This essay and the teaching externship it describes grew out of our attempt to respond to gaps in two-year college English instructor preparation, particularly in basic writing, at Metropolitan Community College in Omaha, Nebraska.

In the early twentieth century, students produced and used a variety of texts to commemorate their school experiences and foster a sense of community among themselves. Through the compositional practices and values associated with these texts“particularly those of school literary annuals and memory books”the genre of the modern school yearbook emerged. This article draws on primary sources to trace the emergence of the yearbook as a form and practice at one Louisville high school for girls, where yearbooks both reflected and shaped the experience of high school for students who manifest complex genre knowledge and identity work in their compilations and inscriptions.

Transfer student writers, who comprise more than one-third of all college students, are simultaneously experienced writers and first-year students at their new institutions. Despite their complicated positions, these students have received very little attention from composition specialists. This article responds to the paucity of attention to transfer student writers by reporting on a multiyear study that alternated between investigations of the experiences of these students and programmatic changes designed to address their expressed needs and concerns. The guiding principle of this work, and of the advice offered to colleagues interested in supporting transfer student writers on their own campuses, is a combination of institutional and student changes or mutual adjustments.

Grounded in a multimodal turn in composition studies, this article reports findings from a quantitative taxonomy analysis of four visual rhetoric and multimodal composition textbooks. This analysis reveals that while theories privilege the production of visual and multimodal compositions, the practices encapsulated in these textbooks promote the consumption of such compositions more so than production. As a result, instructors will have to be mindful about their uptake of visual and multimodal textbooks if they want to teach in ways that are theoretically grounded and rhetorically rich.

ABSTRACT This article gives an account of the nature and purpose of Kant's poetic rhetoric in Dreams of a Spirit-Seer Elucidated by Dreams of Metaphysics. I argue that Kant employs a poetic mode of rhetoric in order to provoke a passionate, enthusiastic response in his audience. I go on to show that Kant became increasingly skeptical of poetic rhetoric's pathetic power after publishing Dreams. Ultimately, I demonstrate that Kant's confrontation with the Sturm und Drang led him to formulate a moral critique of poetic rhetoric and its tendency to undermine its audience's rational autonomy. I conclude by highlighting the significance of this critique in and for the development of Kant's mature rhetorical theory.

ABSTRACT This article examines the meaning of the subjective in rhetorical modes of inquiry in contrast to the other-oriented nature of social critique. I reopen the problem of consciousness for interpretation by examining challenges to scientific authority in the 1930s, specifically how Kenneth Burke and Alfred North Whitehead respond to a “crisis in mathematics” born out of Whitehead's attempt, with Bertrand Russell, to reconcile logic and mathematics. Whitehead uses Russell's paradox to demonstrate the necessary return of subjective inquiry as a legitimate mode of knowledge. Burke's Permanence and Change develops Whitehead's arguments to justify interpretative approaches to knowledge. Examining their arguments reveals an analogous “crisis in the humanities” in which language or culture is substituted for the examination of subjectivity. Such misplaced concreteness risks omitting interpretive aspects of rhetorical inquiry in favor of the social or political when such social aspects only emerge within the field of subjective experience.

Previous research has documented the potential of digital projects for immigrant students to capitalize on their transnational knowledge. Yet, there are only limited insights on the practices and perspectives of immigrant adults in digital/multimodal composition. In this article, we explore how visual media are used by adults and adolescents as resources in the production of digital texts, and as artifacts to elicit accounts and memories. We draw from transnational approaches to theorize the role of technology in facilitating connections with students’ home countries. We use social semiotics and testimonio lenses to examine media they selected to represent their hometowns in (or nearby) the Mexican state of Michoacán. Lastly, we adopt methods of practitioner inquiry and artifactual literacy to elicit information about participants’ understandings and choices in the composition process. Our findings show that while transnational ties were relevant for all participants, their understandings about their hometowns differed across generations. Adults represented the homeland as a source of healing and miracles, while youth focused on concerns about crime and corruption. We also document the complexities of access to visual media through search engines. We show the ways family networks, travel, and media consumption shaped the composition choices students made, as well as how their current circumstances, roles, and concerns led them to share testimonios of struggle and faith. We discuss contributions to digital writing research across generations, and implications for pedagogical practices that leverage students’ transnational ties and migration histories

As theorization of multimodal text processes and productions continues to outpace classroom practices, research that contributes understandings of how composers are living out multimodal processes is needed. In response, we turn to thinking with theory (Jackson & Mazzei, 2012) as both a methodological and an analytic approach to understand how multimodal composing processes and products come to be. We provide strategic sketches (Leander & Boldt, 2013) focused on third graders “Efrain” and “Trinidad”, not aiming to display the data in a traditional sense, but instead to ask of ourselves, the data, and theory: What material intra-actions emerge among two young picture book makers? What social, cultural, and material worlds are performed in their final picture book productions? Thinking with theory and data was an effort to experience some of the moment-to-moment nuances of young children’s multimodal processes, to appreciate the lived social, cultural, and material realities animated in their picture books, and to develop sensitivities to the possibilities of the material turn in post-humanist studies for literacy research. The analytic questions produced point to the saliency of diverse literature as aesthetic inspirations for multimodal texts, and of improvisations with varied art tools and media as openings for multimodal processes. This paper advances previous related scholarship through strategic sketches that invite readers to experience the complexity and the cultural significance of the multimodal processes and products that emerge when classroom expectations of a proficient writer include the ability to improvise and become with diverse materials and meanings, not just to command “standardized written English.”

Much of the research on youth digital literacies relies on the experiences of exceptional cases, while less is known about more typical youth who share their writing in online spaces. Through the examination of a novice writer in an online space, this article explores the convergence of factors shaping young people’s networked writing and addresses recent critique of the New London Group’s(1996) Designs of Meaning framework. Data were gathered during a two-year ethnographic investigation of an online affinity space, The Sims Writers’ Hangout, and analyzed through a Designs of Meaning lens. Data sources include the writer’s posts on the site, responses she received from others, her Sims fan fiction texts, interview responses, and researcher field notes. Findings of this study make visible the multiple factors influencing this writer’s choices, revealing how Available Designs from within and outside the site shaped her creations and how she leveraged her online participation to Design products that met the expectations of this audience. This analysis contributes to the field’s understanding of how online affinity spaces influence youth digital literacy practices and argues that a Design perspective makes such shaping more visible. The article also argues for a more complicated notion of affinity space audiences as collaborators, rather than just supportive reviewers. These findings suggest the need for continued study of typical participation in online spaces and future research to examine networked writing within classroom contexts.

This article theorizes teaching as accommodation and argues for a centering of disability in writing pedagogy. It examines how universal design can improve composition classrooms, applying inclusive principles to the syllabus in particular.

"Assembling Arguments: Multimodal Rhetoric & Scientific Discourse, by Jonathan Buehl." Technical Communication Quarterly, 26(1), pp. 95–96

Style pedagogies, as many composition scholars have argued, have largely fallen out of favor in the last few decades. Those who have examined the decline have pointed to the deemphasis of the text prompted by the process movement as well as the subsequent social turn in composition studies. This article, in contrast, looks to the emergence of postmodernism and the ways in which it challenged and continues to complicate the theorizing and teaching of style. The author argues that embrace of a self-reflexive, “essayistic” voice would allow the instructor to exploit postmodernist impulses while revitalizing the teaching of style.

As technology continues to become more ubiquitous and touches almost every aspect of the composing process, students and teachers are faced with new means to make writing a multimodal experience. This article embraces the emerging sector of wearable technology, presenting wearable writing strategies that would reimagine composition pedagogy. Specifically, the article introduces Google Glass and explores its affordances in reframing student peer-review activities. To do so, the author presents a brief overview of wearables and writing technology, a case study of how the author deployed Google Glass in a first-year writing course, and a set of tips for using wearable technology in general and technical writing courses.

Engineers communicate multimodally using written and visual communication, but there is not much theorizing on why they do so and how. This essay, therefore, examines why engineers communicate multimodally, what, in the context of representing engineering realities, are the strengths and weaknesses of written and visual communication, and how, based on an understanding of these strengths and weaknesses, one can consider using the strengths of each form of communication to address weaknesses in the other. Doing so can possibly enable one to demonstrate for engineering majors how they can, with greater effectiveness, communicate multimodally for representing well engineering realities.

Image-based research conducted on and by research participants holds promise to extend participatory studies in technical communication by delivering research techniques that have been used for Policy Research in Public Health and other areas of participatory research (e.g., community-based participatory research). Even though they can expand policy (or even user design work), the use of participants’ images is not without challenges. The article discusses those challenges and suggests practices that stabilize the research logistically, relationally, and thematically; it also presents the approach as attractive for use in arenas that reward scrutiny even though they have traditionally been difficult to study.

This article reexamines Henry’s 2006 proposal for training technical communicators as “discourse workers,” as a solution within a certain postmodern problematic, in which changing economic conditions in the late 1990s and early 2000s made workers vulnerable to exploitation, outsourcing, and layoffs. Henry used postmodern and critical theory to describe discourse as a medium of leverage for enabling workers to define new workplace agencies. Even though Henry’s discourse worker is an appealing concept buttressed by solid theory, it did not become a widely implemented model for pedagogy or workplace practice. To reexamine Henry’s concept, the authors exchange late 20th-century postmodern theory for the more recent articulation of “post-postmodern” theory proposed by Nealon and explore the implications of swapping out the postmodern puzzle piece for a post-postmodern puzzle piece in Henry’s formulation of the discourse worker.

Alibaba’s Graphic Media (GM) is the first and only Internet content source that uses infographics to educate Chinese e-commerce merchants. This study investigates target audiences’ attitudes toward GM infographics. Two focus groups perceived GM as a practical information source that aided them in decision making and daily business operations. They preferred viewing graphics to texts and particularly favored statistical graphics. They also identified issues with viewing GM infographics on mobile devices. Based on the study’s findings, the author proposes three areas that communicators can address when designing infographics in similar contexts: content, usability, and overall visual appeal.

The work of Carol Berkenkotter and others who have expanded the realm of personal narrative studies over the past several decades would not have been possible without the pioneering efforts of those who first brought the study of narrative to nonliterary discourses. By revisiting what personal narratives were to these pioneers—working outward from William Labov in particular—this article considers how the early expansion of the field helps us to understand the far wider expansion of multimodal personal narrative today. In doing so, I suggest that understanding the notion of a personal narrative requires a twofold commitment to inquiry: first, about what makes it narrative; and second, about what makes it personal. These commitments hinge on two crucial junctures, what I call the problem of scope and the problem of autonomy. Framed as questions, the former asks, When does a narrative begin and end? The latter asks, Whose narrative is it? This recuperative essay shows that the heuristics of scope and autonomy can be useful ways to think about the ongoing complexities of personal narrative and its analysis.

Handwritten texts carry significant information, extending beyond the meaning of their words. Modern neurology, for example, benefits from the interpretation of the graphic features of writing and drawing for the diagnosis and monitoring of diseases and disorders. This article examines how handwriting analysis can be used, and has been used historically, as a methodological tool for the assessment of medical conditions and how this enhances our understanding of historical contexts of writing. We analyze handwritten material, writing tests and letters, from patients in an early 20th-century psychiatric hospital in southern Germany (Irsee/Kaufbeuren). In this institution, early psychiatrists assessed handwriting features, providing us novel insights into the earliest practices of psychiatric handwriting analysis, which can be connected to Berkenkotter’s research on medical admission records. We finally consider the degree to which historical handwriting bears semiotic potential to explain the psychological state and personality of a writer, and how future research in written communication should approach these sources.

This study extends a line of inquiry established by researchers using narrative theory to investigate the discourses of psychiatry. Drawing primarily on theories of narrative and genre, the study analyzes a series of autobiographical books intended for an audience of youth suffering from mental illness. Our research investigates how the rhetorical design of the books harnesses the discursive affordances of autobiographical narrative to encourage a particular uptake on the part of a reader suffering from mental illness. Performing an analysis of four of the books in the series, we found them to exhibit a design in which autobiographical narrative is used to prompt an anticipated uptake by the reader: motivation to commit to therapy and engage in lifelong self-care. The study offers insights to authors producing texts intended to support psychiatric practitioners in guiding youth toward recovery from mental illness.

The author proposes a concept of ethics for the writing course, one derived from a moral theory that is both old and new and one that engages us when we teach such practices as making claims, providing evidence, and choosing metaphors in corollary discussions of honesty, accountability, generosity, intellectual courage, and other qualities. These and similar qualities are what Aristotle called “virtues,” and they are the subject of that branch of moral philosophy known as “virtue ethics” today. While the word virtue may sound strange to us today, Duffy argues that the tradition of the virtues has much to offer teachers and students and can clarify what it means, in an ethical sense, to be a “good writer” in a skeptical, postmodern moment.

Abstract This essay argues against the prevailing historical conception that George Strock’s graphic photograph of three lifeless Marines—published by Life magazine on September 20, 1943—was the definitive point when domestic U.S. propaganda began to portray increasingly grisly images of dead American soldiers. After considering how the visual culture of the home front made the photo’s publication a dubious prospect for the government, I examine a series of predecessor images that arguably helped construct a rhetorical space in which such graphic depictions could gradually gain public acceptance and that, ultimately, ushered in a transformation of the home front’s visual culture.

Borrowing from rhetorically based theories of usability, this article offers an invention tactic designed to help students understand how mundane features of everyday dwelling places have significant impacts on their educational experiences. Additionally, the offered tactic helps students understand how to craft rhetorical critiques in contexts inside and outside academia.

Translingual dispositions, characterized by a general openness to plurality and difference in the ways people use language, are central for all users of English in a globalized society, and the fostering of such proclivities is an imperative to the contemporary composition classroom. In this article, we analyze student writing that emerged from a global classroom partnership between a US university and a Hong Kong university designed to facilitate the fostering of translingual dispositions. We show that an examination of writing provides a window into the varied ways in which students negotiate their linguistic identities and construct their ideological commitments to language difference. Although composition can become a space that facilitates opportunities for students to “do” translingual dispositions, these dispositions are constitutive of a constellation of highly complex sociocultural issues and experiences and therefore cannot be expected to be articulated in a preconceived and uniform manner.

Abstract This article problematizes the question of ontology—and specifically embodiment—in the work of Jacques Rancière, focusing on his writing on dance in Aisthesis. I argue that dance offers an ontology in becoming, understood through the concept of inscription; this ontological position enables a reconciliation between the contingency celebrated in Rancière's writing and the emphasis on space derived from dance. I draw on the work of modern dance pioneer Isadora Duncan to show that the category of dancing woman, rather than Rancière's disembodied, unsexed subject, operates as the redistributor of the sensible within modern dance.

Abstract This article explores the implications of Rancièrean theory for a radical politics of migrant equality through an interpretation of a documentary film produced by migrants in Portland, Oregon. Refusing to be defined by their social role as “workers,” the day laborers in Jornaleros execute musical, poetic, and artistic interventions that reorder the “distribution of the sensible.” They also deploy language in emancipatory ways consonant with Rancière's notion of “literarity.” The documentary thus instantiates the “verification” of intellectual equality that is crucial to Rancière's notion of emancipatory education and that, Samuel Chambers argues, should become the focus of critical theory. However, Jornaleros also poses a contrasting model of radical education, drawing on Freirean popular education principles. Even as they exemplify Rancièrean egalitarian practices, the film's worker-activist-artists thus model strategies for adding substantive depth, interactive vigor, temporal extension, and political heft to projects of radical emancipation and exercises in critical theory.

Abstract This article explores the rhetorical underpinning of the pedagogics of unlearning by way of a consideration of three figures: first, “the ignorant schoolmaster” as constructed by Jacques Rancière in The Ignorant Schoolmaster; second, “the intimate schoolmaster,” as fantasized and feared by a diverse range of theories and theorists (but attention will specifically go to this figure as he features in a key moment of poststructuralism, namely Derrida's Dissemination); and third, “the ignorant sifu,” as a figure that exemplifies a strong impulse in many modern movements in approaches to martial arts, self-defense, and combat training. I represent these three figures by way Joseph Jacotot, Plato/Socrates, and Bruce Lee, using them as a way to explore an undecidability at the heart of the binary ignorance/knowledge. Ignorance, I maintain, has always been a key (even if unacknowledged) premise of the dominant textual and discourse approaches of poststructuralism, and there are good reasons why we might try to unlearn some of our dominant understandings of or assumptions about the political and cultural importance of pedagogy.

More than four generations ago, Nancy Coryell’s (1927) study revealed that an extensive approach to reading instruction is more effective than an intensive approach, yet the reading establishment then continued to promote intensive, close reading methods. Recently, the writers of the Common Core State Standards renewed this debate by advocating that teachers implement more intensive, close reading strategies. I replicated a portion of Coryell’s (1927) study to determine the effectiveness of intensive and extensive reading instruction; to do so, I examined the impact each method had on students’ comprehension and analysis of literature. The study used a quasi-experimental, nonrandomized, pretest-post test comparison group research design. I used test procedures to measure the difference in pretest-to-post test scores within and between both groups for both comprehension and analysis. No statistically significant differences existed in the gains on the subtest measuring reading comprehension; however, statistically significant differences in gains on the subtest measuring analysis of literature were found within both instructional methods. At a time when policy seems to drive English instruction toward an intensive approach, this study suggests that we need more research before the field of English education can properly debate the issue.

Through a classroom moment in a graduate course in the teaching of writing, Particelli explores ways in which pointed inquiry into genre—satire, in this case—allows for a lesson design that encourages critical exploration of culture without burdening students with essentialist discussions. Using an inquiry-based approach to genre study, the students in this classroom explore many kinds of “text”—from stand-up comedy to fiction and narrative nonfiction—with an unavoidable eye toward critical theory but without the traditional approach that pushes students to apply a “critical lens” to a text in the way that a tool might be applied to an object. Particelli argues that those often didactic approaches push students to learn a specific script for a specific situation and can even push students to experience the world polemically and thus to become less willing to see complexity of argument, power, and position. Through this classroom example where the cultural habits and expectations of genre remain at the center of conversation, Particelli hopes to spark conversation surrounding the possibilities of expanding our approaches as we develop discussions at the intersections of cultural power, social politics, literature, writing, and students' personal experience.

In this special journal issue, we explore the turn toward human-centered design (HCD) in research and higher education. We begin with a discussion of how HCD emerged in scholarly work at the edges of our field in places such as design, psychology, art, and engineering. Following this, we consider how an HCD perspective is manifesting itself in academic programs in different institutional contexts. We then discuss how this trend is further illustrated by the transformation of our department at the University of Washington, which shifted from being the Department of Technical Communication to becoming the Department of Human Centered Design and Engineering. Finally, we discuss the work of a group of researchers who contributed articles to this special issue. Each of these articles offers a perspective from someone within our field about how an HCD perspective has influenced their thinking and research.

Human-centered design expands the context and reach of the work of technical communicators and provides an opportunity to investigate and advocate for the needs of vulnerable populations. This article summarizes and contributes to the conversation about social justice occurring in both technical communication and design. Using a variety of qualitative methods as a type of design ethnography, this article shares findings from a study that investigated the experiences of homeless bus riders. The study findings provide an opportunity to examine the design of information and communication technologies and changes to policies that impact vulnerable populations. The article discusses the implications of an advocacy perspective for technical communicators practicing human-centered design and their role and opportunity to bring about socially responsible design.

Human-centered design is a burgeoning field of study that has the potential to work toward actively creating more just and equitable technology design while critically interrogating the design process. To do this, human-centered design needs to consider making social justice aims a primary objective and end-goal in design. One way of integrating social justice aims into design is to employ the use of narrative inquiry. This article explores an alternative method for developing design scenarios using narrative inquiry and the feminist concepts of silence and voice as a way to promote considerations of social justice and inclusion in design. Using narrative inquiry to rethink certain aspects of the design process can help designers address issues of agency. The methodological focus of this article responds to Suchman’s call for “alternative visions” of how technology production and design can be undertaken.

Technical and professional communication (TPC), like human-centered design, has long been human centric. But TPC struggles with the complexities of determining which humans are at the center of our work. This article proposes that an explicit consideration of human dignity and human rights can help us to navigate these complexities by reflecting upon whether our work harmonizes with the notion that every person has intrinsic worth. To illustrate, I present findings from exploratory research with nonelite Rwandan youth in which participants conveyed the roles and effects of technology-mediated communication and information and communication technology in their lives. I assert that as TPC begins engaging more explicitly with human dignity and human rights, we should adopt a perspective inspired by human-centered design scholar Richard Buchanan: embracing human dignity and human rights as the first principle of communication and the foundational value of the TPC field.

Human-centered design philosophy proposes that end users be at the center of technical system designs. Building on a seminal study by Gould and Lewis, we present findings from two surveys that explored the practice of building interactive systems from the perspective of information and communication technology (ICT) professionals. We generated ICT job descriptions based on a lexicon derived from practitioners’ own words. We found that while “human-centeredness” has risen among ICT professionals, our respondents varied significantly in how they considered the original three Gould and Lewis principles with respect to their job titles and roles. We thus argue that tools that support clear communication among roles are critical; in this project, we analyzed personas as a common ICT communication tool. While personas were generally perceived positively, persona creators need to consider factors that contribute to buy-in from design teams, including quality research and effective presentation.

This study theorizes genre from within actor-network theory. The net work (spelled intentionally as two words) function of genre proposes a solution to the inherent incommensurability in applying the notion of genre as social action within the posthumanist and postsocial perspective of actor-network theory. The study proposes an approach to genre analysis informed by the net work genre function and demonstrates its affordances by analyzing two conventional workplace genres. Performing genre analysis from a net work perspective has value for assimilating writers, both students and workplace professionals, into a new professional domain or organization.

Much recent composition scholarship has focused on pedagogies of personal writing, championing students’ own languages, and discursive communities. In Political Literacy in Composition and Rhetoric...

This article uses quantitative and qualitative means to assess the impact of an Accelerated Learning Program on the performance and satisfaction of students designated ESL and developmental at a large, urban community college.

Reviewed books: Trained Capacities: John Dewey, Rhetoric, and Democratic Practice Brian Jackson and Gregory Clark, editors Columbia: U of South Carolina P, 2014. 256 pp. Political Literacy in Composition and Rhetoric: Defending Academic Discourse against Postmodern Pluralism Donald Lazere Carbondale: Southern Illinois UP, 2015. 342 pp. Producing Good Citizens: Literacy Training in Anxious Times Amy J. Wan Pittsburgh: U of Pittsburgh P, 2014. 232 pp.

AbstractFoundational theories of the public sphere prioritize civic speech while distrusting forms of visuality. As a corrective to this model of the public sphere, rhetorical theorists have recently emphasized visuality as a constitutive mode of contemporary public culture, but they nevertheless tend to prioritize the civic actor over the civic spectator. A productive alternative would begin to distinguish an emerging shift from “deliberative publicity” to “photographic publicity.” The bourgeois public sphere innovated verbal communicative practices that produced a specifically deliberative publicity, enabling one resolution to the core political problems of an earlier (feudal) era. Likewise, contemporary publics utilize emerging digital technologies to produce a specifically photographic publicity, allowing them to address fundamental limitations of the bourgeois public sphere. Photographic publicity helps us rethink the problem of the public sphere in terms of theatricality and civic spectatorship.

AbstractIn this article I argue for two closely related conclusions: one concerned more narrowly with the internal consistency of G. A. Cohen's theorizing about justice and the unique rhetoric in which it is couched, the other connected to a more sweeping set of recommendations about how theorizing on justice is most promisingly undertaken. First, drawing on a famous insight of G. E. Moore, I argue that although the (Platonic) purity of Cohenian justice provides Cohen a platform from which to put some extremely challenging criticisms to Rawls and Rawlsian liberals, at the same time it generates a sort of self-referential paradox for many of the theses about the concept of justice to which Cohen himself is committed. I go on to conclude, using Rawls's theory of justice as a model, that it would serve political philosophy well to conceive of justice with less purity than Cohen conceives of it.

It is common practice to enroll adolescents in classes designed to improve their reading. Previous studies of literacy intervention classes have focused on students’ acquisition of reading skills and strategies, but few studies have considered how reading identities may contribute to literacy learning. To address this gap, I used theories of positioning and identity to answer the question: How did students’ understandings of literacy and their own reading identities interact with the figured worlds of their literacy intervention classrooms? I analyzed interviews, field notes, and artifacts for two students and teachers in different classrooms, focusing on students’ acts of agency. Analyses revealed that both students’ identities as good readers conflicted with the figured worlds of their classrooms, but they responded differently. One challenged the norms of his classroom in a manner contrary to his teacher’s expectations and was unable to disrupt his positioning as a struggling reader. The other acquiesced to the norms of her classroom in ways her teacher recognized as characteristic of a capable reader, ultimately upsetting her struggling reader subject position. The findings reveal that students’ acts of agency and teachers’ interpretations of those acts are informed by students’ perceptions of themselves as readers and teachers’ understandings of literacy and learning in intervention classrooms. The findings problematize the practice of placing students in classes that position them as deficient. Additional research that attends to sociocultural factors in classrooms is necessary to understand the academic, social, and personal implications of particular approaches to literacy instruction and intervention for individual students.

A growing body of research suggests that adolescents’ reading identities play a significant role in how they make decisions about their involvement with classroom literacy practices. In this yearlong study in an eighth-grade English classroom, I used a formative design to consider how an instructional model intended to support students’ reading identities and development influenced their talk about classroom reading practices. I closely followed five students with varying reading identities and abilities, documenting how they talked about texts within the context of the instruction they received. I found that both the quality and quantity of students’ talk shifted over the course of the study. All students, but particularly those with reading difficulties and negative reading identities, increased how often they talked about texts. They also changed the ways they spoke about texts, shifting from asking questions primarily about assignments to asking more questions about the content they were reading about. However, as students began to change their talk, others responded by attempting to silence them or limit what they said. This study shows that while teachers can create a context that helps students reconstruct their reading identities, they will need to foster a climate where students support each other’s growth as readers and development of reading identities. Therefore, changing the habitus as it relates to reading and being a reader becomes the responsibility of everyone in the class.

The Common Core State Standards accords great importance to close reading, but offers no specific guidelines for how it can or should be taught. This essay provides a critical review of existing instructional models of close reading and addresses issues related to their implementation in content area classrooms. It shows that current models of close reading offer different ways of engaging students in their interaction with complex texts, with some focusing on reading and rereading for understanding and others providing more intensive linguistic support. It argues that effective close reading practices must attend simultaneously to all key elements involved in the complex process of reading, including the reader, the text, the task, and the context, with a special emphasis on developing students’ understanding of how language and other semiotic systems construct meaning, embed ideology, and structure discourse in genre- and discipline-specific ways. The essay demonstrates that the contention about what close reading is and how it could be implemented stems from its varied interpretations by scholars with different theoretical and epistemological beliefs about reading, language, text, literacy, and schooling. It further suggests that an awareness of the critical issues that have been raised about close reading can help teachers avoid potential pitfalls and maximize effectiveness when implementing the practice.

This article examines the framing of the designer’s role in game development in textbooks published and circulated over the past decade. The authors investigate the discursive ways coding is downplayed within game design texts as a means of promoting design as a form of creative expression. This speaks to ongoing tension in the games industry of coding and technology versus art. The authors argue that, in their presentation of game design, leading textbooks attempt to frame the field as one of artistry and technical practice, presenting game design as a type of technical communication. The authors ultimately consider the potential and pitfalls of considering game design as a technical communication field and suggest that this framing presents lens for considering the recently professionalized field.