Drawing on qualitative research conducted at the University of Michigan, this article examines the extent to which composition instructors theorize and teach reading-writing connections and argues that explicitly teaching reading-writing connections may increase student motivation to complete assigned reading. The article also discusses using model texts as an effective means of teaching those connections.

This article is a pragmatic, classroom-focused conversation about the teaching of writing among three teachers living in the United States and China, separated by manythousands of miles and many centuries of tradition and culture. Our focus here is on classroom concerns: actual student writing, assignment design, and assessment. Weseek to understand more clearly through this conversation how culture and rhetorical tradition help shape the way we teach writing.

Early status reports on WAC call for engagement with the disciplines, robust research about writing, and a transformation from missionary work to a more wide-ranging model. A Taxonomy of WAC describes common characteristics of WAC programs as well as organizing those characteristics into a progression from initiation to change agency.

This article provides an overview of the ways in which data and text mining have potentialas research methodologies in composition studies. It introduces data mining in thecontext of the field of composition studies and discusses ways in which this methodologycan complement and extend our existing research practices by blending the best of whattechnology and researchers have to offer. The authors examine a process model for datamining, discuss benefits and liabilities, and link to increased calls for accountability.

This article summarizes various applications of oral history interviews at local sites to represent the writing of underrepresented groups. The coauthors (a rhetorician andan archivist) discuss the important disciplinary implications for tending to the local, especially at sites where formal archives are hard to come by, offering three principlesfor sustaining the local by combining research design with archival development.

Design is a rhetorical activity that requires creative thinking in response to difficult situations. That creative work ultimately builds new relationships and new contexts. Sustainable design can become an approach to composition that alters ways of thinking about writing situations, keeping ethical and contextual factors in focus, and encouraging students to develop habits of situational creativity.

I draw upon Eileen Schell’s notions of “maternal pedagogy” and an “ethic of care” to analyze archival material from the National Education Association and Educational Testing Service pilot “lay reader” programs of the 1950s and 1960s. I argue that there are striking similarities between the material and social circumstances of these postwar lay readers’ labor and that of contingent faculty in first-year composition today. I additionally contend that lay reader program narratives and policies evince a longer historical trajectory of labor problems in the teaching of writing than we typically recognize. Thistrajectory illustrates a continual need for various types of “help” in achieving effective writing instruction, yet paradoxically values labor-intensive models for teachers that emphasize the personal (and interpersonal). Such conditions create a problematic “motherly” discourse for the discipline that is magnified by the gendered imbalance already typically found in the first-year writing teacher workforce.

The Evolution of College English: Literacy Studies from the Puritans to the Postmoderns Thomas Miller A Counter-History of Composition: Toward Methodologies of Complexity Byron Hawk Toward A Composition Made Whole Jody Shipka Teaching with Student Texts: Essays toward an Informed Practice Joseph Harris, John D. Miles, Charles Paine, editors

Reviewed are: Hamlet’s Blackberry: A Practical Philosophy for Building a Good Life in the Digital Age, William Powers. Rhetorics and Technologies: New Directions in Writing and Communication, Stuart Selber, editor. From A to <A>: Keywords of Markup, Bradley Dilger and Jeff Rice, editors. Technological Ecologies & Sustainability, Dànielle Nicole DeVoss, Heidi McKee, and Richard Selfe, editors. Generaciones’ Narratives: The Pursuit and Practice of Traditional and Electronic Literacies on the U.S.-Mexico Borderlands, John Scenters-Zapico.

This essay describes my design and implementation of a composition course focused on the Native American rhetorical device of survivance at work in debates on Indian removal and U.S.-Indian relations in general. Using a contact zone approach, I found that the course improved writing and thinking skills by pushing students out of their ideological and intellectual comfort zones. As a deeper benefit, the study of Native American rhetorical strategies renders the Western rhetorical tradition not only as a framework for inquiry but as an object of analysis and critique itself.

This essay invites a critique of contact zone theory and rhetoric’s origin story based on a reading of Guaman Poma’s First New Chronicle and Good Government. I read this writer’s argument for indigenous ability and reshaping of space through picture, map, and text as a multimodal effort that invites attention to classroom rhetorical power dynamics and standards.

This article argues for and models an approach to writing program assessment that relies on study of the writing practices of program graduates as a way to inform revisions in curriculum and teaching practices. The article also examines how conducting such assessments can help nondisciplinary publics understand the nature of composition studies.

Central to the future of rhetoric and composition (or writing studies or whatever label we use) is the service mission of composition: to teach students to write. But that term service has not and will not serve us well. This essay examines the limitations and dangers of a service mission and explores a different model, that of a franchise, a public trust thatlicenses us to control the largest block of classes on most campuses but also makes us responsible for the nation’s ability to write. The franchise model carries its own limitations, but it may also point to possibilities of great new promise and familiar danger.

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This article argues that tracing multimodal-multilingual literacy practices across official and unofficial spaces is key to moving composition into the twenty-first century. Key tothis remixing of the field is a situated framework that locates multimodal-multilingual activities in wider genre, cultural, national, and global ecologies.

“Accountability” is widely used in discussions about what should be happening in school, but it is not an appropriate guiding concept for assessments designed to improveteaching and learning. This article examines discussions about assessment for internal and external purposes; it then outlines an alternative frame for assessment that has “responsibility” as its core.

This essay argues that a trend in histories of literary and writing studies is to bifurcate the origins of the fields and so engage in those modernist narrative fallacies describedby Jean-François Lyotard. Such works limit our understanding of past practices and the longstanding connections between disciplinarity and labor.

In this article, we undertake three critical tasks: First, we delineate major shifts in feminist rhetorical inquiry, thus describing a new and changed landscape of the field. Second, we argue that as feminist rhetorical practices have shifted, so have standards of excellence. To articulate excellence in feminist rhetorical studies, we draw attention to interconnections among three critical terms of engagement: critical imagination, strategic contemplation, and social circulation. Third, we propose an enhanced inquiry model for understanding, interpreting, and evaluating feminist rhetorical work in rhetoric and writing studies.

We argue that the Federation of Worker Writers and Community Publishers, with its dual emphasis on literacy and occupational skills, can serve as a new model for writing classrooms and writing program administrators. We further contend that the “contact zone” classroom should be replaced with community-based “federations.”

Doug Hesse has written a commentary on “The Movement of Air, the Breath of Meaning: Aurality and Multimodal Composing” by Cynthia L. Selfe, which appeared in College Composition and Communication 60.4 (June 2009): 616–63. The full text of the original article is available at the CCC website: www.ncte.org/cccc/ccc.

As they prepare to teach writing, new teachers should respond to writing assignments that we deliberately design to be difficult, exploratory, or critically reflective, so that they may better develop flexibility and engagement as learners, teachers, and theorists in the field of writing instruction.

Recent appeal to the concept of design in composition studies benefits teaching writing in digital media. Yet the concept of design has not been developed enough to fully benefit composition instruction. This article develops an understanding of design as a matter of resolving wicked problems and makes a case for the advantages of this understanding in composition studies.

Visual rhetoric fuels composition as rhetors refinish filmed moments to show others what they “see” in them. My work examines projects that model strategic discourse in public spaces. It offers ideas for achieving full and guarded disclosure when clarity is but one of several communicative goals.

As English spreads as an international language, it evolves through diverse users’ writing and speaking. However, traditional views of ESL users focus on their distance from fairly static notions of English-language competence. This research uses a grounded theory approach to describe a range of competencies that emerge in ESL users’ interactions with native-English-speaking peers and instructors.

Computer technology is expanding our profession’s conception of composing, allowing visual information to play a substantial role in an increasing variety of composition assignments. This expansion, however, creates a major problem: How does one assess student work on these assignments? Current work in assessment provides only partial answers to this question. Consequently, this article will review current theory and practice in assessment, noting its limitations as well as its strengths. The article will then draw on work in both verbal and visual communication to explain an integrative approach to assessment, one that allows instructors to consider students’ work with visuals without losing sight of conventional goals of a “writing” course. The article concludes by illustrating this approach with an analysis of an unconventional student text “a T-shirt”that students submitted as the final assignment for a relatively conventional writing course.

This article examines how the South African Committee for Higher Education used the resources of print culture to design forms of writing and delivery systems that provided students and post-literate adults in the anti-apartheid struggle of the 1980s with the means to recognize and represent themselves as rhetorical agents, for whom reading and writing were tools of deliberation and social action to participate in building a non-racial political future.

Our article seeks to integrate alternative voices into traditional rhetorical study by turning to Bitch and BUST, two mainstream zines that serve as dynamic examples of young women’s rhetoric in action. We believe these zines are shaping the present and future of women’s rhetoric. Their most significant contribution to the understanding of women’s rhetoric is located in the way they accommodate ethotic constructions that are at once contradictory and complementary. While these texts can seem abrasive and perhaps even outrageous, the ways in which the writers shape their ethe can teach rhetoricians and teachers of rhetoric and writing about the modes of argumentation practiced by this subculture of the current feminist movement, one which is firmly grounded in the larger public sphere.

As writing-program administrators and faculty are being called upon more frequently to help design and facilitate large-scale assessments, it becomes increasingly important for us to see assessment as integral to our work as academics. This article provides a framework, based on current historical, theoretical, and rhetorical knowledge, to help writing specialists understand how to embrace assessment as a powerful mechanism for improved teaching and learning at their institutions.

This article examines how the South African Committee for Higher Education used the resources of print culture to design forms of writing and delivery systems that provided students and post-literate adults in the anti-apartheid struggle of the 1980s with the means to recognize and represent themselves as rhetorical agents, for whom reading and writing were tools of deliberation and social action to participate in building a non-racial political future.

This article uses the convergence of our positionings as feminists, pragmatists, and rhetoricians to theorize communicative gaps related to different beliefs about writing instruction as sites of generative dialogue. We offer a WPA/TA discourse model centered on productive resistance and on discursive power to posit feminist pragmatic rhetoric as a communicative art of writing program change.

This article provides an analysis of Marshall McLuhan and Quentin Fiore’s The Medium Is the Massage, a visual-verbal text that is generally acknowledged as innovative but seldom taken seriously or read carefully. The analysis draws on the visual language vocabulary developed by Scott McCloud in Understanding Comics and argues that the field of composition studies would benefit from more sustained and sophisticated readings of visual-verbal academic texts even as the field shifts from analysis to design.

The assessment framework presented here draws on theories of reflective practice and mediated activity to update or “multimodalize” the reflective texts students are sometimes asked to compose after completing an essay. The article underscores the importance of having students assume greater responsibility for cataloging and assessing the potentials of the texts they compose both within and beyond the space of the classroom.

This article describes an interdisciplinary professional writing program and its benefits for students (in terms of knowledge, habits of mind, and developing careers). The authors present qualitative research findings about habits of mind and knowledge domains of successful students, which may prove valuable for faculty teaching in similar programs as they consider curriculum design, or for faculty pondering issues of career development for master’s degree graduates.

There has been little discussion of hospitality as a practice in college writing courses. Possible misuses of hospitality as an educational and ethical practice are explored, and three traditional and still tenable modes of hospitality are described and historicized: Homeric, Judeo-Christian, and nomadic. Application of these modes to instructional situations may lead to new and sometimes counter-establishment methods, in terms of course objectives, shared labor of teacher and students, writing assignments, response to writing, and assessment of student work. Perhaps the most radical form is transformative hospitality, which accepts the possibility that host and guest, teacher and students, will all be changed by their encounter, a potentiality that is characterized by risk taking, restlessness, and resistance to educational entrenchments. Traditional hospitality as practiced in writing classrooms does not mark a return to student-centered pedagogies of past decades but does stake out a position that might be considered marginal apropos the current political and educational climate in the United States.

Sirc’s essay also uses the writing course as touchstone “this time, to wrestle initially” with the issues Allen Tate pondered in his 1952 essay . . . “The Man of Letters in the Modern World.” Sirc challenges contemporary instructors of writing, claiming that “the vox pop criticism of iTunes writing represents a new Attic style, one well worth studying and teaching to.”

Rhetoric and composition’s increasing attention to multimodal composing involves challenges that go beyond issues of access to digital technologies and electronic composing environments. As a specific case study, this article explores the history of aural composing modalities (speech, music, sound) and examines how they have been understood and used within English and composition classrooms and generally subsumed by the written word in such settings. I argue that the relationship between aurality (and visual modalities) and writing has limited our understanding of composing as a multimodal rhetorical activity and has thus, deprived students of valuable semiotic resources for making meaning. Further, in light of scholarship on the importance of aurality to different communities and cultures, I argue that our contemporary adherence to alphabetic-only composition constrains the semiotic efforts of individuals and groups who value multiple modalities of expression. I encourage teachers and scholars of composition, and other disciplines, to adopt an increasingly thoughtful understanding of aurality and the role it—and other modalities—can play in contemporary communication tasks.

This essay offers Neil Postman’s thermostatic metaphor as a model for critical teaching. In this model, the role of the composition teacher is that of a thermostat that responds to a changing ideological environment by offering counterbalance. Such a stance is an anti-stance since it requires the teachers to enact philosophies and pedagogies, rather than holding them.

This article presents the concept of heritage literacy, a decision-making process by which people adopt, adapt, or alienate themselves from tools and literacies passed on between generations of people. In an auto-ethnographic study, four generations of a single family and Amish participants from the surrounding community were interviewed to explore the concept.

During colonial times, various British Indian educational institutions and practices, including writing pedagogies at these institutions, introduced modernity to British India. This essay explains the manner in which some students internalized modernity and in their writings used modernist beliefs and premises to critique some precolonial Indian discourses.

This essay argues for the value of an ecological metaphor in conceptualizing, designing, and enacting research in writing studies. Such a metaphor conceives of activities, actors, situations, and phenomena as interdependent, diverse, and fused through feedback.

In a FIPSE-funded assessment project, a group of diverse institutions collaborated on developing a common, course-embedded approach to assessing student writing in our first-year writing programs. The results of this assessment project, the processes we developed to assess authentic student writing, and individual institutional perspectives are shared in this article.

The study of writers and writing in digital environments raises distinct and complex ethical issues for researchers. Rhetoric theory and casuistic ethics, working in tandem, provide a theoretical framework for addressing such issues. A casuistic heuristic grounded in rhetorical principles can help digital writing researchers critically interrogate their research designs, carefully examine their relationships with research participants, and make sound ethical judgments.

This article places responses received from an open-ended survey of graduate students and faculty in dialogue with published commentary on the scope of composition studies as a discipline to explore three interrelated disciplinary dilemmas: the “pedagogical imperative,” the “theory-practice split,” and the increasingly complicated relationship between “rhetoric” and “composition” as our field’s titular terms.

This essay theorizes the ways in which comics, and Marvel Comics in particular, acted as sponsors of multimodal literacy for the author. In doing so, the essay demonstrates the possibilities that exist in examining comics more closely and in thinking about how literacy sponsorship happens in multimodal texts.

This article offers a critical perspective on the default mode of freshman composition instruction, that is, its traditionally middle-class and white racial orientation. Although middle-classness and whiteness have been topics of critical interest among compositionists in recent years, perhaps the most effective challenge to this hegemony in the classroom is not in our textbooks or critical discourse but in what many of our students already consume, the ghettocentricity expressed in the music of rappers like Kanye West, Jay-Z, and Eminem.

Despite the widespread acceptance of many kinds of nonliterary texts for first-year writing courses, primary scientific communication (PSC) remains largely absent. Objections to including PSC, especially that it is not rhetorically appropriate or sufficiently rich, do not hold. We argue for including PSC and give some practical suggestions for developing courses and designing assignments using PSC

This essay presents a task-based multimodal framework for composing grounded in theories of multiple media and goal formation. By examining the way two students negotiated the complex communicative tasks presented them in class, the essay underscores the benefits associated with asking students to attend to the various motives, activities, tools, and environments that occasion, support, and complicate the production of academic as well as everyday texts.

I argue that examining two collections of essays designed for the preparation of new writing teachers and published twenty years apart provides some important clues to what has occurred to composition studies in the interval. Building on the framework I established in two previous CCC articles, I argue that composition studies has become a less unified and more contentious discipline early in the twenty-first century than it had appeared to be around 1990. The present article specifically addresses the rise of what I call critical/cultural studies, the quiet expansion of expressive approaches to teaching writing, and the split of rhetorical approaches into three: argumentation, genre analysis, and preparation for “the” academic discourse community.

At the same time that compositionists have shown a renewed interest in public writing, neoliberal social and economic policies have dramatically shrunk the spaces in which most students’ voices can be heard. In this essay I argue that from twentiethcentury working-class struggles in the U.S. we and our students can acquire the tools necessary to work against this latest wave of economic privatization and concomitant suppression of public voice and rights. If we can resist the common academic assertion that we live today in a radically distinct postmodern, postindustrial society, we can return to capitalism’s long history for examples of the creative and persistent ways in which ordinary people have organized to claim living room.

Made Not Only in Words: Composition in a New Key is the print version of the multimodal address that former CCCC Chair Kathleen Yancey gave at the 2004 CCCC convention. Discussing the myriad forms and purposes that writing can take today, she asks us to re-examine our beliefs about what writing is and how it should be taught.