JAC: A Journal of Rhetoric, Culture, and Politics

1180 articles
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1981

  1. Conversations with the oriental man: An approach to the imagination in writing class
  2. Variations in composing style
  3. The rhetoric of the paragraph: A reconsideration
  4. Ramus revisited: The uses and limits of classical rhetoric
  5. A rhetorical model of prose styles: Notes toward a synthesis of rhetoric and poetics
  6. 'Advanced composition' and occasion-sensitivity
  7. The irony game: Assessing a writer's adaptation to an opponent
  8. Why graduate students can't write: Implications of research in writing anxiety for graduate education
    Abstract

    The author proposes that graduate students experience writing anxiety just as frequently as undergraduates, though their anxiety manifests in different ways due to differences in workload, maturity, and expected responsibility. Her conclusions stem from case studies of ten graduate students ranging in age from 23 to 49 and majoring in areas such as business, history, law, sociology, and English. From these case studies, she suggests that the main causes of graduate-level writing anxiety include problems with choosing appropriate writing topics, clashes with advisors, length of time spent crafting a dissertation or undertaking research for it, and problems inherent to graduate education, such as self-imposed and unrealistic expectations of perfection. Because of these issues, graduate students may tend to procrastinate and become just as apprehensive about writing as their undergraduate counterparts. The author suggests that both graduate students and their faculty advisors capitalize on some of the advantages the average graduate student has, such as increased maturity and flexibility in schedule, to find better solutions for overcoming writing anxiety. Potential solutions include increased communication, firmer deadlines for drafts and research, and striving for more realistic expectations from graduate study to combat the feelings of insecurity many graduate students have.

  9. Incorporating sentence combining into the advanced composition class
  10. The Canisius Project: From field-work to classroom
  11. How can a major in composition be established?
  12. Linguistics, obeah, acupuncture, and the teaching of writing by that bastard Sled
  13. Changes in the training of writing teachers
  14. The technical talk: More effective use of visual aids
  15. The passive in technical and scientific writing

1980

  1. Transferable and local writing skills
    Abstract

    Winterowd suggests that all writing skills fall into one of two categories: local skills and transferable skills. Local skills are defined as those skills that are domain-specific, such as knowledge of the genres of a particular field. Transferable skills, according to Winterowd, are the 'basics' of writing, including such issues as control of diction. Following Stephen Krashen's learning-acquisition theory, Winterowd asserts that the transferable skills, general skills that are important for competent writing across domains, must be acquired through modeling, practice, and feedback, while local skills can be taught. Two 'scenes' for writing instruction are suggested: a writing workshop (for acquistion) and a writing laboratory (for teaching local skills as well as editing). [Robin L. Snead, 'Transfer-Ability': Issues of Transfer and FYC, WPA-CompPile Research Bibliographies, No. 18]

  2. Cassette commentary
  3. A reply to [Alex] Medlicott, Jr.
  4. Some theoretical speculations on the advanced composition curriculum
  5. The subject is writing
  6. Writing for the pre-professional within the liberal arts curriculum
  7. Advanced composition: A survey
  8. Advanced composition, 1980: The state of the art
  9. The structure of advanced composition
  10. A taxonomy of communication acts for the design of advanced writing courses
  11. Teaching rhetoric to students in upper division and professional degree program courses
  12. The best stylists: A survey of editors, and implications for the teaching of style
  13. Revision in advanced composition: A perspective
  14. Encouraging thoughtful revision in a Kinneavy-framed advanced composition course
  15. Outline later