Abstract If writing studies today is engaged in a project to remake composition pedagogy apart from modern language ideologies, then medieval writing reminds us that such ideologies were not always dominant. This essay asks how medieval texts, written before monolingualism became normative, might help student writers to imagine possibilities for composing beyond monolingualism. What happens when students are invited to read Dante Alighieri's defense of his Italian vernacular in book 1 of the Convivio alongside contemporary defenses of linguistic diversity more commonly taught in the first-year writing classroom? As this experiment suggests, assigning medieval texts in composition courses offers at least two advantages to student writers in support of linguistic justice and critical language awareness learning goals. For one, contradicting a modern view of translingualism as deviation from a monolingual norm, students learn that writers have had to assume language difference, rather than homogeneity, as a condition of composition for most of history. Second, the juxtaposition of medieval and contemporary, far from flattening historical difference, prompts students to think even more specifically and critically about the conditions for and consequences of translingual practices in particular times and places.

Abstract This article offers a theory of action model for grading in first-year writing classes, as enacted at two public, suburban, Midwestern two-year colleges. First, it analyzes labor-based contract grading and specifications grading through this model, examining how these popular grading methods have manifested in unintended negative consequences for historically and multiply marginalized students. Then, it proposes a sociocognitive grading model designed to maximize course-level success rates for New Majority college students. The sociocognitive model was iteratively built on feminist standpoint theory, intersectional learning sciences, multilingual writing pedagogy, and disability studies. Thus far, student course-level success has improved, along with their learning in four domains of a robust writing construct: intrapersonal, interpersonal, cognitive, and health. While it does not prescribe specific patterns of response, this model nevertheless establishes an overall referential frame that holds the potential to incorporate empirically based best response practices.

AbstractWriting is both affective and ecological. Consequently, effective writing instructors need a deep understanding of writing's affective and ecological aspects, making composition one of the most complex and challenging areas of pedagogical endeavor. This claim is especially true in institutions whose product-oriented epistemologies make writing potentially traumatizing for many student writers. To assist writing teachers in meeting student writers’ needs, this article draws on a diverse body of research to explain writing affect, its role in ecological processes of composition within early collegiate humanities curricula, the relation of writing affect to writers’ identities, and the impact collegiate corporatization may have on composition instruction. Subsequently, this article describes approaches for making writing pedagogy more process oriented, trauma informed, and equity centered.

AbstractRecent advocates of postcritique urge scholars not to read texts suspiciously but instead to regard texts as capable of saying what they mean and, accordingly, to take those meanings seriously. While a suspicious disposition underlies much of introductory composition pedagogy, especially the teaching of argument, postcritique has made little entry into discourses of undergraduate instruction. Attending to the New Sincerity movement in American literature, film, and music after 1980, this essay examines how teaching texts that emphasize their own sincerity (and the difficulty of achieving sincere expression) can encourage students to regard argument and interpretation not as suspicious practices but as means for a generous mode of description that does not sacrifice the complexity of a given text.

Abstract The authors present a lab-based research model that engages graduate students in undergraduate research mentorship positions that are mutually beneficial for graduate students, undergraduates, and faculty. They show how this model can be scaled up and adapted across the range of English disciplines. The authors share examples of the different types of research that they have engaged in for linguistics, literary archival studies, creative writing, and writing pedagogy. These examples illustrate how undergraduate research mentorship can prepare graduate students to teach and mentor students using effective methods in various institutional contexts.

This article explores how prior experiences influence instructors’ responses to African American English–based writing. The author examines why her reaction to a student essay differed from several colleagues’; she suggests that current standards for college writing leave little room for effective nonmainstream strategies and that writing pedagogy should cultivate appreciation for such work.

This article considers the role of real-world writing pedagogy in the persistence of the real world/academy binary that fuels contemporary trigger warning debates, arguing instead for attention to the actual rhetorical constraints of the classrooms we all work in regularly.

This article uses Laurence Sterne's Tristram Shandy to explore how literature instructors can use eighteenth-century novels, many of which bring attention to themselves as creations of the writing process, to encourage their students to reflect on their position as writers in the twenty-first century. Gulya proposes teaching Tristram Shandy and other self-referential texts within the context of writing studies. This approach helps our students recognize the close relationship between writing and cognition and, by so doing, brings their attention to writing as a process as well as a product. Gulya also outlines some of the major benefits of encouraging students to think about writing as a process, including more vibrant peer-revision sessions and an increase in students' tendencies to take intellectual risks in their writing.

Drawing on a semester-long qualitative study of teaching writing at a men’s medium-high security prison, this article explores the complex ways in which literacy and incarceration are configured in students’ narratives, as well as my own as their teacher.

This article explores relations among trauma, writing, and healing while connecting writing pedagogy and literary studies to insist that courses move past product-focused pedagogies and student experiences alone. Merging theory with praxis, this article underscores the roles and experiences of all course participants, highlights stories of trauma as catalysts for transformation, and outlines a “wounded healer pedagogy”—a pedagogical approach contingent upon interconnectedness, driven by writing purposes, and linked to individual and communal healing processes.

The article traces ideas of improvisation in Quintilian’s rhetorical work, presents an interdisciplinary literature review of improvisation studies, and surveys modern disciplines that teach improvisation, all with the goal of implementing these ideas into a first-year, college-writing pedagogy.

This article makes a case for using Jane Austen’s Pride and Prejudice as a tool for skill-based writing instruction in the composition classroom. The novel employs prose strategies such as commonplaces and amplification that become springboards for class conversation about prose style and student writing. Additionally, the novel’s characters admit to difficulties with composition, such as language usage and organization in letter writing, that seem eerily familiar to those voiced by novice writers in a freshman writing course. Mangiavellano contends that students eagerly seek out ways the novel reminds them of their own lives, and he argues that Pride and Prejudice in the composition classroom can reflect back to students versions of their academic selves just as much as it does their personal selves.

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.

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.

In a 2002 article in College English, Peter Elbow argued that writing pedagogy would benefit by “[m]ore honoring of style, playfulness, fun, pleasure, humor” (543). Although Elbow was referring specifically to the need for cross-fertilization between the disciplines of literature and composition, his call for attention to playfulness in writing pedagogy is equally relevant to the teaching of creative nonfiction. The question he fails to consider is how playfulness can become an essential part of writing pedagogy without undermining the seriousness of the endeavor. My experience teaching an upper-level creative nonfiction class devoted to humor writing suggests that while incorporating playfulness into nonfiction-writing pedagogy poses serious challenges, it also provides significant rewards and develops skills transferable to other writing tasks.

The article examines the significance of lore in creative writing pedagogy discourse, the problem posed by the historical distinction between teaching craft and drawing out talent in workshops, and the role of social identity as it is rejected, theorized, or ignored in discussions on teaching creative writing. Taking into account students' subjectivity as also constituted by the dynamics of collective identities such as those suggested by the terms gender, race, ethnicity, and so forth, the essay offers examples of workshop strategies that encourage dialogic voicing.

This article explores the dialectic between autonomy and mutuality within postsecondary composition programs. Grounded in a case study of writing instruction at a small, unionized, public university, the article argues that while broad workplace democracy and economic security are clearly desirable for communities of college composition teachers, their efficacy is seriously compromised absent sustained commitments to intellectual restlessness, professional deliberation, and collective action.

The Roanoke College Writing Initiative Grant (WIG) program provides a two-thousand-dollar stipend for non-English Department faculty to teach in the first-year writing program. Faculty is expected to teach three iterations of their proposed course and receive a year of training prior to entering the classroom. Hanstedt's introduction discusses the theoretical justifications for the program, as well as its historical roots and positive outcomes. The faculty development training of Roanoke's WIG program is described, as is how this member of the chemistry department put the lessons learned into action as he taught freshman writing for the first time. Rachelle Ankney taught an introductory writing course as a break from teaching many sections of introductory college math. She enjoyed learning a whole new approach to writing and had fun in the first-year writing course. But she was most surprised to find that teaching writing well makes teaching math better, too. She went from advocating “required writing across the curriculum” to being a firm supporter of “teaching writing across the curriculum.” This paper reflects on an experiment in using a writing course to teach critical thinking skills and vice versa, with special emphasis on helping students to get beyond their aversion to and distrust of argument. The course assigned short argument analyses, an exercise in literary interpretation, and a research paper in for students to gain more familiarity with argument and to appreciate its varied uses. One unforeseen result was the amount of time that had to be devoted to clarification of the terms of argument. Because clarification requires using inference, however, it is recommended that descriptive writing would be a helpful vehicle to start students addresstheir problems involving argument. This paper recounts a music professor's experience designing and teaching his first writing course, Music into Words. Research on the conceptualization of music argues that our ability to communicate musical understanding relies heavily on phenomenological and metaphorical description; the opportunity to teach writing about music to the general student offered the musician a laboratory for testing this hypothesis. However, the instructor discovered that, not surprisingly, narrative (story-telling) functioned as his students' primary mode of communicating meaning and significance in music. In the end, while reading and writing these stories, the students and the music professor learn important lessons about the role of music in human experience.

Fueled by disciplinary disagreements and resource fights, comp/lit conflicts continue. However, productive collaboration is possible and an opportunity remains in developing general education writing courses. A general education course in teaching writing through literature is argued for on the grounds that English studies has been positively transformed by the mainstreaming of composition, pedagogy, and cultural studies.

It has become increasingly clear that U.S. faculty cannot afford to remain insular about global issues in teaching and the forces that are shaping them. At the same time, our desire to address or resist those issues, to join in or to find alternatives, needs to be contextualized. The three edited collections reviewed here address globalization of higher education in Australia, writing instruction in higher education in the United Kingdom, and interdisciplinary collaboration in U.S. higher education. The three bring different perspectives to current U.S. discussions of internationalization and interdisciplinary work in higher education and allow us to better understand issues in other cultures and disciplines while critically examining our own through new lenses.

This essay explores the potential for wikis in English classrooms and writing pedagogy through discussion of a class project involving Wikitravel. Topics include the influence that wikis have on collaboration, an example of networked writing, and the role of writing with technology in knowledge creation.