In preparing Suzanne Bordelon’s article for the February issue of CCC, the editorially unthinkable happened: An earlier version of her fine article replaced the final, wellrevised version as it went to the printer. In addition to my profuse apologies to Professor Bordelon, I have decided to publish the correct version of the article, delaying until September my publication of Janet Eldred’s review essay of several books on technology. The silver lining, in this instance, is a teachable moment, a rare glimpse for readers of CCC into an accountable but ultimately human (and I hope humane) editorial process: Bordelon’s article, quite good to begin with, was judged an “accept with revisions,” and she revised the article extensively and well, passing muster with a final read by one of the first reviewers and me.

Contesting the monolingualist assumptions in composition, this article identifies textual and pedagogical spaces for World Englishes in academic writing. It presents code meshing as a strategy for merging local varieties with Standard Written English in a move toward gradually pluralizing academic writing and developing multilingual competence for transnational relationships.

This essay examines a Brooklyn College–based research collective that placed African American languages and cultures at the center of the composition curriculum. Recovering such pedagogies challenges the perception of the CCCC’s 1974 “Students’ Right to Their Own Language” resolution as a progressive theory divorced from the everyday practices and politics of the composition classroom.

Review Essay: Language, Identity, and Citizenship Keith Gilyard Black Identity: Rhetoric, Ideology and Nineteenth-Century Black Nationalism Dexter B. Gordon, Carbondale: Southern Illinois UP, 2003 Literacy and Racial Justice: The Politics of Learning after Brown v. Board of Education. Catherine Prendergast, Carbondale: Southern Illinois UP, 2003 Latino/a Discourses: On Language, Identity and Literacy Education, Michelle Hall Kells, Valerie Balester, and Victor Villanueva, eds., Portsmouth, NH: Boynton, 2004.

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.

The implications of the Students’ Right to Their Own Language resolution on classroom teaching and practices point to a continual need to reevaluate how communicative actions—linguistic diversities—of students are central aspects of the work within composition courses. This article revisits the historical significance and pedagogical value of the resolution in its critique of student-teacher exchanges, in its advancement of strategies that invite language variations into composition courses, and in its proposal to support the expressive rights of students.

This essay attempts to demonstrate how transgender theories can inspire pedagogical methods that complement feminist compositionist pedagogical approaches to understanding the narration of gender as a social construct. By examining sample student writing generated by a prompt inspired by transgender theories, the author’s analysis suggests how trans theories might usefully expand and extend—for both instructors and students—our analysis of the stories we tell personally, socially, and politically about gender. Ultimately, the author argues that trans theories and pedagogical activities built on them can enhance our understanding of gender performance by prompting us to consider gender as a material and embodied reality.

New-media writing exerts pressure in ways that writing instruction typically has not. In this article, we map the infrastructural dynamics that support—or disrupt—newmedia writing instruction, drawing from a multimedia writing course taught at our institution. An infrastructural framework provides a robust tool for writing teachers to navigate and negotiate the institutional complexities that shape new-media writing and offers composers a path through which to navigate the systems within and across which they work. Further, an infrastructural framework focused on the when of newmedia composing creates space for reflection and change within institutional structures and networks.

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Xiaoye You is a Ph.D. student in the English as a Second Language (ESL) programat Purdue University. He isinterested in comparative rhetoric and issues of Englishwriting instruction in international contexts. Currently he is working on his dissertation, exploring the intersections of Anglo-American and Chinese rhetorical traditions in the historical evolution of English writing instruction in Chinese colleges.

Using sample student analyses of online paper mill Web sites, student survey responses, and existing scholarship on plagiarism, authorship, and intellectual property, this article examines how the consumerist rhetoric of the online paper mills construes academic writing as a commodity for sale, and why such rhetoric appeals to students in first-year composition, whose cultural disconnect from the academic system of authorship increasingly leads them to patronize these sites.

Although most portfolio evaluation currently uses some adaptation of holistic scoring, the problems with scoring portfolios holistically are many, much more than for essays, and the problems are not readily resolvable. Indeed, many aspects of holistic scoring work against the principles behind portfolio assessment. We have from the start needed a scoring methodology that responds to and reflects the nature of portfolios, not merely an adaptation of essay scoring. I here propose a means for scoring portfolios that allows for relatively efficient grading where portfolio scores are needed and where time and money are in short supply. It is derived conceptually from portfolio theory rather than essay-testing theory and supports the key principle behind portfolios, that students should be involved with reflection about and assessment of their own work. It is time for the central role that reflective writing can play in portfolio scoring to be put into practice.

In this essay, I analyze Kenneth Burke’s Cold War pedagogy and explore the ways it connects to (and complicates) Paulo Freire’s conception of praxis. I argue that Burke’s theory and practice adds a rhetorical nuance to critical reflection and then envision how his 1955 educational concerns gain significance for teachers and scholars today who, like Burke, live in a time “when war is always threatening.”

In this essay, I analyze Kenneth Burke's Cold War pedagogy and explore the ways it connects to (and complicates) Paulo Freire's conception of praxis. I argue that Burke's theory and practice adds a rhetorical nuance to critical reflection and then envision how his 1955 educational concerns gain significance for teachers and scholars today who, like Burke, live in a time when war is always threatening.:'

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Over the past thirty years, has flowered as a discipline in the academy. Doctoral programs in abound, and its position in the pantheon of academic fields seems assured. There is plenty of work in composition. But what is the nature of that work now, and what should it be? James Slevin asks such probing, primary questions in Introducing English, an overdue assessment of the state of by one of its most respected practitioners. Too often, Slevin claims, representations of take the form of promoting the field and its specialists, rather than explaining the fundamental work of and its important consequences. In thirteen thematically and methodologically linked essays, Slevin argues toward a view of the discipline as a set of activities, not as an enclosed field of knowledge. Such a view broadens the meaning of the work of to include teaching and learning, a two-way process, creating alliances across conventional educational boundaries, even beyond educational institutions. Slevin traces how emerged for him not as a vehicle for improving student writing, but rather as a way of working collaboratively with students to interpret educational practices and work for educational reform. He demonstrates the kind of classroom practice - in reading accounts of the Anglicization of Pocahontas - that reveals the social and cultural consequences of language and language education. For good or ill, writes Slevin, composition has always been at the center of the reproduction of social inequality, or of the resistance to that process. He asks those in the discipline to consider such history in the reading and writing they ask students to do and the reasons they give for asking them to do it. A much-anthologized essay by E. B. White from The New Yorker is the site for an examination of genre as social institution, introducing the ways in which the discourses of the academy can be understood as both obstacle and opportunity. Ultimately, Introducing English is concerned with the importance of writing and the teaching of writing to the core values of higher education. Composition is always a metonym for something else Slevin concludes. Usually, it has figured the impossibility of the student body - their lacks that require supplement, their ill-health that requires remedy. Introducing English introduces a new figure - a two-way process of inquiry - that better serves the intellectual culture of the university. Chapters on writing across the curriculum, university management, and faculty assessment (the tenure system) put this new model to practical, innovative use. Introducing English will be necessary reading for all those who work with composition, as well as those engaged in learning theory, critical theory, and education reform.

Composition specialists share a commitment to protecting the rights, privacy, dignity, and well-being of the persons who are involved in their studies. These guidelines are intended to assist them in fulfilling this commitment.

“Be it enacted by the Senate and House of Representatives of the United States of America in Congress assembled, That any person who is the head of a family … shall … be entitled to enter one quarter section or a less quantity of unappropriated public lands, upon which said person may have filed a preemption claim. …” So begins the Homestead Act of 1862, signed into law on the 20th of May by President Abraham Lincoln. The work of this extraordinary piece of writing is well known: more than 270 million acres of public land were parceled out to private citizens before the act’s repeal in 1976. Famously, the Homestead Act encouraged widespread Euramerican settlement of the western states and territories, but in so doing, it accelerated the infamous expropriation of land from native peoples and intensified federal initiatives that hastened their relocation, confinement, and genocide.

In this intriguing and sometimes frustrating book, Kurt Spellmeyer argues that “the humanities must change” (3), that they have become “isolated from the life of the larger society” (4) and instead need “to offer people freedom, and beyond that, to express real solidarity with the inner life of ordinary citizens” (223). His argument has many intriguing facets: it rejects the trickle-down vision of culture; it questions the value of Professionalization of academic disciplines; it excoriates the “prepackaged analytical systems”

What we ask students to do is who we ask them to be. With this as a defining proposition, I make three claims: (1) print portfolios offer fundamentally different intellectual and affective opportunities than electronic portfolios do; (2) looking at some student portfolios in both media begins to tell us something about what intellectual work is possible within a portfolio; and (3) assuming that each portfolio is itself a composition, we need to consider which kind of portfolio-as-composition we want to invite from students, and why.

Approved by the CCCC Executive Committee February 25, 2004 Increasingly, classes and programs in writing require that students compose digitally. Such writing occurs both in conventional “face-to-face” classrooms and in classes and programs that are delivered at a distance. The expression “composing digitally” can refer to a myriad of practices. In its simplest form, such writing can refer to a “mixed media” writing practice, the kind that occurs when students compose at a computer screen, using a word processor, so that they can submit the writing in print (Moran). Such writing may not utilize the formatting conventions such as italics and bold facing available on a word processor; alternatively, such writing often includes sophisticated formatting as well as hypertextual links.

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By addressing race and class through the stories we tell about service-learning in the classroom and in our scholarship, I argue that we can more effectively negotiate the divide between the university and the community and work toward social change.

The following article focuses on Latino students’ difficulties with higher education because of dual constructions of identity from and toward the Anglo mainstream. First, the article addresses Other perception: the potential problems Latino students (Mexican Americans) encounter in higher education based on how others perceive their individual and group identity. Second, it addresses self-perception: the contradictory expectations that Mexican Americans have of the mainstream in higher education. The discussion of these issues is presented in a letter format that primarily speaks to audiences outside the mainstream.

Jasper Neel, Reclaiming Our Theoretical Heritage C. Jan Swearingen, and as a Coherent Intellectual Discipline Gary A. Olson, The Death of as an Intellectual Discipline Charles Bazerman, The Case for as a Major Discipline Susan Miller, Writing as a Mode of Inquiry Susan Wells, Claiming the Archive for and Composition Susan C. Jarratt, New Dispositions for Historical in Rhetoric Gary A. Olson, Ideological Critique in and Composition Tom Fox, Working Against the State Lynn Worsham, Coming to Terms Keith Gilyard, Holdin' It Down Steven Mailloux, From Segregated Schools to Dimpled Chads Thomas Kent, Paralogic Rhetoric Barbara Couture, Writing and Truth Victor J. Vitanza, Seeing in Third Sophistic Ways Sharon Crowley, Body in and Composition John Trimbur, Delivering the Message Cynthia L. Selfe and Richard J. Selfe, The Intelligent Work of Computers and Studies William A. Covino, The Eternal Return of Magic-Rhetoric

In today’s classroom and larger cultural climate, overtly politicized “critical” composition pedagogies may only exacerbate student resistance to issues and identities of difference, especially if the teacher is marked or read as different her/himself. I therefore suggest that the marginalized teacher-subject look to contemporary theoretical notions of the “radical resignification” of power as well as to the neglected rhetorical concept of mêtis, or “cunning,” to engage difference more efficaciously, if more sneakily. Specifically, I argue that one possible praxis for better negotiating student resistance is the performance of the very neutrality that students expect of teachers.

Rhetoric and Composition As Intellectual Work, edited by Gary A. Olson, reviewed by Joseph Harris; The Politics of Remediation: Institutional and Student Needs in Higher Education, by Mary Soliday, reviewed by Bruce Horner; The Testing Trap, by George Hillocks, Jr., reviewed by Joan A. Mullin; An African Athens: Rhetoric and the Shaping of Democracy in South Africa, by Philippe-Joseph Salazar, reviewed by John Trimbur; Writing and Revising the Disciplines, by Jonathan Monroe, reviewed by Carl G. Herndl.

In this article I use the lens of postcolonial theory to reflect on my uses of a varied series of writing pedagogies in cross-cultural classrooms at an international college. Such reflection helps reveal how relations of power between teacher and students and underlying ideological assumptions about knowledge and discourse often resulted in hybrid responses of mimicry, frustration, incomprehension, and resistance. A pedagogy constructed against the backdrop of postcolonial theory might provide both students and their teacher in such a cross-cultural setting with a more complex and useful way of understanding issues of power, discourse, identity, and the role of writing.

The author reflects on what she has learned about university teaching from her experience being a novice student of karate. She asserts the value for even seasoned teachers to maintain a beginner’s mind that is “free of the habits of the expert, ready to accept, to doubt, and to open to all the possibilities.” From this new position, the author’s awareness of what she does in the classroom has shifted, as her respect for students has grown and her understanding of their feelings has deepened.

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In this story I listen closely to the ways in which two late nineteenth-century American Indian intellectuals, Sarah Winnemucca Hopkins and Charles Alexander Eastman, use the discourses about Indian-ness that circulated during that time period in order to both respond to that discourse and to reimagine what it could mean to be Indian. This use, I argue, is a critical component of rhetorics of survivance.

This study examines composition at public Midwestern normal schools, the teacher training institutions of the nineteenth and early twentieth century. It argues that the unique social environment, educational aims, and intellectual traditions of the normal school gave rise to attitudes about composition theory, methods, teachers, and students that are much more compatible with composition’s contemporary ethic than those associated with the elite Eastern colleges where the origins of composition have most often been studied.

Silence has positive as well as negative attributes, and composition teachers can help students understand and use its aesthetic, ethical, and political resources in their personal writing. Approaching silence in these ways can establish new alignments among the expressivist, psychoanalytical, and social discourses that circulate around the term personal writing.

While our field’s response practices have changed dramatically over the past two decades to involve more student comments on their own texts, empirical studies have lagged far behind classroom practices, focusing almost exclusively on teachers’ written comments as texts. By broadening our notion of response—and acknowledging the many and varied ways that teachers respond to student writing as well as the many and varied ways that students influence and interpret those responses—we will be able to narrow the gap between our teaching practices and our research questions.

In early Methodism John Wesley created an extracurricular site of literacy and rhetoric that empowered women and the working classes to read, write, and speak in public. Wesley’s “method” of literacy in community not only transformed religious life in Britain but also redefined the intersections of education, class, and gender.

I argue that our responses to the Oakland ebonics resolution miss what made the resolution so significant while also making debate about it so intractable. I propose that compositionists who acknowledge attitudes that made the resolution so significant can productively engage the larger public regarding literacy education in a racially divided democracy.

early Methodism John Wesley created an extracurricular site of literacy and rhetoric that empowered women and the working classes to read, write, and speak in public. Wesley's method of literacy in community not only transformed religious life in Britain but also redefined the intersections of education, class, and gender. an article based on her 1993 CCCC Chair's address, Anne Ruggles Gere critiqued the field of composition: In concentrating upon establishing our position within the academy, we have neglected to recount the history of composition in other contexts; we have neglected composition's extracurriculum (79). Influenced by Shirley Brice Heath's study of community literacy practices, Glenda Hull's work on workplace literacy, Patricia Bizzell's concept of multiple discourse communities, and others, Gere examined the cultural work and literacy practices of writing groups outside the academy, focusing particularly on nineteenth- and early twentieth-century American clubwomen, both white and African American. Gere urged us not only to expand our field's history to

Errors seem to bother nonacademic readers as well as teachers. But what does it mean to be “bothered” by errors? Questions such as this help transform the study of error from mere textual issues to larger rhetorical matters of constructing meaning. Although this study of fourteen business people indicates a range of reactions to errors, the findings also reveal patterns of qualitative agreement—certain ways in which these readers constructed a negative ethos of the writer.

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The Word. In the beginning was the word, in principio erat verbum , in the words of the Vulgate version of the gospel according to John. In medieval manuscripts of this gospel, verbum and the words surrounding it are usually prominent in some way (large, ornately decorated); the text enacts itself and the words became an icon for their own meaning. The prophet John continued by equating his God with the Word and attributing the making of all things to this God/Word.

I examine my involvement with writing centers as an example of how we can look at the choices we’ve made within our areas of expertise to see why they attract us. In my case, the flexible, collaborative, individualized, non-evaluative, experimental, non-hierarchical, student-centered nature of writing centers is an excellent fit. An earlier version of this article was delivered as the Exemplar’s Address at the Fifty-first Annual CCCC in April 2000.

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The authors attempt to confront the construction of “whiteness” as a silent but potent epistemology that pervades writing instruction and contributes to racism within academic institutions. Pedagogical practices as well as university policies are discussed, focusing particularly on the subject positions of “black” and “white” for both students and instructors.

Challenging the common assumption that the rise of an instructorate unsupported to do traditional forms of research will necessarily result in an exploited academic labor force, inferior teaching, and the final triumph of anti-intellectualism and bureaucracy in academia, this article explores the ways in which the “teaching substructure” existing now in composition and rhetoric has already begun to contribute substantially to the intellectual vitality and institutional standing of the discipline.

We offer institutional critique as an activist methodology for changing institutions. Since institutions are rhetorical entities, rhetoric can be deployed to change them. In its effort to counter oppressive institutional structures, the field of rhetoric and com-position has focused its attention chiefly on the composition classroom, on the de-partment of English, and on disciplinary forms of critique. Our focus shifts the scene of action and argument to professional writing and to public discourse, using spatial methods adapted from postmodern geography and critical theory.

Review of the book Kitchen Cooks, Plate Twirlers, and Troubadours: Writing Program Administrators Tell Their Stories (edited by Diana George).