With the rapid development of information communication technologies (ICT) over the past decade, the nature of how organization members communicate has changed, becoming far more complex and challenging. Communication risks brought about by technology-mediated communication can sometimes be detrimental to the overall organizational function and success. We classify these communication risks into three types: reception, understanding, and action risks. We propose the notion of communication portfolio which refers to a single ICT or a specific combination of lCTs that can be used to manage any perceived risk of communication. Specifically, this study aims to examine the relationship between perceived risks (i.e., risk of reception, risk of understanding, and risk of action) in the communication process and the dimensions (i.e., content, and structuring mechanism) of the communication portfolio used for communication. We also identify communication risk factors that may accentuate the different types of risks. We develop a communication risk perception framework to illustrate the relationship between the communication risk factors, the different types of communication risks, and the communication portfolio. Finally, we illustrate how the communication risk perception framework can be applied in a real-life natural setting by using the shuttle Challenger incident, as an example.

Abstract This article reports the results of a case study of two maps, produced by the National Marine Fisheries Service and the Natural Resources Defense Council, and their involvement in a federal court case over the deployment of the Navy's low-frequency active sonar. Borrowing from Kress and van Leeuwen's (1996) Kress, G. and van Leeuwen, T. 1996. Reading images: The grammar of visual design, New York: Routledge. [Google Scholar] approach to visual analysis, Turnbull's (1989) Turnbull, D. 1989. Maps are territories, science is an atlas: A portfolio of exhibits, Chicago: University of Chicago Press. [Google Scholar] understanding of the map, and Latour's (1990) Latour, B. 1990. “Drawing things together.”. In Representation in scientific practice, Edited by: Lynch, M. and Woolgar, S. 19–68. Cambridge, MA: MIT Press. [Google Scholar] understanding of how visuals work in social contexts, the article offers an analytical approach to studying maps as powerful visual, rhetorical objects.

Abstract This article reports the results of a case study of two maps, produced by the National Marine Fisheries Service and the Natural Resources Defense Council, and their involvement in a federal court case over the deployment of the Navy's low-frequency active sonar. Borrowing from Kress and van Leeuwen's (1996) Kress, G. and van Leeuwen, T. 1996. Reading images: The grammar of visual design, New York: Routledge. [Google Scholar] approach to visual analysis, Turnbull's (1989) Turnbull, D. 1989. Maps are territories, science is an atlas: A portfolio of exhibits, Chicago: University of Chicago Press. [Google Scholar] understanding of the map, and Latour's (1990) Latour, B. 1990. “Drawing things together.”. In Representation in scientific practice, Edited by: Lynch, M. and Woolgar, S. 19–68. Cambridge, MA: MIT Press. [Google Scholar] understanding of how visuals work in social contexts, the article offers an analytical approach to studying maps as powerful visual, rhetorical objects.

Over a period of 10 years, we have developed a sustainable process of online portfolio assessment that demonstrates both reliability and validity, using both qualitative and quantitative measures. The sustainable cycle is that, each semester, we assess a random sampling of the students' work that they have posted, as per our instructions, in an online portfolio. During the reading, the faculty score the documents for 11 variables, including writing, content, audience awareness, and document design. We achieved validity by a modified online Delphi that led to a redefinition of the construct of technical communication itself; we achieved reliability by adjudication resulting in adjacent scores. The results of our assessment meet the requirements of ABET and result in a continual cycle of improvement for our technical communication curriculum. Results from three semesters show an improving correlation between the course grade and the overall, holistic portfolio score.

The online IPJ (Interactive Portfolio Journal), open to the individual student and the teacher but not to the whole class, allows online discussion to draw from both public and private voices, and productively uses the traditional focus on collective critical exchange in tandem with private reflection

Although most portfolio evaluation currently uses some adaptation of holistic scoring, the problems with scoring portfolios holistically are many, much more than for essays, and the problems are not readily resolvable. Indeed, many aspects of holistic scoring work against the principles behind portfolio assessment. We have from the start needed a scoring methodology that responds to and reflects the nature of portfolios, not merely an adaptation of essay scoring. I here propose a means for scoring portfolios that allows for relatively efficient grading where portfolio scores are needed and where time and money are in short supply. It is derived conceptually from portfolio theory rather than essay-testing theory and supports the key principle behind portfolios, that students should be involved with reflection about and assessment of their own work. It is time for the central role that reflective writing can play in portfolio scoring to be put into practice.

This article presents research from a qualitative study of the way that reflective writing is solicited, taught, composed, and assessed within a state-mandated portfolio curriculum. The research situates reflective texts generated by participating students within the larger goals and bureaucratic processes of the school system. The study finds that reflective letters are a genre within the state curriculum that regulates the substance and tone of students’ reflections. At the classroom level, the genre provides a mode that students adopt with the assurance that their reflections will meet state evaluators’ expectations. At the bureaucratic level, the genre helps to continually validate the state’s portfolio curriculum through its strong encouragement of stylized narratives of progress. The study demonstrates the importance of understanding how large-scale assessments shape pedagogy and students’ writing.

What we ask students to do is who we ask them to be. With this as a defining proposition, I make three claims: (1) print portfolios offer fundamentally different intellectual and affective opportunities than electronic portfolios do; (2) looking at some student portfolios in both media begins to tell us something about what intellectual work is possible within a portfolio; and (3) assuming that each portfolio is itself a composition, we need to consider which kind of portfolio-as-composition we want to invite from students, and why.

Research Article| January 01 2004 The Portfolio's Shifting Self: Possibilities for Assessing Student Learning Heidi Estrem Heidi Estrem Search for other works by this author on: This Site Google Pedagogy (2004) 4 (1): 125–127. https://doi.org/10.1215/15314200-4-1-125 Cite Icon Cite Share Icon Share Twitter Permissions Search Site Citation Heidi Estrem; The Portfolio's Shifting Self: Possibilities for Assessing Student Learning. Pedagogy 1 January 2004; 4 (1): 125–127. doi: https://doi.org/10.1215/15314200-4-1-125 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 Books & JournalsAll JournalsPedagogy Search Advanced Search The text of this article is only available as a PDF. © 2004 Duke University Press2004 Article PDF first page preview Close Modal Issue Section: From the Classroom You do not currently have access to this content.

Introduction Part I: Premises and Foundations 1. Illiteracy at Oxford and Harvard: Reflections on the Inability to Write 2. A Map of Writing in Terms of Audience and Response The Uses of Binary Thinking Part II: The Generative Dimension 4. Freewriting and the Problem of Wheat and Tares 5. Closing My Eyes as I Speak: An Argument for Ignoring Audience 6. Toward a Phenomenology of Freewriting Part III: Speech, Writing, and Voice Part III: Speech, Writing, and Voice 7. The Shifting Relationships Between Speech and Writing 8. Voice in Literature 9. Silence: A Collage 10. What Is Voice in Writing? Part IV: Discourses 11. Reflections on Academic Discourse: How It Relates to Freshmen and Colleagues 12. In Defense of Private Writing 13. The War Between Reading and Writing - and How to End It 14. Your Cheatin' Art: A Collage Part V: Teaching 15. Inviting the Mother Tongue: Beyond Mistakes, Bad English, and Wrong Language 16. High Stakes and Low Stakes in Assigning and Responding to Writing 17. Breathing Life into the Text 18. Using the Collage for Collaborative Writing 19. Getting Along Without Grades - and Getting Along With Them Too 20. Starting the Portfolio Experiment at SUNY Stony Brook Pat Belanoff, co-author 21. Writing an Assessment in the Twenty-First Century: A Utopian View

The antecedents of literary autobiography as we know it today emerged during the 17th century against a backdrop of the rise of empirical science and inductive method. An arguably older form of autobiography—the portfolio—has, unlike the literary biography, languished on the periphery of academia during our time. While it should not be controversial to say that possession of an heuristic bent is one mark of a successful education (since learning how to think, that is learning how to be open, alert, engaged, is the fundamental mission of the student), the portfolio has been ignored in part because of its modern connotation as a ‘marketing’ tool but perhaps more significantly because as a heuristic methodology it is a threat to the centrality of the pedagogue. I argue that the portfolio deserves at very least a re-evaluation throughout academic (to say nothing of quotidian) life as an indispensable tool of the spirit of pedagogy. Like the autobiography, it is validated by the belief that gathering data or details about individual lives has to precede drawing general conclusions or seeing any overarching patterns.

Reviews four books: Listening Up: Reinventing Ourselves as Teachers and Students, by Rachel Martin; Disturbing the Peace, by Nancy Newman; Let Them Eat Data: How Computers Affect Education, Cultural Diversity, and the Prospects of Ecological Sustainability, by C. A. Bowers; Assessing the Portfolio: Principles for Practice, Theory, and Research, by Liz Hamp-Lyons and William Condon.

Suggests that beginning writers can improve skills when they exchange letters with peers, teachers, and others. Offers a brief historical perspective on the use of letters as a pedagogical device. Outlines current applications of letter writing and exchanges in: English as a second language; technical and business writing; composition and literature classes; and portfolio reflection letters.

This article argues for a social perspective of the new technical communication service course, a conclusion supported by several premises: the technical communication profession wants and needs accountability, accountability is demonstrated by evaluation, assessment requires that we define literacy, evaluating technical communication literacy requires portfolio evaluation, portfolio assessment supports the social perspective of learning, and the social construction concepts imply teaching strategies. The argument proceeds from a case study that demonstrates reliability, stability, and validity in its technical communication service course assessment, tasks, and instructor community. This article demonstrates that portfolios can help us both conceptualize and evaluate the new technical communication service course.

Assessing the efficacy of technical communication service courses is a complex task, yet it is a task that service course providers should embrace as an opportunity to learn more about student and faculty needs and to update and improve curricula. This assessment has become more immediate for many educators because of ABET 2000 (Accreditation Board for Engineering and Technology), a comprehensive revamping of the way engineering programs are accredited. ABET 2000 criteria require that engineering programs provide evidence of the efficacy of all instruction, including communication. When the new ABET criteria were released, we had already begun a comprehensive evaluation of not only our service courses but also the total writing experience of engineering students at the University of Washington. This paper gives a theoretical rationale for a portfolio evaluation project and describes a directly applicable structure and procedure for such a project.

Shares freshman-composition students’ stories about portfolio assessment (interviewing students at length three times during the semester), to examine ways students understand portfolios, how portfolios work, and why sometimes they do not. Suggests concerns relevant to implementing department-wide competency portfolios. Argues that community colleges may be better situated than large universities to reap the benefits of portfolios.

Daniel Defoe, one of the pioneers of the English novel, primarily earned his living as a journalist, pamphleteer, proposal writer, and freelance business consultant. A born entrepreneur, Defoe's many projects included promoting and marketing the first practical diving bell, designing commercial fisheries and improving London's sewer system, producing a series of popular self-help manuals, and founding and editing the first English technical writing journal, The Projector. These were the products of Defoe's indefatigable pen, and the utilitarian simplicity of his business and technical writing has strongly influenced English prose ever since. This article will examine two major pieces of Defoe's professional writing: An Essay of Projects, (1698) a portfolio of his best proposals, and the landmark The Complete English Tradesman (1725), the first English business writing manual. These and similar texts would form the loam of Defoe's great novels, Robinson Crusoe (1719), Moll Flanders (1721), and A Journal of a Plague Year (1722). While Defoe's professional writing shaped his creative writing, his gifts as a novelist—his plain, demotic style, his knack for concise narrative and analytical summary, his ability to create convincing personas through textual documentation—shaped his business writing. Both forms of writing made him the premier spokesperson of a new social and economic order.

This is a piece about language and how we evaluate the work of young writers as they learn to express themselves in writing. The authors' focus is on current reforms in writing assessment, including the brief life of the California Learning Assessment System (CLAS) writing portfolios, and how they rarely address the vibrant role of language—the work and play of words—in students' writing. Through audio taped interviews with two elementary and two middle school students and their teachers, as well as the written artifacts in the students' portfolios, we analyzed the patterns of the students' writing and the comments of teachers and peers on their work. In this article, language in writing is metaphorically compared to “the clay that makes the pot,” emphasizing that young writers want to startle, want to engage readers with refreshing and surprising language—but few are provided the guidance for how to do it. The authors' central point is that writing revolves around criticism, but if the assessment stays on the surface and encourages word substitution over content revision, then the criticism may not be helpful in pushing the generative aspect of writing: the work of language.

Describes how a reader-response approach can help students construct a portfolio of readings that reflects their development as poetry readers. Describes using a reader-response journal, communal learning activities, and a portfolio to create a recursive process through which students develop a better understanding of how poetry works. Discusses evaluation of the portfolio.

Explores issues, problems, and procedures involved in large English departments which use portfolio assessment and where part-timers and full-timers need to collaborate in this process. Offers recommendations involving the relationship of part-time and full-time teachers in such programs.

Asks if there is a place for portfolio assessment in the literature classroom. Finds that portfolios help students use writing to engage literary texts in multiple and productive ways, and offer opportunities to examine effects of the reading process over the course of the writing pieces. Argues for a particular kind of portfolio focusing on a single literary work.

Observes how nine members of the Pine View High School English Department interpreted and implemented Kentucky’s state requirement for portfolio assessment of secondary school students. Suggests that the faculty saw the assessment as a test of their competence and felt great pressure to produce good portfolios but little incentive to explore ways portfolios might be used in the classroom.

This article presents a rationale and method for introducing a hypertext authoring assignment in a professional writing course in computer‐aided publishing. We define the technology and its relations to print. We then describe a rhetorically centered pedagogy that incorporates portfolio assessment, collaborative authoring, and real world projects for teaching hypertext within the context of situated problem‐solving theory.