Teaching the Holocaust in a first-year writing course using photographs of the Shoah as a primary resource authorizes students to engage in research and writing that provides a place of empathetic, dignified witnessing for those who were denied the possibility of realizing the lives they were meant to live.

For faculty seeking to engage students in inquiry-based, emergent, and primary research in first-year composition courses, Google Documents provides both an efficient and effective means.

This article presents a consideration of how students’ existing information-seeking behaviors affect traditional methods of teaching library research in first-year writing courses and offers an alternative method that uses both library and popular Internet search tools.

First-year composition students engage with visual rhetoric via interpretation and analysis through a trip to a local art museum for the first essay assignment and through an exploration of photography for the second essay assignment.

Though sometimes seen as remedial in nature, writing centers have pedagogical missions that are far broader in scope in most educational institutions. This reflection traces both the growth of writing centers since their origins in the early 1900s and their current points of intersection with other writing programs – first year composition, writing across the curriculum, and community literacy initiatives. In spite of the economic and administrative difficulties they will face in the future, writing centers will continue to thrive.

This essay examines the beginnings of first-year writing programs in the academy and the early history of the essay to reveal how and why a particularly limiting range of allowable subjectivities entered into the writing classroom through the essay’s form. Most college first-year writing courses privilege a thesis-driven form of the essay that is much closer to Bacon’s (1592/1966) collection of essays, in contrast to those written by Montaigne (1575/1965), who is often referred to as the “Father of the Essay.” Reasons for this practice include the writing curriculum’s seeming alliance with classical rhetoric’s definition of both essay and student writer. The concept of ideology as conceived by Althusser (1968/1971) proves useful for understanding the essay’s implications in subjectivity formation. Although all essay forms are informed by ideology, the act of privileging thesis-driven forms in schooling practices can also privilege the practice of requiring students to take on subjectivities allowed only within those forms. Expanding the writing forms assigned within first-year writing programs can offer writers more open, contradictory possibilities for expressing authority, resistance, critical inquiry, creativity, and difference.

This essay seeks to explain the history that led to the establishment of First-Year Writing at Binghamton University, a program which offers a set of electives that complement discipline-specific and writing-across-the-curriculum courses while providing first-year students a common experience in and comprehensive introduction to college writing.

In this critical program profile, the authors provide an analysis of the historical, political, theoretical, and practical circumstances that influenced the development of Oakland University’s undergraduate major in writing and rhetoric. Through an analysis of the developmental process and the major itself, this article explores many separate, yet interconnected issues. These include the development and naming of a department of writing and rhetoric, the impact the major has had on the first-year writing program, the theoretical and practical structure of the three-track major, as well as the institutional impact the program has had.

This article presents the case for using a critical literacy approach to enhance the freshman composition experience for second language writers. As our classrooms become more multilingual and multicultural with each passing semester, we need to move away from thinking of our ESL students as “outliers” and consider them as key participants with specialized linguistic and cultural needs and strengths. Using both published examples and her own experiences, the author illustrates how a critical approach can be advantageous to second- language writers and offers ways such an approach might be implemented in actual practice.

I created my Exploratory Survey on the Status of the Research Paper Assignment in First-year Writing/Composition Courses to learn whether the traditional research paper remained as common an assignment in 2009 as it had been in the past. My survey updates results from two previous surveys on the status of this assignment. Ambrose N. Manning’s survey, conducted in 1961, found that 83% of colleges and universities in the United States included the traditional research paper assignment in first-year writing/composition curricula. James E. Ford and Dennis R. Perry’s 1982 survey concluded that 78.11% of the colleges and universities that required first-year writing/composition courses included the assignment, a decline of 5%. My survey results indicate that in 2009, at survey respondents’ schools, only 6% of research assignments in first-year writing/composition courses are traditional research paper assignments, a decline of 72% since 1982, while 94% are alternative ones. This shift appears to reflect trends in scholarship as well as changes in assessment practices, structure of first-year writing/composition programs, and technologies for writing, researching, and teaching.

Reviewed are: Academic Cultures: Professional Preparation and the Teaching Life Edited by Sean P. Murphy, Reviewed by Lois Birky Genre Theory: Teaching, Writing, and Being by Deborah Dean, Reviewed by Meredith DeCosta Ideas That Work in College Teaching, Edited by Robert L. Badger, Reviewed by Raymond Bergeron Inside the Community College Writing Center: Ten Guiding Principles by Ellen G. Mohr, Reviewed by Deborah Bertsch Essential Literary Terms: A Brief Norton Guide with Exercises by Sharon Hamilton, Reviewed by John Benson

Peer-response remains a central process in first-year composition; faculty can make it effective and efficient by “spotlighting”—designing the process as digital, emergent, and distributive.

In this essay I present the results of a national study of over 2,000 writing assignments from college courses across disciplines. Drawing on James Britton’s multidimensional discourse taxonomy and recent work in genre studies, I analyze the rhetorical features and genres of the assignments and consider the significance of my findings through the multiple lenses of writing-to-learn and writing-in-the-disciplines perspectives. Although my findings indicate limited purposes, audiences, and genres for the majority of the assignments, instructors teaching courses explicitly connected to a Writing Across the Curriculum program or initiative assigned the most writing in the most complex rhetorical situations and the most varied disciplinary genres.

The article describes and analyzes the exclusion of LGBT content in composition courses by reporting on a study of how queerness is (and is not) incorporated into first-year writing courses. The authors critically examine the presence or absence of LGBT issues in first-year composition readers; offer analyses of how some first-year readers handle issues of queerness; and consider how queerness, when it is included in composition textbooks, is framed rhetorically as a subject for writing. The article concludes with recommendations for those seeking to explore issues of sexuality in ways that are productive for students, other faculty, and our profession. Ultimately, the authors demonstrate that, while some ground has been gained in understanding sexual difference as an important domain for students to explore, there is still much work to be done in creating textbooks that invite students to think critically and usefully about the interconnections among sexuality, literacy, and writing.

Recent appeal to the concept of design in composition studies benefits teaching writing in digital media. Yet the concept of design has not been developed enough to fully benefit composition instruction. This article develops an understanding of design as a matter of resolving wicked problems and makes a case for the advantages of this understanding in composition studies.

Reviewed are Making Writing Matter: Composition in the Engaged University by Ann Feldman; City of Rhetoric: Revitalizing the Public Sphere in Metropolitan America by David Fleming; and Living Room: Teaching Public Writing in a Privatized World by Nancy Welch.

Little helps students see that the vitality of the first chapter of Thoreau's Walden inheres not in a suggestion that people live in the woods by subsistence farming and occasional wage labor, but rather in a challenge to readers to perform cost-benefit evaluations of their modes of living. Central to this effort is a writing assignment that asks students to (1) offer a research-based description of the economics of their postgraduation lives, assess on the basis of evidence drawn from Walden what Thoreau might think of their plans, then respond to Thoreau's probable views, or (2) explain and respond to what Thoreau might say about the U.S. Department of Labor's most recent table of average annual expenditures and characteristics from the Consumer Expenditure Survey. This assignment trades away one of the few opportunities that many students have to engage in literary criticism at a level beyond what is typical in freshman English, but an advantage is that students with a wide range of academic interests can produce competent discussions.

This paper reports on recent research investigating the effects of service-learning on linguistically and culturally diverse college students enrolled in a first-year composition course. Two separate studies, a pilot and main study involving native (NS) and non-native (NNS) English speaking college students, explore how students from diverse sociolinguistic backgrounds respond to and gain from service-learning. The results were mixed, with the initial study indicating NNS students often experience more difficulty finding and successfully completing work in the community while the main study found a similar group of NNS students to expect and gain more from service-learning activities than a comparative group of NS students. Implications for introducing diverse student populations to service-learning activities are discussed in light of these findings.

An assessment project aimed at examining transfer of learning from English 101 to a subsequent psychology course provided insight on transfer and on student metacognition and also created a rich opportunity to exchange scholarship and ideas between disciplines.

This article draws data from a participant-observation study that considers fourteen-and fifteen-year-old-dual enrollment students and gauges the impact of their attendance in a section of first-year composition on them, on other students, and on curricular rigor.

Computer technology is expanding our profession’s conception of composing, allowing visual information to play a substantial role in an increasing variety of composition assignments. This expansion, however, creates a major problem: How does one assess student work on these assignments? Current work in assessment provides only partial answers to this question. Consequently, this article will review current theory and practice in assessment, noting its limitations as well as its strengths. The article will then draw on work in both verbal and visual communication to explain an integrative approach to assessment, one that allows instructors to consider students’ work with visuals without losing sight of conventional goals of a “writing” course. The article concludes by illustrating this approach with an analysis of an unconventional student text “a T-shirt”that students submitted as the final assignment for a relatively conventional writing course.

The indigenous rhetoric of the Plateau Indians continues to exert a discursive influence on student writing in reservation schools today. Plateau students score low on state-mandated tests and on college writing assignments, in large part because the pervasive personalization of Plateau rhetoric runs counter to the depersonalization of academic argument. Yet, we can teach writing in ways that honor all students’ “and not just Plateau students’ rhetorical sovereignty” even as we prepare them for academic writing.

If college writing faculty wish to prepare students to engage in civic forums, then how might we prepare students to write and speak amid racial politics on our campuses? This article explores the college student discourse that shaped an interracial conflict at a public California university in 2002 and questions the “rhetoric of injury” informing racial accountability in the post-civil rights era.

These four essays derive from presentations on a panel held at the CCCC Annual Convention in 2007.

Review of three books: Community Literacy and the Rhetoric of Public Engagement Linda Flower Because We Live Here: Sponsoring Literacy beyond the College Curriculum Eli Goldblatt Making Writing Matter: Composition in the Engaged UniversityAnn M. Feldman

The Converging Literacies Center (CLiC) is a deeply integrated model for writing programs, bringing together the writing center, first-year writing, basic writing, professional development activities, graduate coursework, and research activities to re-imagine and support twenty-first-century literacies. What is unique about CLiC is not merely the extent of this integration but the non-traditional populations from which research and best practices emerge: The vast majority of our undergraduates are first-generation college students.This webtext discusses the need for programs like this one as well as the specific steps we have taken to develop CLiC (and why). It includes video, audio, web, and text-based media elements.

There has been little discussion of hospitality as a practice in college writing courses. Possible misuses of hospitality as an educational and ethical practice are explored, and three traditional and still tenable modes of hospitality are described and historicized: Homeric, Judeo-Christian, and nomadic. Application of these modes to instructional situations may lead to new and sometimes counter-establishment methods, in terms of course objectives, shared labor of teacher and students, writing assignments, response to writing, and assessment of student work. Perhaps the most radical form is transformative hospitality, which accepts the possibility that host and guest, teacher and students, will all be changed by their encounter, a potentiality that is characterized by risk taking, restlessness, and resistance to educational entrenchments. Traditional hospitality as practiced in writing classrooms does not mark a return to student-centered pedagogies of past decades but does stake out a position that might be considered marginal apropos the current political and educational climate in the United States.

The goal of teaching students to write for the university assumes that in first-year composition students can be taught ways of writing (genre and genre knowledge) that they can then transfer to the writing they do in other courses across the university. This goal and its underlying assumption are problematic for a number of reasons illustrated here through a study of a large midwestern composition program. The study validates theoretical critiques of general skills writing courses made by genre and activity theorists over the past decade. The difficulties of teaching varied academic genres in only one context suggest we might better serve first-year students by reframing the goals of FYC, such that the course does not promise to teach students to write in the university but rather teaches students about writing in the university.

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Working with and learning from veterans reveals a wide range of inclusive opportunities that composition instructors might use to facilitate transformations of service-related experiences into effective compositions.

This teacher-researcher study explored the manner in which students created video compositions in a secondary English language arts media studies program. The study found that video composition is a complex, recursive process that allows for sequential multimodal representation of thoughts and ideas. Four areas are addressed: video allows for the expansion of compositional choices, demonstrates the verisimilitude of students’ initial concept to videotaped image, highlights the visuality in students’ re-presentations of ideas, and provides research methodological considerations.

The author discusses his experience in a university project that led to the creation of a first-year writing text based on interviews with members of a local neighborhood. In particular, he analyzes the negative reaction that many of the community’s residents expressed toward the text’s portrayals of them. From the tensions that developed, the author concludes that English studies must go beyond mere expansion of the canon and reflect upon the very nature of value, including the importance of “use-value” with respect to the production and circulation of community-generated texts.

This article describes specific language experiences of three college writing teachers and the classroom practices that have resulted from these experiences. The authors want to raise awareness of linguistic diversity in writing classes and to help teachers connect with their own language experiences in order to integrate policies and practices that value students' own language varieties.

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.

Although accelerated summer and winter intersession courses may appeal to developmental ESL students who are required to take several ESL/English courses before placing into first-year composition, the abbreviated time period may actually be detrimental for weaker ESL students. Two case studies are presented here that chronicle two students’ struggles in such a course.

To gain an understanding of how audiences shape the way they write, students use online surveys in order to gather information about their audiences—information that helps them create persuasive presentations in a first-year writing course.

The literary genres of creative nonfiction have tremendous potential to create a new kind of process-centered textbook—and perhaps a rocess-centered pedagogy that has finally reached maturity.

Because hybrid first-year college writing programs are an emerging phenomenon, it is important for composition specialists to identify their potential strengths and possible disadvantages. The author reviews the various forms that such programs have taken so far, and she engages in an extended critique of one particular institution’s model, questioning especially its claims to objectivity.

This essay describes Louisiana State University’s search for an alternative to available placement protocols. Under the leadership of Les Perelman at MIT, LSU collaborated with four universities to develop iMOAT, a program for administering online assessments of student writing. This essay focuses on LSU’s On-line Challenge, which developed from the iMOAT project. The On-line Challenge combines direct and indirect writing assessments with student choice while freeing students from the constraints of time and place to invite new possibilities for assessing writing.

David H. Slomp and M. Elizabeth Sargent have written a commentary on the responses by Joseph P. Kutney (December 2007) and by Libby Miles et al. (February 2008) to Douglas Downs and Elizabeth Wardle .Teaching about Writing, Righting Misconceptions:(Re)Envisioning First-Year Composition as Introduction to Writing Studies which appeared in the June 2007 issue of CCC.

Entering college students often struggle with their professors' expectations for “analysis” since those expectations are often ingrained in disciplinary assumptions that scholars rarely need to articulate. In this essay, I argue that we need to teach analysis explicitly in first-year writing courses and that we need to help students transfer those lessons across the curriculum. By asking students to read “with” and “against” the grain of texts, I give them tangible ways to rough up and pull apart the sources we read together. Students find this language useful in helping them engage directly with sources and ideas, rather than sliding into description or summary. Reminding them that this particular approach originates in the discipline of literary studies, I then have students themselves draw conclusions about what “analysis” looks like -- and what it does -- in other disciplines by examining samples of scholarly writing.

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.

An ecocompositional turn to suburban studies can help unlock the wider promise of environmentally oriented composition curricula by encouraging student writers to reevaluate the language in which they describe their world. As the embodiment of modern domesticity, suburban life dramatizes the fundamental role of place in the construction of writers' subjectivity.

This webtext describes a pilot course that united four first-year composition courses around shared readings and online discussion addressing the physical and virtual university. The goal of the pilot was to foster previously impossible student interactions by exploring how discrete discussion roles shaped interaction and reputations among students.Ultimately, we wanted to provide a structured environment that facilitated independent student investigation and exchange. We hope that this research testifies to the fact that forums are not naturally pedagogically sound; rather, fostering meaningful digital encounters requires careful and thoughtful pedaogical planning.

Writing faculty, tutors, and librarians at West Virginia University took a team-approach to teaching research, reading, and writing as intertwined processes. This collaborative project encouraged each member of the team to re-examine professional and disciplinary boundaries, and resulted in new assignments and activities that successfully engage students in researched writing.

Studying the communicative role models of my freshman composition students at a historically black school, I learned which rhetorical approaches my students already appreciate and possibly bring with them to college. My analysis of their essays on their role models illuminates a distinction between what they have learned and what they are expected to practice as college writers, suggesting that their communicative role models are significant indicators for how comfortably they will adjust to writing in college. I discovered that those students who admire personas who project with a forceful, “true,” inner confidence, frequently learned from hip-hop culture, could be deflated in an academic setting if they are not taught the necessity of adjusting oneself to the rhetorical situation.

This writing program profile examines the work of Dr. Linda Adler-Kassner and the ways in which she has redefined writing and the place of first-year writing at her university. The profile highlights Adler-Kassner’s development of an “open systems” curriculum and her use of assessment for program visibility and continuous program improvement.

This profile presents an overview of CSU, Fresno’s writing program and its program assessment endeavors. It argues that one way to achieve effective program assessment and a complimentary writing program is to engender a culture of self-assessment at all levels.