Gitte Frandsen Kiernan, Julia, Alanna Frost, and Suzanne Blum Malley. Translingual Pedagogical Perspectives: Engaging Domestic and International Students in the Composition Classroom. Utah State University Press, 2021. My first encounter with the concept of translingualism was in a graduate seminar where Bruce Horner, Min-Zhan Lu, Jacqueline Jones Royster, and John Trimbur’s Language Difference in Writing: […]

Recent translingual, CLA, and sociocognitive scholarship call for increased attention to language and show enduring interest in language in composition. This article suggests these calls persist but don’t succeed because of composition’s limiting habitus: the norms and inertia propelled by U.S. linguistic miseducation and the field’s uneven attention to language. To date, composition has emphasized language ideologies or language itself, but not both together. To change habitus, we need consciousness-raising as well as alternative approaches in encounters with language. This article historicizes attention to language in composition in three traditions, then categorizes the main challenges to attention to language in the field, then offers two pedagogical interventions: (1) developing course language acknowledgements, and (2) analyzing diverse linguistic patterns. The article closes with conceptual shifts important for connecting social and linguistic knowledge.

Scholars in writing studies have positioned numerous critiques of the tacit myth of Standard English (*SE) and its use as an unquestioned communicative norm. While these critiques reflect the overlap of the field’s translingualism and anti-racist writing assessment movements, they also reveal an empirical need surrounding the writing instructors who must actually grapple with the *SE myth in their teaching and grading practices. Following Asao Inoue’s identification of the *SE myth as a slick eel that remains an assessment problem, I conducted a qualitative study using concept clarification interviews and discourse-based interviews (DBIs) at a large, diverse, four-year university in the U.S. to empirically confront the *SE myth and make the potentially tacit presence of *SE in instructors’ rubrics and grading practices explicit. Based on the results of these interviews, I advocate for a shift from seeing and critiquing *SE to performing Synergistic English Work (SEW) in the context of grading rubrics and assessment policies, making the absent presence of *SE visible, open to disruption, and more actively combatted.

This case study of students enrolled in a composition course at a large public university examines multilingual students’ application of multimodal composition practices to writing assignments that emphasize delivery and circulation. Assignments in which students remediate or translate a text in one genre or medium into another are widely used to foster transfer of writing knowledge from classrooms to public discourse. Remixing may be especially useful for multilingual writers by allowing them to draw on translingual meaning-making strategies. However, such assignments must be framed in ways that make explicit the rhetorical implications of how remediated or translated texts are taken up and circulated within larger ecologies and suggest how uptake can be measured and assessed to be useful. This article draws on Rhetorical Genre Studies and Translingualism to address this issue in Multimodal Composition by outlining a pedagogical approach that emphasizes delivery and measuring uptake.

Drawing on qualitative data gathered from interviews with twelve doctoral students in a composition program at a mid-size public university in the Northeast United States, this article documents graduate teacher-scholars’ conceptual understanding of translingual pedagogy in the context of college writing instruction. I analyze and describe the possibilities and challenges confronted by prospective composition teacher-scholars in implementing translingual pedagogy and conclude the article with a discussion of implications for mentoring programs, WPAs, and TAs.

In this interview, Victor Villanueva and Tabitha Espina discuss, through a review of Villanueva’s publications, how the teaching of Composition has changed throughout the years to consider the needs and exigencies of the times. Using rhetorical analysis, particularly of purpose and audience, and application of some of Villanueva’s most influential texts, Villanueva and Espina discuss the field’s critical responses to the racial reckoning of this historical moment through translingualism, decolonial pedagogies, agonism, and pluriversality. While Villanueva observes much progress in the field in approaching what he has called “cultural multiplicity,” he interrogates the complexities and politics of Otheredness and critiques the disproportionate burden on academics of color. Villanueva and Espina affirm the significance of memoria as a conceptual framework that, not just includes, but essentially functions rhetorically as the means by which ideas and knowledge are experienced and communicated.

This essay describes writing and conversations that took place in my First Year Writing class at St. John’s University in Queens, New York. I analyze student responses to my invitation to consider more deeply—and wield more consciously—the language resources they bring into classrooms. I seek to understand the potential for their often deeply racialized assessment of their own language resources, and those of others, to enable them to build common cause across language communities and racial communities. In particular, I look at the role of Black language as a recurring trope in multilingual students’ writing about their experiences navigating the designation of “ESL” in school. I argue that the volatility of this trope—Black language serves in their work as a call-to-arms, stumbling block, source of strength, or taboo—poses a challenge to contemporary scholarship on language diversity. Ultimately, I center students’ invocations of Black language in the emerging discussion of translingual writing in composition studies, arguing that these students do the work Keith Gilyard has called for in connecting global and local US language struggles. This essay draws from a longer chapter in my book, Mapping Racial Literacies: College Students Write About Race and Segregation , in which I argue that student writing can contribute to and reshape contemporary understandings of how US and global citizens are thinking about race.

This program profile describes how teachers and administrators have collaborated in the design and implementation of a number of linguistic, cultural, and transmodal pedagogical and curricular initiatives. Strategies that writing teachers can implement to best meet the needs of multilingual students across a range of institutional contexts are discussed via a social justice lens. A focused examination of our First-Year Writing program’s layered response to increased international multilingual student enrolment as well as a brief discussion of campus-wide responses are offered to showcase how translingual, transcultural, and transmodal approaches to First-Year Writing can empower students, inviting them to learn from their existing linguistic and cultural funds of knowledge.

Writing centers provide a crucial site for multilingual writers to experience generative and productive conversation about their writing projects and for their language and cultural experiences to be appreciated as sources for meaning-making. For this to be possible, tutors must understand the phenomenon and problems of standard language ideology (SLI) and should have opportunities to develop practices that reflect translingual perspectives on language and communication. This study examines peer tutors’ participation on a private staff blog to demonstrate how opportunities to reflect on translingual practices and experiences can shift tutors’ knowledge and attitudes about SLI and create conditions for more equitable, cosmopolitan experiences for multilingual writers.

This article threads together multilingualism and disability studies research in writing studies, and introduces composition pedagogies that embrace multilingualism, multimodality, and accessibility simultaneously. We argue that writing teachers can work toward social justice in writing courses by considering accessibility through intersectional (Crenshaw; Martinez) and interdependent (Jung; Wheeler) approaches that put language diversity and disability in conversation (Cioè-Peña). Each of us shares two pedagogical examples that consider language diversity/difference and embodied diversity/difference as unified concepts. Our pedagogical examples include projects related to multimodal and digital rhetoric, multilingual/multimodal community engagement, reflecting on communication differences, and analyzing multimodal/multilingual communication in practice. Through what we call intersectional, interdependent approaches to accessibility in writing classrooms, students and teachers can honor the multitude of valuable communication practices that students engage in within and beyond the English writing classroom.

Although writing scholars have increasingly emphasized the need for more equitable approaches to language (difference) in the composition classroom, specific examples of teaching praxis remain sorely needed. In this article, we offer three sets of activities that we have used in our own classes designed for multilingual students. In formulating these activities, we adopt a critical-pragmatic approach to linguistic social justice, inviting students to grapple with standard language ideology and its consequences while questioning the idea that students can or should be liberated by us. Focusing on notions of “standard” and “correct” English, our proposal is grounded in relevant debates, connecting insights from sociolinguistics and World Englishes/Global English Language Teaching with Jerry Won Lee’s theory of “translanguaging pedagogy.” We hope that these examples will inspire more concrete initiatives aimed at promoting linguistic social justice and student agency.

This article affords insights into the interdependence between writing and critical translation to inform implementations of antiracist and translingual writing pedagogies. Promoting linguistic and social justice for multilingual writers, it presents a writing assignment design that focuses on critical translation across asymmetrical power relations between languages, texts, writers, and readers. Critical translations by an international student and a resident multilingual student receive particular attention in this article in that they strategically utilize paratexts as discursive spaces for interrogating, resisting, and reconstituting academic English writing standards and conventions. Foregrounding such paratextual interventions in critical translations as forms of translingual and anti-racist practice can bring about social justice and change in multilingual writing and its teaching.

The Writing Center at Metropolitan State University of Denver, which serves a diverse population, rejects the accommodation model, which depends upon disclosure of difference, in favor of the principles of Universal Design for Learning (UDL), which assumes difference exists and plans in advance for it. Hiring, tutoring, space design, and marketing efforts have been aligned with principles of UDL in an effort to make the Writing Center accessible to people with a wide range of (dis)abilities, including linguistic diversity, social anxiety, and gaps in academic literacy.

This article presents data from a 2013 survey of students enrolled in a longstanding rhetoric and composition Ph.D. program at the University of Louisville (U of L), a mid-sized public institution in the American South. The survey collected data regarding graduate students’ perceptions of language diversity in the context of their professional development as composition teacher-scholars. It interprets the data in relationship to what Yasemin Yildiz has described as the “postmonolingual condition” of 21st century Western social life: a field of tension between monolingualist ideology and increasingly visible multilingual practices. Drawing from student recommendations, it suggests ways this program, and others like it, can leverage students’ positive perceptions of and attitudes toward multilingualism to norm language differences in its mainstream rhetoric and composition graduate curriculum.

This article proposes a translingual/transdisciplinary rhetoric that aims to complement, rather than confront, current discipline-specific discursive, linguistic, and cultural conventions. Specifically, the article reviews various lines of inquiry on translingualism in composition scholarship and identifies and accounts for the challenges and resistance to this orientation in practice. After defining translingual/transdisciplinary rhetoric and conceptualizing what it means to practice it across disciplines, the author proposes tentative directions for achieving a translingual/transdisciplinary rhetorical norm in pedagogical spaces.

In this program profile, we describe the stretch/studio program recently implemented at the University of New Mexico. This program responds both to an institutional move away from remediation and to the large number of linguistically and racially diverse students at our institution. In this profile, we describe the new program’s curriculum, which focuses on and values the linguistic and cultural diversity of our students. We also share the initial results of our assessment of the program and our plans for the future. We offer this profile as a successful model for adaptation by other writing programs that are also implementing stretch/studio courses and/or that have a growing number of linguistically and culturally diverse students on their campus.

This article situates one possible future for rhetorical genre studies (RGS) in the translingual, multimodal composing practices of linguistically diverse composition students. Using focus group data collected with L1 (English as a first language) and L2 (English as a second language) students at two large public state universities, the researcher examines connections between students’ linguistic repertoires and their respective approaches to multimodal composition. Students at both universities took composition courses that incorporate rhetorical genre studies approaches to teaching writing in conventional print and multimodal forms. Findings suggest L2 students exhibit advanced expertise and rhetorical sensitivity when layering meaning through multimodal composition. This expertise comes in part from L2 students’ experiences combining and crossing various modes when they cannot exclusively rely on words to communicate in English. Through this evidence, the researcher argues the translingual practices of L2 students can bridge connections and help develop pedagogical applications of multimodality and RGS, primarily by helping writing instructors teach genres as fluid and socially situated. In addition, the researcher presents a methodology for analyzing the embodied practices of composition students, which can further expand how genres are theorized and taught in composition courses.