This essay advances same-sex romantic correspondence as a pre-Stonewall site of rhetoric’s queer extra curriculum. Grounded in archival research on African American women Addie Brown and Rebecca Primus, I argue their epistolary exchange was animated by queer erotics that enabled their participation in self-education for racial uplift.

Code-switching pedagogies do not consider that some features of African American Verbal Tradition (AVT) are rhetorically effective mainstream communication structures in academic writing. My research asserts that when teaching language/dialect difference in majority white school settings, contrastive analysis techniques such as these may have highly negative effects on AAL (African American Language) speakers. Thus, as an alternative to code-switching pedagogical practices, I introduce a comparative approach that may be applied across all minority language groups and that highlights African and African American contributions to standardized American written communication structures and demonstrates the value of AVT in academic settings. This comparative rhetorical approach may have a positive impact on student language attitudes toward AAL by illustrating that many academic writers from varied racial/ethnic backgrounds often use AVT in their writing for rhetorical purposes and to produce lively, image-filled, concrete, readable essays.

This article describes an after-school family literacy program as a model of multiliterate collaboration under and against English Only and anti-immigrant conditions. The model reveals how state politics surrounding language, ethnicity, and citizenship may interact with the activity systems of family literacy programs to redefine what counts as sanctioned language and literacy learning within school spaces. This article details the findings of a qualitative study and includes the goals and curriculum of the program, as well as the recruiting mechanisms, participants, participant feedback, and participant experiences. Findings from the study reveal the role of parental investment in language and literacy learning, language co-construction, and honoring of all languages, cultures, and experiences. This family literacy model contributes to literacy studies by offering possibilities for future school-sponsored, multiliterate family literacy research collaborations to draw from and extend the language and literacy practices and funds of knowledge of ELL students, parents, teachers, and literacy scholars working within English Only and anti-immigrant contexts.

This article argues for a purposeful, racial justice–focused framework for community-engaged projects in rhetoric and composition so that faculty, students, and community partners work together to understand and overcome the myriad ways racist and racial discourses perpetuate injustice. The author explores critical race inquiry in community-engaged projects by presenting analyses of successes and missed opportunities of an ongoing multi-year partnership with a small, local, all-volunteer, collector-based museum and the local branch of the NAACP. These projects reveal insights about pedagogy and disciplinary knowledge and suggest possible forward paths that may lead to more egalitarian partnerships, multi-perspectival knowledge, and impactful antiracist writing instruction in our classes and communities.

This research was funded by The Finnish Funding Agency for Technology and Innovation (TEKES) project RYM Indoor Environment (462054) and by the Spanish Ministry of Economy and Competitiveness (CSO2013-41108-R).

This essay considers the importance of nonstandard English to fostering a more inclusive and incisive Shakespeare classroom. Grady focuses on his experience as the instructor of a Shakespeare course that occasionally employed African American Vernacular English in its analysis of texts. His reflection considers how taking such language seriously encourages more genuine participation from a wide range of students. While this pedagogical approach offers one manner in which the field of early modern studies might expand points of access and foster cross-cultural dialogue, it also stands to deepen the analytic possibilities of the Shakespeare classroom. Grady uses the example of African American Vernacular English to demonstrate that nonstandard English can offer particularly nuanced means through which to investigate and discuss Shakespeare's works.

This article examines the tactical online rhetorical choices of a young African American professional communicator, Gina. Drawing on situated analysis to show how Gina engaged with her African American Hush Harbor (AAHH) of young professionals online, the author argues that Gina used Twitter to maintain professional network ties in her AAHH community while resisting organizational discourses of surveillance. The author further argues that analyzing particular choices in boundaryless career situations allows us to see important nontask-based professional writing activity.

In The Iconoclastic Imagination, Ned O’Gorman sets three architectonic topoi in motion, charting them across a “range of political, aesthetic, and theological histories” (xiv). O’Gorman gives image, catastrophe, and economy greater presence in different sections of the book, enabling microscopic and macroscopic views of his particular objects of study as well as his ambitious inquiry as a whole. In method as well as conclusions The Iconoclastic Imagination provides a dynamic interplay of rhetorical history, theory, and criticism that together provide an inspiring example of what rhetorical studies—and rhetorical education—fully realized can see, make, and do.1In Part 2, for instance, what O’Gorman describes as “the heart of the book,” he “attend[s] not only to the explicit rhetoric of the texts … but also to subjectivities of spectatorship and the aesthetic logics of the technologies of representation in and against which they are situated” (xv). An example of the kind of profound insight such a method can provide comes two pages into O’Gorman’s conclusion: In the context of Hayek’s and Friedman’s argument that nation-states police economic systems, O’Gorman observes, The state appears as an instrument of necessity, rather than freedom. As such, we have a remarkable reversal of the ancient Greek distinction that Arendt discusses between the polis and the oikos. In the neoliberal version, politics is the space of necessity, and economics is the space of freedom. (199)To highlight the power of O’Gorman’s ideas and methods, I herein juxtapose his superlative study with another recent and worthwhile book that sets out to explicate our contemporary dis-ease.A metaphor O’Gorman uses at the end of chapter 1 pushed from likelihood to necessity my juxtaposition of The Iconoclastic Imagination with the proximately published Citizen-Protectors: The Everyday Politics of Guns in an Age of Decline by sociologist Jennifer Carlson. As O’Gorman sums up chapter 1 he observes, “though the age of market triumphalism may or may not be past, I think we remain today in important respects in the crosshairs of a contradiction with respect to the history of liberal democracy” (43). Crosshairs? And how.In Citizen-Protectors, Carlson states that she is “not … attempting to provide a value judgment on guns themselves” (10); nor does her book “attempt to advocate for specific gun policies” (9). Instead, Citizen-Protectorsexamines a world in which guns are a sensible, morally upstanding solution to the problem of crime, a world in which the NRA is not a hard-line lobby that distorts the political process in Washington, D.C., but rather a community service organization that serves middle America, and a world in which guns are attractive not only to white men but also to racial minorities. (9)Carlson’s training as a sociologist enables her to work from inside the norms and practices of men who use guns “to navigate a sense of social precariousness” (10). She analyzes what she first calls the “turn toward guns” and then “the celebration of guns” in terms of “three registers of decline”: First, “changing economic opportunities that have eroded men’s access to secure, stable employment”; second, “abiding fears and anxieties surrounding crime and police inefficacy, concerns that encourage men to embrace their duties as protectors”; and third, “a response to growing feelings of alienation and social isolation, such that guns come to represent not simply an individual’s right to self-defense but also a civic duty to protect one’s family and community” (10) and to police others—hence the book’s title, Citizen-Protectors.Carlson blames neoliberalism for the “age of decline” referenced in her title, and the loss of confidence in the state that Carlson posits harmonizes with O’Gorman’s account of legitimation crisis. Yet Carlson names an additional cause beyond neoliberalism for United States gun mania: what she calls “Mayberry,” “a fictional small North Carolina town on the long-gone Andy Griffith Show” (11). It is here that Carlson’s account becomes deeply unsatisfactory. In her words, “Rich in cultural imagery, Mayberry expresses a nostalgic longing for a ‘state of mind’ … about a particular version of America”; “Mayberry represents, in the American psyche, an idyllic space of single-family homes, nuclear families, community cohesion, and safety and security” (11). Perhaps sensing the inadequacy of the conceptual work she is asking a television program about a fictive town to do in a work of sociology, Carlson hastens to add that the real-life emergence of Mayberry depended on white flight en masse from American cities to suburbs in the 1950s, ‘60s, and ‘70s and a manufacturing-based economy that offered men a breadwinning wage to support the nuclear, single-family household that it idealized. While white middle-class Americans chased the socioeconomic security of the white picket fence, their mass divestment from urban centers helped to further concentrate and isolate poor people of color, who were left behind in American so-called ‘urban ghettos.’” (11)O’Gorman’s profound and novel connection between legitimation crisis and the aesthetics of representation offers a much more comprehensive account of the historical and cultural factors that prompt celebration of not only gun culture but other cultures of violence in the United States. What sums up the neoliberal imaginary better than the celebrated—and globally marketed—figure of the American sniper?Perhaps my preference for O’Gorman’s transdisciplinary understanding of neoliberalism and its entailments is merely a consequence of my own pluralist standpoint. While I long ago lamented Plato’s having “put the -ic in rhetoric” by adding the suffix -ike to rhetor (“Plato’s Shibboleth Delineations”), I have come to see that Plato’s ambivalence about rhetorike is—I will take it to be—a gift for rhetorical invention and reinvention. O’Gorman confesses that his study—in his words—“ranges widely”; that suits this free-range rhetorician just fine. To appropriate Luce Irigaray, this rhetoric “which-is-not-one” at its plural heart remains paideia, a teaching art. No better gift to a teacher than for a student to reciprocate and—to use a metaphor which as a non-athlete I have not earned any right to use—raise the bar. By synthesizing rhetoric’s interpretive and productive capacities in a work of unimpeachable scholarship that ends by stressing rhetoric as a teaching art, O’Gorman has, indeed, raised the bar for rhetorical studies.In his postscript, O’Gorman makes a case for, in his words, “a multidisciplinary school for the artificial in all its aspects. This would include a substantive revival of the liberal arts” (210). Nowhere more than in undergraduate rhetoric classrooms, even and especially in the required writing and speaking classes—for all students, not just honors students—can such a revival make a material difference in the quality of our polity. Many thanks to Ned for this book, for his example, and for passing to another generation of rhetorical teacher-scholars the powers of rhetoric’s kaleidoscope, through which we can glimpse in motion ideas across time.

#Charlottesville. In the moment of transition between summer and fall, the events in Charlottesville called into question the United States’ commitment to equality, equal rights, and racial justice.

Co-authored by a professor and two undergraduates and drawing on interviews with community partners, this essay analyzes a community writing project to document the Civil Rights Movement in a northern city. In collaboration with a local African American history museum, students interviewed 22 African Americans ranging in age from 62-90 years old who lived in Reading, Pennsylvania during the 1960s and 1970s Civil Rights Movement. Beyond the 22 oral histories recorded, transcribed, and housed at the museum, students, community members, and the professor researched, wrote, preserved, and shared a history of the Civil Rights Movement as experienced by African American members of the local community. Aligned with the “political turn” in community-writing partnerships advocated by Shannon Carter and Deborah Mutnick (7), the coauthors argue that collaboratively producing and studying local civil rights history is a form of anti-racist writing pedagogy. The rhetorical, historical project under study illuminates the rhetorical and powerful nature of current narratives of race and racism. As we and all our collaborators documented Civil Rights era history together, we began to circulate layers of counternarratives that both expose and challenge racial realities in productive ways.

Other| September 01 2017 Racial Presidentialities: Narratives of Latinxs in the 2016 Campaign J. David Cisneros J. David Cisneros J. David Cisneros is Assistant Professor of Communication at the University of Illinois, Urbana-Champaign. Search for other works by this author on: This Site Google Rhetoric and Public Affairs (2017) 20 (3): 511–524. https://doi.org/10.14321/rhetpublaffa.20.3.0511 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation J. David Cisneros; Racial Presidentialities: Narratives of Latinxs in the 2016 Campaign. Rhetoric and Public Affairs 1 September 2017; 20 (3): 511–524. doi: https://doi.org/10.14321/rhetpublaffa.20.3.0511 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 All Scholarly Publishing CollectiveMichigan State University PressRhetoric and Public Affairs Search Advanced Search The text of this article is only available as a PDF. © 2017 Michigan State University Board of Trustees. All rights reserved.2017 Article PDF first page preview Close Modal Issue Section: Forum: The 2016 Presidential Primary: Rhetoric, Identity, and Presidentiality in the Post-Obama Era You do not currently have access to this content.

In 2008, when Barack Obama became the 44th president of the United States, many heralded the arrival of a post-racial era. Some were cautious, others seemed to throw caution to the wind, but there was a widespread appreciation, or anticipation, that something new was happening with regard to the role of race in U.S. politics. Daniel Schorr, for example, on National Public Radio’s (NPR’s) All Things Considered, reported that “post-racial” was “the latest buzz word in the political lexicon”; Matt Bai, in the New York Times Magazine, wondered if “black politics might now be disappearing into American politics in the same way that the Irish and Italian machines long ago joined the political mainstream”; writing for Forbes, John McWhorter acknowledged that “nothing magically changed when Obama was declared president-elect” but went on to argue that “the election of Obama proved, as nothing else could have,” that racism against African Americans in the United States is no longer “a serious problem.”

Disciplinary histories of composition studies argue that the mission of communication programs shifted during World War II: from striving to democratize higher education to promoting uncritical patriotism. Historically black colleges and universities (HBCUs) rarely figure into these histories, in part because they seldom appeared in the era’s scholarly publications. Recently digitized African American newspaper archives invite a counter narrative of wartime democratizing pedagogy. Press coverage highlights the Hampton Institute Communications Center, the most widely publicized and politicized site of literacy instruction during the war. The controversy it engendered shows Hampton and other HBCU curricula forwarding wartime literacies that constituted patriotic resistance to Jim Crow segregation.

Books reviewed:Writing against Racial Injury: The Politics of Asian American Student Rhetoric by Haivan V. Hoang. Pittsburgh: U of Pittsburgh P, 2015. 180 pp. Del Otro Lado: Literacy and Migration across the U.S.-Mexican Border by Susan V. Meyers. Carbondale: Southern Illinois UP, 2014. 195 pp. Transiciones: Pathways of Latinas and Latinos Writing in High School and College by Todd Ruecker. Logan: Utah State UP, 2015. 219 pp.

“Expanding on this link between the Southern Strategy and neoliberalism, I argue proponents of municipal schools in Shelby County, TN, deployed a small government rhetoric of freedom and a neoliberal framework of self-regulation to codify the boundaries of white flight in the geospatial and discursive realms of the new school districts.”

“Media support particular modalities over others, and formally shape and ideologically infuse products based on their affordances. Hence, students must be able to analyze rhetorical contexts while problematizing simplistic definitions of access and efficacy. The concept of a “multimodal home place” provides a tool to help students become more mindful about technology use.”

This article discusses findings from two interconnected ethnographic studies on the out-of-school literacy practices of Black adolescent males: 18-year-old Khaleeq from the US Northeast, and 18-year-old Rendell from the US Midwest. The data analyzed derive from their engagements in nonschool, community-based, social justice initiatives that, we argue, represent rejections of deficit narratives about who they are (their racialized and gendered identities) and what they allegedly cannot do (their literacy capacities and capabilities). Utilizing a critical literacy approach that attends to out-of-school contexts, race, and counternarratives allows us to demonstrate how they questioned narratives of failure that unfairly place blame on Black youth and not on the structural inequalities endemic to US society. These narratives include (among others): the widening gap in achievement and high school graduation rates between Black and White male students in the United States; the school-to-prison pipeline and increasing drop-out and push-out rates that impact high school–aged Black males; and the overrepresentation of Black males in special education classes. Khaleeq and Rendell used literacies to question these racialized narratives and their consequences, and to produce counternarratives to negative assumptions about Black adolescents. As a result, we focus on how they cultivated their literacies, nurtured their spirits, and charted their own trajectories within community spaces when school was not enough. This analysis offers implications for how literacy practitioners and researchers can narrow the school community divide by lovingly attending to the out-of-school literacies of Black adolescents.

Although contexts for writing have shifted in recent decades, traditional views tend to focus on and perpetuate standards-driven practices for “effective” writing. Literacy scholars have demonstrated the rich possibilities of the English language arts, and of queer-inclusive practices, but few have discussed how the writing of queer youth might disrupt heteronormativity and affirm gender and sexual diversity. Merging an expanded view of authentic writing and Yagelski’s (2011) writing as a way of being, this study explores the writing of Ava, Sanavia, and Anika, three Black queer youth who participated in an after-school writing club. This study examines how normalized literacy participation and ways of being are interrupted when queer youth write the self. In other words, participants constructed identities through the experience of writing and not the extent to which the content or form of their writing conformed to convention or what was “acceptable” in school spaces. Findings suggest that the act of writing enabled the participants to navigate and disrupt heteronormativity and traditional writing practices while being who/how they were. These findings contribute to research that seeks to interrupt literacy normativity and calls for restorative literacies aimed at enabling Black queer youth to (re)claim who they are through their writing.

Winners of the Gail E. Hawisher & Cynthia L. Selfe Caring for the Future Scholarship share their experiences and their suggestions for increasing diversity and inclusion in the Computers and Writing community.

Methodologically, this webtext takes up a diversity of modes of making, documenting and reflecting on this shared learning journey, including photography, interviews, participant observation, and a documentary film. This is conveyed through a spatial rhetoric that is designed to evince and allow access to different thematics and elements in the interface so that readers—students, educators, researchers—may differentially traverse the multimodal account of the learning journey.

Scholarly disagreement about preaching has suffered confusion due to definitions of the subject that do not sufficiently consider the diversity of that interdisciplinary field of study. This article provides a summary of historical perspectives that is more comprehensive than any such summary in recent literature. That overview leads to suggestions for investigating what preaching is and does.

This article addresses emerging calls for online education and cross-cultural technical communication training, specifically by outlining and reporting on the development and sustainability of two online programs: the graduate online technical and professional writing certificate and the emerging undergraduate bilingual professional writing certificate at the University of Texas at El Paso. Data presented suggest cultural and linguistic diversity should be embedded and streamlined across all aspects of online technical communication programs.

This essay explores how Black LGBTQ students use writing to translate and transmit African American vernacular language codes in their everyday lives. Through documenting how students experience and interpret homophobia through the prism of African American vernacular English (AAVE), I demonstrate how some use language and literacy practices to critique and perform dominant gender behaviors reflected in their community. I theorize a Black queer rhetoric as a framework for understanding and nuancing the discursive limits of African American vernacular English

The present book was edited in honour of Liliana Tolchinsky, to pay tribute to her career as a researcher in the field of writing development. For this purpose, the editors of Written and Spoken Language Development Across the Lifespan have brought together researchers from all around the world who wished to share results from studies that reflect Liliana Tolchinsky’s influence on their work. The book starts with an introduction by the editors Perera, Aparici, Rosado and Salas, in which Liliana Tolchinsky’s career is described. In this introduction, the reader is embarked on a pleasant travel throughout Liliana Tolchinsky’s career, filled with ambitious and innovative projects, international collaborations and awards won. This book comprehends a total of 19 chapters, all aiming at investigating language development. It is divided into two parts: Part I gathers chapters focused on early literacy, while Part II focuses on later literacy development. This review is organised in two parts. The first part aims at presenting the book, by briefly describing each chapter and showing their specificities and similarities. This part will allow the reader to appreciate the book’s richness and diversity in terms of linguistic contexts, participants’ characteristics, levels of language investigated and methods of analysis used. In our second part, we discuss the book’s contents in relation to Liliana Tolchinsky’s career, by linking the chapters to her main interests and contributions to the field of language development.

This article describes the value of cross-campus collaborations for community-based learning. We argue that community-based learning both provides unique opportunities for breaking academic silos and invites campus partnerships to make ambitious projects possible. To illustrate, we describe a course “Writing for Social Justice” that involved created videos for our local YWCA’s Racial Justice Program. We begin by discussing the shared value of collaboration across writing studies and librarianship (our disciplinary orientations). We identify four forms of cross-campus collaboration, which engaged us in working with each other, with our community partner, and with other partners across campus. From there, we visualize a timeline, turning from the why of cross-campus collaborations to the how. Finally, we underscore the need to name and claim—to value and cultivate—cross-campus collaborations for community-based learning.

The proportion of young women in the juvenile justice system has increased substantially since the nineties, yet the rhetoric surrounding them remains under-studied and under-critiqued. The oppressive nature of this rhetoric thwarts the achievement of gender equity in juvenile justice, undermining the reforms that have been recommended over years of research. The following analysis examines this rhetoric for the ways in which it silences women and furthers gendered oppression in system; it also offers critical cautions regarding existing approaches to gender-responsive programming. By acknowledging the subalternity of young justice-involved women, further studies and community collaborations can be taken up to close the distance between the actual experiences and knowledges of young women and the rhetorical constructions of them that have long informed policy, programming, and daily interaction.

Research problem: The purpose of this study is to examine the effects of the cultural intelligence of a dyad (a team of two persons) on its global virtual collaboration processes and outcomes. Research question: Does a dyad's cultural intelligence have an effect on global virtual collaboration processes and outcomes? If yes, which effects does that cultural intelligence have? Literature review: We review literature on the management of cultural diversity in global virtual collaboration and cultural intelligence. The literature suggests that cultural diversity in global virtual teams is mainly managed with rigid approaches, which are ineffective in many situations. Leveraging cultural intelligence has the potential to improve global virtual collaboration. However, its effects at the team level or in a virtual setting are not yet clear. Methodology: We used a collaboration simulation with 70 participants recruited from two public universities in China and Germany to study the effects of cultural intelligence. Quantitative and qualitative data were collected through questionnaires, voice recorders, and computer logs. Bale's interaction process analysis was used to code the voice recordings, and ordinary least-squares regression was used to test the hypotheses. Results and conclusions: The results indicate that cultural intelligence has an effect on global virtual collaboration; the lower cultural intelligence and the higher cultural intelligence in a dyad exert different effects on global virtual collaboration. Specifically, the lower cultural intelligence significantly influences the frequency of collaborative behaviors, which further influence group satisfaction. In contrast, the higher cultural intelligence significantly influences the deliverable quality. The findings advance the understanding of the effects of cultural intelligence at a dyad level and on proximal behavioral outcomes. The study has practical implications for global virtual collaboration practitioners and collaborative virtual environment designers. The study is limited by using student subjects and a self-report measure of cultural intelligence, as well as by examining global virtual teams in their simplest form. Future studies are suggested to examine contingency factors on the relationships between cultural intelligence and global virtual collaboration processes and outcomes.

Reviews RaffaeleGrisolia, Giuseppina Matino (a cura di), Arte della parola e parole della scienza. Tecniche della comunicazione letteraria nel mondo antico, Napoli: M. D'Auria editore, 2014,280 pp. € 68,00. ISBN 978-8870-9236-05. Il volume raccoglie tredici saggi prodotti da un gruppo di ricerca attivo presso PUniversitá Federico II di Napoli ed integra una precedente collezione allestita dai medesimi curatori e apparsa nel 2012. Il primo contributo (A. Borgo, Tra storia e retorica: il contrasto CiceroneAntonio nella settima suasoria di Seneca il Vecchio, pp. 9-24) esamina il tema declamatorio che vede Antonio promettere salva la vita a Cicerone proscritto a patto che questi dia alie fiamme la propria opera. Seneca si mostra attento agli effetti che le guerre civili e l'avvio del principato esercitano in ámbito cultúrale, restringendo la liberta e perseguitando la dissidenza, e la figura di Cicerone incarna la contrapposizione fra potere e ingenium, parola tematica , quest'ultima, della settima suasoria. Proprio sulla carenza di ingenium di Antonio l'oratore aveva del resto insistito nella seconda filippica, fonte privilegiata dei declamatori; per questa via, pero, la lotta si sposta sul piano etico e cultúrale e i retori si fanno paladini di un'opposizione desiderosa di mantenere vivi gli ideali culturali della res publica piú ancora di quelli politici. C. Carotenuto tratta di Prassi retorico-lingüistica del «Líber Abad» di Leonardo il Pisano (pp. 25-44), o Leonardo Fibonacci, autore nel XIII secolo del primo trattato di matemática che diffonde in Occidente le conoscenze indiane mediate dagli Arabi; in attesa di un'edizione critica del Liber, in corso di allestimento da parte dell'autrice, il saggio si propone un primo sondaggio della lingua usata da Leonardo. I caratteri indagati riguardano Puso del congiuntivo esortativo, proprio della trattatistica didascalica; Paltemanza tra seconda persona singolare e prima plurale, comune al linguaggio matemático tardo-medievale; la terminologia del calcólo, che prevede costantemente l'imperativo dell'operazione e il futuro del risultato; la costruzione dei verbi della moltiplicazione, in cui a per si altemano in e contra; Pimpiego dei preverbi per conferiré maggiore precisione ai termini tecnici; Pesame del lessico discipli­ nare, ancora non definito in modo univoco. II contributo di F. Conti Bizzarro, Un cattivo sovrano in Polluce (pp. 45-55), muove dal passo deWOnomasticon in cui viene tracciato il quadro del re malvagio : i termini impiegati da Polluce sono accuratamente analizzati e se ne Rhetorica,Vol. XXXV, Issue 2, pp. 228—236. ISSN: 0734-8584, electronic ISSN: 1533-8541.© 2017 by The International Society for the History of Rhetoric. All rights reserved. Please direct all requests for permission to photocopy or reproduce article content through the University of California Press's Reprints and Permissions web page, http:/ /www.ucpress. edu/journals.php?p=reprints. DOI: https://doi.Org/10.1525/rh.2017.35.2.228. Reviews 229 rintracciano i paralleli nel teatro trágico e nella storiografia, che ne fa uso in particolare nei ritratti dei principi romani (Tiberio, Caligola, Nerone). F. Ficca discute Un esempio di "connulicazione mancata”: il discorso di Druso nelfinale délia «Consolado ad Liviam» (pp. 57-73), esaminando la prosopopea di Druso e il suo rapporto con il contesto precedente. La comunicazione tra madre e fíglio è "mancata" perché alla disperata domanda della prima - Ubi es?, ripetuto tre volte - non fa eco alcuna risposta da parte del secondo, che rivendica solo i propri titoli di gloria; inoltre, le parole di Druso contengono appena un breve inciso propriamente consolatorio. Viene quindi sviluppato un puntúale confronto con le eonsolationes senecane, dal quale si traggono elementi per la datazione delFoperetta, che risente del modello senecano e al tempo stesso difficilmente potra collocarsi oltre l'epoca giulio-claudia. II saggio di G. Germano, Nuove funzioni dell'erudizione classica e comunica­ zione letteraria nel mondo poético di Giovanni Pontano: gli esempi di «Hendec.» II24 e«Urania» I 970-1023 (pp. 75-93), discute i modi in cui la poesia umanistica in latino riprende e rifunzionalizza l'apparato mitologico-erudito mutuato dalla cultura classica. La prima lirica è dedicata al letterato di origine bizantina Manilio Cabacio Rallo e presenta una rarefatta evocazione di sette divinité del corteggio di Venere...

Distinctions between traditional service learning and critical service learning with a social justice focus are important when structuring professional writing courses and defining course outcomes. This article presents a hybrid pedagogical approach for designing a critical service-learning course that integrates a social justice curriculum while focusing specifically on reflection, context, and positionality. Detailing the course design and sharing reflections from students and the instructor, the author argues that the modified immersive situated service-learning approach provides professional communication students the opportunity to become agents of change.

Abstract This essay examines Martin Luther King Jr.’s 1967 speech “Where Do We Go from Here?” Delivered at the 11th annual convention of the Southern Christian Leadership Conference (SCLC), the speech addressed the contentious racial politics that permeated the post–Voting Rights landscape. I argue that the speech constituted King’s call for the SCLC to reinvent its ethos—both its “character” and its “dwelling place.” In issuing this call, King cultivated new possibilities for the conceptualization and practice of social justice activism.

Book Review| March 01 2017 Dog Whistle Politics: How Coded Racial Appeals Have Reinvented Racism and Wrecked the Middle Class Dog Whistle Politics: How Coded Racial Appeals Have Reinvented Racism and Wrecked the Middle Class. By Ian Haney López. New York, NY: Oxford University Press, 2014; pp. xx + 277. $24.95 cloth; $17.95 paper. Jonathan P. Rossing Jonathan P. Rossing Indiana University Purdue University, Indianapolis Search for other works by this author on: This Site Google Rhetoric and Public Affairs (2017) 20 (1): 180–183. https://doi.org/10.14321/rhetpublaffa.20.1.0180 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Jonathan P. Rossing; Dog Whistle Politics: How Coded Racial Appeals Have Reinvented Racism and Wrecked the Middle Class. Rhetoric and Public Affairs 1 March 2017; 20 (1): 180–183. doi: https://doi.org/10.14321/rhetpublaffa.20.1.0180 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 All Scholarly Publishing CollectiveMichigan State University PressRhetoric and Public Affairs Search Advanced Search The text of this article is only available as a PDF. © 2017 Michigan State University Board of Trustees. All rights reserved.2017 Article PDF first page preview Close Modal Issue Section: Book Reviews You do not currently have access to this content.

Civic Jazz asks us to expand our understanding of what it means to say that jazz is an American art form. While Clark is clearly a fan, with an intimate knowledge of jazz, its culture, and community, this book offers more than anecdote and description, which is so common in jazz studies. Rather, this well-crafted book extends and offers a theoretical basis to the idea, put forward by Wynton Marsalis, Albert Murray, Ralph Ellison, and most recently Barak Obama when speaking at the 2016 International Jazz Day Concert, that jazz expresses the American spirit. Clark finds his theoretical armature in Kenneth Burke's blurring of the boundary between rhetoric and poetic. As Clark argues, Burke's works articulate a rhetorical theory of aesthetics that is centered on the dispositional effects of form. Furthermore, and precisely because form is not restricted to the language arts, Burke's rhetorical aesthetics are singularly appropriate to a study of the civic role of jazz.Clark models his book on a jazz performance. The book offers neither a linear argument nor a dialectical movement from antitheses to synthesis. Rather, Clark weaves an account where theory, the rhetoric of jazz advocacy, and jazz performances themselves resonate harmoniously. Jazz becomes a representative anecdote for unpacking the details of Burke's political aesthetics, even while this developing theory provides a means to understand jazz's aesthetic workings and civic significance.In “Setting Up,” his first and introductory chapter, Clark advances the thesis/theme that jazz calls forth an identity and a form of living that manifest e pluribus unum. He introduces Burke's work, its cultural critique of America, and its call for a redemptive art of living. Aligning Burke with critics ranging from Walt Whitman to British literary theorist Terry Eagleton, Clark explains how Burke looked at America and how when he saw division, turned to rhetoric and its capacity to overcome it by fostering identification through form. Clark then takes up the difficult task of extending rhetorical theory and criticism to jazz as a historically situated and significant art form and looks to jazz writers and musicians who describe such rhetorical processes in their music. Clark establishes his bona fides by citing broadly: he revisits Aristotle's and Suzanne Langer's reflections on music, gestures toward Ingrid Monson's recent jazz musicology, and takes up the African American reflections on jazz of Ralph Ellison and Wynton Marsalis. These provide the means for him to develop the idea that jazz is constitutional and that its workings can be explained in terms of the rhetoric of form.Each chapter returns to, explores, and augments this initial theme, much as each chorus of a well-crafted jazz solo extends and develops those musical ideas that have preceded it and just as Burke notoriously returned, revised, and augmented own his prior efforts. In his second chapter, “A Rhetorical Aesthetic of Jazz,” Clark doubles down on Burke. While Burke never wrote on jazz, Clark finds in his work the means to capture jazz's civic function. Burke's Rhetoric of Motives describes the aesthetic experience of identification as “swinging along with the form” (58). In Clark's account, this link to jazz is more than fortuitous. Jazz was known as “swing” during its commercial heyday as America's main popular dance music, a reference to its pulsing, danceable rhythm and its contagious attitude, intensity, and energy. Furthermore, Burke was a young man during the “jazz age,” and was aware of African American musical styles, having favorably reviewed both a 1928 concert by the African American Jubilee Hall Singers and the 1933 African American Broadway musical Run, Little Chillun! Burke also corresponded regularly with African American intellectuals, notably Ralph Ellison, the author of Invisible Man and Albert Murray, Ellison's friend and author of both Stompin' the Blues and The Omni-Americans, canonical texts on jazz and race in America.Clark considers “swinging along” to be an apt term to describe the activity of both musicians and audiences, who are guided by a faith that the musical work in progress will continue to cohere as it unfolds. Burke presented swinging along as a needed corrective to the American civic sphere, where cooperation is difficult. For Clark, jazz offers a model for such cooperation. This is because “jazz is an act of hopeful defiance of the alienation and fear that makes us hold ourselves back to avoid judgment or rejection” (26). Throughout the book, Clark describes singularly eloquent jazz performances, including an impromptu restaurant performance of “Route 66” by his thirteen-year-old daughter with noted jazz pianist Marcus Roberts, to illustrate the process and form of life that jazz offers. He selects Miles Davis and Cannonball Adderley's rendition of “Autumn Leaves” to illustrate swinging cooperation and hopeful defiance. The reader can easily find the track online and follow Clark's commentary, which offers a sensitive analysis of how Miles and Cannonball swing along: in their improvisation, they depart from this standard's original form to explore, extend, and deepen its melancholy, using it as a resource for moving beyond, for crafting an aesthetic pathē of upward transcendence.Paradoxically Clark's third chapter, “What Jazz Is,” does not begin with a discussion of jazz, but with Burke's preoccupation with identity and his turn from literary self-expression to rhetoric. Clark retells the story of Burke's response to the turmoil and conflicts of the twentieth century. Originally a writer of poetry and fiction, Burke became a theorist and critic who, seeing America as in need of some type of transcendence, spent a career exploring how understanding, common feeling, identification, and consummation might be fostered through form. The problem in America, and indeed in any democracy, is that individual will and aspiration are in many ways antagonistic to identification and the consummatory experience of community. America's founding sides with the existential truth that our pains, our goals, and our lives are ultimately our own. In all cultures, ritual and civic arts mediate the tension between individual and community. In America, such arts are faced with a particular challenge. They cannot demand the full subordination of individual voices to an idealized unity, as does a church choir. Clark counterpoises a performance of the Jazz at Lincoln Center Orchestra (JALCO) to the unity of his church choir to illustrate how jazz negotiates this tension successfully. His choir follows a fixed arrangement and is guided by a choir master. In contrast, JALCO coordinates a complex of individual voices. JALCO is like a complex organism, where the written musical arrangements provide a basis for skilled jazz artists to make their own music, even as each artist and part coordinate with the whole.JALCO is for Clark exemplary of the art that Burke sought. Clark explains the jazz aesthetic by turning to jazz pedagogy, which encourages students to develop their own musical style, approaches, and voice, even though jazz is based in collective improvised performances. For Clark, jazz is singularly American in the way that it integrates the one in the many and also is forward looking, directed toward redemption. Clark turns to the blues to illustrate this American trait. Blues lyrics paint a bleak picture of pain and loss, even while the music's form and propulsive energy offer emotional coherence and hope. Robert Johnson may be standing at the crossroads and sinking down, but the music carries him and those who listen forward. As Albert Murray observed, borrowing from Burke, the blues are equipment for living, transforming desperation into defiance and joy.America's singular character is the theme of Clark's fourth chapter, “Where Jazz Comes From.” Clark focuses neither on New Orleans nor New York, neither on Chicago nor Kansas City, but on the conflict that Tocqueville saw at the center of the American spirit, where radical individualism leaves each person uprooted and solitary. This insight, first stated in his introduction, is Clark's original contribution to jazz studies. Jazz's origin is far more psychic than geographical or musicological. Jazz does not emerge from the mere musical encounter of African and European forms as much as from a reaction to American alienation, as expressed by Ralph Waldo Emerson, the American Renaissance, Walt Whitman, Louis L'Amour's cowboy pulp function, and Burke's search for a redemptive civic art. Curiously, race is not central to Clark's account. He acknowledges the racial fact of jazz but does not reflect pointedly on slavery's legacy or on the link between American alienation and its original sin. His account, consistent with Wynton Marsalis's narrative, presents jazz as pointing to a world without racial division. Clark insists that jazz is concerned with transcendence and gives new meaning to jazz pianist Bill Evans's observation that “‘jazz is not a what, it is a how’” (14). Clark presents jazz as a form of collective problem solving. Jazz transcends difference by casting new modes of experience and forms of being, by relying on improvised augmentation and complexification rather than the imposition of static melodies and harmonies. Paraphrasing Whitman, we could say that Clark tells us that jazz is large and contains multitudes.While Clark offers a redemptive vision of jazz, he also reminds us that none of this is painless. He recounts the troubled 1963 recording session of Money Jungle by jazz greats Duke Ellington, Charles Mingus, and Max Roach. Musical styles, professional egos, and creative visions clashed. Neither the session nor resultant tracks were marked by harmonious identifications. Nevertheless, the conflict was productive. Clark refers to the music as “eloquent” as it strains to keep it together. Just as the purpose of the session was to produce an album, so the art of democracy is directed toward enabling a life in common, not a common life. Putting a happy face on an at times agonistic and tortured process, Clark describes jazz as another occasion for ad bellum purificandum, “a war waged with an attitude of goodwill … in the bright hope that something better for everyone will follow” (75).A great deal of jazz writing is descriptive and anecdotal, with stories of great bands and singular recordings sessions, battles with drug addiction, brilliant creators, and visionary promoters. Critical and theoretical work in jazz is relatively recent, having emerged in the last two or three decades, but as in rhetorical studies, description and historical anecdote play a crucial role and remain necessary. One of the pleasures of this book is Clark's strategic use of anecdotes as he returns to and elaborates on its main theme. One might find Clark redundant, but only if one fails to grasp his strategy of augmentation and his rhetorical celebration of jazz. Each chapter continues the process of explaining the formal theory of rhetorical aesthetics that underpins Burke's oeuvre even as they clarify the demands and workings of jazz as a civic art. Thus, in his fifth chapter “What Jazz Does,” Clark returns to Tocqueville's pessimism regarding America, to which he counterpoises jazz's possibilities and potential: jazz offers an image of what America would look like if America's three “taboo” divisive issues—race, freedom, and religion—were faced openly and worked through collectively (90). Clark turns to Billy Holiday's signature performance of “Strange Fruit,” Louis Armstrong's rendition of “(What Did I Do To Be So) Black and Blue,” and Duke Ellington's Black, Brown, and Beige suite as eloquent expressions of the African American experience. Clark devotes particular attention to Ellington's explicit attempt to reflect on “his people” as within the American people.Clark's account is compelling, although he does not fully resolve the underlying tension within rhetoric between identification and division. At one moment he praises jazz for offering a common aesthetic experience that offers, if only briefly, the upward transcendence that America requires to fulfill its democratic promise. Subsequently, however, he emphasizes the role of jazz in racial politics, in its lyrics of protest and in the musical expression of the pain of racism in the dissonance and wailing of free jazz. Clark attempts to resolve this tension by equating jazz with freedom, since each jazz performance raises the question of where to go next. Each soloist in part answers this question in tandem with the ensemble, and for Clark the American answer – and the jazz musician answer – is “to freedom, of course” (97). To many, jazz sounds free, which accounts for its appeal to dissidents in the USSR and Nazi Germany and for the American government's use of jazz in the Cold War. Clark notes the irony that black musicians were displayed as representatives of American freedom even while they suffered Jim Crow at home and offers free jazz and its challenge to conventional forms of expression as their rhetorical response.Of singular importance in Clark's fifth chapter is the idea that jazz is political and ethical not only because of its democratic performative pragmatics but because of its content, in both its musical forms and particular compositions. Jazz can be spiritual, in religious or secular terms, even as it is rhetorical, as in John Coltrane's A Love Supreme. Clark highlights the significance of the avant-garde and its embrace of self-expression as the best way to communicate. While spiritual experience is personal, familiarity with jazz, its traditions, and its musical figures makes shared experience possible. This is for Clark what John Dewey sought when he called on Americans collectively to search for the truth. Jazz can prompt reverence, civic humility, and awe. Jazz requires intense individualism and intense cooperation. Optimistically, Clark does not address the deeply competitive spirit at the heart of jazz and its “cutting contests,” jam sessions where each soloist seeks to best and at times show up the other. For Clark, the jazz situation is much like the rhetorical situation, but less agonistic, because each performance is a collective endeavor that ultimately requires cooperation. For Clark, jazz favors congregation over segregation. In America, the latter dominates and requires the corrective jazz offers.This book is about jazz, of course, but it is also concerned with extending Burke's rhetorical sensibility beyond the verbal arts. In his penultimate chapter, “How Jazz Works,” Clark turns to Burke's 1930s novel Towards a Better Life in order to work out the trajectory of his thought. In that early effort, a walk in the New England countryside summoned Burke's alienated protagonist to find happiness through living beyond himself. Burke revisited this path to happiness in his later critical and theoretical writings, working out the nature of being summoned or called. The summons has two related moments: One is summoned to summon others. For Clark, this is how music works. Clark follows Burke's constitutive turn in the Grammar of Motives. Clark incorporates Stanley Crouch's analogy of jazz to the Constitution as an “exercise of the ‘freedom to constantly reinterpret the meanings’” (20) that it provides, offering a way to perfect the American form of life. Resolutely American in his analysis, Clark cites Dewey, who argued that art provides immediate feeling through its structure and coherence. Clark suggests that for Burke, art's aim is not experience in itself but the organization of experience through form to create common sentiments and sensibilities. Art provides resources for better encountering and living with others. In other words, art offers the possibility of civic transcendence.Jazz is constitutive of democracy, as each in turn improvises over a given form, all the while responding to others and expanding the range of what is possible. Jazz musicians share a stock of knowledge and set of skills that enable them, without sheet music or a prior plan, to meet as strangers and play something new. The pragmatics or aesthetic constitution of jazz lets musicians call the tune in a way unheard of in the classical repertoire, just as the Constitution lets citizens call the tune.This insight is not new to Clark. Wynton Marsalis has said much the same thing, What Clark brings to the mix is a more sophisticated account of how jazz both is structured democratically and manifests a democratic aesthetic sensibility. To this end, Clark offers an innovative and well-developed account of Burke's project that links aesthetic form to attitude and identity. Indeed, Clark cites Burke's observation that music far more than speech adheres to the psychology of form. The power of music and other nonrepresentational arts arises not from cognitions but from the experience of form in the moment. Furthermore, jazz as an improvised music is always performed against the possibility of failure: its movement does not always produce the consummation that it seeks. Music opens onto changing the ways that people think. To illustrate, Clark turns to Duke Ellington and John Coltrane's rendition of “In a Sentimental Mood,” which offers a remarkable, and yet for jazz, everyday call to transcendence.Even though jazz is no longer a popular musical form, Clark insists that it offers precisely the form of interaction that Burke called for. He works this out again in his concluding chapter, entitled “So What,” after one of the most memorable tracks on Miles Davis's Kind of Blue. With no rehearsals and no sheet music, that session produced brilliant and innovative music because each in his ensemble was supremely conscious of the others. In this, Clark's insight and optimism shine through. Clark is driven by an appreciation of possibility. At the same time, however, he does not consider the difficulty of the art. Jazz is less democratic than it is aristocratic and republican. As with all arts, it is practiced by the bold, whose eloquence make their work look easy. Its “citizenry” is not enfranchised by birth but earns a place on the stand through displays of which requires of and Jazz is American and and indeed can offer transcendence and new but like rhetoric requires a life to the art.

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.”

Studies on writing development have grown in diversity and depth in recent decades, but remain fragmented along lines of theory, method, and age ranges or populations studied. Meaningful, competent writing performances that meet the demands of the moment rely on many kinds of well-practiced and deeply understood capacities working together; however, these capacities’ realization and developmental trajectories can vary from one individual to another. Without an integrated framework to understand lifespan development of writing abilities in its variation, high-stakes decisions about curriculum, instruction, and assessment are often made in unsystematic ways that may fail to support the development they are intended to facilitate; further, research may not consider the range of issues at stake in studying writing in any particular moment.To address this need and synthesize what is known about the various dimensions of writing development at different ages, the coauthors of this essay have engaged in sustained discussion, drawing on a range of theoretical and methodological perspectives. Drawing on research from different disciplinary perspectives, they propose eight principles upon which an account of writing development consistent with research findings could be founded. These principles are proposed as a basis for further lines of inquiry into how writing develops across the lifespan.

Tactical technical communication research suggests its application to social justice. However, beyond a general advocacy of anti-institutional activity, de Certeau’s notion of tactics provides no detailed ethical framework for ethically justifying tactics. In acknowledgement of this gap, this article foregrounds the ethical thought of feminist philosopher Adriana Cavarero, particularly her concept of vulnerability, as a supplement for those employing tactics for social justice causes. The authors examine the technical documents produced by the hacktivist collective Anonymous.

• Background: Researchers have been working towards better understanding differences in professional disciplinary writing (e.g., Ewer & Latorre, 1969; Hu & Cao, 2015; Hyland, 2002; Hyland & Tse, 2007) for decades. Recently, research has taken important steps towards understanding disciplinary variation in student writing. Much of this research is corpus-based and focuses on lexico-grammatical features in student writing as captured in the British Academic Written English (BAWE) corpus and the Michigan Corpus of Upper-level Student Papers (MICUSP). The present study extends this work by analyzing lexical and cohesion differences among disciplines in MICUSP. Critically, we analyze not only linguistic differences in macro-disciplines (science and engineering), but also in micro-disciplines within these macro-disciplines (biology, physics, industrial engineering, and mechanical engineering).\n• Literature Review: Hardy and Römer (2013) used a multidimensional analysis to investigate linguistic differences across four macro-disciplines represented in MICUSP. Durrant (2014, in press) analyzed vocabulary in texts produced by student writers in the BAWE corpus by discipline and level (year) and disciplinary differences in lexical bundles. Ward (2007) examined lexical differences within micro-disciplines of a single discipline.\n• Research Questions: The research questions that guide this study are as follows:\n1. Are there significant lexical and cohesive differences between science and engineering student writing? 2. Are there significant lexical and cohesive differences between micro-disciplines within science and engineering student writing?\n• Research Methodology: To address the research questions, student-produced science and engineering texts from MICUSP were analyzed with regard to lexical sophistication and textual features of cohesion. Specifically, 22 indices of lexical sophistication calculated by the Tool for the Automatic Analysis of Lexical Sophistication (TAALES; Kyle & Crossley, 2015) and 38 cohesion indices calculated by the Tool for the Automatic Analysis of Cohesion (TAACO; Crossley, Kyle, & McNamara, 2016) were used. These features were then compared both across science and engineering texts (addressing Research Question 1) and across micro-disciplines within science and engineering (biology and physics, industrial and mechanical engineering) using discriminate function analyses (DFA).\n• Results: The DFAs revealed significant linguistic differences, not only between student writing in the two macro-disciplines but also between the micro-disciplines. Differences in classification accuracy based on students’ years of study hovered at about 10%. An analysis of accuracies of classification by paper type found they were similar for larger and smaller sample sizes, providing some indication that paper type was not a confounding variable in classification accuracy.\n• Discussion: The findings provide strong support that macro-disciplinary and micro-disciplinary differences exist in student writing in these MICUSP samples and that these differences are likely not related to student level or paper type. These findings have important implications for understanding disciplinary differences. First, they confirm previous research that found the vocabulary used by different macro-disciplines to be “strikingly diverse” (Durrant, 2015), but they also show a remarkable diversity of cohesion features. The findings suggest that the common understanding of the STEM disciplines as “close” bears reconsideration in linguistic terms. Second, the lexical and cohesion differences between micro-disciplines are large enough and consistent enough to suggest that each micro-discipline can be thought of as containing a unique linguistic profile of features. Third, the differences discerned in the NLP analysis are evident at least as early as the final year of undergraduate study, suggesting that students at this level already have a solid understanding of the conventions of the disciplines of which they are aspiring to be members. Moreover, the differences are relatively homogeneous across levels, which confirms findings by Durrant (2015) but, importantly, extends these findings to include cohesion markers.\n• Conclusions: The findings from this study provide evidence that macro-disciplinary and micro-disciplinary differences at the linguistic level exist in student writing, not only in lexical use but also in text cohesion. A number of pedagogical applications of writing analytics are proposed based on the reported findings from TAALES and TAACO. Further studies using different corpora (e.g., BAWE) or purpose assembled corpora are suggested to address limitations in the size and range of text types found within MICUSP. This study also points the way toward studies of disciplinary differences using NLP approaches that capture data which goes beyond the lexical and cohesive features of text, including the use of part-of-speech tags, syntactic parsing, indices related to syntactic complexity and similarity, rhetorical features, or more advanced cohesion metrics (latent semantic analysis, latent Dirichlet allocation, Word2Vec approaches).

Background: A shift of focus has been marked in recent years in the development of automated essay scoring systems (AES) passing from merely assigning a holistic score to an essay to providing constructive feedback over it. Despite all the major advances in the domain, many objections persist concerning their credibility and readiness to replace human scoring in high-stakes writing assessments. The purpose of this study is to shed light on how to build a relatively simple AES system based on five baseline writing features. The study shows that the proposed AES system compares very well with other state-of-the-art systems despite its obvious limitations. Literature Review: In 2012, ASAP (Automated Student Assessment Prize) launched a demonstration to benchmark the performance of state-of-the-art AES systems using eight hand-graded essay datasets originating from state writing assessments. These datasets are still used today to measure the accuracy of new AES systems. Recently, Zupanc and Bosnic (2017) developed and evaluated another state-of-the-art AES system, called SAGE, which enclosed new semantic and consistency features and provided for the first time an automatic semantic feedback. SAGE’s agreement level between machine and human scores for ASAP dataset #8 (the dataset also of interest in this study) was measured and had a quadratic weighted kappa of 0.81, while it ranged for 10 other state-of-the-art systems between 0.60 and 0.73 (Chen et al., 2012; Shermis, 2014). Finally, this section discusses the limitations of AES, which come mainly from its omission to assess higher-order thinking skills that all writing constructs are ultimately designed to assess. Research Questions: The research questions that guide this study are as follows: RQ1: What is the power of the writing analytics tool’s five-variable model (spelling accuracy, grammatical accuracy, semantic similarity, connectivity, lexical diversity) to predict the holistic scores of Grade 10 narrative essays (ASAP dataset #8)? RQ2: What is the agreement level between the computer rater based on the regression model obtained in RQ1 and the human raters who scored the 723 narrative essays written by Grade 10 students (ASAP dataset #8)? Methodology: ASAP dataset #8 was used to train the predictive model of the writing analytics tool introduced in this study. Each essay was graded by two teachers. In case of disagreement between the two raters, the scoring was resolved by a third rater. Basically, essay scores were the weighted sums of four rubric scores. A multiple linear regression analysis was conducted to determine the extent to which a five-variable model (selected from a set of 86 writing features) was effective to predict essay scores. Results: The regression model in this study accounted for 57% of the essay score variability. The correlation (Pearson), the percentage of perfect matches, the percentage of adjacent matches (±2), and the quadratic weighted kappa between the resolved scores and predicted essay scores were 0.76, 10%, 49%, and 0.73, respectively. The results were measured on an integer scale of resolved essay scores between 10-60. Discussion: When measuring the accuracy of an AES system, it is important to take into account several metrics to better understand how predicted essay scores are distributed along the distribution of human scores. Using average ranking over correlation, exact/adjacent agreement, quadratic weighted kappa, and distributional characteristics such as standard deviation and mean, this study’s regression model ranks 4th out of 10 AES systems. Despite its relatively good rank, the predictions of the proposed AES system remain imprecise and do not even look optimal to identify poor-quality essays (binary condition) smaller than or equal to a 65% threshold (71% precision and 92% recall). Conclusions: This study sheds light on the implementation process and the evaluation of a new simple AES system comparable to the state of the art and reveals that the generally obscure state-of-the-art AES system is most likely concerned only with shallow assessment of text production features. Consequently, the authors advocate greater transparency in the development and publication of AES systems. In addition, the relationship between the explanation of essay score variability and the inter-rater agreement level should be further investigated to better represent the changes in terms of level of agreement when a new variable is added to a regression model. This study should also be replicated at a larger scale in several different writing settings for more robust results.

Background: This study focuses on construct representation and inter-reader agreement and reliability in ePortfolio assessment of 1,315 writing portfolios. These portfolios were submitted by undergraduates enrolled in required writing seminars at the University of Pennsylvania (Penn) in the fall of 2014.  Penn is an Ivy League university with a diverse student population, half of whom identify as students of color. Over half of Penn’s students are women, 12% are international, and 12% are first-generation college students. The students’ portfolios are scored by the instructor and an outside reader drawn from a writing-in-the-disciplines faculty who represent 24 disciplines. The portfolios are the product of a shared curriculum that uses formative assessment and a program-wide multiple-trait rubric. The study contributes to scholarship on the inter-reader reliability and validity of multiple-trait portfolio assessments as well as to recent discussions about reconceptualizing evidence in ePortfolio assessment.  Research Questions: Four questions guided our study: What levels of interrater agreement and reliability can be achieved when assessing complex writing performances that a) contain several different documents to be assessed; b) use a construct-based, multi-trait rubric; c) are designed for formative assessment rather than testing; and d) are rated by a multidisciplinary writing faculty?   What can be learned from assessing agreement and reliability of individual traits? How might these measurements contribute to curriculum design, teacher development, and student learning? How might these findings contribute to research on fairness, reliability, and validity; rubrics; and multidisciplinary writing assessment? Literature Review: There is a long history of empirical work exploring the reliability of scoring highly controlled timed writings, particularly by test measurement specialists. However, until quite recently, there have been few instances of applying empirical assessment techniques to writing portfolios.  Developed by writing theorists, writing portfolios contain multiple documents and genres and are produced and assessed under conditions significantly different from those of timed essay measurement. Interrater reliability can be affected by the different approaches to reading texts depending on the background, training, and goals of the rater. While a few writing theorists question the use of rubrics, most quantitatively based scholarship points to their effectiveness for portfolio assessment and calls into question the meaningfulness of single score holistic grading, whether impressionistic or rubric-based. Increasing attention is being paid to multi-trait rubrics, including, in the field of writing portfolio assessment, the use of robust writing constructs based on psychometrics alongside the more conventional cognitive traits assessed in writing studies, and rubrics that can identify areas of opportunity as well as unfairness in relation to the background of the student or the assessor. Scholars in the emergent field of empirical portfolio assessment in writing advocate the use of reliability as a means to identify fairness and validity and to create great opportunities for portfolios to advance student learning and professional development of faculty.  They also note that while the writing assessment community has paid attention to the work of test measurement practitioners, the reverse has not been the case, and that conversations and collaborations between the two communities are long overdue. Methodology: We used two methods of calculating interrater agreement: absolute and adjacent percentages, and Cohen’s Unweighted Kappa, which calculates the extent to which interrater agreement is an effect of chance or expected outcome. For interrater reliability, we used the Pearson product-moment correlation coefficient. We used SPSS to produce all of the calculations in this study.  Results: Interrater agreement and reliability rates of portfolio scores landed in the medium range of statistical significance.  Combined absolute and adjacent percentages of interrater reliability were above the 90% range recommended; however, absolute agreement was below the 70% ideal.  Furthermore, Cohen’s Unweighted Kappa rates were statistically significant but very low, which may be due to “kappa paradox.” Discussion: The study suggests that a formative, rubric-based approach to ePortfolio assessment that uses disciplinarily diverse raters can achieve medium-level rates of interrater agreement and reliability. It raises the question of the extent to which absolute agreement is a desirable or even relevant goal for authentic feedback processes of a complex set of documents, and in which the aim is to advance student learning. At the same time, our findings point to how agreement and reliability measures can significantly contribute to our assessment process, teacher training, and curriculum. Finally, the study highlights potential concerns about construct validity and rater training.  Conclusion: This study contributes to the emergent field of empirical writing portfolio assessment that calls into question the prevailing standard of reliability built upon timed essay measurement rather than the measurement, conditions, and objectives of complex writing performances.  It also contributes to recent research on multi-trait and discipline-based portfolio assessment.  We point to several directions for further research:  conducting “talk aloud” and recorded sessions with raters to obtain qualitative data on areas of disagreement; expanding the number of constructs assessed; increasing the range and granularity of the numeric scoring scale; and investigating traits that are receiving low interrater reliability scores. We also ask whether absolute agreement might be more useful for writing portfolio assessment than reliability and point to the potential “kappa paradox,” borrowed from the field of medicine, which examines interrater reliability in assessment of rare cases. Kappa paradox might be useful in assessing types of portfolios that are less frequently encountered by faculty readers. These, combined with the identification of jagged profiles and student demographics, hold considerable potential for rethinking how to work with and assess students from a range of backgrounds, preparation, and abilities.  Finally, our findings contribute to a growing effort to understand the role of rater background, particularly disciplinarity, in shaping writing assessment. The goals of our assessment process are to ensure that we are measuring what we intend to measure, specifically those things that students have an equal chance at achieving and that advance student learning.  Our findings suggest that interrater agreement and reliability measures, if thoughtfully approached, will contribute significantly to each of these goals.

This article explores the struggle to transport an ethos of white antiracism across different racial climates within two university contexts. The author analyzes the influence that students' home rhetorics of racism and their conceptualizations about “progressive” white identity have in (de)constructing a teacher's credibility to discuss racial identity and racisms in the classroom.

Being an African American woman for almost 40 years, a secondary education teacher for three years, and a three-time college student, I am well versed in the micro aggressions that plague students in education, which is why I feel it's important to always be aware of new information meant to combat the systems of oppression found in learning environments. Through my research, I realize what is needed is a way to help individuals see and acknowledge discriminatory practices in the educational field, especially when it comes to writing and the writing process. Culture, nationality, beliefs, biases, and stereotypes are not like layers of clothing that one can check at the door and pick up later. We have all been exposed to the unfair dynamics that form the race relations in society, and we carry those understandings with us everywhere we go, even if we are not completely aware of them. However, awakening this awareness is prevalent to promote a beneficial learning environment for students both in the classroom and in the writing center.

In this program profile, we describe the stretch/studio program recently implemented at the University of New Mexico. This program responds both to an institutional move away from remediation and to the large number of linguistically and racially diverse students at our institution. In this profile, we describe the new program’s curriculum, which focuses on and values the linguistic and cultural diversity of our students. We also share the initial results of our assessment of the program and our plans for the future. We offer this profile as a successful model for adaptation by other writing programs that are also implementing stretch/studio courses and/or that have a growing number of linguistically and culturally diverse students on their campus.

Of the 40% of internet users who have faced harassment online, young adults, women, and racial minorities are especially vulnerable, experiencing more severe harassment and experiencing it more often. This article attempts to reconcile the increasingly urgent calls for students to compose in public spaces online with the reality of potential harassment. Compositionists should avoid relying on a Habermasian understanding of the public sphere and instead embrace a political, ecological approach to public writing that recognizes publics as the result of the interactions between multiple texts and actors, and that attends to the ways in which power relations alternately shape, constrain, and enable those texts and actors. This model equips students with a more sophisticated framework for understanding internet publics, and will ultimately empower them to make informed rhetorical choices about which public networks to enter, ensuring not just more effective rhetorical action but safer online experiences.

This multimedia article focuses on my experience as a professor working on a campus adjacent to Ferguson, Missouri. I discuss the ways that Ferguson and Black Lives Matter pushed me to intentionally and meaningfully connect my teaching, research, and the local community. Through narrative, video and audio excerpts and analysis of conversations with Ferguson community members, and pedagogical reflection, I argue for an understanding of public rhetoric and writing that is more inclusive of listening, archives, collectivity, and social justice. I also highlight the importance of building rhetorical theory alongside public rhetors in local communities, helping students understand that the rhetorical tradition is far from a historical relic. Instead, it is a work-in-progress, living and breathing all around them.