English education researchers have established that whole-class discussions can support language and literacy learning. However, few studies have provided examples of whole-class discussions in which students explicitly reference their classmates’ ideas in order to elaborate different, but related, perspectives. Research that has described students’ uptake of their classmates’ ideas has typically portrayed disagreement either as an obstacle to student participation or as a step toward eventual consensus. In this article, I offer a sociolinguistic discourse analysis of two conversations in which a preservice teacher encouraged her urban, 10th-grade students to disagree. My analysis demonstrates the positive effects of the teacher’s use of indirect challenges and provocative paraphrases—features of the African American sociable conflict-talk practice known as The Dozens—to promote collaborative disagreement during whole-class discussion. I argue that teachers can promote collaborative disagreement in whole-class discussions by appealing tostudents’ home-cultural disagreement practices, which may already overlap with argumentation practices valued in school settings. I call for further research into the influence of teachers’ and students’ out-of-school discourses on discussions characterized by collaborative disagreement—a practice that is essential to ELA curricula and to participation in a democratic, literate society.

Editors Juzwik and Cushman introduce the November issue, which examines how teachers know, understand, and approach writing, the teaching of writing, and, more broadly, classroom discourse.

In this article, we reflect upon “the teacher as writer” and describe how we see this concept and movement developing. We articulate a view of the teacher-writer as empowered advocate. Using examples from our scholarship, we illustrate how this powerful idea can transform research conducted about and with teachers. Finally, we draw attention to the potential of the teacher-writer stance as a means of resistance to current reform efforts that disempower teachers.

This research analyzes the discourse functions of grammatical subjects used in results and discussion sections of research articles across four disciplines. To this end, sixteen results and discussion sections from four disciplines, namely, English Language Teaching, Economics, Biology and Civil Engineering (four from each discipline), were analyzed using the categorizations of discourse functions of grammatical subjects established by Gosden (1993). There were marked disciplinary differences in terms of the discourse functions served through the application of the grammatical subjects in the four sets of the results and discussion sections. These disciplinary differences were clearly shown in all the four domains of the discourse functions of the grammatical subject along with their subcategories. This result suggests that the discourse functions of the grammatical subject are strongly related to the public aims, norms and conventions of specific disciplines as well in the contexts in which it is realized.

Service learning has become a feature in higher education in courses ranging from computer science and graphic design to English and the humanities. These courses are designed to provide "internship" experience and enable students to use skills they learned in the classroom in "real world settings. " These "real world settings, " however, exist in some rather well-defined economic, social, and political system. Tania Mitchell suggests that traditional approaches to service learning either assume that such projects are already inherently related to social justice or are simply concerned with other issues such as the teaching of some rather acontextual "workplace skills. " There exists, however, a growing recognition that service learning could enable students to recognize and more deeply understand the social and economic structures they are asked to work within. The aims of this "critical service-learning" approach include the redistribution of power in the service-learning relationship, the development of authentic relationships between the university and community, and an unapologetic movement toward the goal of social change. At my university there is an interest in providing service learning in more traditional workplace settings, but there are also faculty members who are attempting to use these projects to help students understand the contexts in which they live and work. This keywords essay details some recent scholarship in literacy and critical service learning. It is by no means a complete picture of the efforts in this area but, rather, presents some interesting service-learning projects that might be duplicated at other institutions. All the projects provide opportunities for students to gain an understanding of the economic, social, political, and, in one case, environmental contexts in which they live. Writing plays a primary role in facilitating such understanding. Lisa Rabin's article "The Culmore Bilingual ESL and Popular Education Project: Coming to Consciousness on Labor, Literacy, and Community, " details a servicelearning project featured in a Spanish class at George Mason University. The project offered an alternative to more "market-based" service learning. In 2009, Rabin had been contacted by labor organizers from the Tenants and Workers United (TWU) in Culmore, Virginia to possibly have some of her bilingual students offer an ESL course for day laborers who were also new immigrants

This article makes a case for the value of literary field studies as a way both to reframe familiar narratives about texts and to open up regions and sites to the analytic mode of close reading. The authors describe their experiences teaching a seminar and week-long field study exploring the literature and culture of the American South.

Creative writing is divided between instructors upholding New Critical emphasis on texts and those challenging the goals of the discipline. While innovators propose reform, reconceptions put instructors at odds with one another and with students. In compromise, I propose praxes that incorporate lore-based methodology with innovations from critical and rhetorical theory.

Review Article| October 01 2014 The Multimodal Turn in Higher Education: On Teaching, Assessing, Valuing Multiliteracies Multimodal Literacies and Emerging Genres. Edited by Bowen, Tracey and Whithaus, Carl. Pittsburgh, PA: University of Pittsburgh Press, 2013. Lauri Bohanan Goodling Lauri Bohanan Goodling Search for other works by this author on: This Site Google Pedagogy (2014) 14 (3): 561–568. https://doi.org/10.1215/15314200-2715859 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Lauri Bohanan Goodling; The Multimodal Turn in Higher Education: On Teaching, Assessing, Valuing Multiliteracies. Pedagogy 1 October 2014; 14 (3): 561–568. doi: https://doi.org/10.1215/15314200-2715859 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. © 2014 by Lauri Bohanan Goodling2014 Article PDF first page preview Close Modal Issue Section: Reviews You do not currently have access to this content.

Educational theorists emphasize the importance of creating a classroom environment that encourages positive or productive student resistance to dominant social discourse. This article revisits work in critical pedagogy, feminism, and composition by focusing on the challenges of teaching a first-year writing course on the theme of masculinity. The gender imbalance of this class, with a majority of male students, combined with the course theme, contributed to an environment that raised unanticipated questions, which prompted the reconsideration of the intersections of critical, feminist, and composition pedagogies. In this class, the dynamics worked against a process of critical inquiry and reflection and instead often reified dominant view-points and social positions, specifically with respect to gender. This article concludes with evidence of how practices in composition studies, especially student-instructor conferences, helped to redirect some of the reactive resistance encountered in the classroom.

Teaching intercultural rhetoric and professional communication seminars has been one of my most enjoyable experiences as a college professor. It comes with a cost though. Finding relevant and updat...

This study examined the impact of different forms of feedback on the writing of a group of 82 adolescent students in secondary English classes. During a 6-week intervention, students were randomly assigned to one of three feedback groups: peer feedback on pen-and-paper drafts, teacher feedback delivered electronically through a course management system, and automated feedback generated through computer-based writing evaluation software. Pre- and post-measures of student writing quality, length, and correctness were analyzed, and survey data explored student perceptions of their experiences. Findings indicate that all students, regardless of which form of feedback they received, wrote longer essays and scored higher on holistic ratings at post test than they did at pretest. Neither language status nor group assignment had a greater or lesser impact on performance on length or holistic quality. However, differences between feedback groups spiked on the proximal measure that examined mastery of particular aspects of the genre being taught. Both peer feedback and teacher feedback delivered electronically had a statistically significant impact on student performance in the genre of open-ended response. The article concludes with a discussion of the implications of these findings for future research and instruction in the secondary context.

Studies of peer review in ESL classes typically focus on student attitudes and experiences. In contrast, teachers’ perceptions of and experiences with peer review have not been the focus of much scholarly attention. This case study explored one experienced teacher’s perspectives on peer review sessions in ESL classes. The study was conducted in the English language institute at a large urban university in the southeastern United States between Fall 2009 and Summer 2010. Shelley, the focal ESL instructor, was selected purposefully for her extensive use of peer review sessions in academic reading and writing classes. Classroom observations and interviews were subsequently analyzed using direct interpretation method (Creswell, 2007). The findings of the study shed light on the process of peer review sessions and their advantages and disadvantages from an experienced teacher’s point of view. Triangulation of the data, thick description of the context and procedures, a detailed discussion of the results, and the researchers’ reflexivity contribute to the reliability and validity of the findings. With its focus on the teacher’s perspective and experiences, the findings of this study may inform educators about the process of peer review and its pros and cons in ESL classes.

The current study reports on the “rhetoric revision log,” which was developed to help second language writing students track their progress in improving rhetoric-related issues in their writing (such as organization and topic development). Sixty-six English as a second language (ESL) students were divided into one control and two treatment groups. Students in the two treatment groups used the rhetoric revision log to keep a record of teacher written feedback in several rhetoric-related areas throughout the course of one semester. The two treatment groups differed in that in one the students used only the log (log-only), while in the other (log + conference) students also participated in structured writing conferences in which the teacher discussed the rhetoric revision log with the students. Results revealed that both treatment groups improved more in their overall writing ability than the control group. Moreover, students in the log + conference group were more likely than the other two groups to improve in rhetoric-related writing features over the course of the semester. These findings suggest that using the rhetoric revision log helped students improve not only rhetoric-related aspects of their writing, but also their overall writing ability.

As research on corrective feedback targeting linguistic accuracy in second language (L2) writing expands in scope and quality, we continue to gain insights about the effects of feedback on L2 writers. Nevertheless, comparatively little research has focused on the teachers themselves – those who make the pedagogical decisions about the use of feedback in the classroom. Thus, we have sought to better understand the variables that may shape practitioners’ choices about feedback targeting linguistic accuracy. The purpose of this study was to analyze learner, teacher, and situational variables that may influence correct feedback choices in the L2 classroom. Data were collected by means of an electronic survey distributed to over 1000 ESL/EFL writing teachers in 69 different nations. In addition to investigating the entire data set, we examined those practitioners who provide the most and least feedback targeting linguistic accuracy. We analyzed variables such as learner age, proficiency, purposes for language learning, the ESL/EFL context, and type of institution, as well as the teachers’ L1, level of education, academic background, years of experience, and professional responsibilities. A number of systematic differences between groups were observed. Explanations for these findings are explored and suggestions are given for future research. Teacher attention to linguistic accuracy versus rhetorical instruction

Much of the research on teacher response to student writing has focused on how teachers can best help their students improve their writing and, concomitantly, on the reactions teachers’ responses evoke in their students. What is largely absent as an object of study in this research is the teacher’s experience of the responding process and the effects which alternative methods of response have on the teacher’s role in the classroom. This article describes my attempts as a writing teacher to separate grading student writing from responding to student writing. Based on my observations during a modest pilot study, I suggest that the act of grading lies at the heart of the negative reactions teachers have when they respond to student writing and that eliminating grading has positive effects on the teacher’s response process, on classroom instruction, and on how teachers conceptualize their classroom role.

An accessible society,” crip theorist Robert McRuer argues, “is not one simply with ramps and Braille signs on ‘public’ buildings, but one in which our ways of relating to, and depending on, each other have been reconfigured” (94). Using McRuer’s definition as a starting point, in this article I seek to work toward creating a more accessible society of teacher-scholars by exploring interdependency as an ethic for intellectual work. Toward this end, I will first argue that creating such a public requires a reconceptualization of the term “pedagogy,” one that moves beyond the boundaries of the classroom such that learning emerges as a dynamic process of recognition and interrelation. I will then review the concepts of independence, dependence, and interdependence as they have been taken up in disability studies and conclude by using these meanings to map out how interrelations on multiple levels make our intellectual work possible.

As Editor of Reflections, I am pleased to introduce this special issue focused on Disability Studies. I have had the pleasure of working with Allison Hitt and Bre Garrett, the Special Editors to this issue, these past few months. Their commitment to this special issue shows through in the dedication and hard work they’ve exhibited throughout this process. Although my area is not disability studies, as a personal essay scholar and teacher, I was particularly impressed with the narrative styles of many of the contributors and the courage they had in speaking openly. As I’ve said many times about my editorship with this journal, we must not just talk about our areas of interest, but walk it as well. These special editors and contributors do just that.

This book is an edited collection is based on two assumptions. The first assumption serves as the editors’ opening sentence: “if you want something done right when it comes to information technology and writing instruction and research, you have to do it yourself." The second assumption also appears early in the Introduction when the editors describe “software” or, more broadly, any technology as a “web of interconnecting workflows that amount to a social and intellectual environment; a place that influences the creation and exchange of ideas.” The authors indicate the relatively high level of technical knowledge that writing instructors are expected to bring to the text, and they emphasize beliefs about technology that shape the way chapter authors integrate technology into the teaching of writing. For writing instructors who bring this technical expertise to the text and who share its assumption about technology and environment, this book is an important new resource. It provides an overview of web-based application design that is technologically sound and pedagogically cohesive.

This article, the second in a two-part series, catalogs teaching innovations presented at the 2013 Association for Business Communication Annual Convention, New Orleans. They were presented during the My Favorite Assignment session. The 11 Favorite Assignments featured here offer the reader a variety of learning experiences, including collaborative teamwork, debate, budgets, cross-cultural communication, report writing, persuasion, not-for-profit organization, client communication, and writing funding proposals. Additional teaching materials—including instructions to students, stimulus materials, slides, grading rubrics, frequently asked questions, and sample student projects—are posted on the Association for Business Communication web page http://businesscommunication.org/assignments .

Critical thinking is an essential component of managerial literacy, yet business school graduates struggle to apply critical-thinking skills at work to the level that employers desire. This article argues for a dispositional approach to teaching critical thinking, rooted in cultivating a critical-thinking culture. We suggest a two-pronged approach of (a) clearly defining critical thinking and selecting an accessible model for applying it and (b) integrating critical thinking consistently throughout the business curriculum. We illustrate implementation of this strategy in our revised MBA curriculum and conclude by challenging others to consider adopting a cultural and dispositional approach.

Typical business communication courses provide significantly more opportunities for students to hone their skills in writing compared with speaking. This article outlines an impromptu speech assignment and explains a course-level strategy for providing each student with more than 30 significant speaking opportunities during a term. This approach has proven to be surprisingly popular as students observe a remarkable transformation in their confidence and competence with presentational speaking. Teaching strategies, assignment guidelines, results, and additional resources are presented.

Hassel continues her series about the scholarship of teaching and learning.

Reviewed are: Collaborative Learning and Writing: Essays on Using Small Groups in Teaching English and Composition, edited by Kathleen M. Hunzer, Reviewed by Signee Lynch Remixing Composition: A History of Multimodal Writing Pedagogy, by Jason Palmeri, Reviewed by Stephanie Vie Communal Modernisms: Teaching Twentieth-Century Literature in the Twenty-First Century Classroom, edited by Emily M. Hinnov, Laurel Harris, and Lauren M. Rosenblum, Reviewed by Mike Piero Understanding Rhetoric: A Graphic Guide to Writing, by Elizabeth Losh, Jonathan Alexander, Kevin Cannon, and Zander Cannon, Reviewed by Kristen Welch

This article addresses the challenge of teaching voice in the introductory composition classroom, using graphic narrative to make voice visible for students as they identify and rhetorically compose their own voices.

Abstract The myth of the heroic teacher posits that transformational educators, through sheer will, dedication, and selflessness, can break through complacent school bureaucracies to alter the lives of students born into difficult circumstances. Like all myths, the heroic teacher myth functions as depoliticized speech; it reconciles the competing egalitarian and individualistic components of the American Dream by providing a heroic resolution to indissoluble tensions. As president, Lyndon B. Johnson invoked his experience as an educator to construct a character formally aligned with historic conceptions of ideal teaching. Through this construction, he developed a framework of educational heroism that related synecdochically to the institutional reforms propounded by his landmark education legislation. By analyzing Johnson’s education policy rhetoric between 1964 and 1966, I argue that Johnson’s use of the heroic teacher myth operated to shift the antipoverty emphasis of the Great Society to the center of federal calls for education reform. I conclude by juxtaposing Johnson’s invocation of the myth against that of contemporary education reformers, who marshal the myth toward a less sustainable vision of education that valorizes heroic teachers as the solitary cure for poverty.

Ferris looks at three books—Cross-Language Relations in Composition; Shaping Language Policy in the U.S.: The Role of Composition Studies; and Writing in the Devil’s Tongue: A History of English Composition in China—as they address the question of adherence to a monolingual or “standard” set of language and writing norms in composition, and consider how the answer to this question impacts our teaching.

Reviewed are: Placing the Academy: Essays on Landscape, Work, and Identity Jennifer Sinor and Rona Kaufman The Locations of Composition Christopher J. Keller and Christian R. Weisser, editors What Is “College-Level Writing”? Vol. 2: Assignments, Readings, and Student Writing Samples Patrick Sullivan, Howard Tinberg, and Sheridan Blau, editors Teaching Writing in Thirdspaces: The Studio Approach Rhonda C. Grego and Nancy S. Thompson Generaciones’ Narratives: The Pursuit and Practice of Traditional and Electronic Literacies on the U.S.-Mexico Borderlands John Scenters-Zapico

A number of recent essays and books have asked how pragmatism, since its inception, informs questions that are central to the theory and practice of rhetoric and communication. Paul Stob's book makes a significant contribution to that conversation, not least through a demonstration of the depth of William James's work as a public lecturer and the ways in which James's conception of public lecturing shaped his larger intellectual perspectives and commitments. John Dewey often gets most of the attention of rhetorical scholars, largely because of several cryptic passages that Dewey penned on the importance of communication. Stob's work offers an important corrective to those that overemphasize Dewey's role in founding pragmatism and its relevance to rhetorical studies. His book also offers perhaps the most thorough and detailed articulation of how rhetorical considerations were constitutive features in the development of pragmatism.Stob begins the book by citing a letter that James wrote to F. C. S. Schiller in 1903. In that letter, James states that he believes “popular statement to be the highest form of art” (xi). William James and the Art of Popular Statement is devoted to demonstrating the importance of this claim (and how it has often been overlooked in scholarship on James) and explicating how James developed his art of popular statement. The former argument is probably of most interest to philosophers and historians of pragmatism, while the latter argument ought to be of interest to rhetorical scholars. This book is a fully articulated argument for why and how popular public lecturing made James a unique and important philosopher. Put more broadly, this is an argument that rhetorical practice was a constitutive feature of William James's intellectual contributions to philosophy and a range of other subjects. As such, Stob shows how rhetorical practices, and not abstract philosophical principles, oriented all of James's intellectual endeavors, and that James's work on the public lecture circuit is not distinguishable from his roles as philosopher and scientist. This is not an argument traditionally found in scholarship on William James, and, therefore, Stob makes an original and important contribution to our understanding of James.To advance this claim, Stob positions James at the intersection of two historical trends. On the one hand, James was “reared in the culture of eloquence.” On the other, he was “trained in a culture of professionalism.” The culture of eloquence taught James about the importance of the “cultivation of the moral character of oneself and one's community” (36). At the same time, the culture of professionalism drove the development of his work in psychology and recommended attention to specific puzzles and problems only comprehensible to a trained expert. The tension between these two traditions provided the rhetorical resources for James to invent novel ways of relating to audiences and a novel philosophy that “centered on the experiences, perceptions, and predicaments of the man and woman ‘of the street’” (37). James constantly pushed back against the expectations of the culture of professionalism, even though he gained fame as a certified professional expert, through the intellectual commitments of the culture of eloquence. Furthermore, the culture of eloquence provided James with the intellectual support necessary for orienting his more expert insights into philosophy and psychology. Throughout the book, Stob argues that James purposefully engaged popular audiences and critiqued experts with the intention of empowering those audiences and bringing people into a participatory intellectual community.James's massively popular lecture series, “Talks to Teachers on Psychology and to Students on Some of Life's Ideals,” is an excellent illustration of how James worked within these two traditions. A critical investigation of these lectures makes up the third chapter of Stob's book, and his insights here offer a serious contribution to one of the most often overlooked works of James's career. James delivered these lectures hundreds of times to audiences all over the United States. “Talks to Teachers” dealt with the themes and ideas of James's Principles of Psychology, but not in a way that simply tried to translate those ideas into simpler terms: “James tried to empower his teacher audiences, giving them a stake in the modern intellectual culture and helping them see their value in democratic society” (108). As such, Stob shows that these lectures enacted James's deep investment in “creating a new kind of intellectual community” (109). That intellectual community did not champion scientific knowledge at the expense of other forms of knowledge. Instead, James claimed that expert psychological knowledge was not more important than the artistry of the classroom teacher.This is where Stob is at his best—using the resources of intellectual history combined with rhetorical criticism of James's performance to advance a sophisticated argument about both the meaning of James's work and its larger significance for our understanding of the relationship between philosophy and rhetoric. To develop this further, Stob points to James's “oral style” as productive of “moments of interaction.” For James, “concepts were important, of course, but his prose aimed above all at fostering relationships in the unfolding of ideas” (97). “Talks to Teachers” highlights the ways in which style is constitutive of meaning and how James's style produced “participatory discourses” (97). Such an understanding of style clearly resonates with the philosophy of pragmatism, and part of the argument here is that James would not have gotten to his version of pragmatism without working through this particular style and without attempting to master the art of public statement.In chapters on psychical research and religious experience, Stob further elaborates these arguments about popular statement. He shows convincingly that all of James's intellectual contributions are shot through with a kind of oral style derived from his conception of public lecturing and his desire to create intellectual communities. In his work on psychical research, James deployed his own standing as a scientific expert while at the same time critiquing scientific research for being “impersonal, monolithic, confining, illiberal” and for advancing an epistemology that James thought inadequate (148). What is essential here is that James's epistemology, which would become a central feature of pragmatism, was born in and through popular statements about psychical research, theology, and psychology. The Varieties of Religious Experience was delivered as a set of Gifford lectures in Edinburgh (a prestigious lecture series associated with the universities in Scotland). Part of James's project was to address the prescribed topic of natural theology, which many at the time considered essential for true knowledge. Not surprisingly, James rejected the kind of theology oriented toward such true knowledge and instead focused the lectures on the religious experiences of individual, common people. To do this, James critiqued “the deficiencies of religious inquiry according to the standards of academic professionalism” (165). This allowed him to connect with the popular audience at the lectures. Also, by making “experience” the beginning and ending point of his inquiry, James argued that “everyone could contribute to the general storehouse of religious knowledge” (165). James's lectures were quite well received and he proved himself capable of connecting to a popular audience and contributing to the development of a populist intellectual culture.The final chapter of Stob's book deals with pragmatism more squarely. Focused on James's lecture “Philosophical Conceptions and Practical Results,” Stob is concerned with unpacking the oratorical beginnings of pragmatism. Just like the earlier lectures, this lecture was “at bottom a collaborative text because it made James's immediate audience leaders in the world of thought” by the ways in which James rejected professional philosophy and advanced a populist epistemology instead (202). Essentially, the lectures on pragmatism demonstrated the larger claim that “the character of the audience was a determining factor in the character of the discourse” (228). I can't imagine an insight more consonant with the rhetorical tradition. Rhetorical considerations, for James, came before the articulation of philosophical principles. James's rhetorical considerations included a deep attention to the kinds of experiences that his audience of non-experts had. In addition, James's lectures were oriented toward intellectual participation on the part of non-experts and personal empowerment. James wanted to “flatten hierarchies and break chains of authority” and to show that “the best kind of knowledge emerged from a pluralistic, accessible, egalitarian intellectual culture” (237). The result of this outlook was a “new level of engagement based upon horizontal vision,” and this level of engagement was also a product of James's consistent argument that individuals (despite the testimony of some experts) “were, in fact, responsible for determining the character of their world” (238). What James's pragmatism made clear was that personal empowerment entailed opposition to the stifling aspects of academic professionalism.Given the breadth of historical detail and the depth of both contextual and textual readings of a significant range of James's work, Stob's book should prove to be a major and enduring argument about the relationship between rhetoric and American pragmatism. At times, theoretical insight into rhetoric's role in constituting philosophical or epistemological claims is sacrificed in favor of historical and contextual detail. In other words, Stob does not make a full-blown argument about the function and necessity of rhetoric for pragmatism or for American democracy. And he does not advance any sophisticated argument about what a pragmatist rhetoric might look like. But this might be asking too much from a book that offers such a solid and well-reasoned argument about one particular figure in the history of pragmatism. For a vision of how best to defend and advance a pluralist, pragmatist epistemology, one should simply read Stob's interpretation of William James. There, in full detail, one finds a commitment to rhetorical practice as a thorough underpinning for a massive intellectual project that still stands as one of America's great contributions to the history of ideas.

Scholarship in education and sociolinguistic studies of language and minority rights suggest that “the ascendancy of English as the current world language has also clearly impacted on the reach and influence of national languages other than English, while at the same time reconfiguring key language domains within and across nation-states such as the academy, business, technology and media” (May, 2012, p. 7). Precisely how and in what ways individuals navigate these key language domains is the focus of this issue.

Prior work in education, broadly, and in L2 education, more specifically, has documented both the difficulty and importance of integrating conversation into the language classroom, where conversation is both the means and end of language learning. Yet to be described is how the teacher plays an active role in engineering such integration and how he or she navigates a delicate balance between formal classroom talk and more casual conversation. Using the methodology of conversation analysis, I describe how one particular instructor manages to maintain an open and yet structured space that fosters connection without sacrificing control in an adult ESL classroom. In particular, I show how the balance between control and connection is achieved by embedding a conversational frame within an institutional one or reestablishing the institutional frame in the midst of talk about conversational matters. Findings of this study expand our current understanding of how learner voice may be promoted within the institutional structure of a classroom, and in particular, how conversation may be integrated into the language classroom without abandoning teacher control.

Perspicuous Objects" puts theorists of visual rhetoric into conversation with comics theorists and practitioners in order to look closely at the use of comics and comics principles for teaching students about composition, meaning-making, and critical reading.

AbstractArtist Andrea Desző’s embroideries, inspired by the Romanian traditional sampler, belong to the material turn in cultural and feminist studies. Based on a comparison with first-wave feminist ideas in Charlotte Perkins Gillman’s Women and Economics, this analysis interrogates what embroidery—as a form of discourse—tells about the little-known Eastern-European woman’s condition. In the region significantly different from Western Europe in both postcolonialist and post-Marxist analyses, these artifacts reveal the ambivalent condition of women situated at the intersection of tradition, feminist thought, and Marxist practice, after Marxist-led governments had provided women with a workplace and equality, at least in theory. Additional informationNotes on contributorsAdriana Cordali GradeaAdriana Gradea is a PhD candidate in English studies at Illinois State University, specializing in rhetoric and cultural theory. She graduated from “Romulus Ladea” Visual Arts High School in Cluj-Napoca, Romania. She has a BA from “Babeş-Bolyai” University, Cluj-Napoca, Romania, a Graduate Certificate in Advanced International Studies from The Johns Hopkins University in Bologna, Italy, and an MA in English from Bradley University. Her research and teaching interests are in feminist and visual rhetorics, as well as Marxism, postcolonialism, and posttotalitarian approaches.

Over the past two decades, scientific editors have attempted to correct “mistaken” assumptions about scientific images and to curb unethical image-manipulation practices. Reactions to the advent and abuse of image-adjustment software (such as Adobe Photoshop) reveal the complex relations among visual representations, scientific credibility, and epistemic rhetoric. Perelman and Olbrechts-Tyteca's model of argumentation provides a flexible system for understanding these relations and for teaching students to use scientific images ethically and effectively.

Abstract This article examines tutorials from the Web site, Instructables.com, to highlight the rhetorical possibilities of including personal narratives in instructions. The narratives in these tutorials offer detailed accounts of their authors' experiences when constructing their projects, thereby functioning as accounts of the authors' craft knowledge. Pitched to amateur hobbyists, rather than the professional audiences of many forms of conventional technical communication, these tutorials offer new ways of teaching craft knowledge and techniques. Keywords: amateurcraftinstructionsmotivationnarrative Additional informationNotes on contributorsDerek Van Ittersum Derek Van Ittersum is an assistant professor of English at Kent State University, where he teaches in the Literacy, Rhetoric, and Social Practice graduate program. His research examines new writing technologies and innovative writing practices.

This article reports instruction supporting the development of fifth grade English learners’ argumentative writing in an English language arts setting. Arguments analyzed for the study were produced by the same students on two occasions, roughly 3 months apart. In the first instance, students discussed the source text in detail, but were given no genre-specific support for writing. Following professional development, the teacher introduced students to the stages, or structural elements, expected in argumentation, with genre-specific scaffolds. Classroom data illustrate how the teacher scaffolded students’ argumentative writing. Analysis of writing data identifies the text- and stage-level features of students’ responses, with particular attention paid to students’ construction of the reason stage, in which writers must explain why textual evidence supports their overall position on a question about a character or theme. Findings describe the range of responses and point to characteristics of texts and prompt that may influence children’s written argumentation.

Our fields need stories that are unwelcome—stories that bother us because we have not fully embraced the notions that our identities matter in our scholarship, our teaching, and our lives. We also need to embrace the multifaceted, intersectional nature of identity, and we need new strategies for engaging in cross-boundary discourses. I offer a queer reading of the work of three African American rhetoricians to explicate three concepts that are critical for engaging in responsible cross-boundary discourse as well as three trajectories for moving forward.

As Natural User Interfaces (NUIs) grow increasingly common, this article investigates what they might do with/for writing and say about the teaching of writing. Specifically, I review three NUI writing projects, critically examining the rhetorical features of the projects and investigating the relationship between NUIs and Graphic User Interfaces (GUIs). Ultimately, I argue that NUIs are not “natural” interfaces but are as historically and socially grounded as GUIs; even so, NUIs hold the potential to invigorate a critical and activities based pedagogy, placing new focus on socially constructed meanings, material interactions, and embodied performances.

The pedagogical technique of “extreme puppet theater” is posited as a collaborative and novel learning tool for motivating students to study texts by creating new ones. Examples are provided of how this approach has worked in university courses in literature, composition, and creative writing. By extension, extreme puppet theater can be applied to other subjects, at all levels of academia, in order to offer an effective and engaging alternative to traditional teaching conventions.

Reviews 317 Peter Mack, A History of Renaissance Rhetoric 1380-1620 (OxfordWarburg Studies), Oxford: Oxford University Press, 2011. 345 pp ISBN: 978-0-19-959728-4 In A bdistoi i/ of Renaissance Rhetoric 2380—1620, Peter Mack expertly describes the fortunes of Renaissance rhetoric within its academic and textual settings. Rhetoric in the Renaissance was a school subject, mostly covered in the grammar schools, with secondary importance in the universities, and thousands of rhetorical textbooks from the period survive as testimony to its ascendancy within the liberal arts curriculum. With a dizzying command of technical detail, Mack has delved into this large and complex textual record and emerged with a synthesis that will be required reading for students of the subject. Beginning with a description of the most significant ancient treatises on rhetoric, followed by a chapter on the contributions of key fifteenth-century Italians (and one notable Cretan, George of Trebizond), Mack proceeds to a series of four chapters focused on teachers whose textbooks had an extraordinary impact on the theory and teaching of rhetoric in the sixteenth century: Rudolph Agricola, Erasmus, Melanchthon, and Ramus. The chapter on Melanchthon, the "dominant figure" of the years 1519-45 (p. 104), is filled out with sections on his chief students and followers. The chapter on Ramus (and his associate Omer Talon) gives a useful overview of the controversy and key combatants surrounding his polarizing reforms. With helpful tables outlining the contents of their principle writings on rhetoric, Mack charts their innovative and (again in the case of Ramus) agonistic adaptations of the classical program. The first half of the book is therefore devoted to the big players in the book market for Renaissance rhetoric - those whose work best adapted the classical program to the educational needs and occasions of the humanist school. Indeed, for much of the period that Mack describes, Renaissance rhetoric was a symbiosis of two types of books on rhetoric: classical (Ciceronian) treatises and humanist manuals. For most of the sixteenth century, there is a strong correlation between the numbers of editions of the Rhetorica ad Herennium (still generally attributed to Cicero in the period) and the most popular humanist treatises (pp. 30-2). Mack explains the apparent symbiosis by noting the frequent use of humanist treatises as a preliminary study, a prologue to the study of a full-length classical treatise. But after decades of steady demand, humanist manuals and classical treatises alike suffer steep declines in production after the 1560s. The cause of the sudden decline is not clear, though Mack offers a number of suggestions: the rising fortunes of Talon's rhetoric, which was not coupled to full-length treatises; new syntheses of classical and humanist rhetoric, such as found in the popular De arte rhetorica libri tres (1562) of the Jesuit educator Cyprian Soarez; the scholastic revival of the late-sixteenth century; or even the efficiency of the second-hand book market to meet continuing demand for humanist and classical rhetorics. 318 RHETORICA Renaissance rhetoric was equally tied up with the fortunes of the liberal arts, especially logic or dialectic. It is one of the virtues of HRR 1380— 1620 that it provides through the main part of the narrative a parallel account of the fortunes of both humanist rhetoric and dialectic. Melanchthon described his textbooks on rhetoric and dialectic as companion pieces, and even Ramus, who notoriously drew a sharp distinction between dialectic and rhetoric, distributing four of the five classical offices of rhetoric between them, insisted on the necessity and complementarity of both (pp. 142-5). Both rhetoric and dialectic were combined in a very influential method of critical reading, one of the uses of Renaissance rhetoric to which Mack is especially attentive. The parallel fortunes of rhetoric and dialectic in northern Europe that Mack tells in the first half of the book are complemented, in the second half, by a chapter on the fortunes of rhetoric in southern Europe in the sixteenth-century (chapter 8), and chapters on the contemporary fortunes of specialized rhetorical treatises: manuals of tropes and figures (chapter 10), letter-writing manuals (chapter 11), preaching manuals and legal di­ alectics (chapter 12), and vernacular rhetorics (chapter 13). In...

Abstract: In this paper, I report the effects of explicitly teaching five technical genres to English first-language students enrolled in a multi-major technical writing course. Previous experimental research has demonstrated the efficacy of explicitly teaching academic writing to English first-language adults, but no comparable study on technical writing exists. I used a mixed-method approach to examine these effects, including a control-group quasi-experimental design and a qualitative analysis to more fully describe the 534 texts produced by 316 student writers. Results indicated the genre participants constructed texts demonstrating a significantly greater awareness to audience, purpose, structure, design, style, and editing than participants taught through more traditional approaches. Within the technical genres, participants demonstrated greater awareness to audience, purpose, and editing in the job materials text type than with correspondence or procedures text types.

This case study, an example of scholarship of teaching and learning (SoTL) research, explores student motivations to collaborate with both peer teams and community partners in a service-learning course. Written by one instructor and three undergraduates, the article draws on personal narratives, student reflections, and a postcourse student survey. Our experiences and findings suggest that in courses like these positive extrinsic factors motivate students to collaborate in ways that the extrinsic motivators in typical assignments do not, helping to foster trust and shared goals. We also share our work as an example of how to include student voices in SoTL work.

As a relatively innovative teaching/learning approach in the Arabian Gulf region, in general, and in Oman, in particular, project-based learning requires progressive amendments and adaptations to the national culture of the learner. This article offers analysis of the current state of the approach in the local educational environment. Furthermore, it introduces the challenges of applying this unconventional type of instruction to Omani learners together with their response to the new learning conditions and philosophy. It also offers ideas on adaptations and implementation of project-based learning within the Arabian Gulf undergraduate student community.

This article, the first of a two-part series, catalogs teaching innovations presented at the 2013 Association for Business Communication (ABC) Annual Convention, New Orleans. They were presented during the My Favorite Assignment session. The 11 Favorite Assignments featured here offer the reader a variety of learning experiences including collaborative team work, debate, budgets, cross-cultural communication, report writing, persuasion, nonprofit organizations, client communication, and writing funding proposals. Additional teaching materials—including instructions to students, stimulus materials, slides, grading rubrics, frequently asked questions, and sample student projects—are posted on the Association for Business Communication webpage http://businesscommunication.org/assignments .

Business educators recognize the importance of developing teamwork as an employability skill. However, current methods used to teach teamwork have been met with mixed results from both students and educators. This article integrates research on the importance of teamwork, team development processes, and coteaching through examining a case study wherein coteaching was used as a means of conveying teamwork concepts to students. Coteaching is an alternate approach to teaching teamwork skills. In this case, the core competencies of shared values, complementary expertise, and the willingness to experiment were critical to forming and developing a functional teaching partnership.

Sisters and Brothers of the Struggle: Teachers of Writing in Their Worlds Charles Bazerman Internationalization, English L2 Writers, and the Writing Classroom: Implications for Teaching and Learning Terry Myers Zawacki and Anna Sophia Habib

Reviewed are: Multimodal Literacies and Emerging Genres Tracey Bowen and Carl Whithaus, eds. Redesigning Composition for Multilingual Realities Jay Jordan First Semester: Graduate Students, Teaching Writing, and the Challenge of Middle Ground Jessica Restaino

Sonic Persuasion is predominantly a history of sound in twentieth-century American culture that offers examples of how sound functions argumentatively in specific historical contexts. Goodale argues that sound can be read or interpreted in a manner similar to words and images but that the field of communication has largely neglected sound and its relationship to words and images. He shows how dialect, accents, and intonations in presidential speeches; ticking clocks, rumbling locomotives, and machinic hums in literary texts; and the sound of sirens and bombs in cartoons and war propaganda all function persuasively in rhetorical ecologies that contain words, images, and technologies. The book opens with an anecdote that foreshadows Goodale's basic mode of operation. FDR's iconic phrase “The only thing to fear is fear itself” loses much of its persuasive power when encountered only as words on a page. A significant aspect of its rhetorical force was Roosevelt's use of a pause after “fear” and before “is.” The silent pause invited listeners to fill in the gap with their own imagined fears and allowed Roosevelt to break this tension with a strong emphasis on “is” that focuses the audience's attention on “fear itself” (1–2). The cadence and sound of his voice was tailored to take advantage of the persuasive affordances of radio and does not translate to the page. Rather than isolate sound as an object of study in the manner of sound studies, Goodale's examples and close readings prompt his readers to integrate sound into the mainstream of rhetorical scholarship.Along with McLuhan, Goodale argues that humanities researchers have neglected “ear culture.” Following critiques of modern and Western visual bias, he locates the origin of this tendency in Plato's allegory of the cave and its reproduction in scholarship that emphasizes texts and archives. Even though twentieth-century technologies have increasingly made it possible to archive sound, most digitization projects have centered on archiving texts and images, with some of the online sonic archives being almost “as ephemeral as speech itself” (5). Texts and images are also much easier to reproduce in print journals that are still the valued venue for scholarship. And sound has failed to transcend disciplinary boundaries. While words are still central to English departments and images are still central to art departments, they are both engaged widely across many fields in a way that sound is not—sound predominantly remains the scholarly property of music departments. Even the field of speech communication, for Goodale, gave up its previous emphasis on voice and sound after the invention of television—film, television, and the internet have long surpassed the phonograph and radio as areas of interest in communication (6). While there is a growing movement surrounding sound, from Jonathan Sterne in sound studies to Joshua Gunn in communication, Goodale maintains that a significant hurdle for sound's wider dissemination across the humanities is that it is difficult to “read” in the traditional humanities sense of the term. His book sets out to show how these difficulties can be overcome. Less a theoretical treatise on sound, than a series of close readings that practice this form of sound criticism, the book seeks to show that sound can be read closely and on par with images and words.In chapter 2, “Fitting Sounds,” Goodale develops readings of recorded presidential speeches to show that a significant shift occurred in the sound of presidential oratory in the period between 1892 and 1912. Grounding these readings in the notion of a “period ear,” he culls together evidence from the language of political cartoons to verbal cues in early phonographic recordings and literary novels to public speaking textbooks to show how the mixing of dialects and accents influences presidential rhetoric. Over this period, the increase in foreign-speaking immigrants, the rising influence of labor on politics, the dissemination of recording technologies, and changing ideas of masculinity drive a shift from a theatrical or orotund style through a transitional period to a vernacular, instructional voice. The orotund style, which Goodale examines through short, close readings of the speeches of Grover Cleveland and William McKinley, is modeled on Shakespearean actors and conveys a sense of elite class and power in its weightiness and gravitas. Every letter and every word is articulated clearly and heard distinctly. The style is marked by rolling r's and y's pronounced like a long i rather than ee (28). This kind of slow pacing and specific pronunciation was often needed to project to larger crowds in the less than ideal acoustic surroundings in which political speeches were often delivered. Goodale identifies a transitional, contextualizing moment marked by works such as Mark Twain's Huckleberry Finn, whose characters spoke in a more vernacular style, by actors such as Henry Irving, who rejected the orotund style in one of the first phonographic recordings of Richard III, and by speech teachers such as Brainard Gardner Smith, who began to advise orators to “speak as if before friends” (33). Goodale shows the turn in oratory that favored the instructional, plain style of professors through a close analysis of an early recording from Theodore Roosevelt's 1912 campaign that combined bits of his stump speech “The Right of the People to Rule” and his Progressive Party convention speech, “Confessions of Faith.” Roosevelt edited the speeches into a four-minute recording that was intended to reach broader audiences in the home and the saloon. Roosevelt fails to trill his r's, fails to pronounce every consonant and syllable, and speaks in the key of C (ascending and descending along the scale), in an attempt to mimic popular music, much of which was written in that key. The changing historical context created certain “sonic expectations” among public audiences that prompted Roosevelt to become the first president to sound like the people, providing Goodale with evidence that persuasively demonstrates the significance of sound in Roosevelt's recordings.Chapter 3, “Machine Mouth,” focuses on the quintessentially modern sounds of the clock and the locomotive to examine how sound can pierce or fragment identity and transform into a “sonic envelope” that protects and strengthens identity and community. What began as a “war of the working class against the clock” is taken up and celebrated by modern artists and composers and eventually turns into the accepted ambient sound of modernity. Pre–WWI artists, writers, and composers, embrace the deterritorializing of modern noise. Cubists such as Pablo Picasso and Georges Braque paint with sharp staccato lines that run through their subjects, fragmenting them into multiplicities. Goodale reads this as imitating the sharp sound of modernity and its effect on listeners. Braque's Woman with a Guitar (1913) exemplifies this technique, featuring lines cutting through the figure that connote the lines of a musical staff or the strings of a guitar. Futurists such as Carlo Carra and Fillipo Tommaso Marinetti challenge visual artists and poets to render sound and noise through movement, vibration, and color. Carra sees sounds as always “freed from their origin” (58) and uses techniques such as acute angles, oblique lines, and subjective perspectives to translate these sonic sensations into images. Umberto Boccioni observes that “an object moving at speed (a train, a car, a bicycle) appears in pure sensation in the form of an emotional ambience, which takes the form of horizontal penetrations at acute angles” (58). However, this cultural work serves to familiarize and domesticate these sounds, which produces “sound envelopes.” Goodale argues that futurist poet Marinetti's attempts to imitate the ear's ability to hear simultaneous sounds from multiple directions anticipates Hitler's orations. Marinetti's writing is intentionally disturbing, violent, and chaotic. But rather than fragmenting the self, Hitler used “the sound of his voice, his mechanized armies, and the crowd to unify a massive group into a single body politic” (61). Hitler uses the microphone, loudspeaker, and radio to envelop his listeners in sound. Vocal domination and the manipulation of applause create a comforting sonic envelope. Triumph of the Will, for example, uses microphones, martial music, cheers, church bells, and Hitler's amplified voice to “make an incredibly persuasive aural experience, one that bathed listeners in an impermeable sonorous envelope” (64). Adapting to these initially jarring modern sounds, audiences recompose them into a soundscape that creates identification rather than disrupts identity—in Hitler's case with disastrous results. Goodale examines a number of sonic artists up through bluesman Bukka White's integration of locomotive sounds into song to show how this “period ear” transforms over time—modern sound starts as jarring assault and becomes ambient soundscape. Radio plays a key role in this transformation because listeners can control the volume, turn to stations that align with preestablished identities, place the radio in familiar environments such as the home or church, and place the radio at the center of a sonic envelope rather than experiencing a sonic assault from all sides.In chapter 4, “The Race of Sound,” Goodale examines sonic persuasion even more directly, showing how tropes related to race were eventually used to upend mainstream sonic segregation. This chapter focuses on music cultures of the interwar period and the ways musicians collaborated directly and indirectly in order to navigate the record industry's racialized genre categories and eventually rearticulate them. Goodale provides close readings of a recorded oral history from ex-slave Phoebe Boyd, a radio episode of Amos and Andy, and Billie Holiday's recording of “Strange Fruit.” Because sound recordings were still dominant in this pretelevision era, determination of race often had to be made through voice, which is more rhetorically malleable than bodies, problematizing the commonplace that voice is a truer reflection of the self. The heights of audio technologies—phonograph and radio—made “sonic passing” through vocal and musical style a significant rhetorical strategy (78), and musicians regularly upended segregation by performing together in clubs and studios and imitating each other's styles. The chapter is awash in examples, but the focus on Holiday directly links sonic persuasion to the metaphor of coloring: color as skin, as tone in music or sound, and as rhetorical trope (97). Following Cicero and Seneca, Goodale sees tone as casting “light or darkness on events, facts, and personalities,” coloring listener's interpretations of an argument (97). “Color” is a verb that connotes change; it conveys the idea of influencing or distorting perception that isn't limited to the visual. In 1933, Holiday joins an integrated group put together by Benny Goodman in which she is prompted to sing “straight” or in a white style, because of the sonic expectations of the time and the need to “market race” (92). But by 1939's recording of “Strange Fruit,” her signature color/ing came front and center. Holiday took her style into the antilynching protest song in order to color the listener's perceptions just as FDR did with his speeches. Goodale writes: The south's purported goodness, for example, gets an ironic treatment when Holiday twists phrases like “sweet and fresh” while eliding “gallant” into something sonically less than a full word…. Her intonation of “sudden”… is rapid, thus turning the word into an example of itself. When she forces out the word bulging, she imitates with her voice the visual appearance of something being forced outward. The word breeze is elongated, and the letter b in blood drips from Holiday's lips like the life force of the victims she describes. When Holiday sings drop her voice briefly ascends then descends in a long glissando. At the end of the dragged out drop, Holiday's vibrato sonically mimics the tension of the long rope bouncing at first then quivering, then remaining still. Her voice has gained in intensity until this moment but then fades out, suggesting that it is at this point in the song when the lynching has occurred and life has ended. (99–100) She renders the words through a form of sonic persuasion that colors them in sounds that conflate the multiple meanings of the term—race, sound, and influence—creating a sonic envelope that colors the listener's experience.In Chapter 5, “Sounds of War,” Goodale concludes his analyses with an examination of sound in the cold war period. He analyzes sonic manipulations in cold war propaganda, specifically the ways that civil defense sirens and the sounds of dropping bombs were used to greater and lesser effects. Goodale looks at the educational film Duck and Cover's misguided use of the siren, which is intended to ease fears by teaching preparedness but ends up amplifying those fears; Hollywood's use of diving bombs in the Roadrunner cartoons, which actually succeeded in alleviating fears of bombing; and the persuasive impact of sonic manipulation in President Johnson's “Daisy” campaign ad from 1964. While the sound of the air raid sirens pierced the audience's sonic envelope, the Roadrunner and Wile E. Coyote cartoons turn the sounds of war into comic familiarity, enveloping the listeners in a safer aural environment. In addition to providing his typical contextualization that places creator Chuck Jones as a member of Hollywood's left, Goodale offers a close reading that centers on the Doppler effect. Christian Doppler actually identified the effect using light, noticing that as an object approaches you its light waves are compressed and shift toward the higher visual frequency, blue light, and that as it moves away it shifts into light waves that are stretched into the red end of the spectrum. Christoph Ballot first tested the theory with sound, having trumpeters play on a moving train. Moving toward the listener the sound waves are compressed into the higher frequencies, and moving away they are stretched into the lower frequencies where the sound correspondingly moves down the musical scale in pitch (118). Goodale notes how this materiality of sound operates rhetorically in the Wile E. Coyote cartoons: It is a sound from the perspective of a particular listener: the listener away from whom the bomb travels. These are the sounds produced by a culture that has, since 1812, bombed others and not been bombed itself. Listen to a war film in Germany, and you are likely to hear a very different sound; the sound of something falling toward the listener has a gradually ascending or constant high-pitched scream, not an almost musical, falling whistle. The sound of the falling bomb that Jones made famous in the 1950s is the sound perceived by people who are bombers and not the bombed. It is the sound of survival, not of death. (118–19) The listener enthymematically fills in the phenomenological sonic position of survival, which is reinforced by Wile E. Coyote's continued survival after every pratfall. This kind of enthymematic identification is central to Goodale's chapter and analyses. In his discussion of America's use of soundless bombing videos during the Gulf War, he draws on Kathleen Hall Jamieson's concept “empathematic,” which combines enthymeme and empathy, filling in the argumentative warrants and identifying with the subject positions the argument offers. But the lack of sound in the grainy, video-game-like propaganda videos left American audiences “little possibility of stepping into the shoes of the Iraqis and completing the argument about the real effects of bombs” (127). The Iraqis had been turned into caricatures that survive rather than humans being bombed and thus worthy of empathy.Since Sonic Persuasion is predominantly a history of sound, readers in philosophy will find smaller amounts of theoretical development and readers in rhetoric will find a reliance on a relatively traditional sense of rhetoric. Rhetorical concepts such as the enthymeme and identification are predominant in Goodale's examples, and he adopts a relatively traditional model of interpretation based on historical context and close reading, his goal being critical awareness. What is exciting about the sonic turn for many is the potential to develop newer rhetorical concepts and theoretical models out of engagements with sound. While Goodale hints at this potential, his interpretive practice stays within relatively well-recognized territory.1 But it is important to acknowledge what is significant about book on its own terms. Just as it became clear in the late 1990s that we could no longer talk about cultural studies without digital technologies, since culture was becoming so intimately tied to the digital, Goodale makes the case that in the twentieth century we can't talk about rhetoric without sound, since persuasion has been so intimately tied to the sonic. For a broader readership in communication or composition, the book provides a persuasive rationale for acknowledging how sound potentially impacts all acts of persuasion. Sonic Persuasion makes the case for opening the field to a wide array of engagements with sound, and while it doesn't always take us to these diverse places and methods—affect beyond meaning, engagement beyond interpretation, method beyond close reading and historical context—it does provide clear disciplinary grounds for these pursuits, making it difficult to neglect the sounds that fragment and envelop everyday acts of persuasion and the slickest media manipulations.

Using visual rhetoric as a mode of instruction in two-year college composition can have a positive and powerful impact on teaching and learning.