
It was also in these nineteenth-century American schools that personal or experience-based writing began and where the democratization of writing was institutionalized. These schools prefigured some of our contemporary composition practices: free writing, peer editing, and the use of illustrations as writing prompts. It was in these schools, in fact, where composition instruction as we know it today began, Schultz argues.
This book features a chapter on the agency of textbook iconography, which includes illustrations from nineteenth-century composition books as well as a cultural analysis of those illustrations. Schultz also includes a lengthy bibliography of nineteenth-century composition textbooks and student and school newspapers.
Browse our collection.
See BiblioVault's publisher services.
Files for college accessibility offices.
UChicago Accessibility Resources
BiblioVault ® 2001 - 2023
The University of Chicago Press