Abstract This article shares course activities relying on the draw-to-learn framework from a general education humanities course focused on social media. These activities ask students to create drawings or sketches of concepts from the course — the internet and visual maps of directions to a familiar location. These drawing activities can promote similar cognitive processes to writing activities and, in turn, enhance student learning via non-alphanumeric text creation. While used far more regularly in science, technology, engineering, and math (STEM) disciplines, such activities may prove useful across disciplines, including the humanities.

Abstract Considering the recent erasure of LGBTQ+ representation in school curricula in states like Texas, this article explores the benefits of pairing medieval flytings (verbal battles with homophobic insults) in “Loki's Quarrel” from The Poetic Edda with recent homophobic discourse over rapper Lil Nas X's controversial music video “Montero.” It suggests that teaching such pairings of past and present queer texts and utilizing a range of inclusive practices and activities in the college classroom can highlight queer experiences and foster inclusion through representation. Through comparing insults that the trickster god Loki is ergi (a bottom) with Lil Nas X's Twitter defense reclaiming his agency as a “power bottom,” the article shows as well how homophobia and misogyny intersect in practices of medieval and modern bottom shaming. Moreover, it demonstrates how queer figures, whether in Viking culture or American pop culture, have always drawn power from queerness to challenge heteronormative masculinity.

Abstract In a world of Google-age information accessibility and Facebook-fueled quick rants, the author is interested in teaching a process of reading poetry that does not include easily accessed “answers” or result in reactionary analysis. By using contemporary poetry in introduction to literature courses, the author invites students to resist any quick way of accessing information about the poem. Instead, using Billy Collins's poem, “Introduction to Poetry,” the author helps students explore slower, maybe more contemplative and welcoming ways to listen to the language of the poems they study. And, along the way, the author invites students to consider the particular intellectual virtues they are cultivating in order to read well. In this essay, the author uses Aimee Nezhukumatathil's poem “Hummingbird Abecedarian,” published through the Academy of American Poets Poem-a-Day project, and a poem the author had only read a couple of times before introducing to a group of second-semester first-year “Introduction to Literature” students, as an illustrative example of how using contemporary poems can deepen students’ reading experiences when there are no academic resources around to save them from taking time to read well.

Abstract Any attempt to control the content and conversations of first-year composition classrooms has become increasingly complicated by social media and technology. Building on the types of textual difficulty explored by scholars like Mariolina Rizzi Salvatori and Patricia Donahue, Jeffrey Berman, and Alan Purves, this article considers the challenges presented to contemporary college-level readers by affectively difficult texts such as David Lynch's 1986 film Blue Velvet. The article also explores the potential responses students express to difficult texts and encourages flexibility in the assumptions made about these reactions. By working through the importance of these questions, the author ultimately examines the potential benefits and best strategies of using difficult fictional texts in the writing classroom to help students investigate the nuances of verbal and written conversations such as those created by the #MeToo movement.

This article examines how the popular television series Downton Abbey, functioning in tandem with twentieth-century novels, provides students with a cultural forum that opens up a cultural, literary, and historical period that would otherwise remain distant. By encouraging students to perceive television as participating in what Horace Newcomb and Paul M. Hirsch call “public thinking,” the article highlights the way the PBS period drama offers students the means to engage critically and empathetically with a historically distant cultural moment. Ultimately, the author argues that incorporating Downton Abbey and related social media to the study of novels of the early twentieth century enlivens the material, motivating students to enter into a period of history through its literature in service of not only increased historical and literary knowledge but also a more nuanced understanding of the importance of the humanities in examining society and its values, the very elements television both shapes and reflects.

The renewed interest in personal essays in composition complicates the contested, tricky personal identity negotiations for students and faculty in first-year writing, particularly in manifestations and representations of the body in both the classroom and writing spaces. This is especially complex for minority subjects, including queer students and faculty. Such collections as The Teacher’s Body (edited by Freedman and Holmes) and Professions of Desire (edited by Haggerty and Zimmerman) explore the pedagogical underpinnings of the body, and Ellis Hanson’s essay in the Gay Shame collection (2009) further complicates and interrogates the ways queer bodies are represented and problematized in the classroom. This article explores our own experiences in first-year writing: as students within a mind/body binary exploring through the scaffolding of composition, and as faculty who are increasingly exposed through our body projections in the classroom and depictions of our body and sexuality in an increasingly savvy media in which Google, Facebook, and social networking sites create matrices of identifications and disidentifications that inform our classroom experiences. The article traces the ways our bodies are aligned with cultural norms, and the ways that first-year writing complicates, contests, reifies, or disrupts these norms—for both students and faculty.

Public writing spaces, such as blogs and social media sites, are expanding quickly with new websites, web applications, and other interfaces constantly available to users. As these digital composing spaces continue to expand, it is important that writers are capable of operating within them, yet many composition students lack the rhetorical awareness to present effective arguments in multimodal digital interfaces. To address this issue, the author designed a project to introduce students to public writing while reflecting on the implications of the permanence of their writing, the searchability of these public spaces, and their responsibility as writers. This project began by asking students to reflect on their own online personae, be it through Facebook profiles, personal blogs, or online class forums. Utilizing websites like Yelp and YouTube offered students the opportunity to see how others present themselves online and the effectiveness of composers in these digital spaces. Taught in an online course format, this project demonstrates how writing can live outside of the traditional classroom space and contribute to the students’ community. For the writing teacher, it creates the occasion to delve into students’ understandings of ethics in online writing while illustrating the rhetorical components necessitated by composing in digital media.

This article describes an assignment that involves students in an exploration of the rhetorical practices common in Facebook, making use of rhetorical savvy that they have—but generally are not aware of—to teach the often-challenging skill of rhetorical analysis. The class discusses articles about Facebook use and redefines traditional Aristotelian rhetorical concepts in the context of the visually rich and collage-like texts that are Facebook profiles. Students take their cues from an anthropologist's analysis of identity representation on dorm doors to explore rhetorical practices of exaggeration also discernable in Facebook profiles. Students and teacher note features from Facebook pages that suggest tendencies to be popular versus being an individual or signs of addiction to the networking tool. This assignment that brings academic analysis to bear on non-academic literacy practices like the construction of Facebook profiles encourages students to reflect critically on daily activities that involve more complex rhetorical skills than they might otherwise notice. In addition to making students' often-tacit rhetorical knowledge explicit, breaking down the usual division between school and non-school rhetorics in this exploration of Facebook helps to educate teachers about their students' digital literacy practices.