This essay describes a project in a first-year writing course in which students created video Public Service Announcements. The project resulted from a university-sponsored contest to prevent the spread of the H1N1 virus on campus. Illustrating the process of creating such video compositions allows an examination of the potential for multimedia projects in writing courses, especially projects that respond to a public call or exigence. This project pushes students not only technologically but also rhetorically.

This article examines the social influences that affect how women perform in a composition course focused on first-year students. We know that society encourages young women to be good girls, but does being a good girl lead to being a good student? Can first-year composition assignments illuminate gender gaps at play in higher education?

Teaching the Holocaust in a first-year writing course using photographs of the Shoah as a primary resource authorizes students to engage in research and writing that provides a place of empathetic, dignified witnessing for those who were denied the possibility of realizing the lives they were meant to live.

For faculty seeking to engage students in inquiry-based, emergent, and primary research in first-year composition courses, Google Documents provides both an efficient and effective means.

This article presents a consideration of how students’ existing information-seeking behaviors affect traditional methods of teaching library research in first-year writing courses and offers an alternative method that uses both library and popular Internet search tools.

First-year composition students engage with visual rhetoric via interpretation and analysis through a trip to a local art museum for the first essay assignment and through an exploration of photography for the second essay assignment.

Peer-response remains a central process in first-year composition; faculty can make it effective and efficient by “spotlighting”—designing the process as digital, emergent, and distributive.

The article describes and analyzes the exclusion of LGBT content in composition courses by reporting on a study of how queerness is (and is not) incorporated into first-year writing courses. The authors critically examine the presence or absence of LGBT issues in first-year composition readers; offer analyses of how some first-year readers handle issues of queerness; and consider how queerness, when it is included in composition textbooks, is framed rhetorically as a subject for writing. The article concludes with recommendations for those seeking to explore issues of sexuality in ways that are productive for students, other faculty, and our profession. Ultimately, the authors demonstrate that, while some ground has been gained in understanding sexual difference as an important domain for students to explore, there is still much work to be done in creating textbooks that invite students to think critically and usefully about the interconnections among sexuality, literacy, and writing.

This article draws data from a participant-observation study that considers fourteen-and fifteen-year-old-dual enrollment students and gauges the impact of their attendance in a section of first-year composition on them, on other students, and on curricular rigor.

The goal of teaching students to write for the university assumes that in first-year composition students can be taught ways of writing (genre and genre knowledge) that they can then transfer to the writing they do in other courses across the university. This goal and its underlying assumption are problematic for a number of reasons illustrated here through a study of a large midwestern composition program. The study validates theoretical critiques of general skills writing courses made by genre and activity theorists over the past decade. The difficulties of teaching varied academic genres in only one context suggest we might better serve first-year students by reframing the goals of FYC, such that the course does not promise to teach students to write in the university but rather teaches students about writing in the university.

The author discusses his experience in a university project that led to the creation of a first-year writing text based on interviews with members of a local neighborhood. In particular, he analyzes the negative reaction that many of the community’s residents expressed toward the text’s portrayals of them. From the tensions that developed, the author concludes that English studies must go beyond mere expansion of the canon and reflect upon the very nature of value, including the importance of “use-value” with respect to the production and circulation of community-generated texts.

The Roanoke College Writing Initiative Grant (WIG) program provides a two-thousand-dollar stipend for non-English Department faculty to teach in the first-year writing program. Faculty is expected to teach three iterations of their proposed course and receive a year of training prior to entering the classroom. Hanstedt's introduction discusses the theoretical justifications for the program, as well as its historical roots and positive outcomes. The faculty development training of Roanoke's WIG program is described, as is how this member of the chemistry department put the lessons learned into action as he taught freshman writing for the first time. Rachelle Ankney taught an introductory writing course as a break from teaching many sections of introductory college math. She enjoyed learning a whole new approach to writing and had fun in the first-year writing course. But she was most surprised to find that teaching writing well makes teaching math better, too. She went from advocating “required writing across the curriculum” to being a firm supporter of “teaching writing across the curriculum.” This paper reflects on an experiment in using a writing course to teach critical thinking skills and vice versa, with special emphasis on helping students to get beyond their aversion to and distrust of argument. The course assigned short argument analyses, an exercise in literary interpretation, and a research paper in for students to gain more familiarity with argument and to appreciate its varied uses. One unforeseen result was the amount of time that had to be devoted to clarification of the terms of argument. Because clarification requires using inference, however, it is recommended that descriptive writing would be a helpful vehicle to start students addresstheir problems involving argument. This paper recounts a music professor's experience designing and teaching his first writing course, Music into Words. Research on the conceptualization of music argues that our ability to communicate musical understanding relies heavily on phenomenological and metaphorical description; the opportunity to teach writing about music to the general student offered the musician a laboratory for testing this hypothesis. However, the instructor discovered that, not surprisingly, narrative (story-telling) functioned as his students' primary mode of communicating meaning and significance in music. In the end, while reading and writing these stories, the students and the music professor learn important lessons about the role of music in human experience.

Although accelerated summer and winter intersession courses may appeal to developmental ESL students who are required to take several ESL/English courses before placing into first-year composition, the abbreviated time period may actually be detrimental for weaker ESL students. Two case studies are presented here that chronicle two students’ struggles in such a course.

To gain an understanding of how audiences shape the way they write, students use online surveys in order to gather information about their audiences—information that helps them create persuasive presentations in a first-year writing course.

The literary genres of creative nonfiction have tremendous potential to create a new kind of process-centered textbook—and perhaps a rocess-centered pedagogy that has finally reached maturity.

This essay describes Louisiana State University’s search for an alternative to available placement protocols. Under the leadership of Les Perelman at MIT, LSU collaborated with four universities to develop iMOAT, a program for administering online assessments of student writing. This essay focuses on LSU’s On-line Challenge, which developed from the iMOAT project. The On-line Challenge combines direct and indirect writing assessments with student choice while freeing students from the constraints of time and place to invite new possibilities for assessing writing.

David H. Slomp and M. Elizabeth Sargent have written a commentary on the responses by Joseph P. Kutney (December 2007) and by Libby Miles et al. (February 2008) to Douglas Downs and Elizabeth Wardle .Teaching about Writing, Righting Misconceptions:(Re)Envisioning First-Year Composition as Introduction to Writing Studies which appeared in the June 2007 issue of CCC.

Entering college students often struggle with their professors' expectations for “analysis” since those expectations are often ingrained in disciplinary assumptions that scholars rarely need to articulate. In this essay, I argue that we need to teach analysis explicitly in first-year writing courses and that we need to help students transfer those lessons across the curriculum. By asking students to read “with” and “against” the grain of texts, I give them tangible ways to rough up and pull apart the sources we read together. Students find this language useful in helping them engage directly with sources and ideas, rather than sliding into description or summary. Reminding them that this particular approach originates in the discipline of literary studies, I then have students themselves draw conclusions about what “analysis” looks like -- and what it does -- in other disciplines by examining samples of scholarly writing.

By rewriting a sales letter about a short story into a literary analysis, first-year composition students not only learn rhetorical principles that are sometimes lost in a literature-based composition course but also discover the metagenres linking disciplines.

The attempt of writing center consultants to discourage faculty from requiring classes to visit the writing center led to research that calls this longstanding practice into question.

In a FIPSE-funded assessment project, a group of diverse institutions collaborated on developing a common, course-embedded approach to assessing student writing in our first-year writing programs. The results of this assessment project, the processes we developed to assess authentic student writing, and individual institutional perspectives are shared in this article.

The first-year writing program at Kennesaw State University has found its in-house conference (IHC) to be an important venue for faculty development. Based on the assumption that teachers actually know what they are doing, the IHC invites teachers of all ranks to propose a presentation on a selected topic and then to present those papers at conference sessions that other teachers attend. The IHC invites part-time faculty into the community, generates intellectual conversation about teaching across the lines of rank and hierarchy, allows the conversation to continue long after the conference since participants can see each other daily, and invites reflection on and modification of teaching. The success of the IHC serves as a reminder that some faculty development should be discipline-specific and local. In addition, the IHC asks teachers of writing to actually write themselves and allows them the opportunity for scholarship. The professional development that the IHC offers is not, however, limited to a writing program but can be used to stimulate intellectual engagement across the English department and, beyond that, to other departments across the university.

Rhetorically challenging literature can be made to serve the purposes of first-year composition in new ways. Excerpts from the novels of Marcel Proust that focus on the author’s characteristic scrutinizing, reflexive attention to style work successfully as models for assisting writers in acquiring the habits of reading and re-reading, and of writing, revisiting, and revising, which are essential to well-written prose.

Writing about Writing as the Heart of a Writing Studies Approach to FYC: Response to Douglas Downs and Elizabeth Wardle, “Teaching about Writing, Righting Misconceptions” and to Libby Miles et al., “Thinking Vertically” by Barbara Bird; “Response to Miles et al.” by Douglas Downs; “Continuing the Dialogue: Follow-Up Comments on “Teaching about Writing, Righting Misconceptions”” by Elizabeth Wardle.

This article explains the rules for playing the “Interpretation Game” in a literature-based first-year writing class, describes the resulting class discussion, and reflects on the ways that rules and games can promote rich collaboration.

Douglas Downs and Elizabeth Wardle’s “Teaching about Writing, Righting Misconceptions: (Re)Envisioning” First-Year Composition’ as “Introduction to Writing Studies’” in the June 2007 issue of CCC (volume 58.4, 552–84) has raised a good deal of debate, and I welcome more contributions from readers as we discuss the Downs-Wardle article in these pages. Joshua Kutney’s written response came in time for publication in this issue. In addition to the print copies of the journal, the original article is featured on the CCC Online Archive (www.inventio.us/ccc).

Though Plato may have been making a metaphysical argument when he valorized orality over textuality in Phaedrus, a close reading of “Plato's Pharmacy” reveals that Jacques Derrida's response, which reversed Plato's oral/textual dissociation, was metaphorical. The difference/differénce between the metaphysical and metaphorical is itself lost in the Yale School's translation of French deconstruction into American poststructuralism. When the Yale School's metaphysical interpretation of poststructuralism, and particularly the literary notion of the author, is imported into composition, Derrida's claim that writing is “essentially democratic” is itself reversed, and the student subject is deconstructed alongside student writing.

In this article we propose, theorize, demonstrate, and report early results from a course that approaches first-year composition as introduction to Writing Studies. This pedagogy explicitly recognizes the impossibility of teaching a universal academic discourse and rejects that as a goal for first-year composition. It seeks instead to improve students’ understanding of writing, rhetoric, language, and literacy in a course that is topically oriented to reading and writing as scholarly inquiry and that encourages more realistic conceptions of writing.

While it is often ridiculed, the subject of the paranormal offers an effective means to encourage student involvement and support critical-thinking skills in first-year writing courses.

Of interest to instructors of first-year writing, this paper delineates the challenges faced by professors of first-year writing who lack formal graduate training in composition and rhetoric, and it explores the strategy that enables them to become excellent teachers despite such challenges.

This article offers a critical perspective on the default mode of freshman composition instruction, that is, its traditionally middle-class and white racial orientation. Although middle-classness and whiteness have been topics of critical interest among compositionists in recent years, perhaps the most effective challenge to this hegemony in the classroom is not in our textbooks or critical discourse but in what many of our students already consume, the ghettocentricity expressed in the music of rappers like Kanye West, Jay-Z, and Eminem.

In the interest of better understanding the challenges of enacting new pedagogies in the classroom, the following essay focuses on the role of genre and uptake in the relational negotiation of self-presentation. I argue that to bring our teaching practices in line with our best intentions and most progressive pedagogies we need to be aware not only that reliance on the legibility associated with familiar subject positions motivates student resistance in the composition classroom but, moreover, that our interest in securing self-presentations as teachers may motivate everyday interactions that work to maintain the status quo.

In an ESL first-year composition classroom, cooperative learning assists English language learners in developing their ideas, voice, organization, and sense of writing conventions, while simultaneously enhancing their production and comprehension of English.

Hip-hop as content in a first-year writing course offers students a powerful way to connect with their worlds. I draw on Marcel Proust as a kind of rhyme to legitimate hip-hop as a substantive expressive medium to achieve artistry in writing.

This study was conducted to obtain empirical data to inform policy decisions about exempting incoming students from a first-year composition (FYC) course on the basis of Advanced Placement (AP) English exam scores.

Research Article| January 01 2006 Writing and Citizenship: Using Blogs to Teach First-Year Composition Charles Tryon Charles Tryon Search for other works by this author on: This Site Google Pedagogy (2006) 6 (1): 128–132. https://doi.org/10.1215/15314200-6-1-128 Cite Icon Cite Share Icon Share Twitter Permissions Search Site Citation Charles Tryon; Writing and Citizenship: Using Blogs to Teach First-Year Composition. Pedagogy 1 January 2006; 6 (1): 128–132. doi: https://doi.org/10.1215/15314200-6-1-128 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. © 2006 Duke University Press2006 Article PDF first page preview Close Modal Issue Section: From the Classroom You do not currently have access to this content.

Despite the widespread acceptance of many kinds of nonliterary texts for first-year writing courses, primary scientific communication (PSC) remains largely absent. Objections to including PSC, especially that it is not rhetorically appropriate or sufficiently rich, do not hold. We argue for including PSC and give some practical suggestions for developing courses and designing assignments using PSC

The application of Edward P. J. Corbett’s prose style chart to three exemplary first–year essays reveals that there is an identifiable, hence teachable, exemplary first-year writing style.

Using sample student analyses of online paper mill Web sites, student survey responses, and existing scholarship on plagiarism, authorship, and intellectual property, this article examines how the consumerist rhetoric of the online paper mills construes academic writing as a commodity for sale, and why such rhetoric appeals to students in first-year composition, whose cultural disconnect from the academic system of authorship increasingly leads them to patronize these sites.

This essay frames the connections between punk principles and writing theory in order to re-form what the author emphasizes in his own composition classroom, in particular the do-it-yourself ethic, a sense of passion and fearlessness, the agency to attack institutions, and the seeking of pleasure.

Implementing deracination and the D.I.S.—components of a developing critical thinking pedagogy termed decritique—offer a more critically reflective alternative to classroom peer-review activities that mistakenly focus on a “notion of caring"

While most service-learning courses at the college level establish a hierarchical connection between mentor and student, the service-learning program at Los Angeles City College encourages a reciprocal relationship in which mentor and mentee benefit from each other. First-year composition students are paired with intermediate ESL composition students in a semester-long program.

We argue against the metaphor of the “level playing field” and its natural coercive power; in so doing, we call for an end to the invisibility that the debate over accommodations has imposed on learning disabilities in the past decade. A literature review of LD in composition shows how this invisibility has manifested itself in our field through limited professional discussion of LD. In response, we propose not a level playing field but a new playing field altogether, a visible one that actively promotes alternative assistance for student writers with LD in first-year composition programs. We seek to show how the LD and composition fields could create a powerful partnership by serving students with LD through the principle of the liberal theory of distributive justice.

Research Article| January 01 2004 Starting Somewhere Better: Revisiting Multiculturalism in First-Year Composition E. Shelley Reid E. Shelley Reid Search for other works by this author on: This Site Google Pedagogy (2004) 4 (1): 65–92. https://doi.org/10.1215/15314200-4-1-65 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn Email Tools Icon Tools Permissions Cite Icon Cite Search Site Citation E. Shelley Reid; Starting Somewhere Better: Revisiting Multiculturalism in First-Year Composition. Pedagogy 1 January 2004; 4 (1): 65–92. doi: https://doi.org/10.1215/15314200-4-1-65 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: Articles You do not currently have access to this content.

This article suggests ways of writing a truly effective cover letter, an extremely important document in the search for a job. First, features gleaned from 13 model letters in technical writing textbooks yield figures on the number of words, sentences, and paragraphs per letter, plus the average number of words per sentence and paragraph, information helpful to those with little or no knowledge of how to write a strong cover letter. Second, the article surveys what the textbook writers offer as advice about the rhetorical principles that should be employed in composing cover letters. One piece of advice given by almost all of the experts is that writers should try to exude an energetic attitude, yet these same authorities do not delineate just how to display such a posture in the letters themselves. Third, examination of the letters reveals that one way that experts insert verve into cover letters is to use verbals, particularly gerunds, participles, and infinitives. In fact, 92.58% of the sentences in the 13 model letters have some type of verbal in them. The advantage of employing verbals is that while they are used for other parts of speech, they still retain the residue of action in their meaning. Fourth, the article describes the results of a survey to determine the acceptance of such constructions in the minds of two sets of readers: first-year writing students and third-year technical writing students. In both groups, more than 75% of the students preferred a paragraph with verbals in it over a paragraph devoid of verbals. Finally, the article suggests “sentence combining” as a procedure for teaching technical writing students how to combine basic sentences into verbals to garner variety and economy, one of the hallmarks of technical writing.

In the first-year composition research class, a disproportionate pedagogical focus is placed on the use of the library, rather than on the more difficult and integral problems of how to read, interpret, and analyze information the library offers, how to translate and synthesize this into knowledge, and how to produce a research product worthy of the genre.

This article describes a first-year composition project in which the students assumed the role of historians, visiting the site of a riot and examining archival documents few researchers have ever studied.

Via a Speak Aloud and Write protocol methodology, this study investigated the characteristics of the wording formulation process of a select group of 7 African American students in freshman composition who claimed nonstandard features were active at least 30% to 40% of the time while they composed their papers. Control of rhetorical context was established in terms of tone (formal), purpose (to explain or argue), audience (English instructor), and the time-place context (“simultaneously” spoken-written at one sit-ting). Two Speak Aloud and Write transcripts per participant were analyzed for grammatical and “pronunciation-related” nonstandard feature dynamics in reference to consequences on the page, given the requirements of freshman composition. Findings indicate complex dynamics at work in the form of 7 feature dynamic patterns and 19 variations, with particularly marked activity in relation to a consonant cluster reduction feature and to specific verbal nonconcord features. Also, students who shared feature dynamics pattern characteristics generally shared literacy background characteristics.

After considering complaints of boredom as a significant factor in our classrooms, the second part of this article analyzes the responses of thirty-two first-year writing students to questions about boredom.