Through an eighty-one-year-old woman’s literacy narrative, I argue that literacy researchers should pay greater attention to elder writers, readers, and learners. Particularly asnotions of literacy shift in digital times, the perspective of a lifespan can reveal otherwise hidden complexities of literacy, including the motivational impact of affective histories and embodied practices over time.

This article describes an assignment that involves students in an exploration of the rhetorical practices common in Facebook, making use of rhetorical savvy that they have—but generally are not aware of—to teach the often-challenging skill of rhetorical analysis. The class discusses articles about Facebook use and redefines traditional Aristotelian rhetorical concepts in the context of the visually rich and collage-like texts that are Facebook profiles. Students take their cues from an anthropologist's analysis of identity representation on dorm doors to explore rhetorical practices of exaggeration also discernable in Facebook profiles. Students and teacher note features from Facebook pages that suggest tendencies to be popular versus being an individual or signs of addiction to the networking tool. This assignment that brings academic analysis to bear on non-academic literacy practices like the construction of Facebook profiles encourages students to reflect critically on daily activities that involve more complex rhetorical skills than they might otherwise notice. In addition to making students' often-tacit rhetorical knowledge explicit, breaking down the usual division between school and non-school rhetorics in this exploration of Facebook helps to educate teachers about their students' digital literacy practices.

This article reports on a digital ethnography that examines writing, authorship, and self-publication in an online niche market. Drawing on interview and web data collected over 3 years, it focuses on the writing practices that have supported the production, distribution, and sanction of 13 ebooks self-published by online poker players. The article advances an understanding of authorship as sustained interaction among writers and readers as the work of publishing becomes absorbed into online networks as literate activity. In lieu of the capital investment of publishers that produces the materiality of the book, participants in these spaces have manufactured valued texts through collective literacy practices, coming to a loose consensus on what constitutes a book, and working together to enable proprietorship over texts, even amid environments of mass collaboration.

With the long-term decline in the cultural capital of literature and a steep decline in tenure-track hires in literary studies, faculty across English are rethinking their relationship to writing. As interest in digital media grows, together with rising enrollment in courses in creative, civic, and professional composition, can the figure of writing provide a sense of disciplinary coherence? What will it take for literature faculty to agree that they, too, are interested in writers and writing?

In this article we focus on new methods of multimodal digital research and teaching that allow for the increasingly rich representation of language and literacy practices in digital and nondigital environments. These methodologies—inflected by feminist research, new literacy studies, critical theory, and digital media studies—provide teacher-scholars a promising set of strategies for conducting research and for representing students' work and our own scholarship in digital contexts.

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

In this essay, Tulley and Blair combine instructional and editorial perspectives to analyze how the process of digital composing reshapes often entrenched notions of authorship and composing practice within the English major by having students reenvision a traditional print genre, the book review, in digital space.

This article questions how professional communication genres already well established in print form have been changing as they are transplanted into digital media like the Web. Whereas some technology-oriented genre research has sought how a new medium provides genres with new technological features, this article argues that a more insightful approach would seek how a new medium, together with its users, provides genres with new rhetorical situations. To operationally define rhetorical situations, I adapt Lloyd Bitzer's three situational dimensions of exigence, audience, and constraints. Then, to illustrate how the new rhetorical situations of the Web can influence a genre, I explore the genre of the résumé. Drawing on a survey of 100 Web résumé authors and an analysis of their sites, I show that as each of the three dimensions of the résumé's traditional rhetorical situation has opened itself to greater diversity on the Web, the Web version of the résumé genre has correspondingly reoriented itself. Hence, genres change in response not just to the new medium's technology per se but to the new rhetorical situations that the medium hosts.

This article argues for a rhetoric of networked exchanges that focuses on the response. Working from Spinuzzi's call for a rhetoric of horizontal learning, it examines two kinds of online writing spaces in order to propose such a rhetoric. After surveying conflicting, academic attitudes regarding networked exchanges, the article proposes the response as a type of professional communication. A specific message board thread and a series of blog carnivals serve as examples of the rhetoric of response, a way that horizontal learning produces a specific type of networked writing identity. The article concludes with a call for response-based communication practices.

Teachers and students often express an aversion to poetry based on their experiences with printbased poetry texts that typically dominate school curricula. Given this challenge and the potential affordances of new and multimodal technologies, we investigate how preservice and inservice teachers enrolled in a new literacies master’s course began to interpret poetry multimodally, through PowerPoint.

The study of writers and writing in digital environments raises distinct and complex ethical issues for researchers. Rhetoric theory and casuistic ethics, working in tandem, provide a theoretical framework for addressing such issues. A casuistic heuristic grounded in rhetorical principles can help digital writing researchers critically interrogate their research designs, carefully examine their relationships with research participants, and make sound ethical judgments.

Frequently writing is now no longer the central mode of representation in learning materials—textbooks, Web-based resources, teacher-produced materials. Still (as well as moving) images are increasingly prominent as carriers of meaning. Uses and forms of writing have undergone profound changes over the last decades, which calls for a social, pedagogical, and semiotic explanation. Two trends mark that history. The digital media, rather than the (text) book, are more and more the site of appearance and distribution of learning resources, and writing is being displaced by image as the central mode for representation. This poses sharp questions about present and future roles and forms of writing. For text, design and principles of composition move into the foreground. Here we sketch a social semiotic account that aims to elucidate such principles and permits consideration of their epistemological as well as social/pedagogic significance. Linking representation with social factors, we put forward terms to explore two issues: the principles underlying the design of multimodal ensembles and the potential epistemological and pedagogic effects of multimodal designs. Our investigation is set within a research project with a corpus of learning resources for secondary school in Science, Mathematics, and English from the 1930s, the 1980s, and from the first decade of the 21st century, as well as digitally represented and online learning resources from the year 2000 onward.

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

Digital Media Revisited: Theoretical and Conceptual Innovation in Digital Domains is a testament to the pace of thought in new media studies. Published only 10 years after the launch of the Web, th...

Research Article| April 01 2006 Teaching Digital Rhetoric: Community, Critical Engagement, and Application DigiRhet.org DigiRhet.org Search for other works by this author on: This Site Google Pedagogy (2006) 6 (2): 231–259. https://doi.org/10.1215/15314200-2005-003 Cite Icon Cite Share Icon Share Twitter Permissions Search Site Citation DigiRhet.org; Teaching Digital Rhetoric: Community, Critical Engagement, and Application. Pedagogy 1 April 2006; 6 (2): 231–259. doi: https://doi.org/10.1215/15314200-2005-003 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu nav search search input Search input auto suggest search filter Books & JournalsAll JournalsPedagogy Search Advanced Search The text of this article is only available as a PDF. Duke University Press2006 Article PDF first page preview Close Modal Issue Section: Articles You do not currently have access to this content.

This article surveys the literature on digital rhetoric, which encompasses a wide range of issues, including novel strategies of self-expression and collaboration, the characteristics, affordances, and constraints of the new digital media, and the formation of identities and communities in digital spaces. It notes the current disparate nature of the field and calls for an integrated theory of digital rhetoric that charts new directions for rhetorical studies in general and the rhetoric of science and technology in particular.

Digital writing is a prominent topic in this issue of CCC, addressed by Gail Hawisher and Cindy Selfe and their coauthors Brittney Moraski and Melissa Pearson, by Kathleen Blake Yancey, and by the new CCCC Position Statement on Teaching, Learning, and Assessing Writing in Digital Environments.

On a recent Saturday afternoon, people began filing into a community movie theater in Oakland, California known for its alternative films and sofa seating. They had gathered to watch the digital stories created by young people from the community—three-to-five minute multi-media compositions consisting of a narrative recorded in the author’s voice accompanied by photographs, video, and music. The event began with a story by Randy, “Lyfe-n-Rhyme.” “Mama’s only son is mama’s only gun with a guillotine tongue,” rang one rhythmic powerful line, as images of Randy and his mother morphed into photographs of the county jail, while the music of Miles Davis floated in the background. So proceeded Randy’s social critique and commentary on life and opportunity, or the lack thereof, in his city and country.

This essay illustrates key features of visual rhetoric as they operate in two professional academic hypertexts and student work designed for the World Wide Web. By looking at features like audience stance, transparency, and hybridity, writing teachers can teach visual rhetoric as a transformative process of design. Critiquing and producing writing in digital environments offers a welcome return to rhetorical principles and an important pedagogy of writing as design.