This book contains all the plenary addresses from the 1984 International Federation for the Teaching of English Seminar on Schooling, and Society held at Michigan State University in November, 1984. These include addresses by Anthony Adams (U.K.), Garth Boomer (Aus), Frances Christie (N.Z.), John Dixon (U.K.), Mary Maguire (Can.), James Moffett (U.S.A.), Robert Pattison (U.S.A.), Ian Pringle (Can.) and Louise Rosenblatt (U.S.A.).In addition, the book contains the reports of the five Commissions that met several times daily during the Seminar: Language, Politics, and Public Affairs; and Schooling; and the New Media; Literature, and Human Values; and Language and Multicultural Education.It is these that give the book its great importance, as the leaders of English education in the five member countries of I.F.T.E. unite in a ringing cry for genuine implementation of a learner-centered growth model of English at all levels of the English language arts curriculum, and a united opposition to those external societal pressures which impede the work and the professionalism of English/language arts teachers.

This is a book about reading, writing, and teaching and the ways each can be imagined as composition. The authors bring together eight years of teaching and research connected with the integrated basic reading and writing course developed at the University of Pittsburgh. The approach offered here--widely discussed in professional journals--has been tested at several universities, as well as at the high school level.

Writing should be the business of the entire school community. This was the principle behind Michigan Tech's influential writing-across-the-curriculum program, which from 1977 to 1984 involved 250 faculty from virtually every discipline in fourteen intensive writing workshops. What have been its measurable effects on both faculty and students? What are the implications for other teaching communities? What are the implications for individuals within and without English and humanities departments? Young and Fulwiler bring together eighteen essays from participants and program staff that address these questions from different perspectives and with a variety of evaluative techniques.

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The teaching of paragraphs needs a revolution. Classroom instruction offers patterns and precepts which cannot be applied to the ordinary process of writing and which, moreover, are unsupported by current resg arch. Researchers English like Braddock, Meade and Ellis, and Knoblauch report findings which directly contradict the textbooks' platitudes:' paragraphs admired professional writing do not necessarily contain topic sentences, they rarely follow prescribed patterns, and they seem essentially accidental, invented as the writer composes. We have found that textbooks do not heed these warnings. Students perceive a strange disjunction between the paragraphs they read and those they are asked to write class. Too often the latter are miniature five-element themes-introductory and concluding sentences, with three intervening sentences connected by therefore and in addition. We believe that paragraphing is best presented to student writers as an important signaling system, based on signals of two sorts, visual and substantive. To readers, the strip of indented white space separating paragraphs indicates both connection and discontinuity. It heightens their attention. To the writer, marking paragraphs offers opportunity for manipulating the reader's focus. Strategically paragraphed prose not only streamlines a message but also molds and shapes it to achieve the writer's purpose. We shall argue for a reader-oriented theory of the paragraph.2 In order to paragraph effectively, a writer needs to know, not the five, ten, fifteen, or twenty most common paragraph patterns that current theories enumerate, but how indentions affect the reader's perception of prose discourse. Knowing how readers perceive prose, the writer can arrange his text to mesh with their perception. Our argument proposes (and, we hope, proves) two main theses: 1. Paragraphs depend for their effectiveness on the exploitation of psycho-

The argument of this book is that the earliest tradition of Western rhetoric, the classical perspective of Aristotle and Cicero, continues to have the greatest impact on writing instruction--albeit an unconscious impact. This occurs despite the fact that modern rhetoric no longer accepts either the views of mind, language, and world underlying ancient theory or the concepts about discourse, knowledge, and communication presented in that theory. As a result, teachers are depending on ideas as outmoded as they are unreflectively accepted. Knoblauch and Brannon maintain that the two traditions are fundamentally incompatible in their assumptions and concepts, so that writing teachers must make choices between them if their teaching is to be purposeful and consistent. They suggest that the modern tradition offers a richer basis for instruction, and they show what teaching from that perspective looks like and how it differs from traditional teaching.

To establish the issues that must be considered by evaluators of college writing programs, Witte and Faigley review major evaluation studies conducted at the University of Northern Iowa, the University of California San Diego, Miami University, and the University of Texas.For each study the authors devise a series of questions that probe every aspect of theory, pedagogy, and research: What do we presently know? What assumptions are we making and how do those assumptions limit our knowledge? Are those limitations necessary or desirable? What do we still need to know?Such questions demand much of program evaluators, who also must face additional difficult questions as they evaluate a writing program. Do the instructors conducting the writing classes share common assumptions that are reflected in their assignments, evaluative procedures, teaching procedures, and course content? How stable will the program prove to be over time? Will the writing program have a lasting effect? Do students leave the program with increased confidence in their ability to write?As Witte and Faigley urge program evaluators to pose these questions, they also bring to the problem a new comprehensive conceptual framework that both necessitates such queries and provides an opportunity to answer them.

Rhetorical history as a guide to the salvation of American reading and writin James J. Murphy -- Remarks on composition to the Yale English Department / E Hirsch, Jr. -- Restoring the humanities / James Kinneavy -- The Phaedrus idy as ethical play / Virginia N. Steinhoff -- Classical practice and contempora basics / Susan Miller -- Ciceronian rhetoric and the rise of science / S. Michael Halloran and Merrill D. Whitburn -- John Locke's contributions to rhetoric / Edward P.J. Corbett -- Rhetoricin the liberal arts / Winifred Bry Horner -- Nineteenth-century psychology and the shaping of Alexander Bain's English composition and rhetoric / Gerald P. Mulderig -- Three nineteenth-century rhetoricians / Nan Johnson -- Two model teachers and the Harvardization of English departments / Donald C. Stewart -- Concepts of art and the teaching of writing / Richard E. Young.

masterful book...one of the most thorough books on rhetoric I've seen.--Olivia Castellano, California State University, Sacramento beautiful work. The first text I have so far seen that operates fully from the principles we have learned about writing and the teaching of writing in the last fiftenn years.--Ronald Shook A dramatic, invention-centered approach to the teaching of writing skills, this comprehensive text actively involves students in the writing process, drawing on the language capabilities they bring to the classroom.

I. GROWING UP. Elizabeth Wong, The Struggle to Be an All American Girl. Gary Soto, The Jacket. Maya Angelou, Graduation. Harry Mark Petrakis, Barba Nikos. Maxine Hong Kingston, Girlhood Among Ghosts. Maria Laurino, Scents. Grace Paley, The Loudest Voice. Lindsy Van Gelder, The Importance of Being Eleven: Carol Gilligan Takes on Adolescence. Vendela Vida, Bikinis and Tiaras: Quinceaneras. Countee Cullen, Incident. II. EDUCATION. Sun Park, Don't Expect Me to Be Perfect. Daniel Meier, One Man's Kids. Sherman Alexie, Indian Education. Mike Rose, I Just Wanna Be Average. Marcus Marby, Living in Two Worlds. Martin Espada, Who Burns for the Perfection of Paper. III. FAMILIES. Dan Savage, Role Reversal. Susan Douglas and Meredith Michaels, The Mommy Wars. Jane Howard, Families. Stephanie Coontz, Where Are the Good Old Days? Ruth Breen, Choosing a Mate. Alfred Kazin, The Kitchen. Theodore Roethke, My Papa's Waltz. IV. DEFINING OURSELVESS. Gish Jen, An Ethnic Trump. Robin D.G. Kelly, The People in Me. Roxane Famanfarmaian, The Double Helix. Tony Morrison, A Slow Walk of Trees. Nicolette Toussaint, Hearing the Sweetest Songs. Judith Ortiz Cofer, The Myth of the Latin Woman: I Just Met a Girl Named Maria. Malcolm X, Hair. Nell Bernstein, Goin' Gansta, Choosin' Cholita: Teens Today Claim a Racial Identity. Wendy Rose, Three Thousand Dollar Death Song. V. AMERICAN ENCOUNTERS. Bette Bao Lord, Walking in Lucky Shoes. Michel Guillaume St. Jean de Crevecoeur, What Is an American? Recapture the Flag: 34 Reasons to Love America. Brent Staples, Night Walker. Piri Thomas, Alien Turf. Walter White, I Learn What I Am. Malcolm Gladwell, Black Like Them. Jeannne Wakatsuki Houston and James D. Houston, Arrival at Manzanar. Dwight Okita, In Response to Executive Order 9066: All Americans of Japanese Descent Must Report to Relocation Centers. VI. CHANGING PLACES. Bharati Mukherjee, Two Ways of Belonging in America. Anton Shammas, Amerka, Amerka: A Palestinian Abroad in the Land of the Free. Mark Salzman, Teacher Mark. John David Morley, Living in a Japanese Home. Laura Bohannan, Shakespeare in the Bush. George Orwell, Shooting an Elephant. Jamaica Kincaid, On Seeing England for the First Time. Jonathan Swift, A Modest Proposal. Gloria Anzaldua, To Live in the Borderlands Means You. VII. HOW WE LIVE. Geraldine Brooks, Unplugged. Pico Iyer, Home Is Every Place. Robert Levine, Tempo, The Speed of Life. Lars Eighner, On Dumpster Diving. Barbara Brandt, Less Is More: A Call for Shorter Work Hours. Michael Pollan, Town-Building Is No Mickey Mouse Operation. Aurora Levins Morales, Class Poem. VIII. COMMUNICATING. Gloria Naylor, The Meaning of a Word. Amy Tan, Mother Tongue. Eva Hoffman, Lost in Translation. Ian Buruma, The Road to Babel. Jack G. Sheehan, The Media's Image of Arabs. Alexis Bloom, Switched on Bhutan. Jasua Gameson, Do Ask, Do Tell. Lisel Mueller, Why We Tell Stories. Credits. Author/Title Index.

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Teaching students writing, reading, and thinking across the curriculum requires the acceptance of a premise, relatively simple on its face, but imbued with substantial promise for reinventing the formidable tradition of making writing the central cog of the intellectual machinery that facilitates learning. The premise is that all teachers in all disciplines should be actively involved in students' writing, reading, and thinking and should not function as mere judges and graders of purportedly finished writings. I expect to be encouraged by the administration of my college to require more writing, revision, and rewriting in courses that I teach in the future, and to expand the audiences for written work to include the class, the writing laboratory, professors in collaborative teaching arrangements, and others. The college will be participating in one of the national writing programs, and we must also assist our students in completing the writing requirements of the testing program that is mandated for all institutions in the state system of higher education. Recognizing that writing is a process and a mode for also helps students to read with more understanding of the structure of language. Writing and reading are connected, interactive processes requiring students to cooperate in the act of learning. Our students need instruction and practice for reading in their subjects. Reading assignments need to go beyond the text to include materials that offer balance, put the subject into perspective, and place it in the context of real-world points of reference for our students. Discipline-based reading helps students to acquire the learning and expected characteristic of the field. Reading also adds to the value of the writing within the subject or discipline by defining and illuminating basic practices, procedures, and values of the field. Reading and related writing in chemistry and other scientific areas are also forms of social behavior that we must teach if students are to be successful thinkers and scholars in the discipline. That is not revolutionary, it is merely practical. I invite my colleagues in the hard sciences to join the enterprise and re-

Halpern and Liggett provide a close look at several of the new communication systems, present a model of field research through which one of the new technologies is closely examined, and draw conclusions that lead to specific changes in emphasis in the teaching of They describe instructional units that introduce the new technologies in college writing classes and the results of classroom experiments in which these units were tested. Finally they define additional research questions about the new technologies and timely approaches for answering them. They highlight the role of long-term and short-term memory, show how the choice of a composing medium influences the writing process, and discuss critical differences between speaking and writing.

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Thomas E. Blom, Response to Maxine Hairston, "The Winds of Change: Thomas Kuhn and the Revolution in the Teaching of Writing", College Composition and Communication, Vol. 35, No. 4 (Dec., 1984), pp. 489-493

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In 1980-1981, a new requirement of a junior course in went into force at the College Park campus of the University of Maryland. The course was created by the University to ensure that future UM graduates would be more literate and more articulate than recent graduates. The staff of the new course chose to meet the University's goal by giving the course a strong technical writing or professional writing emphasis. The course is taught (with English Department supervision) by professors from every division of the University, and by professionals in many fields (from law to veterinary medicine) from the Washington, D.C. area. Students write papers using subject matter from their intended professions, and they are graded on their ability to make that subject matter clear to students (semi-professionals) in other disciplines. This new junior course has led those of us who teach the freshman course to seriously reconsider what we are teaching. Since our course has shifted from independent to sequential status, we naturally feel some anxiety about possible new restrictions, but we also see the change as an opportunity to think through, more systematically, some crucial issues-what to teach, where to begin and end, and what theories should be guiding our discussion and analysis. We have decided that setting limits on content in the freshman course on the grounds that what we teach might be repeated in the later course would be counter-productive. Students, especially at the college level, should be tested, prodded, and stretched to their limits. Moreover, we-and the students-ought to be able to see a second course not as repetition, but as welcome practice. William Irmscher has reminded us (in Teaching Expository Writing) that better is largely a matter of better-educated intuition, and that better-educated intuition comes from repeated practice in reading and writing. We all know studies like the Dartmouth study reported by Albert Kitzhaber in Themes, Theories, and Therapy (p. 109), which show that

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'The whole of Western Philosophy, wrote Alfred North Whitehead, consists of nothing but footnotes to Plato. Plato, who is among the most brilliant and artistic writers of antiquity, had a unique theory of rhetoric. From his idea of rhetoric one can derive some of the most intellectually stimulating and most rewarding assignments in the composition or speech instructor's repertoire. Yet the potential of using Platonic theory as a basis of assignments in composition and speech has not been exploited because Plato's idea of rhetoric is either unknown, ignored, or misunderstood. For example, the conventional twentieth-century thought about Plato is that he condemned rhetoric. Why would anyone derive useful assignments from a theory that condemns the very discipline one is teaching and, even if one tried, how could one? But Plato did not condemn rhetoric. What he condemned was the

Professor Petrosky's review of Problem-Solving Strategies for Writing raises one crucial question I think a review of a writing text should raise: what theoretical assumptions about the psychology of writing underlie this book? However, he uses the occasion to attack an out-moded, logical positivist version of communication theory that treats thought as an object to be transferred and that ignores the constructive nature of both reading and writing. I am perplexed that he reads my book as an example of this position-a position which neither of us holds. communication model, with its senders and receivers, which he attributes to me is, in the book, in fact attributed to its real source (electrical engineers-the work of Shannon and Weaver in the 1940's). I present the model as a familiar but inadequate metaphor the reader will want to go beyond (We often talk about communication as if it were a physical process One problem with this model is that it turns the writer into a delivery boy. .. . This model, however, has a limitation ..). In context, the main function of the two-page passage he cites so extensively was to challenge that very model and to introduce a ten-page section entitled The Creative Reader, which draws on current research describing the constructive nature of reading. Just as writers work with metaphor, intuition, and images, as well as logic, in order to compose, readers likewise build rich and sometimes surprisingly original internal structures in their effort to comprehend. Although Professor Petrosky and I clearly differ on how to write a textbook-on what ideas to value, on how explicit one should try to be about thinking processes-I do not believe that my position or the book itself fits into the unattractive pigeonhole he has in mind. As a teacher, I see no contradiction at all between fostering the experience of discovery, of listening to readers, of reseeing one's own ideas-things we all value and teach towardand asking students to bring a more self-conscious, problem-solving approach to their writing. I have difficulty imagining any serious teacher who would. premise which underlies my commitment to teaching heuristics is that writing is not a rule-governed act; nor is it so essentially mysterious that little can be said about it or taught. My goal is to offer students a repertoire of alternative strategies for dealing with this complex process. Trying to be articulate about the thinking processes you would teach may be risky, but I think it is necessary. In taking a strategic approach to writing, one offers writers some of the power that comes from an awareness of one's own thinking processes and a sense of options. Our discipline is growing in the depth and diversity of its theories. If we

Lorne Kotler, Kamala Anandam, A Partnership of Teacher and Computer in Teaching Writing, College Composition and Communication, Vol. 34, No. 3, Composing Processes: Assessments of Recent Research, New Research, Applications in the Classroom (Oct., 1983), pp. 361-367

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In 1979 Gordon Brossell and I developed the manuals and materials for the Writing Subtest of the Florida Teacher Certification Examination.' With our final report we included a dozen recommended essay topics for early administrations of the test. A Department of Education official asked us whether the topics were legally defensible. We admitted we had no idea. Further questions about the effects of essay topics on student writing performance (none of which we could answer) led to my being given a contract to review the literature on essay examination topics. This article is an abbreviated and updated version of my report.2

questions are academic and he gets nowhere. When it is prescribed for him he runs around in dogmatic circles. But when he uses it boldly to ask questions, a flood of unexpected answers rises to tax his utmost capacity to understand.' I find this view of refreshingly different from that presented in other current psychologies. There, is viewed as the outcome, and one to be carefully controlled for at that. More importantly, Kelly's view of helps explain my own process of learning through experience. My teaching, in its evolutionary course, makes sense when construed from this perspective. Clearly, the significant changes in my teaching of writing, and of writing courses for teachers, began as experiments, with my as the experimental means. As Kelly said, behavior is indeed a question posed in such a way as to commit man to the role and obligations of an experimenter.2

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