This article argues that teaching Asian American literature should include immeasurable and nontangible factors that accompany racial grief, such as cultural betrayal, the trauma of belonging interstitially, and the sensation of displacement. I propose that these be introduced via a gothic motif, such as the double, haunting, and possession by ghosts. Such motifs have the advantage of familiarity (or, if not, are quite easy to explain) and being psychoanalytically informed.

Ruminating on the work of Eve Kosofsky Sedgwick around failed pedagogy and a confused cat, I consider ways to provoke new streams of critical thought in my composition students around issues of gender and sexuality without “pointing.” Thinking about Jean Genet's novel Querelle and Rainer Werner Fassbinder's film of the same name, I delineate the specifics of how I teach these two difficult, often incomprehensible texts in an introductory class. In reviewing the confusion these works can provoke in student discourse upon reading and viewing the texts, I emphasize the role of disorientation and dislocation in the mapping of student thinking and writing, ultimately reemphasizing the importance of nondemagogic, malleable pedagogy in the teaching of sexuality and gender, particularly with composition students who are exploring and amplifying their voices. Teaching Querelle is like unleashing a virus of confusion and intrigue on student writers, but the incoherence it creates also creates opportunities to explore new ideas and horizons in these developing thinkers/writers.

This article describes my experiment with surveillance technology as a composition teaching tool in a computer classroom. The technology, a software program called Remote Desktop, displayed live on my lectern screen all of my students' activities on their computers. While I first intended mainly to use Remote Desktop to monitor students' focus on assigned tasks, I quickly became interested in the pedagogical possibilities it presented. Because I could read students' work as they were composing it, I could intervene quickly when they were struggling and offer near-instant feedback; I could also guide class discussions by identifying patterns of weakness to address, strong examples to share, or the single answer a given student had gotten right to praise. I could anticipate how debates might unfold among students with differing opinions, or how similarly minded students might offer support to one another. While these strategies might have been possible without the technology, they were significantly facilitated by it — especially because this group of students was particularly underprepared and found discussion difficult. Class time became more productive and built their confidence in their own abilities as readers, writers, and editors.

Upon entering college composition courses, students often report a dislike for writing. Because researchers report that writing anxiety may be linked to high-stakes writing exams, a study of graduates of New York high schools was conducted to investigate whether the state's Regents Comprehensive Examination in English shapes attitudes or assumptions about writing. For this study, first-year writing students responded to a prompt that asked them to reconstruct an essay they wrote for the exam, as well as their feelings before, during, and after writing the essay. Evidence suggests that most students strongly dislike taking the exam. Preparing for and responding to it may impart lessons contradictory to objectives of many first-year writing programs. Most students report critical engagement with the test question but suppress critical commentary in their official responses so as to please the imagined graders, whom most students conflate with the specific audience posited by the question. The study indicates that open-form, experimental writing about standardized writing exams at the outset of the semester may help students transform resistance to writing from a general feeling to an attitude associated with a particular memory and, thus, may help clear the air for the work of college-level writing.

This article examines some of the central paradoxes of vernacular language use in the classroom and suggests methods for converting those paradoxes into productive teaching opportunities. Beginning from a linguistic point of view, the authors discuss the devaluing and marginalization of the vernacular in educational settings and then move on to literary examples, demonstrating how vernacular literature generates its own transnational conversation. The authors propose concrete strategies for incorporating vernacular language and literature in language arts, composition, and literature classrooms at secondary and university levels.

This essay argues for an interdisciplinary, team-taught approach to the Introduction to Graduate Studies course in which faculty from literary and rhetoric/writing studies model the intersections of both fields through course texts, assignments, and theoretical frameworks. The authors also discuss the role of terminal master's programs in English and the need for graduate writing instruction.

Review Article| January 01 2012 If I Don't Know What I'm Teaching, How Can I Make the Best of It? Teaching What You Don't Know. By Huston, Therese. Cambridge, MA: Harvard University Press, 2009. Adam Pacton Adam Pacton Search for other works by this author on: This Site Google Pedagogy (2012) 12 (1): 187–191. https://doi.org/10.1215/15314200-1416576 Cite Icon Cite Share Icon Share Twitter Permissions Search Site Citation Adam Pacton; If I Don't Know What I'm Teaching, How Can I Make the Best of It?. Pedagogy 1 January 2012; 12 (1): 187–191. doi: https://doi.org/10.1215/15314200-1416576 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search Books & JournalsAll JournalsPedagogy Search Advanced Search The text of this article is only available as a PDF. © 2011 by Duke University Press2011 Article PDF first page preview Close Modal Issue Section: Reviews You do not currently have access to this content.

This article explores how composition courses might address contemporary capitalism's strain on students' time resources through a classroom practice of temporal awareness. The piece discusses two related dimensions of this approach. The first involves incorporating students' considerations of time into course content; the second, rooted in teacher inquiry, asks writing instructors to examine how time mediates the pedagogical relationships developed within their courses.

This essay explores intersections between reading and privilege and moves out from a survey of faculty reading practices to consider what is at stake in distinguishing between “real” and “instrumental” reading. Allen argues that, as privileged subjects, teachers can best help students approach reading as the negotiation of uncertainty when teachers themselves undertake such negotiation. That is, instructors do well to consciously inhabit and emotionally integrate their own contradictory desires for reading—the desire for institutional viability associated with instrumental reading, on the one hand, and the desire for the leisured thought of real reading, on the other.

This article shows how and why one might teach painting as a reading practice in a literature course. Painting in response to a literary text can deepen the impact that the text has on a reader/painter and can develop her or his ability to read well. Such an activity taps into contemplative dynamics such as attentiveness, presence, dialogue, and community, and it contributes to students' appreciation of literature. Painting in response to a text causes students to linger with the text and provides occasion for rereading.

Of the many fields affected by current economic conditions, the humanities are often hit especially hard because the very category “humanities” is inchoate. Mangum joins scholars who seek ways to bring the values of fields such as literature and history into focus for various public audiences. Engaging nonspecialists in practices of the humanities offers one way of “going public.” The forms of publicly engaged teaching, learning, scholarship, and collaboration can stretch as far as teachers' and scholars' imaginations and are applicable to social sciences and other disciplines as well.

College students often use the campus as a venue for their course-based research activities. More often than not, however, the university is simply a locus of research, not a subject of student inquiry. In this article, I consider what can be gained when students “study up” the university as an institution. I draw on data from my undergraduate students' research process in an ethnographic methods course at Illinois State University. I argue that an institutional focus provides an especially effective approach for teaching ethnographic methods — one that differs from standard introductory textbook instruction in ethnography and that helps students avoid routine pitfalls of beginning ethnographic research. In particular, I argue that the university focus enables novice students to analyze fine-grained ethnographic data within a middle-range institutional context without macrosocial theories and frameworks that are likely beyond the scope of their semester-long projects. I also argue that an institutional focus can help students become more engaged, critical stakeholders in the university community.

Textual criticism, often ignored or confined to graduate study, is academic writing based on close reading and therefore is ideal for undergraduate study because it teaches readers to be more careful and skeptical. Critical editing assignments require students to negotiate historical evidence and aesthetic judgment for themselves, addressing questions of literary value.

Review Article| January 01 2012 The Canon and the Cutting Edge: On Teaching the Graphic Novel Teaching the Graphic Novel. Edited by Tabachnick, Stephen E.. New York: Modern Language Association of America, 2009. Jennifer H. Williams Jennifer H. Williams Search for other works by this author on: This Site Google Pedagogy (2012) 12 (1): 193–199. https://doi.org/10.1215/15314200-1416585 Cite Icon Cite Share Icon Share Twitter Permissions Search Site Citation Jennifer H. Williams; The Canon and the Cutting Edge: On Teaching the Graphic Novel. Pedagogy 1 January 2012; 12 (1): 193–199. doi: https://doi.org/10.1215/15314200-1416585 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search Books & JournalsAll JournalsPedagogy Search Advanced Search The text of this article is only available as a PDF. © 2011 by Duke University Press2011 Article PDF first page preview Close Modal Issue Section: Reviews You do not currently have access to this content.

Like many a composition instructor, I have often designed writing assignments that attempt to get students forging genuine connections between the personal and the political. Yet these assignments have not always been met with overwhelming enthusiasm from my classes, to put it politely. One possible cause for this type of response may be related to the word politics, as it seems invariably to elicit a mixture of apathy and confusion from students. So over the past several years, I have been experimenting with an assignment that bypasses overt references to politics and instead cuts straight to the conflicts surrounding students' lives—that is, the tensions bubbling up on college campuses. In this article, I reflect further on the origins of this assignment and give an overview of the engaging topics students choose to explore.

Introduction| January 01 2012 Editors' Introduction Jennifer L. Holberg; Jennifer L. Holberg Search for other works by this author on: This Site Google Marcy Taylor Marcy Taylor Search for other works by this author on: This Site Google Pedagogy (2012) 12 (1): 1–3. https://doi.org/10.1215/15314200-1416513 Cite Icon Cite Share Icon Share Twitter Permissions Search Site Citation Jennifer L. Holberg, Marcy Taylor; Editors' Introduction. Pedagogy 1 January 2012; 12 (1): 1–3. doi: https://doi.org/10.1215/15314200-1416513 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search Books & JournalsAll JournalsPedagogy Search Advanced Search The text of this article is only available as a PDF. © 2011 by Duke University Press2011 Article PDF first page preview Close Modal You do not currently have access to this content.

At the suggestion of a colleague, the narrator — a professor of oceanography — agrees to have dinner with Calais Steever, a professor of history from a nearby university, to talk about teaching. The conversation takes place in an informal but elegantly appointed bistro in a small city. Ever the skeptic, the oceanographer isn’t convinced at first that Steever’s passion for assigning students to write dialogues in courses across the curriculum would help his thoroughly fact-based, biologically oriented instruction. As the dinner proceeds, Steever shares examples of students’ dialogic writing from courses in such disciplines as philosophy, anthropology, biology, architecture, literature, chemistry, history, and political science. Slowly — but cautiously — the narrator begins to see possibilities for dialogic writing.

In this article, Deborah Holdstein exhorts scholars of rhetoric and composition to break new ground by searching for absences — missing topics, little-known but influential scholars, alternative canons — that would enhance the work in the field. Noting that certain topics or scholarly movements take root as original scholarship when in fact others had earlier tilled that scholarly ground, Holdstein uses the specific examples of Wallace W. Douglas and Jewish rhetoric to suggest that there is unique work yet to be done. Holdstein's perspective is shaped by her five-year term as editor of College Composition and Communication and her concern about derivative scholarship rather than work that truly challenges our assumptions.

Research Article| October 01 2011 Promoting Cooperation and Respect: “Bad” Poetry Slam in the Nontraditional Classroom Rebecca Brown Rebecca Brown Search for other works by this author on: This Site Google Pedagogy (2011) 11 (3): 571–577. https://doi.org/10.1215/15314200-1302804 Cite Icon Cite Share Icon Share Twitter Permissions Search Site Citation Rebecca Brown; Promoting Cooperation and Respect: “Bad” Poetry Slam in the Nontraditional Classroom. Pedagogy 1 October 2011; 11 (3): 571–577. doi: https://doi.org/10.1215/15314200-1302804 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu nav search search input Search input auto suggest search filter Books & JournalsAll JournalsPedagogy Search Advanced Search The text of this article is only available as a PDF. © 2011 by Duke University Press2011 Article PDF first page preview Close Modal Issue Section: From the Classroom You do not currently have access to this content.

Review Article| October 01 2011 Countering the Pedagogy of Regression Poets on Teaching: A SourcebookWilkinson, Joshua Marie, ed. Iowa City: University of Iowa Press, 2010 Kevin Craft Kevin Craft Search for other works by this author on: This Site Google Pedagogy (2011) 11 (3): 609–614. https://doi.org/10.1215/15314200-1302899 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn Email Tools Icon Tools Permissions Cite Icon Cite Search Site Citation Kevin Craft; Countering the Pedagogy of Regression. Pedagogy 1 October 2011; 11 (3): 609–614. doi: https://doi.org/10.1215/15314200-1302899 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search Books & JournalsAll JournalsPedagogy Search Advanced Search The text of this article is only available as a PDF. © 2011 by Duke University Press2011 Article PDF first page preview Close Modal You do not currently have access to this content.

These papers were given at the 2011 MLA panel on faculty governance. They present the topic's importance in the face of budget crises and institutional pressure.

This essay addresses the question of how to best teach interdisciplinarity through a detailed discussion of a common upper-division gateway course for multiple majors housed in an interdisciplinary studies unit. It argues for a shift in the problematic within which discussions of interdisciplinary pedagogy generally take place by emphasizing the practice of interdisciplinarity itself.

Review Article| October 01 2011 Traditions and Trajectories: Composition Studies, Norton, and the Shaping of a Field The Norton Book of Composition Studies Edited by Miller, Susan. New York: Norton, 2009. Christina Ortmeier-Hooper Christina Ortmeier-Hooper Search for other works by this author on: This Site Google Pedagogy (2011) 11 (3): 591–597. https://doi.org/10.1215/15314200-1302872 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn Email Tools Icon Tools Permissions Cite Icon Cite Search Site Citation Christina Ortmeier-Hooper; Traditions and Trajectories: Composition Studies, Norton, and the Shaping of a Field. Pedagogy 1 October 2011; 11 (3): 591–597. doi: https://doi.org/10.1215/15314200-1302872 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search Books & JournalsAll JournalsPedagogy Search Advanced Search The text of this article is only available as a PDF. © 2011 by Duke University Press2011 Article PDF first page preview Close Modal You do not currently have access to this content.

Supervisory class visits — when shaped by transparency, reflection, and reciprocity — are a unique, powerful, and positive mechanism for pedagogic and programmatic growth. Writing programs are especially well situated to transform and model effective supervisory class visits because compositionists have already addressed related challenges regarding writing pedagogies and practices.

This review examines Susan Miller's Norton Book of Composition Studies in the context of the undergraduate writing major. Miller's anthology provides a thorough snapshot of the field of composition, representing the impressive scope of composition studies with 101 unabridged works of composition history, research, theory, and practice. Although this anthology was compiled to support instruction in both undergraduate and graduate classes, the reviewers suggest that undergraduates and some graduate students may require more contextual information about the collected works to better understand the major themes, issues, struggles, and successes of the field.

These papers were given at the 2011 MLA panel on faculty governance. They present the topic's importance in the face of budget crises and institutional pressure.

This article charts the collaborative production of a play designed to show that performing literary history enables students' perception of history as process and performance. The play Before & After highlighted conventions of seventeenth-century prologues, epilogues, and gendered theatrical performance techniques through students' performances and participation in a postproduction survey.

These papers were given at the 2011 MLA panel on faculty governance. They present the topic's importance in the face of budget crises and institutional pressure.

These papers were given at the 2011 MLA panel on faculty governance. They present the topic's importance in the face of budget crises and institutional pressure.

These papers were given at the 2011 MLA panel on faculty governance. They present the topic's importance in the face of budget crises and institutional pressure.

Review Article| October 01 2011 Pencil Traces: The Conversations of Composition Thomas L. Burkdall Thomas L. Burkdall Search for other works by this author on: This Site Google Pedagogy (2011) 11 (3): 598–602. https://doi.org/10.1215/15314200-1302881 Cite Icon Cite Share Icon Share Twitter Permissions Search Site Citation Thomas L. Burkdall; Pencil Traces: The Conversations of Composition. Pedagogy 1 October 2011; 11 (3): 598–602. doi: https://doi.org/10.1215/15314200-1302881 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search nav search search input Search input auto suggest search filter Books & JournalsAll JournalsPedagogy Search Advanced Search The text of this article is only available as a PDF. © 2011 by Duke University Press2011 Article PDF first page preview Close Modal Issue Section: Roundtable: Reviews of The Norton Book of Composition Studies, edited by Susan Miller You do not currently have access to this content.

Students' writing of parody can provide a more persuasive vehicle than conventional academic writing to move students from their intuitive awareness of irony to critical analysis of rhetorical strategies. Combining parody writing with strong critical reflection can encourage a more complex view of language choices, audience identification, genres, and persuasion.

Based on Walter Eggers's article “Teaching Drama: a Manifesto,” this article discusses practical ways to emphasize the persistence and popularity of the dramatic tradition in an introduction to drama course. I argue that drama's popularity is an essential tool for teaching the genre to undergraduates in all disciplines, and to demonstrate this tenet in my own experience, I give examples of how I taught formal and thematic elements through their use in contemporary media as well as several assignments that demonstrate the symbiotic relationship between staged theatre and its multimedia counterparts.

This article analyzes classroom discussions of Boaz Yakin's 1994 film Fresh—an unsettling urban drama about a young boy (Fresh) who devises a creative escape from the drug dealers in his environment: he buys a large amount of cocaine that he uses to trick those dealers into thinking that they're all trying to break into each others' markets. In the end, he turns these negative and violent forces against each other and then enters the Witness Protection Program. The social commentary in the film is paramount since it highlights the disturbing cultural reasons why a twelve–year-old African American boy has to devise his own escape from the inner city. Most important, class discussions of (as well as the writing assignments focused on) Yakin's film necessarily confront the role that class hierarchies play in America as well as the cultural myths—like the unconditional individual—that affect many of our expectations and assumptions. Herein resides the film's pedagogical importance: it offers an intensely emotional and intellectual challenge to many of our foundational understandings of American values and cultural narratives. That is, it critiques the problematic rationalizations (like “the just-world phenomenon”) that seek to not only dis-empower but also neglect whole segments of American society.

This article argues for a pedagogy that attends to emotion as a crucial, epistemological component of rhetorical education. After exploring dominant cultural tropes for understanding emotion, I examine examples of how these discourses materialize in popular culture. I then draw from classroom moments to analyze the possibilities for and complexities of studying emotion in the classroom.

Most of my students arrive in my required freshman writing class full of ideas but lacking the mastery over language needed to express them. Introducing core linguistic concepts can sharpen their writing skills by illustrating how language works, and by heightening their awareness of the role language plays in their lives. These concepts could be seamlessly introduced over a year-long, daily high school class. Lacking that, they could be tucked into university level semester-long classes.

This essay discusses the impact of using serialized reading texts, like magazines, in writing instruction. It explains an advanced expository writing course that uses the New Yorker magazine as a frame for addressing the significance of contemporaneity and performance in student writing. Ultimately, the magazine remediates between traditional readers and new media approaches.

Written by the co-chairs of the Northwest Undergraduate Conference on Literature (NUCL), this article makes an argument for the value of the undergraduate conference: by fostering conversations about student work, undergraduate conferences offer one way of ameliorating the present crisis in the humanities. The writers also explain the more particular disciplinary, institutional, and departmental benefits of the conference, and suggest strategies for implementing such a conference on other campuses.

Although Orwell's essays—particularly “Shooting an Elephant”—are used in freshman composition classes as stylistic models of clarity for student to imitate, this practice is pedagogically unsound because Orwell's essays are examples of the contemplative essay, whose aims are very different from those of the expository prose students learn to write in composition classes.

Postprocess theory questions the usefulness of pedagogical principles. This article proposes a casuistic pedagogy, which offers a stance rather than a method. Casuistry, the art of case-based reasoning, reframes pedagogy as a series of occasions rather than a system of thought, thus providing grounds for a postprocess pedagogy.

Review Article| April 01 2011 What's Right and Wrong with the Workshop: A New Collection of Essays Examines the Effectiveness of the Creative Writing Workshop Does the Writing Workshop Still Work? Edited by Dianne Donnelly. Tonawanda, NY: Multilingual Matters, 2010 Adam Breckenridge Adam Breckenridge Search for other works by this author on: This Site Google Pedagogy (2011) 11 (2): 425–430. https://doi.org/10.1215/15314200-1218148 Cite Icon Cite Share Icon Share Twitter Permissions Search Site Citation Adam Breckenridge; What's Right and Wrong with the Workshop: A New Collection of Essays Examines the Effectiveness of the Creative Writing Workshop. Pedagogy 1 April 2011; 11 (2): 425–430. doi: https://doi.org/10.1215/15314200-1218148 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search Books & JournalsAll JournalsPedagogy Search Advanced Search The text of this article is only available as a PDF. © 2011 by Duke University Press2011 Article PDF first page preview Close Modal Issue Section: Reviews You do not currently have access to this content.