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Scholarship in literacy and composition studies has demonstrated the many connections between literacy education and citizenship production (e.g. Guerra, Wan). Despite often being neglected in conversations about literacy education and citizenship training, prison education programs and incarcerated students have a unique relationship to citizenship and can make an important contribution to that scholarship. By putting literacy studies in conversation with queer studies and critical prison studies, I argue that we as literacy educators and teachers can train ourselves to notice and push back against the harmful ideologies underlying the discourse around prison literacy education programs and citizenship education. This attention to language is essential because it has a material effect on the incarcerated students we teach, as well as the futures we imagine for our classes, programs, and the wider landscape of prison education.

This chapter reports on the researcher’s efforts to disseminate findings arrived at in her 2015 study focusing on the importance of communicative purpose for genre-based writing instruction. This finding is shared with two groups of stakeholders at the university-based places of practice: full-time and part-time teachers of writing. Following the Framework for Application (2015), dissemination tools were designed by carefully selecting data sets, creating brief explanations of findings, and formulating research relevance questions meant to facilitate the practitioners’ feedback. These tools were revised a number of times based on different stakeholder group needs. What was considered most transparent research data representing student-produced genres was selected for a handout. Three pre-planned questions and a modified data sample set were used to discuss the findings’ relevance to these teacher groups. The sharing with the part-time writing instructors retained a more focus group feel, whereas full-time writing instructors sharing session became an informal interview answering the same set of questions and then discussing the data samples. Both initiatives to reach out to the professional practice were preceded by carefully designing outreach tools, such as participation invitation letters and email texts. This chapter also discusses challenges and suggestions for facilitating continuous research translation efforts.

Debates over academic writing as a new discipline, or rather trend, started in the jour­nal seven years ago and initially involved academics from different fields. However, when the focus shifted towards teaching writing in English, the discussion narrowed and lost its urge. The analysis of the first papers shows that the importance of developing academic writing skills is understood by the Russian academic community, but most academics have limited awareness of academic writing as a discipline and field of research aimed at solving major problems in education and science. The paper focuses on the theoretical and methodological issues of academic writing and gives a brief overview of how it emerged into a well-developed discipline in Western, mostly US, universities. To achieve the goal of introducing academic writing into the higher education, Russian academics need to collaborate and get involved into multilateral action and interdisciplinary research. The paper concludes that disciplinary divides can be overcome through developing theoretical and conceptual issues of academic writing as rhetoric and composition studies.

This article calls for the fields of literacy and composition studies to develop more progressive understandings of the aging process as not only biological, but as culturally and socially situated. Drawing from age studies, we investigate a contribution to the Digital Archive of Literacy Narratives ( www.thedaln.org) as an approach that complicates prevailing notions of aging and literacy. We argue that an age studies approach to literacy provides teacher-researchers and students a language to conceptualize aging together. The article concludes with specific recommendations for composition teacher-researchers to conduct oral history collection events with students and older adults.

In keeping with the recent global turn in literacy and composition studies, this article explores rhetorical agency in an English-medium Indonesian PhD program. Drawing from the critical reflective lens teacher ethnography allows, the author highlights how graduate students at this Indonesian, yet international site negotiated both textually and extra-textually with the critical pedagogy she developed, while she also questions some of her initial assumptions concerning genre, audience, and rhetorical agency. Overall, the data presented here indicates that rather than focusing solely on textual form as a site of critical agency, teachers and scholars should also take into consideration the ways writers appropriate and circulate knowledge to the diverse audiences in their lives, across multiple genres and languages—and as time unfolds. Broadening the lens to account for such translingual agency might also benefit U.S.-based graduate writing pedagogies, the author ultimately suggests.

This project contributes to recent work on comics in composition studies and education, which notes that comics are more than a simple or accessible gateway to text-based literacy. I argue for the ...

This article provides investigation on EFL students’ responses related to learning writing academic essays in the context of higher education in one of private universities in Indonesia. The gap that is studied in this research is related to rarity of English writing instructors in identifying what their students’ responses towards their learning process after completing an essay writing course and how the responses present significant ideas on improving writing instructors’ pedagogical practices in writing classrooms. Scope of this research is teaching and learning English writing within the context of English as a foreign language. Field of this research is English composition studies. This research applies a quantitative non-experiment design, with descriptive as its method and questionnaire as its instruments. Findings show that students view English writing in neutral attitude; meanwhile, writing thesis statement in an academic essay is the most difficult part to write (40.59% of all respondents), and grammar and punctuation in writing essay is the most difficult aspect of essay writing (51.96% of all respondents). In brief, this research shows that recognising which aspect of the academic essay that is difficult for the students and which element is hard for them is crucial for adjusting pedagogical practices for English writing instructors and improving quality of their teaching gradually in Indonesia

This book chapter discusses how two international multilingual student writers (re)negotiate) their literacies within US first-year multilingual composition. First, I define multilingual literacies as rhizomatic and, further, consider this group of learners as academically mobile. Second, framed into the conceptions of New Literacy Studies (Barton et al. Situated literacies: Reading and writing in context. Routledge, London: 2000; Street, Language and Education 8(1and2): 9–7: 1994; Current Issues in Comparative Education 5(2):77–91: 2003), and Multiple Literacies Theory (Masny and Cole, Mapping multiple literacies: An introduction to Deleuzian Literacy Studies. Continuum, New York: 2012), this chapter illustrates how, based on semi-structured interviews and literacy autobiographies, their multilingual literacies constantly change and “becoming.” In conclusion, this book chapter calls faculty to approach such students’ learning through their literacy mapping within the ethnographic perspective in collaboration with other pedagogical orientations (anthropological and service learning that welcome unexpected and divergent becomings. In response to this edition call, the chapter delineates how to bridge the gap between MLT as elaboration on New Literacy Studies (NLS) and Second Language Acquisition (SLA), and on the other hand, international academic mobility and international composition studies.

Rhetoric and composition studies have conceptualized and defined digital sampling as a method of composition in many ways and for various pedagogical purposes: from a means of free-play invention that is critical of more formalistic writing practices to a semiotic strategy rooted in African American rhetorical traditions designed to effect political change. The latter view is critical of the former in that the former does not account for student digital sampling projects that unquestioningly appropriate from other people and communities. This is a real pedagogical problem, but students can create unethical and hurtful digital sampling projects, no matter the assignment prompt. To supplement such free-play invention strategies and anticipate problematic student projects, this essay suggests to view digital sampling through a rhetorical ethics of care perspective and offers a pedagogical heuristic for ethical in(ter)vention through the concept of vulnerability. Considering digital sampling through a heuristic of vulnerability entails a questioning of all sampling practices as potential acts of wounding or caring in the hopes of helping students develop into more sophisticated rhetors capable of producing nuanced compositions and engaging with ethical issues of digital media.

This article explores the emphasis on reading instruction in the classical pedagogical technique of imitatio. It briefly surveys scholarship in literary and composition studies to trace a short history of this pedagogy before turning to contemporary descriptions of reading pedagogy and showing how imitatio interacts with such practices.

Prompted by a moment in the classroom in which the DJ becomes integral for the writing instructor, this article looks at how the hip-hop DJ and hip-hop DJ/Producer become the intrinsic examples for first-year college writing students to think about how they conduct revision in their writing. After a review of two seminal hip-hop books and other scholarly sources that situate the viability of hip-hop discourse in the classroom, this article frames the hip-hop DJ as critical to the progression of the hip-hop producer and uses the hip-hop DJ/Producer as the catalyst for revision by looking at the original version and remix of two classic hip-hop songs. The unique collaborative investment between the hip-hop DJ/Producer and emcee/MC in creating ‘the remix’ presents an intriguing conundrum for the ways we might envision teaching practices in composition studies. Central to this moment is the way hip-hop flips the script on racist ideologies constructed as anti-hip-hop sentiments in academic spaces and allows s...

This article serves to introduce a new technology for student feedback on written assignments to political scientists. Developed in the field of composition studies, screencapture commentary is a novel technique designed to provide audiovisual responses to student writing. To receive feedback, students watch a recorded video of the instructor’s computer terminal, listening to the instructor’s commentary while watching the cursor move and highlight selections of the text for illustration. The final section of this article demonstrates preliminary evidence of improved educational outcomes in courses taught at two large 4-year universities where screencapture technology was employed. On the basis of these findings, I also argue that screencapture comments may be especially beneficial in online course environments.

This article links language requirements in rhetoric and composition graduate programs to a dominant monolingualist ideology in composition studies. It argues that future faculty can be best prepared to conduct disciplinary work in the context of linguistic heterogeneity through a variety of collaborative pedagogical practices that reflect and advance a “translingual” language ideology.

This essay is concerned with contemporary writing center and composition studies and focuses on including fiction in both the theory and practice of writing centers and classrooms. Stemming from contemporary theorists such as Andrea Lunsford and Min-zhan Lu, my work incorporates Sapphire’s (1996) novel, Push, so as to highlight the unique perspectives fiction can give as to how we approach teaching and tutoring students. Offering fiction as impacting both theory and practice – in its potential inclusion within tutor-training syllabi, for instance – I assert that fiction is an untapped resource for writing center and pedagogical studies that is often overlooked or cast aside. By also observing race and education theorists such as Laura Greenfield, Karen Rowan, and Victor Villanueva, my analysis of Sapphire’s work makes evident the potential for fiction to more thoroughly inform our approaches towards past, present, and future writing center and pedagogical studies.

Recent scholarship in rhetoric and composition studies theorizes agency as irreducible to human cause-and-effect. While this theory infiltrates many disciplinary conversations, however, our reliance on the terms students and teachers within pedagogical discourses manages our rhetorical imagination of pedagogical agency by committing us to individual, human agents every time we invoke these terms. Rather than expel these terms and the important work they underwrite, we can draw on social systems terminology of elements and relations in order to account for the ways that students and teachers emerge as agents and to imagine alternative conceptualizations of pedagogical agency.

This dissertation considers how racialized differences educational experience transition with Black students as they perform the expectations of college writing curriculum. I address the question: in what ways can a first-year writing curriculum centered on civic responsibility aid in smoother transitions from secondary to postsecondary academic writing for Black students at predominantly White institutions? My study applies racial and critical race methodologies framed within the tenets of critical race theory, institutional whiteness, and the absent presence of race in composition studies. I apply the methodologies in three key ways: analyzing transition practices through racialized perspectives; evaluating general education writing curriculum through institutional whiteness; and examining the rhetorical education and writing education experiences of transitioning Black American students today and historically. Through these approaches, I argue that, due to its focus on academic writing as one resource for influencing community development, applying a curriculum of civic responsibility to first-year writing courses can effectively address Black students' complexities in transitioning to college-level writing at predominantly White institutions. The dissertation includes five chapters. Chapter One reviews scholarship on race and academic writing, transitioning from secondary to post-secondary writing, and community-based writing pedagogy. Extending from that review, Chapter Two uses the critical race theory principle of counter-story, or the unique voice of color, to review historical models of Black American-centric education from the Civil Rights era. Chapter Three presents the results of an institutional analysis I conducted of the policies and curriculum designed for transitioning students at one institution. Chapter Four demonstrates the need for race-consciousness and civically responsible curriculum by discussing the qualitative interview responses of nine Black American students at the aforementioned research university. I conclude the dissertation by exemplifying the potential for a writing curriculum of civic responsibility entails at both the program level and course level. For Black American students living in a society with a racial social system built on whiteness as most desired and blackness as most disgraced, teaching academic writing practices as one of many resources to build communities can prove critical in helping Black American students transition to academic writing at the college level.

In composition studies, textual cosmopolitanism refers to the ability to navigate writing conventions in multiple modalities. Building on this idea results in a model of intellectual cosmopolitanism that can accommodate complex subject matter, like medical humanities, as well as writing pedagogy. Intellectual cosmopolitanism encourages meaningful engagement with both subject matter and writing conventions and thus can enrich medical humanities, constituted in medical education or as humanistic inquiry and pedagogy. Stewardship, which presupposes respect for all scholarship and encourages accommodation and collaboration, underpins intellectual cosmopolitanism. Ultimately, intellectual cosmopolitans serve as stewards rather than owners, a model of teaching and scholarship consistent with Doug Hesse’s construction of writing studies.

The first main assignment required in the first six weeks of Writing II class was designed on the expressivist approach. The article provides an actual class realization when the assignment was given to a group of thirty, English-major students at one Jordanian university. Those six weeks were a mixture of hard work, complaint, excitement, and actual texts produced. An overview of the theoretical basis on which the assignment was built is provided followed by a quick account of how the class was conducted employing expressivist pedagogy. At the end of the sixth week, students were asked to write a one-page journal entry to reflect on and evaluate their writing experience. The article tries to analyze this journal entry to uncover what students learned from doing the assignment and how they evaluated their learning. Analysis reveals that students achieved firsthand knowledge of the writing process and the requirements needed to develop readable effective texts. They finished the assignment believing that they had high potentials, that they could produce texts of good quality and with purpose—just like real writers. In other words, they could write; they could become authors. Key words: Composition studies, Advanced Writing, expressivist theories, writing workshop.

Many writers find that freewriting is crucial to their work, and it has been around long enough to be part of the common language within composition studies. Freewriting is defined as the sustained, often timed, approach to writing-without-stopping. What is “free” is the direction the writer may take and the freeing of ideas through writing. Despite the recognized benefits of freewriting, it has seldom been studied in secondary classrooms, and teachers may be reluctant to implement it on a regular basis. This article presents case studies to examine what, if any, benefits are found when daily freewriting is implemented. Two junior high school classrooms were studied for a semester. Data included student freewriting samples, interviews with students, pre and post surveys on students’ views of writing, and observational notes. In addition to the qualitative data, a collection of quantitative data (fluency rates and pre and post writing apprehension scores) created a mixed-method study. Findings include many benefits from regular freewriting. The classroom routine provided a sense of peace in a very busy day; freewriting helped develop confidence and comfort with writing; student writing quality showed flexibility in thought and style of writing depending on topic; and students engaged with course content. Several implications are made for teachers, including the importance of carefully establishing the routine and expectation that students will write during this time. In addition, teacher modeling of the freewriting showed a positive influence on the students’ writing experiences.

Educational theorists emphasize the importance of creating a classroom environment that encourages positive or productive student resistance to dominant social discourse. This article revisits work in critical pedagogy, feminism, and composition by focusing on the challenges of teaching a first-year writing course on the theme of masculinity. The gender imbalance of this class, with a majority of male students, combined with the course theme, contributed to an environment that raised unanticipated questions, which prompted the reconsideration of the intersections of critical, feminist, and composition pedagogies. In this class, the dynamics worked against a process of critical inquiry and reflection and instead often reified dominant view-points and social positions, specifically with respect to gender. This article concludes with evidence of how practices in composition studies, especially student-instructor conferences, helped to redirect some of the reactive resistance encountered in the classroom.

Lynda Barry's book What It Is offers an alternative idea of composition pedagogy, utilizing an approach that communication scholars might call “invitational rhetoric.” Barry resources the trappings traditionally associated with education and invites the reader to render experiences through his or her own writing practice. This article explores invitational rhetoric as represented in various fields, particularly composition and rhetoric, and examines how Barry's What It Is serves as a model of invitational rhetoric. The article also considers how the book offers a way of teaching invitational rhetoric as a less adversarial form of argument.

Information literacy instruction in libraries is organized by the ACRL Information Literacy Competency Standards. Currently under revision, these Standards define a set of external, abstract learning objectives that have been productive of a teaching role for librarians. Simultaneously, the Standards have generated a substantial critical literature that contests the objectives as a “Procrustean bed” that distracts from the particular teaching and learning contexts. This paper offers an alternative organizing heuristic for instruction in libraries. Kairos is an ancient Greek theory of time married to measure. Used by both Plato and the Sophists to understand the emergence of truth from context, kairos has been deployed by composition studies to gain a critical perspective on teaching student writing. Used to understand the context that generated both the first set of Standards and their revision, kairos can usefully direct the energy of teaching librarians toward their particular students and classrooms.

A Review of: Schwegler, R. A., and Shamoon, L. K. (1982). The aims and process of the research paper. College English, 44(8), 817-824. Objectives – This classic article discusses research-based writing assignments. Schwegler and Shamoon sought to identify differences between college students’ and college instructors’ conceptions of research and research paper assignments, particularly in terms of their purpose and process. The authors also sought to identify common features of academic research writing that could inform writing instruction about research writing. Design – Qualitative interviews with college instructors and students about their views of the research process and about forms of research writing. Instructors were also interviewed about evaluation standards for academic research papers. Setting – Unspecified, though the description suggests a college or university in the United States. Subjects – College instructors and college students. (Number of subjects unspecified.) Methods – The authors, a university writing program director and a writing program instructor, conducted one-on-one interviews with college instructors and students about their views of research and the research paper. Questions focused on conceptions of the research process, the purposes of research, and the forms that research writing takes. Instructors were also asked about standards for effective evaluation of research papers. The limited description of the research methods and interview questions employed in this study hinder the ability to critically assess its validity and reliability. Potential limitations of the study, such as selection bias or unclear wording of interview questions, cannot be adequately assessed based on the provided information. The authors also do not identify limitations of their study. As is discussed in more detail in this review’s commentary, the study does not conform to the conventions of most research studies from the behavioral, health, physical, and social sciences. The authors’ methods, however, may be better understood in light of particular disciplinary approaches and debates in Composition Studies. Main Results – Interviewees’ responses illustrated notable differences between college instructors’ and college students’ conceptions of the process, purpose, forms, and audiences of research paper assignments. While instructors understood the research paper to be argumentative, analytical, and interpretive, students generally described it as informative and factual. Students, when asked why research papers are assigned, identified purposes such as learning more about a topic, demonstrating one’s knowledge, or learning to use the library. Instructors indicated that the purpose of the research paper includes testing a theory, building on previous research, and exploring a problem that has been presented by other research or events (p. 819). At the same time, most instructors described research as an ongoing pursuit of “an elusive truth” (p. 819), rather than as primarily factual in nature. According to Schwegler and Shamoon, instructors also indicated during interviews that research and writing involve a clear though complex pattern that is evident in the structure and conventions of research papers. For example, the research process usually begins with activities like reading, note-taking, identifying problems with and gaps in current research, and conversing with colleagues. These instructors also reported that writing conventions which are implicitly understood in their fields are used by other scholars to evaluate their peers’ work. Reflecting on these interview responses, Schwegler and Shamoon suggest that pedagogical approaches to writing instruction can be informed both by acknowledging disparities in students’ and instructors’ conceptions of research and by identifying shared characteristics of academic writing. The authors therefore make several general observations about the nature of professional research papers and describe the structure and conventions of academic research papers. They conclude that the structure of scholarly research papers across the disciplines reflects the research process. Such a paper opens with identification of a research problem and a review of current knowledge and is followed by a variation of four possible patterns: 1) Review of research, 2) Application or implementation of a theory, 3) Refute, refine, or replicate prior research, and 4) Testing a hypothesis ( pp. 822-823). Schwegler and Shamoon indicate that the key features of scholars’ writings are also apparent in student research papers which instructors evaluate as highly-ranked and absent in lower-ranked papers. Furthermore, they provide an appendix that outlines the essential textual features of a research paper (Appendix A) (p. 822). It is unclear, however, if these descriptions of scholarly research writing are based on the instructor interviews or on other sources, such as previous analytical studies or an analysis of academic research papers from various disciplines. The researchers do not articulate the specific methods used to arrive at their generalizations. Conclusion – The authors conclude that students’ and instructors’ differing conceptions of the research process and the research paper have important implications for writing instruction. Many of the interviewed instructors described research as involving methods that are quite different from those needed for most research paper assignments. The discrepancies between class assignments and academics’ approaches to research suggests that differences in instructors’ and students’ views of research often are not addressed in the design of research paper assignments. Instructors who teach the research paper should ensure that the purpose, structure, and style of assignments reflect what content-area instructors will expect from students. Schwegler and Shamoon argue that because the basic conventions of the research paper generally apply across disciplines, instruction about those conventions can be integrated into composition courses and lower-level undergraduate courses. Such an approach can assist students in better understanding and approaching research writing as would a scholar in the given discipline.

Despite commitments by composition studies and English education to using technology in the writing classroom and to developing teachers’ “critical technological literacy” ( Selfe, 1999 ), not much has been written about how graduate programs can help secondary English teachers develop their own critical perspective on digital literacy and on teaching with technology. Recognizing this gap in scholarship, I created a series of assignments (The National Digital Literacy Narrative Project) to engage aspiring secondary English teachers in critical considerations of how public rhetoric about technology and literacy complicates composition studies scholarship and the contexts in which they will teach. This article analyzes the NDLN Project and what it teaches writing teachers—and composition studies—about 1) the benefits of analyzing public rhetoric regarding technology and its impact on literacy practices, and 2) the need for graduate programs in composition studies to pay attention to writing teacher education for secondary English teachers. I present the results of the NDLN Project by sharing the stories of three students whose coursework and comments reflect the ideas, experiences, and changing views of the larger group.

Composition studies concentrates on students, not texts. We in this field want to know who our students are. What abilities to use language do they bring to the academy? What new kinds of intellectual work are they able to do? What challenges does academic discourse pose for them? These are research questions we explore with rigor but also compassion and, sometimes, admiration. My favorite origin story claims that this field's modern iteration sprang from reluctance to use first-year writing courses, required at most universities, simply to eject the “boneheads.” Instead, we learned from Mina Shaughnessy and others to regard even the most struggling undergraduate writers as agents, operating among intersecting and competing discourse communities. For us, student writers are not solitary creators, nor are they intertextual blurs.

This article examines how an online scholarly journal, Kairos: Rhetoric, Technology, Pedagogy, mentors authors to revise their webtexts (interactive, digital media scholarship) for publication. Using an editorial pedagogy in which multimodal and rhetorical genre theories are merged with revision techniques found in process-based composition studies, the author describes how webtexts are collaboratively peer-reviewed in Kairos and authors are provided macro- and micro-level revision suggestions for their scholarly multimedia.

Institutional assessment initiatives can provide opportunities to make the intellectual work of teaching and learning in composition studies more visible. Reciprocally, the scholarship of teaching and learning’s situatedness within disciplinary norms and values can enhance institutional assessments, providing a check on the tendency to rely on singular, overly generalized mechanisms for capturing course- or program-level data. This article shares one example of the reciprocal relationship that can occur between disciplinary and institutional assessment initiatives.

This article draws on genre theory in a biliteracy context to analyze how one US–Mexico border-crossing graduate student used her genre knowledge and meta-knowledge in her first language, Spanish, as a resource for navigating disciplinary-based genres in her second language, English. The student's strategic use of her L1 genre meta-knowledge from non-university contexts to realize academic literacy tasks in her L2 represented a form of recontextualization, where meanings move and get re-shaped across contexts. This strategic negotiation, in turn, served to disrupt the notions of ‘novice’ and ‘expert’ that are prominent in the composition studies literature on second language writers, where students are seen to be moving on a linear trajectory from novice to expert status in academic writing. The article discusses implications for genre-based research and pedagogy for multilingual learners crossing linguistic, cultural, and disciplinary boundaries in their academic studies.

This review examines Susan Miller's Norton Book of Composition Studies in the context of the undergraduate writing major. Miller's anthology provides a thorough snapshot of the field of composition, representing the impressive scope of composition studies with 101 unabridged works of composition history, research, theory, and practice. Although this anthology was compiled to support instruction in both undergraduate and graduate classes, the reviewers suggest that undergraduates and some graduate students may require more contextual information about the collected works to better understand the major themes, issues, struggles, and successes of the field.

Theories of authorship and models of the author have been influential in shaping various approaches to composition theory and pedagogy. While discussions of the role of the author and authorship in composition studies have been going on for some time, tensions be- t ween the theoretical (author as social construct) and practical (author as agent) dimensions of authorship remain unresolved. Presenting the findings of a qualitative study of undergraduate writers at The City University of New York, this article explores student perspectives on models of authorship, the relationships between these models and student experiences of authorship in different writing situations, and proposes the importance of distinguishing between the multiple models and definitions of authorship and the rhetorical contexts associated with each. KE YWORDS: authorship, authorships, Romantic author, authorial construction, audience construction, students, writers, authors

I frame the continuing value of basic writing as part of a long tradition in composition studies challenging dominant beliefs about literacy and language abilities, and I link basic writing to emerging—e.g.“translingual”—approaches to language. I identify basic writing as vital to the field of composition in its rejection of simplistic notions of English, language, and literacy; its insistence on searching out the different in what might appear to be the same and the familiar; and its commitment to work with students consigned by dominant ideologies to the social periphery as in fact central, leading edge. These positions enable basic writing teacher-scholars to learn, and re-think, along with their students, what it can, does, and might mean to write. They thus help to maintain the intellectual, pedagogical, and ethical integrity of composition as a field committed to working and reworking language and literacy.

Evangelical-Christian graduate students negotiate identities that separate their religious and academic communities of practice. Drawing on bell hooks's notion that marginalized groups must speak for themselves, this essay argues that evangelical graduate students in composition studies must seek involvement in formal conversations on writing, through journal articles, presentations, and appropriate venues in ways that embody rather than restrain their evangelical identities. In order for these students to seek such involvement, it is imperative that graduate instructors begin a dialogue about the potential ways in which restraint impacts students in our efforts to acculturate them into composition.

This article examines the disappearance of the student as a site for theoretical investigation. It considers the ramifications of this development for the disciplinary self-identification of composition studies and for a larger understanding of pedagogy as self-reflexive praxis.

ACCORDING TO THE CONVENTIONAL NARRATIVE, Composition Studies evolved as a discipline through a series of paradigm shifts over the past forty or fifty years. Under the mode of "current-traditional rhetoric" which prevailed into the 1960s, writing instruction was chiefly a matter of correcting grammar and mastering rhetorical conventions. Beginning in the late 1960s, with the rejection of institutional authority characterizing much social movement of that decade, the focus of writing instruction shifted toward the student writer as a person: through attention to the writing process over the written product, the discovery and cultivation of the writer's self or voice through written expression would help liberate her from the authority of rules and conventions (grammatical, rhetorical, and by implication social). Such a mission grew increasingly important as open admissions policies of the 1970s increased the ranks of non-traditional and less-well-prepared students in university classrooms. By the early 1980s, however, composition scholars grew critical of this once progressive expressivist or process-oriented paradigm. Notions of the writer finding her individual voice as a means of asserting the self's autonomy seemed naive in the face of social realities. Student writers came to be seen as much if not more constructed by various authorizing voices than by their own voices. Thus, postprocess pedagogics sought to help students to recognize the social, cultural, and institutional situatedness of their writing. There are close and distant parallels to be drawn, I think, between this disciplinary narrative and those that could be constructed for other areas of language, literature, and literacy studies: English, Creative Writing, Literary Theory, Linguistics, Communications, and so on. For example, current traditional approaches to composition clearly have a parallel in New Critical approaches to literature By contrast, so-called Language Poetry as it emerged in the academy in the 1980s presented a critique of individual voice and expression and the workshop model of confessional narrative poetry at the heart of much Creative Writing pedagogy. Language Poetry also paralleled the rise of theory in English departments: while historically coterminous with the ascendancy of expressivist pedagogy in the 1970s and 1980s, theory likewise challenged the very notions of a cohesive self independent of social forces that seemed so central to voicist rhetoric and metaphors in composition. Such parallels and intersections between and within the disciplines can be most productively considered when they help us understand and contextualize our work in new ways. And so, to the question of the role voice and voice metaphors can and should play in composition studies and pedagogy, this essay proposes a new perspective, one from a neglected and therefore perhaps surprising creative writing subgenre text-sound poetry. Emerging in part from 1960s avant-garde efforts in multimedia and musical composition, text-sound poetry features recordings of spoken text that can then be subject to manipulation or collaging with other sounds, images, etc. I will consider here recorded excerpts of three different text-sound pieces. "Come to Free the Words" was first executed in 1962 by Brien Gysin, with whose work Caroline Bergvall has recently engaged, recording her own version of "Come to Free the Words" as well as a new piece in direct response to it. As I will show, these three text-sound works (CD tracks 11, 12, and 13) offer useful insights into the efficacy of "voice" in thinking about and teaching writing: between process and postprocess, between academic voice and the student's attempt to master it, Bergvall's work envisions a "subvoicive" third way. Before considering her work, I want to flesh out the terms and stakes of this debate a bit further, starting with one possible implication in the disciplinary history sketched above, namely that Composition Studies, having moved through its current traditional and process-oriented modes, now operates in a fully postprocess mode In fact, nothing could be further from the case. …

Computers and writing scholarship is increasingly turning towards the network as a potential pedagogical model, one in which writing is intimately connected to its social contexts. The use of wikis in first-year composition classes can support this networked pedagogy. More specifically, due to unique features such as editability and detailed page histories, wikis can challenge a number of traditional pedagogical assumptions about the teaching of writing. This article shows how wikis can challenge assumptions in four categories of interest to composition studies: new media composition, collaborative writing, critical interaction, and online authority. The analysis demonstrates that wikis, while not automatically revolutionary to composition pedagogy, hold significant potential to help facilitate pedagogical changes.

v INTRODUCTION 1 Location and Intervention 6 Chapter Summaries 8 CHAPTER I: FRAMING MOBILE LITERACIES: READING-WRITING AS MOBILE PRACTICE 14 Key Terms for Mobile Practice 17 Space-Time and Movement: Assumptions and Alternatives 21 Becomings of Places and Agencies 36 CHAPTER II: IMAGINED MOBILITIES IN COMPOSITION STUDIES 42 A Narrative of Cognitive Mobility 45 A Narrative of Social Mobility 51 A Narrative of College and Career Mobility 58 Toward a Mobile Methodology for Composition Studies 66 CHAPTER III: PROJECTIONS OF IM(MOBILITY) AT THE NEXUS OF HIGH SCHOOL AND COLLEGE 87 Pathways to Prosperity 90

Distance education (DE) programs at many universities have been initiated to generate new efficiencies for the academic process, particularly cost efficiency and pedagogical efficiency. In writing studies, this move toward digitally mediated instruction has, in some classrooms, recreated practices that resonate with the pedagogy that resulted from Current-Traditional Rhetoric (CTR). Thus, a trace of distance education's and composition studies’ parallel narratives demonstrates that writing studies has already addressed some of the questions (and concerns) that online writing instruction raises. By specifically focusing on the tensions created by negotiating cost efficiencies and pedagogical efficiencies with communication efficiencies and medium efficiencies, we interrogate current administrative decisions as well their pedagogical outcomes. We conclude by proposing strategies for rearticulating future narratives about online writing instruction in potentially productive ways.

The literacy narrative can make a unique contribution to composition studies, illustrating both how our culture inhibits literacy and how people overcome difficult obstacles in learning to read and write. Literacy narratives highlight for writing teachers the life les- sons that have advanced people toward their literacy goals. These stories are often about the struggle for and triumph of confidence. Correspondingly, as a pedagogical tool, reading and writing literacy narratives may serve to build confidence in some of our least comfortable students. However, literacy narratives can present obstacles to school literacy as well. Some students are likely to have difficulty identifying with the narrators. Furthermore, when its characteristic values and conventions conflict with a student's cultural orality, the genre can have an alienating effect. This article discusses the advantages and disadvantages of using literacy narratives in the writing classroom. My intention is to provide an overview of how well literacy narratives can help students overcome cultural obstacles to writing in college. Scholars devoted to multicultural education have made it their project to promote pedagogies that account for and appreciate the differences among those in the classroom. Students arrive on campus with many perceptions of how they differ from the school community. In particular, students may feel that their familiar use of language will not be valued by college professors. Pedagogies influenced by multicultural studies would ideally relieve this alienation by making students see how their differences fit into the course work. This attention to the student's perceived position in relation to the academic realm suggests that the beginning point for teaching is next to the student. Bonnie Lisle and Sandra Mano, in their vision of a multicultural rhetoric, argue that students should be given opportunities to write about their cultural heritages and identities to make them feel more comfortable writing in a college setting (21). Unavoidably, students must develop their "academic voices" out of the identities they bring with them to college

It has become something of a commonplace to assert that composition, perhaps more than any other aspect of English studies, has its scholarly endeavors firmly rooted in pedagogy. Because of those roots, we expect that compositionists will write about pedagogy; we also expect — almost without saying so—that no composition pedagogy will gain general acceptance without initial and continuing scrutiny by the field’s best scholars. Yet most composition teachers can reach up to their office shelves and find at least one popular, mass-market textbook, designed explicitly for a first-year writing course, that also explicitly professes the teaching of an American multiculturalism as a central pedagogical goal. As a multicultural literature specialist in my earlier scholarly life, I would like to cheer “hurrah!” and count this a victory. As a compositionist, program administrator, and teacher-educator, however, I find myself wondering whether these textbooks and curricula are getting the necessary scholarly scrutiny. When did we agree that—beyond making our textbooks represent diverse views to better reflect our diverse students—we should also teach multiculturalism as a disciplinary focus in first-year writing courses? And when did we decide how this should best be done? In the pages that follow, I argue that the field of composition studies, rather surprisingly, has not so agreed: we have not vetted multiculturalist pedagogies and their implications as carefully as we need to. To help ground further discussion, I begin by defining multiculturalism as distinct from diversity

This article summarises the author’s evolution as a writing instructor toward a career as a librarian teaching information literacy and finally as a scholar and researcher studying information literacy as an academic subject. Changes in writing pedagogy are explored as they relate to changes in the author’s instructional practices and how they underlie an understanding of information literacy as a form of literacy practice closely related to writing. Questions about the future of information literacy under current management philosophy are presented.