The article combines methods pertaining to Rhetorical Genre Studies and Discourse-Historical Approach in order to provide a comprehensive analysis of Krzysztof Bosak’s nomination acceptance speech which he delivered during the 2020 Confederation presidential primaries. The discussed genre of political speech is rarely realized in European contexts. Given various differences between the American and the Polish political systems, Bosak did not follow every pattern of the standard variant of the genre. Rather his speech appears to be more similar to a nomination acceptance speech of a third-party candidate. Overall, Bosak emerged as the leader of a divided and heterogeneous party, which was not given much attention by mainstream media. The paper investigates how these factors contributed to the structure and content of the speech. Moreover, recent decades have seen a rapid rise in significance of (far) right-wing movements in Europe. As Confederation is a relatively new political formation, there is a gap in research regarding the properties of its discourse. Thus, the present paper compares the discourse of the coalition with practices of politics of fear (Wodak, 2021).

This article highlights technical and professional communication (TPC) as a literacy practice used to plan and sustain Black family reunions. Specifically, I examine the work of three families who create and engage with technical and business writing genres to complete internal and external reunion organizing work. I argue that the field of TPC needs more focused inquiry into research that centers Black families as TPC practitioners.

Occlusion is most commonly presented as an aspect of certain genres: occluded genres. Here, occlusion is proposed as a property of the processes by which genres are taken up. While routine use of genres creates expectations around when the genre’s uptake is commonly occluded, such expected practice can be subverted by deliberate disclosure. Occlusion and disclosure in the process of genre uptake thus become argumentative and powerful moves in communicative interaction. In three case studies, I analyze processes of occlusion in relationship to the genre of the letter to the university president.

This study addresses the question of how different aspects of students’ writing achievement can be recognised and evaluated. We developed a linguistically based framework for criteria-based assessment, anchored in a functional view of language and language learning. The framework was used to determine what traits characterise texts at different Proficiency Groups based on comparative judgement and what traits characterise texts assessed differently. Altogether, 100 texts (written by students ages 6–9) representing four text genres were assessed and ranked using both comparative judgement (holistic assessment) and criteria-based analysis. The results indicate that texts generally are assessed as stronger (i.e., placed in a higher Proficiency Group) when comparative judgement is used than what the assessment of a specific language resource indicates. The results also indicate that assessment differences might be a result of different quality expectations for different genres. This points towards the need for genre- and subject-specific assessment criteria to scaffold students in their emergent disciplinary writing development.

This study uses examples from a case of everyday technical and professional communication (TPC) at a small multinational company on the Mexico–U.S. border to illustrate how coordinating analytical frameworks commonly used in TPC analyses—activity theory (AT) and actor-network theory (ANT)—can help TPC scholars and practitioners negotiate interpreting others’ asynchronous communication fairly and justly, even in complex, intercultural contexts. The examples illustrate why developing normative ethics for the 21st century requires attention to the ways that goal-oriented activity and the flat, networked interaction of the human, nonhuman, and black-boxed forces intersect in everyday TPC practitioners’ lives and work.

The data article is a digital genre that has emerged in response to new exigencies, namely, to make data more transparent and research processes more trustable and reproducible. Following White’s framework of intersubjective stance, this article draws upon statistical tools and collocational and discourse analyses to examine the linguistic resources deployed by authors to respond to both exigencies. The results show a high presence of dialogically contractive resources (above all, passive constructions and, only in one data article section, inanimate subjects) by which authors do not fully engage with dialogic alternatives (heteroglossic disengagement). Dialogically expansive resources (anticipatory it-subjects and we-pronouns) are extremely rare, corroborating that the authors’ stance is neither monoglossic (undialogized) nor heteroglossically engaged. Further, the discourse functions and ensuing pragmatic effects of the prevailing intersubjective stance resources, significantly different between and among the data article sections, including their associated abstracts, reveal the construal of very distinct dialogic spaces for writer-reader interaction within this article type. Such intra-generic variation may be explained by the social (and rhetorical) action that the genre fulfills, namely, to describe and highlight the value of the research data.

While writing is a critical part of the medical profession, longitudinal studies exploring the social apprenticeship and genre knowledge development of medical practitioners are almost nonexistent. Through interviews and writing samples, this article traces a 10-year journey of one writer’s engagement with the Patient SOAP note, following his experiences from the first year of his undergraduate education to the end of medical school. Drawing upon theories of social apprenticeship and the RIME framework (reporter, interpreter, mediator, educator) from the field of medicine, we offer an in-depth case study of our focal participant’s growing medical expertise as he masters the Patient SOAP note. Through this in-depth analysis, we argue that the SOAP note functions as a “threshold genre” to assist entry into the medical profession. We conclude by offering additional evidence about the role that key threshold genres play in the development of professional expertise and offer implications for genre theory.

Factual writing is a key macrogenre of American K-12 schooling that is also valued in workplace and society. This study examined the genre and register features of two subgenres of factual writing—biography and report—composed by 48 sixth-grade students in a curriculum unit on scientists and science-related careers aimed at developing students’ understanding of the nature of science. These texts were analyzed for a range of schematic, lexical, and grammatical features that instantiate the two target genres. Statistical and descriptive analyses revealed that the students demonstrated a fairly mature control over the schematic and lexical features that realize the purpose of either genre and relied heavily on the grammatical resources characteristic of everyday registers in constructing both genres. Additionally, there was a positive relationship between the students’ genre/register familiarity and the holistic quality of their writing, and the students’ reading proficiency was a significant predictor of their genre familiarity and holistic writing quality, but not their register understanding. These findings suggest that learning the grammatical resources characteristic of academic registers remains a major and potentially daunting task for many adolescents.

Reviewed by: Robert Burton’s Rhetoric: An Anatomy of Early Modern Knowledge by Susan Wells Timothy Barr Susan Wells. Robert Burton’s Rhetoric: An Anatomy of Early Modern Knowledge. RSA Series in Transdisciplinary Rhetoric. University Park, PA: Pennsylvania State University Press, 2019. 211 pp. ISBN-978-0-271-08467-1. Pauline Reid. Reading by Design: The Visual Interfaces of the English Renaissance Book. Toronto: University of Toronto Press, 2019. 283 pp. ISBN: 978-1-4875-0069-6. David Wiles. The Players’ Advice to Hamlet: The Rhetorical Acting Method from the Renaissance to the Enlightenment. Cambridge: Cambridge University Press, 2020. 370 pp. ISBN: 978-1-108-49887-6. The works reviewed here celebrate the openness and indefiniteness of rhetoric’s domain by arguing against its assimilation of a disciplinary mode of scholarship. They work from three distinct positions while drawing from the early modem and (mostly) English archive. Susan Wells’s argument for a “transdisciplinary rhetoric” (it is part of the RSA Series in Transdisciplinary Rhetoric) is sustained throughout each chapter of her reading of Burton’s Anatomy of Melancholy, refiguring what Nancy Struever has called rhetoric’s “theoretical insouciance” as its value for playing tavern-keeper at a crossroads of other disciplines’ inquiries. Pauline Reid’s work explicitly targets the boundaries between new media and bibliographic studies by showing how early modem print involved visual modalities beyond the oft-rehearsed oral-print divide. David Wiles offers a fresh perspective by taking counsel for the discipline from a position without one: the professional actor of the early modern English and French stage. Each has a distinct refrain: transdisciplinarity, interdisciplinarity, and a kind of “undisciplining”—unlearning the trained incapacity of academic theorization. Wells opens her book with an autobiographical note. She first read The Anatomy of Melancholy for her comprehensive exams in the mid-1970s. Although her scholarship did not initially take her into uncovering the allusive world of Burton’s massive work, she describes being impressed by the voice of his prose. It was one “utterly at ease with its learning ... thin, rhythmic, quizzical, the voice of an eccentric and intimate friend” (1). Although such notes are often left in the prefatory material, here it is germane to the work. Reading Wells is to hear her performance of just such a voice witty, opinionated, with an erudition that feels like an inviting gesture at a cherished library rather than the intimidating cage of fingers pressed against the don’s lips in office hours. Wells’s style is part of her argument: like Burton, she is a scholar writing for other scholars, but—also like Burton—she refuses any idée fixe, a symptom of melancholy and today of too academic a discipline. Her second chapter, published in an earlier form in Philosophy & Rhetoric, is a contribution to genre studies. Is a genre like a genus, a category [End Page 325] for an assembling of species? Or, as she argues, is it a kind of space for exchange rather than classification? The Anatomy is a sui generis work. Rather than merely dismissing all the previous scholarship devoted to locating it in a taxonomy—an admittedly “old-fashioned project” (40)—Wells reflects on the underlying metaphors of the field. Even the idea of a “hybrid genre” relies upon the species metaphor (49). Burton identifies his work variously as “satire, as a treatise, as a cento, as a consolatio, or as a drama, satire, and comedy, but not as a satiricocento or a dramatic treatise” (40). His use of genre is often skew, bent to his peculiar and often-changing purposes. He delves into the medical genre of observationes less for clinical knowledge and more for the narrative color and moral insight that these cases might provide. Sometimes he interpolates speech into these stories for dramatic effect, as when in a case of love-melancholy he has the stricken Lady Elizabeth say, “O that I were worthy of that comely Prince ...” (66). Elsewhere he neglects the more florid detail of the original observation in order to make a point. One case tells of “two Germans who drank a lot of wine and within a month became melancholy.” Their symptoms were diverse: one “sang hymns...

This article explores the history of the English-language style guide, a genre of writing with beginnings in the eighteenth century. Gaining popularity in the Victorian period, the style guide began to solidify as a genre dedicated to preserving certain linguistic usages. I argue that, from the nineteenth century on, the best style guides have used rhetoric as the cornerstone of their linguistic philosophy. Guides which ignore rhetorical scholarship tend to be reactionary and of limited use to the reader. To emphasize these two types of guides, I look specifically at The Queen’s English and The Dean’s English, two extremely popular, polemical style guides written in the mid-nineteenth century.

Reviewed by: Rhetoric and Hermeneutics: Approaches to Text, Tradition and Social Construction in Biblical and Second Temple Literature by Carol A. Newsom Davida Charney Carol A. Newsom. Rhetoric and Hermeneutics: Approaches to Text, Tradition and Social Construction in Biblical and Second Temple Literature. Forschungen zum Alten Testament 130. Tübingen: Mohr Siebeck, 2019. 382 pp. ISBN 978-3-16-157723-9. In Rhetoric and Hermeneutics, Carol A. Newsom has collected eighteen of her essays that appeared between 1989 and 2016 and one previously unpublished essay. Unlike many volumes of this sort, the whole greatly exceeds the sum of its parts. Apart from its usefulness as a survey to scholars and students, the book advances Newsom’s scholarly agenda. Newsom works with texts circulating in and around Jerusalem during the late Second Temple period. This was a time of intellectual ferment: proto-gnostic sects proliferated; established religious practices were being challenged, defended, and modified. Newsom argues persuasively that these groups were led by sophisticated readers and rhetors. The leaders grasped that the Hebrew Bible, still undergoing canonization, is polyphonic and intertextual. Further, the texts that they created deployed polyphony, enargeia, and other rhetorical techniques to shape communal identity, attract adherents, and help individuals cope with the precarity of their status. These arguments are advanced in each of the book’s four topical sections. First are six essays that explain and apply Newsom’s methods of rhetorical criticism. Second are four essays illustrating how the Qumran community—responsible for the Dead Sea Scrolls—shaped communal and individual identity. Third are three essays that lay out an ethno-psychological model for mapping conceptions of self and agency across cultures. The essays apply the model to the Hebrew Bible and a variety of Second Temple texts. Last are six reception studies that examine how narratives of the period are taken up and transformed both in antiquity and in modern times. Newsom, a chaired emerita professor of theology at Emory University, has published on so many aspects of Second Temple literature over her career that she has plenty of essays on method, theory, and application to choose from. As a result, even without additional commentary, the sections build coherent arguments. Each section opens with introductory issues of [End Page 322] theory, method, and scope and develops with close textual analysis and suggestive implications. The first section on methods reveals what Newsom means by rhetorical criticism and what theorists she relies on most. Like many biblical scholars, her immediate rhetorical touchstone is George Kennedy. But he does not inspire her to read widely in the Greco-Roman tradition. She is not concerned to trace possible cross-influences during the Hellenistic period. Instead Newsom turns to Bakhtin and Burke and the more literary strand of twentieth-century rhetorical criticism. For Newsom, rhetorical strategies in scripture reflect the identities and ontologies of their compositors and shape those of readers and writers to come. Accordingly, this section accomplishes two tasks for Newsom. First, the section launches Newsom’s larger claims that Second Temple communities deployed rhetorical strategies to shape individual and communal identities with case studies of Job (chapter 2), Proverbs 1—9 (chapter 3), Jewish apocalyptic texts (chapter 5), and texts from Qumran (chapter 6). Second, for biblicists new to rhetorical approaches, it introduces concepts and methods of rhetorical criticism, including Bakhtinian polyphony and dialogism (chapters 1 and 3), genre studies (chapters 2 and 4), and a variety of basic rhetorical concepts (chapters 5 and 6) such as epideictics, arrangement, enargeia, and kairos, though she doesn’t always employ these terms. While displaying nuanced rhetorical sensibilities, Newsom would clearly benefit from additional reading in rhetorical scholarship, particularly Carolyn Miller’s classic “Genre as Social Action”1 and William FitzGerald’s Spiritual Modalities for its use of Burke’s religious terministic screen to draw Burkean implications for prayer and religious practice.2 In Section Two, Newsom argues that the Qumran community—a break-away Jewish sect that deliberately positioned itself against the practices in the Second Temple—was “intentional and explicit in the formation of the subjectivity of its members” (159). First, she argues that the Dead Sea Scrolls served as a library for the community (chapter 7), based...

In popularization discourse, insights from academic discourse are recontextualized and reformulated into newsworthy, understandable knowledge for a lay audience. Training in popularization discourse is a relatively new and unexplored research topic. Existing studies in the science communication field suffer from under-utilized baseline assessments and pretests in teaching interventions. This methodological problem leads both to a lack of evidence for claims about student progress and to a gap in knowledge about baseline popularization skills. We draw the topic into the realm of writing research by conducting a baseline assessment of pre-training popularization skills in first-year undergraduate students. Undergraduate science communication texts are analyzed to identify instances of popularization strategies using a coding scheme for text analysis of popularization discourse. The results indicate a lack of genre knowledge in both academic and popularized discourse: textual styles are either too academic or overly popularized; the academic text is misrepresented; and the essential journalistic structure lacking. An educational program in popularization discourse should therefore focus on the genre demands of popularization discourse, awareness of academic writing conventions, the genre change between academic and popularized writing, the role of the student as a writer, and stylistic attributes.

With precise phrasing and dramatic flourish, Laura Mielke's Provocative Eloquence1 invites us into the performance cultures of the late antebellum era, showcasing the interplay between theater and oratory, politics and entertainment, ethical imperative and prevailing opinion. Violence suffused culture, language, and everyday experience in a time that found melodrama, minstrelsy, and spectacle in the ascendant, racial hierarchies and American slavery at the epicenter of political debates and popular culture, and a troubled white masculinity asserting its heroism. Mielke's book documents anti-Black oppressions of the antebellum stage and oratorical platform, and it also takes a fresh perspective: Mielke argues persuasively that theatrical forms offered strategic resources for abolitionist argument, that oratorical provocations permeated the stage, and that the theater and the rostrum provided sites for antebellum Americans to think together about the power of words and the justifications for force in the cause of freedom.This nuanced argument challenges assumptions that form is conjoined to stable ideologies and instead highlights creative adaptation, recitation, revision, and “political portability.”2 Drawing evidence from a wide variety of source material, Mielke develops compelling, intricate case studies of print and performance that instruct and surprise. Before turning primary attention to the late 1850s, she sets the stage two decades earlier with Edwin Forrest, entertainingly described as a “theatrical star and noted egomaniac”3 best known for “yoking articulacy to brawn.”4 A deft, deeply contextualized analysis of Forrest's calm, reasoned 1838 Fourth of July address at New York's Broadway Tabernacle shows the intertextual and interperformative dimensions of Forrest's Democratic partisanship, available for audience interpretation in light of his heroic, explosive roles like Spartacus, Metamora, and Macbeth. The orator recommended deliberation and gradualism; the actor regularly linked speech to revolt. Forrest's varied performances probed free expression, white working-class populism, and militancy in word and deed, while they resonated with staged rebellions, Romantic poetry, and defiance of all sorts. Mielke asks of the “stubbornly elusive”5 Forrest and of U.S. performance cultures more broadly: “Does one who speaks of liberty for all necessarily attack slavery, even if inadvertently?”6With the stage thus set—with an analytic focus on paradox and opposition and an analytic method characterized by deep historicization and sophisticated, imaginative readings across genres—Mielke moves on to the 1850s. The dramatic readings of Mary Webb and William Wells Brown highlight the suasory potentials of African American performance in what Mielke elucidates as the “rhetorically strategic recasting of the antislavery lecture into the drama.”7 In an increasingly menacing political climate, performers like Webb and Wells Brown began to signal the potential for physical resistance to slavery. As they vocalized a range of tragic or comedic characters—enslaved captives, cruel slaveholders, or overwrought white abolitionists—these artists adapted popular caricature and imitative form to their own ends while exemplifying control, decorum, and performative skill. Mielke compellingly shows how the form of the dramatic reading created conditions for the presentation of highly incendiary words while deflecting physical threat.The viciousness of proslavery political argument crystallized in 1856 when Preston Brooks took a cane to Charles Sumner on the floor of the U.S. Senate the day after Sumner's “Crime against Kansas” speech had maligned proslavery argument and proslavery senator Andrew Butler, Brooks's cousin. The famous lithograph of this scene by John Magee, which Mielke aptly identifies as a theatrical tableau, efficiently encapsulates a drama of violent villainy and oratorical martyrdom. Building from this scene—reproduced on the book's cover—Mielke analyzes the political oratory of Sumner and Butler before turning attention to Harriet Beecher Stowe's novel Dred and its stage adaptations. Whereas the senators drew analogies and interpretative frameworks from dramatic literature, Stowe's novel incorporates a significant amount of public speaking, “from school recitation and revival preaching to courtroom address and lynch mob inducement,”8 in service of a wide array of perspectives on slavery and violence. The stagings of Dred, whether they reinforce calls to action or suppress radical potential, whether they play for laughs or highlight prophetic voice, embody the oxymoron of a slaveholding democracy.John Brown's 1859 raid on Harpers Ferry grounds Mielke's investigation of legal discourse as the nation pressed ever forward toward war. Dexterously combining Portia's ironic eloquence in Merchant of Venice with abolitionist argument and nineteenth-century racial melodramas like Neighbor Jackwood and The Octoroon, Mielke shows how Portia's “redirection of legal violence and challenge to the contractual claim on another's flesh”9 were adapted in the late antebellum period to interpret physical violence, from armed revolt to capital punishment. Readily available in educational texts of the time, Merchant's trial scene offered the possibility that eloquence in the courtroom might conquer opponents without bloodshed. This theatrical form, whether explicitly cited or only presented in “family resemblance,”10 offered scripts for thinking through speech and violence even as battle beckoned.Mielke's concluding chapter is less a conventional summation than a final act, rehearsing key questions and arguments presented throughout the book and then comparing instances of theater and oratory that responded to Brown's raid, trial, and execution, climactic scenes in the drama of word and violence of the 1850s. Developing an interpretive framework through analysis of statements of Brown's detractors and defenders, Mielke explores themes of oath-taking, vengeance, aggression, and martyrdom in Kate Edwards Swayze's play Ossawattomie Brown and Henry David Thoreau's speech “A Plea for Captain John Brown.” Here, again, forms like the theatrical tableau and the speech of moral principle occur in multiple genres, and when they recur, revised and recited, they help to constitute a performance culture and a basis for belief and action.Mielke's Provocative Eloquence will be of abiding interest to scholars of rhetoric and performance as it offers compelling insights into the ways that cultures are created, maintained, and changed in and through performance practices and as it centers the fraught histories of eloquence and violence in the deeply racialized context of U.S. history. Mielke's analytic perspective offers instruction for scholars and students since her book enacts an adroit blending of history, theory, and practice as simultaneously text and context. The comparative analysis of Forrest's theatrical and oratorical productions, the thoughtfully imagined presentation of Mary Webb's polyvocal dramatic readings, and the demonstration that Portia's irony haunts so much nineteenth-century public commentary on the law—these were favorite sections of mine, although I learned much from every chapter. Mielke's book, engagingly written and filled with dramatic historical nuggets, provides foundational arguments and analytic methods, and it prompts further reflection on topics like the scope of an identifiable theatrical (or rhetorical) form and on the range of spectatorial response. Reading this book will also inspire questions about continuity and change in the enactments of eloquence and violence up to our own time, in the persistent struggles to realize the hope of Black freedom and democratic equality. Mielke asks, “Can a true distinction be maintained between rhetoric and force? Can words alone provoke or justify violence, and under what conditions and for whom?”11 Such questions, pertinent to the 1850s, reverberate today.

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We describe the work of two groups of middle school youth as they authored stories set in their community, based on superhero and absurdist storytelling genres. Their storytelling was part of a weekly ELA project that took place from February through May 2017 in a public middle school in a neighborhood where economic inequality defines many facets of everyday life. Drawing on audio and video recordings from ten weekly storytelling events, field notes, interviews, and close readings of youth narratives, we describe how youth created and initiated proleptic bids and, thereby, opened proleptic gaps for improvising on and producing new material with the potential to rescript the meanings of childhood and equity in their communities. We argue that these bids and gaps made space for youth to not only critique but also move beyond dominant readings of their neighborhood, and we suggest that such openings are therefore necessary for transformative literacy pedagogy and practice. We further argue that proleptic pedagogy, in the form of joint storytelling, affords a compelling and sustainable space for youth to experience joy, friendship, and artist-authoring identities, all of which have been systematically eroded by federal, state, and district policies oriented to testing and closed meanings.

This study explores the potential of fifth-grade children to take up, mold, and complicate the superhero genre to engage issues of social justice and equity in critical and dynamic ways. Using critical discourse and visual analysis, I explore the ideological and political work in the comics four students of color created as part of this study. I argue that, when given the opportunity to embody their full selves in the creation process to fight against issues of injustice that matter to them, children are more likely to imagine beyond conceptions of the child (e.g., being apolitical) and take on activist stances. Moreover, teachers have the power to encourage children to see themselves and their voices as important tools in the fight for social justice. This study pushes us to consider that we, as adults, can either help to expand the possibilities available to children or continue to perpetuate the inequities that children experience on a daily basis due to misconceptions of what it means to be a child and what children are capable of.

In this essay, I examine the film Johanna d’Arc ofMongolia (1989), made by German director Ulrike Ottinger in the year of the fall of the Berlin Wall. I argue that it can be read as an anti-authoritarian articulation of a desire for radical public spheres better suited to serve minority interests, particularly at a time of drastic transformations of social and political conditions. The film’s narrative ambiguity should be read in the rhetorical situation of radical fairy tales in West Germany and their attempt to develop counterpublic spheres to resist the organization of experiences by the consciousness industry. Ottinger’s film, while shot mostly in Inner Mongolia during the crucial year for the reunification of Germany, is far from being escapist. The shock of the displaced lower-class heroine, so different from the “happy ending” imperative of traditional fairy tales, unveils the fiction of a neoliberal economy that considers people and land as mere commodities. Like Karl Polanyi, Ottinger wants to empower people to question the assumption that they had to accept major displacements and flexibility in the name of a self-regulating market. The fairy tale, as a contested genre related to education, is a primary field for this struggle.

This article applies the lens of genre to the social media advocacy of three patient-activists—self-identified “zebras” whose rarely diagnosed conditions are frequently comorbid—who, through performing consistent genre moves, and using the capabilities of social networking to translate personal experiences into public discourse, amplify visibility, and normalize their voices as collective advocacy. Ultimately, through networked communication, these patient-activists perform emergent connections between their conditions outside of the traditional legitimization networks of biomedicine with the aim of gaining legitimacy in public and clinical settings.

This essay demonstrates how a progressive era Radcliffe College student (1910-1914) who earned the title “strongest woman” for her athletic feats used the unique genre affordances of the scrapbook to assert an identity that at once aligned with and contradicted dominant rhetoric about women’s bodies and education. Drawing on archived personal artifacts, the essay argues that Eleanor Stabler Brooks used this vernacular, multigenre, multivocal genre in a way that amplifies the material and the visceral through a process of bricolage, composing an embodied response to the social and institutional restrictions on her body at a time when gender values were radically destabilizing.

Prior researchers have identified charter documents as texts that serve an outsize role in stabilizing social reality and mediating work, writing, and network building. While charter documents are typically authoritative and text-only tomes, this article expands the category to include charter graphics, visual texts that serve similarly important genre and network functions. Through retrospective analysis of one charter graphic and its role in a decade-long project by a nonprofit organization, this article demonstrates the potential rhetorical, social, and network functions of charter graphics; distinguishes them from charter documents; and offers suggestions for both practitioners and researchers.

As infographics are implicated in racist policies like redlining, we need to decolonize the genre. But previous studies have found that infographics’ panopticism—their at-a-glance reduction of complex issues—makes them tend to support hegemonic power structures in spite of their designers’ intentions. A way out of this dilemma can be located in the first attempt to decolonize the infographic: W.E.B. Du Bois's series depicting Black life in the United States, created for the 1900 Paris Exposition. This topological analysis of Du Bois's decolonial project reveals both problematic and promising avenues for our own attempts to decolonize the infographic.

This past decade, the healthcare industry has undergone a transformation with where, how, and why writing happens. For example, what the health and medical professions conceive of as “documentation” or “charting” is writing, even though practitioners call it by another name. Additionally, most writing in healthcare settings is now also multimodal, incorporating textual, digital, visual, and aural content. This essay focuses on the patient decision aid as pedagogical tool that embraces the technological and multimodal changes in health and medicine. Patient decision aids can be understood as a multimodal tool guiding shared decision-making practices. As a genre, the decision aid prompts students to engage in a series of writing modalities – visuals, narrative, texts – as well as the application of user experience and design. Finally, the decision aid as an assignment offers explicit connections between humanities-based students and broader healthcare industries.

Introduction: This article offers an approach that we call critical collaboration —an array of theoretical commitments drawn from the authors’ embodiments and lived experiences. In making explicit the connections between authorial embodiment and the content of theory and practice, our practical models demonstrate new and varied approaches to public feminisms. We begin with a discussion of embodiment and then offer four sections—amplification rhetorics, apparent feminisms, a techné of marginality, and memetic rhetorical environments—with key takeaways to guide readers through our related-but-different approaches. Our goal in doing so is to underscore the importance of public feminisms to enacting social justice in technical and professional communication. This means recognizing our obligation to respond to unjust technical communication. Technical communication is not a utopia of inclusion and anti-racism—although some corners of the field are dedicated to those topics, to be sure. Rather, despite the social justice turn, some parts of the field still insist on objectivity, neutrality, and practicality as the touchstones for “good” technical communication. Our work here shows some of the ways in which we might resist the cultural blinders that allow such ideas to persist unabated. Drawing especially on research in rhetoric and embodiment studies, we build interdisciplinary bridges with critical race studies (including critical race feminisms), womanism, gender studies, technical communication, Black rhetorics, queer studies, cultural studies, and rhetorical genre studies, among other fields, to provide a set of practical approaches to public feminist exigencies that resist collapsing all feminisms into a single approach. We argue that drawing on embodiment to develop a multiplicity of feminist approaches and engaging in critical collaboration as those approaches evolve is a way forward that allows for more stakeholders to engage fruitfully in public feminist projects. Our hope is that readers can then imagine public feminisms as one avenue for doing the social justice work that is vital to the growth of technical and professional communication as a field.

Background : Under the Fourth Amendment to the US Constitution, law enforcement agencies are required to draft and uphold a Use of Force document to safeguard the rights of the public. This document, in its most successful form, defines use of force and offers specific core principles that outline de-escalation tactics and techniques to reinforce use of force and deadly force as a last resort. What is missing from the conversation of this policy is an analysis of the rhetorical choices within each document, and the understanding that these documents are rarely written with social justice in mind; rather, they are focused on legalese and protecting the individual departments and the police officer responsible for using force. Literature review : The Use of Force document is a genre of policy that academics have been drawn to, especially in consideration of social justice. With a rise in law enforcement violent interactions with historically marginalized groups of the public, policy analysis is necessary. Research questions : 1. What key terms, concepts, and narratives are used within each document to reinforce oppressive ideology? 2. What rhetorical moves give agency of force to officers through various terminology? 3. What does an analysis of these policy documents reveal for technical and professional communicators regarding our role in social-justice-driven work? Research methods : I performed a rhetorical analysis of each document, pinpointing words, phrases, and sections that were unique to the specific text. NVivo qualitative research software was used to create word trees, where word frequencies were analyzed to uncover each department's situational position and the implication of such. Results and discussion : The analysis revealed that of the two documents under review, one tended to humanize not only the situational officer, who is incapable of being neutral, and the person whom force is being used against. The other tended to reflect policy-driven terminology that works to dehumanize the person involved with the officer and continues to uphold oppressive rhetoric. Conclusion : Technical communicators have a responsibility to insert themselves in issues of injustice. An analysis of these policy documents reveals areas of revision, areas where the public should be involved, and is a move toward further accountability regarding police brutality against historically marginalized communities.

Reviewed by: Lives, Letters, and Quilts: Women and Everyday Rhetorics of Resistance by Vanessa Kraemer Sohan Sarah Walden Vanessa Kraemer Sohan. Lives, Letters, and Quilts: Women and Everyday Rhetorics of Resistance. Tuscaloosa: University of Alabama Press, 2019 232 pp. ISBN 978-0-8173-2038-6 In Lives, Letters, and Qailts, Vanessa Kraemer Sohan argues for the value of “everyday rhetorics of resistance” or “the conscious, purposeful recontextualization of the seemingly ordinary means and materials available in order to mediate thought and action, and to persuade others” (3). She examines three women or groups of women who demonstrate the power of persistent, everyday acts that recontextualize the means available to them in a particular time, place, and space. Throughout the book Sohan emphasizes two key arguments. First, she argues for the importance of a translingual and transmodal framework in order to avoid oversimplifying language, to understand difference as the norm, to “recover and reclaim the ways individual composers recontextualize within and across languages, genres, modes, and media,” and to adopt “more democratic and descriptive approaches to language” (9). Sohan’s second key argument involves the need to expand what counts as rhetoric, to redefine resistance, and to reframe how scholars situate rhetors who do not necessarily fit within the typical heroic narratives. For example, when Sohan discusses the ministry of Eliza P. Gurney, she describes the legend that one of Gurney’s letters was in President Abraham Lincoln’s breast pocket the night he was assassinated. She writes, in one of the most powerful lines of the book, that this myth serves as “a reminder of how a powerful, feminist rhetorical figure can be pigeonholed and, as a result, remain hidden in plain sight, because her rhetorical practice is evaluated solely in relation to the men with whom she came in contact, rather than on its own merit” (70-71). Sohan’s commitment to feminist rhetorical scholarship is clear throughout the book as she works to articulate and examine the everyday rhetoric available to women and to argue for its value as a site of study. In chapter one, Sohan explores the letter-writing campaigns of the Townsend Movement, a populist movement that advocated pension reform for the elderly by establishing local clubs that could organize and promote the plan through letter-writing campaigns, voter-registration drives, and petitions. These clubs promoted literacy through workshopping letter-writing, which allowed members to “collaboratively imagine” their future without financial worries (41). Pearl Buckhalter, president of the Oregon [End Page 209] City, Oregon, Townsend Club No. 1, is an example of a leader who recontextualized the means available to position herself as an expert, using her own experience as her ethos, rather than simply repeating the words prescribed by Townsend headquarters (52). Sohan argues convincingly that the translingual and transmodal literacy practices of the Townsend Movement allowed individuals like Buckhalter to transform their lives through the literacy training they receive as part of their activism, even if the movement they promote ultimately fails, as the Townsend Movement did. Nevertheless, she argues, this is exactly why rhetorical scholars must fight against the impulse to examine only heroic narratives of activism and must include the everyday in their analyses. In chapter two, Sohan examines the life and work of Quaker minister and activist Eliza P. Gurney. Gurney, Sohan argues, skillfully blends the epideictic form of classical rhetoric with the “nondirective, nonconfrontational, conversational rhetorical approach” of the Quaker community (71-72). Sohan examines several key parts of her ministry: her development as a minister, her traveling ministry in Europe, and her relationship with President Lincoln. Sohan argues that Gurney harnessed silence and kairos to establish an ethos with potentially hostile audiences, at a time when ethos was assumed to be more fixed than fluid. In her discussion of Gurney’s meeting and correspondence with Lincoln, Sohan demonstrates how Gurney recontextualized the epideictic to develop a relationship with the president and to plead with him to imagine a more peaceful and just world. In this chapter, Sohan significantly builds on prior scholarship on Gurney to establish her as a skillful activist and rhetorician through a detailed exploration of Gurney’s speeches, letters, and meetings. Chapter three is perhaps...

The discussion of sustainability reporting rarely addresses the inherent paradox within this concept—tremendous costs associated with sustainability efforts and lack of direct return on these investments. This study contributes to the discussion on sustainability by studying this paradox from the linguistic standpoint in order to answer a simple question: Why are sustainability reports produced? The study’s main contribution is evaluation of the place of sustainability reporting in the corporate communication genre: whether sustainability reporting is a vehicle of fair and objective sustainability disclosure or whether sustainability reporting belongs with marketing and promotional communication.

As the bicentennial of the momentous 1824 election approaches, Andrew Jackson is as relevant as ever. Jackson's shadow looms large over contemporary discussions regarding populism, democracy, and America's history of racism and colonization. Moreover, interest in Jackson has grown thanks to President Trump's efforts to frame Jackson as a precursor to his own brand of nationalist populism. A variety of analysts, from historian Mark Cheathem in The Coming of Democracy: Presidential Campaigning in the Age of Jackson to Fox News personality Brian Kilmeade in Andrew Jackson and the Miracle of New Orleans, have recently revisited the Jacksonian period both to enrich our understanding of that unique historical moment and to offer insights about present day affairs. Amos Kiewe's Andrew Jackson: A Rhetorical Portrayal of Presidential Leadership is a welcome addition to the conversation that provides valuable perspective about Jackson's presidency and the rhetorical nature of presidential authority in general.Andrew Jackson: A Rhetorical Portrayal aims to “give voice to the seventh president” by creating “an account of major addresses’ development, the reasoning and constraints behind them, and ultimately, their impact on the polity” (1–2). The book represents the most comprehensive rhetorical examination of Jackson's public remarks to date. Kiewe not only provides a window into the inner machinations of Jackson's administration and the painstaking process of crafting a public address; he challenges existing understandings of the presidency as an institution. Although Jeffrey Tulis, in The Rhetorical Presidency, argued that the presidency became a seat of popular (rather than constitutional) leadership in the twentieth century, Kiewe persuasively demonstrates that Jackson may have in fact been “the first rhetorical president,” arguing that Jackson's public addresses changed the trajectory of his administration and fundamentally altered the presidency itself (243).Kiewe accomplishes this through in-depth rhetorical histories of Jackson's public addresses. In chapter 1, Kiewe argues that Jackson's 1824 campaign was innovative; Jackson debuted a novel campaign strategy of “writing letters to private individuals for public distribution” (16) and inaugurated a “new era” of party politics featuring populist appeals (36). In chapters 2 through 9, Kiewe conducts case studies of Jackson's inaugural addresses, his first annual message to Congress, his rhetoric regarding the Nullification Crisis and Indian removal policies, and his rhetoric supporting his veto of the rechartering of the Bank of the United States. Kiewe also devotes attention to addresses of seemingly “minor importance,” such as the Maysville road bill veto, which involved a proposal to improve a sixty-mile stretch of road in Kentucky and foreshadowed the pro-Union rhetoric that would define Jackson's response to the Nullification Crisis (77).Chapter 10 takes a step back from Jackson's rhetoric to analyze public images of Jackson. Kiewe, using a visual rhetoric approach, argues that Jackson's popular leadership was reinforced by his supporters’ construction of Jackson as a military hero and populist icon through political cartoons and other portraits. This chapter is a detour from the book's main line of argument, but a welcome one that provides enlightening context about how audiences of the time understood Jackson's leadership. In chapter 11, Kiewe analyzes Jackson's farewell address and credits him with further developing the farewell address as a unique genre of presidential rhetoric.Through these case studies, Kiewe develops several insights about Jackson and his rhetoric. First, Kiewe challenges portrayals of Jackson as “brute, rough, savage, and backward” by documenting his rhetorical skill, strategic acumen, and principled devotion to the Union (4). Second, Kiewe sheds light on the “cumulative effort” that underpinned Jackson's rhetorical presidency (68). Jackson's most famous addresses often underwent several stages of drafting. Jackson would create a first draft that would undergo subsequent vetting and revision from his inner circle, such as Andrew Jackson Donelson, Amos Kendall, Martin Van Buren, John Eaton, James Hamilton, Roger Taney, and others. Kiewe describes Jackson's initial drafts as containing partisan and “forceful language” (75), whereas the revised final forms are “moderate relative to his initial points” (90, 248). These detailed accounts of the administration's speechwriting colorfully illustrate Jackson's behind-the-scenes struggle to balance popular leadership with adherence to the norms of his office. Third, Jackson is revealed to be a rhetorical president cognizant of the extra-constitutional powers of his office, who frequently “appealed directly” to the public and “used his rhetoric as a political tool . . . for governing purposes” (243).Andrew Jackson: A Rhetorical Portrayal provides a granular look at a crucial chapter of American history, using a rhetorical perspective that highlights how presidential authority is in part constructed through discourse. Given the book's nineteenth-century subject matter, Kiewe's meticulous account of Jackson's governance and speechwriting process is impressive. Nonetheless, Kiewe's characterizations of Jackson are occasionally questionable. At several points, he describes Jackson as a “progressive” (164, 178), an interpretation that is hard to sustain in light of Jackson's vigorous opposition to policies that would utilize government on behalf of national development and his plainly regressive attitudes and actions towards Indigenous peoples and the abolitionist cause. Kiewe's choice to analyze Jackson in the context of his times bolsters the book's primary strength; it allows for a thorough account of the dynamics and constraints of the era and how Jackson responded to them. However, some readers may be frustrated by Kiewe's hesitance to more forthrightly acknowledge Jackson's complicity with genocide and chattel slavery or to criticize the exclusionary definition of “the people” imagined by Jackson's populist rhetoric. For instance, Kiewe's recognition of Jackson's condescending, paternalistic attitude towards Indigenous peoples in chapter 6 may have been strengthened by conversing more extensively with texts such as Michael Rogin's Fathers and Children that explain the colonialist attitudes that underpinned Jackson's paternalism.As a book that sits “at the intersection of history, politics, and rhetoric,” Kiewe's Andrew Jackson: A Rhetorical Portrayal will prove useful to a variety of readers (1). Historians and scholars interested in the nineteenth-century United States may find this rhetorical study of Jackson a complement to other accounts of the era, as the book's special attention to the development of Jackson's addresses and their impact on the public is relatively unique. Scholars of the presidency may appreciate the book's intervention into the debate about the extent to which the rhetorical presidency is a twentieth-century affair or a phenomenon that can be traced back into the nineteenth century. Rhetorical scholars should appreciate the central place that Kiewe assigns rhetoric in the process of governance, even in an era where communication mediums were considerably more limited in reach and scope than today. Andrew Jackson: A Rhetorical Portrayal suggests that scholars should pay attention to how rhetoric can strengthen or weaken institutions such as the presidency, and how presidents influence and are influenced by evolving modes of mass communication. Above all, Kiewe's book highlights the need for scholars to conduct rigorous rhetorical analyses of other nineteenth-century rhetorical presidents, to enrich understanding of the era and to illustrate how rhetorical choices made centuries ago exert influence on the present-day institution of the presidency.

John Oddo's book argues that propaganda should be defined as an intertextual process. According to this perspective, a message succeeds as propaganda when people recontextualize it over and over, keeping that message alive across many texts. Of course, some messages achieve greater success as propaganda than others, and Oddo is interested in the linguistic and contextual factors that make certain messages “comparatively more worthy of recontextualization” (25). His focus is American propaganda justifying the Persian Gulf War and the War on Terror. In fact, Oddo's case studies explore a wide range of wartime materials, including print and television news, presidential speeches and political advertisements, and tweets by ordinary people. As such, his book will interest scholars studying war rhetoric as well as those interested in mediated discourse, multimodal analysis, political discourse, and circulation. In addition, this book illustrates how the inclusion of discourse analytic methods can work productively for rhetoricians interested in public address.In the introduction, Oddo states four goals. He seeks, first, to build upon insights of critical discourse analysis to develop an explicit definition of propaganda; second, to suggest a set of intertextual methods for studying propaganda; third, to draw attention to both contextual and sociolinguistic factors that give rise to propaganda; and finally, to challenge readers to consider the consequences of propaganda in a democratic society. Oddo argues that “one essential characteristic of successful propaganda is that it propagates” (3). In fact, his book's premise is that those who study propaganda should examine not only the content of messages but also the “rhetorical and sociolinguistic details” that reveal “how those messages spread, how they become mobile, durable, and repeatable” with the help of an institutional and ideological infrastructure (6, 3).Part 1 defines propaganda as an “intertextual process” in which manipulative and antidemocratic discourse is “recontextualized on a mass scale” (37). First, Oddo argues that an intertextual perspective can better account for both deliberate top–down propaganda and unwitting propaganda among ordinary people, preserving the notion that propaganda is harmful without presupposing that every propagandist seeks a selfish advantage. Building on theories of intertextuality, this section calls attention to the following question: “how do propagandists create discourse, whether strategically or unintentionally, that is likely to be recontextualized?” (22). Next, Oddo suggests that another key feature of propaganda is manipulation, which often involves positive self-representation and negative other-representation, emotional coercion, misleading representations and arguments, and manipulation of dialogic space (27–31). Finally, Oddo argues that propaganda should be defined by its antidemocratic societal consequences rather than intentions of the communicator. In other words, “it is propaganda if it consolidates the power of one group while harming the interests of subordinate groups” (34).Part 2 presents the first case study as it discusses how political propagandists create messages that are likely to be recontextualized by reporters. Oddo studies the iterations of the “incubator story,” a fabricated story in 1990 that accused Iraqi forces of removing Kuwaiti infants from their incubators and leaving them to die. He shows how the incubator story was staged as a credible narrative of personal experience. Moreover, Oddo shows that the narrative “could only succeed with the aid of journalists,” whose subsequent recontextualizations of the incubator story rendered it dominant and influential (71). Through a close analysis of linguistic discourse, multimodal semiotics, and intertextual relations between a public event and subsequent news reports, part 2 elucidates how powerful elites can induce a favorable uptake of their messages, inducing others to circulate them.Part 3 presents Oddo's second case study, which examines how TV news analysts before the 2003 Iraq War were presented as neutral experts, even though they held vested interests. Oddo argues that because news analysts are simultaneously journalists and political insiders, they, on the one hand, provide viewers with rare perspectives and penetrating insights, but, on the other, may circulate propaganda they hear from political sources (106). Oddo suggests that political propagandists exploit the dual identity of news analysts, offering them symbolic or material rewards and effectively compensating those who repeat their desired meanings (103). Meanwhile, news networks render the analysts credible and disinterested, highlighting their authority through advertising, on-screen titles, spoken introductions, background scenery, and communicative roles. Part 3 shows how this constructed authority together with incentivization from deliberate propagandists constitutes a form of manipulation, one that ultimately suppresses alternative views and enables mass recontextualization of propaganda.Part 4 presents Oddo's third case study and examines widespread publicity of the slogan “Support Our Troops.” Oddo argues that “Support Our Troops” has gained momentum for two reasons. First, it has “formal properties that make it more amenable to repetition—and, thus, more capable of traveling” (156). Second, it is surrounded by historical and cultural significance, reflecting larger wartime narratives in which the reasons for war are averted and dissent against war is demonized (156). Regarding the slogan's formal properties, Oddo shows how phonological, lexico-grammatical, and semantic factors contribute to the slogan's memorability, repeatability, and positive identification with a candidate, policy, or brand (156). Regarding cultural factors, Oddo examines the slogan as having ideographical functions by tracing its history in the Vietnam era and its continued use in both vertical campaigns (i.e., from the leaders at the top to the masses) and horizontal ones (i.e., spread among ordinary people on the same level). Oddo's discussion of the slogan sheds light on our understanding of similar slogans by encouraging attention to “the artful design of the slogan itself” and “the web of cultural meaning that shapes how people use and understand it” (175). Part 4 might interest scholars studying ideographs because it illustrates how a micro-analysis can facilitate analyses of phrases with ideological functions.Overall, the book has valuable pedagogical and theoretical implications. It provides an up-to-date discussion of propaganda studies. Its case studies are relatively independent and can be assigned separately. The author does not assume prior knowledge in his subject matter or methodology, which contributes to its accessibility. For these reasons, it can be used in graduate seminars and advanced undergraduate classrooms concerning rhetorical analysis of political discourse or the combination of rhetorical and critical discourse analysis methods. For rhetoric scholars, this book contributes an intertextual perspective to their tool kit. This perspective can be applied beyond the specific cases of this book, calling attention to the transfer and transformation of messages across texts both in domestic contexts and international ones where power dynamics may have different manifestations. Overall, this book exemplifies and furthers Oddo's endeavors to show how rhetorical scholars can draw on sociolinguistics, multimodality, and micro-intertextual comparison to conduct granular analyses of political discourse that are critical of the political status quo and grounded in textual evidence.

The impact of Cicero's writings on Western political philosophy, political communication, political ethics, and civic action is incalculable. His authority in rhetoric and philosophy was nearly unquestioned in the Middle Ages, but Petrarch's discovery of his letters revealed an apparent disconnect between the lofty sentiments expressed in his writings and his own political actions. The Renaissance preference for things Greek and for theory over practice did not replace Cicero but favored Plato and Aristotle. Political philosophers tied to powerful princes preferred the political expediency of Tacitus. Cicero's rhetorical advice remained foundational, but his political ethics and theory seemed muddled and naïve.Gary Remer's Ethics and the Orator joins an ongoing reassessment of Cicero's contributions to the traditions of politics, rhetoric, and ethics from antiquity to the present. It impressively links these three areas more tightly than before with a new and well-argued understanding of Ciceronian rhetoric and politics. Key to this understanding is Remer's appreciation for the situational nature—through decorum and prudentia—of Ciceronian ethics and politics. He then sheds new light on the political theories of Niccolò Machiavelli and Justus Lipsius. Finally, Remer extends Cicero's notions of advocacy and conversation to modern ideas about representative and deliberative democracy.Through a close reading of De Oratore, Remer shows a new understanding of Ciceronian political theory that deserves consideration by classicists as well as political theorists. Most important, he treats seriously Antonius's arguments for feeling the emotions one desires to persuade an audience to feel (2.189–90). Contrary to the dismissive attitude, in both ancient and modern times, that this makes the orator akin to an actor because he simulates “true” feelings, Remer demonstrates Cicero's consistent emphasis on the audience's expectation of this quality in an orator. The good politician is ethically compelled to observe the sensus communis in action and argument.Remer makes another excellent contribution in his reading of an important passage in De Officiis on the four personae. Cicero and other theorists understood that tension between moral and utilitarian ends might arise in the politician's obligations to argue and act. Remer sees this tension less in Cicero because Cicero understands moral actions as contingent on the specific role (persona) a political actor plays in a particular situation. He emphasizes Cicero's analysis of morality according to four personae a person assumes in any situation. These are: “(1) the role common to all humans as rational beings, (2) the persona nature assigns to persons individually, (3) the role dictated by chance or circumstance, and (4) the persona we choose for ourselves in deciding “who and what we wish to be, and what kind of life we want” (67).Apparent moral conflicts are resolved for politicians by the rhetorical notion of decorum, where social consensus and “the common good” govern political action. Remer focuses on situations that pose an “existential threat” to the state (Cicero in the Catilinarian crisis; Lincoln in the Civil War), where the analogy holds well. In such cases the politician's highly visible obligations must be grounded in decorum, prudentia, and the responsibility to act according to social expectations.In the middle section of the book, Remer applies his insight on Ciceronian decorum and prudentia to recent debates about Ciceronian influence on Machiavelli and Lipsius. Machiavelli famously rejects Cicero's claim that what is good (honestum) must also be useful (utile), and vice versa, declaring that they are often irreconcilable and the prince must choose the useful over the good. Recent studies of Machiavelli have declared his position more “intellectually honest” and “practical” than Cicero's. Remer carefully dissects the texts to show again that Cicero's notion of the honestum and utile are governed by his rhetorical commitment to decorum. Although Cicero maintains the utmost commitment to morality and claims that morality itself is universal, the same morality does not exist for all people and in all places. Machiavelli's inflexible Christian morality is a universal morality, yet Machiavelli abandons it. Cicero's understanding of the tensions between honestum and utile is no less intellectually coherent than Machiavelli's, and his commitment to moral goodness makes him more useful as a model for modern politicians.Remer then addresses Lipsius's adoption of a “mixed prudence” that allows a ruler to practice deceit to achieve a necessary end. This is considered a rejection of Ciceronian prudence for Tacitus's political realism, as part of a general trend away from Ciceronian and toward Tacitean political models. Remer, however, through close attention to Lipsius's comments on Cicero's Letters, contends that Lipsius remains a Ciceronian but adapts Cicero's theory to his own changed political and religious conditions. Although Lipsius prizes the honestum over the utile, unlike Machiavelli, he follows Tacitus in seeing that they can be flexible. Remer links this significant move to Lipsius's condition of living under and supporting monarchal rule. Another change is that the political morality Lipsius advocates is expected of a ruler, not of a politician or a statesman. This last change is important, for the Roman statesman is merely an advocate for the common good and does not have an official position to maintain. Lipsius's good ruler, on the other hand, directly governs all subjects and is also responsible for maintaining his rule, even in difficult situations that may call for expediency over moral correctness. Remer makes an important argument for considering Lipsius's changes as appropriate adaptations of Ciceronian theory according Cicero's own notion of decorum. Remer also reconciles the “Ciceronian” versus “Tacitean” readings of the early and later works of Lipsius, showing him to be more consistently Ciceronian than previously thought.Remer's third section addresses the potential for Ciceronian decorum and prudentia to relate to modern ideas of political representation and deliberative democracy. Although modern ideas of representation and representative government appear to have no clear analog to classical political theory, Remer finds a possible link in Cicero's claim that the politician is a procurator rei publicae. Under Roman law, a procurator represented in court a client who was unable to argue his or her case due to age, gender, ability, or status. Because it is understood that the procurator represents the client's interests, Remer equates his responsibility to that of a modern “trustee-delegate,” with the attendant expectations of accountability, fiduciary responsibility, and moral responsibility to the client's interests. Unfortunately, the idea of the procurator under Roman law does not easily yield these modern notions. The orator's aim of “the common good,” which obligates him to consider the benefits to all—especially his client—when arguing his position, still does not make him “representative” of those people in political decision making. The history of the Roman Republic demonstrates this well. Without this connection, the links to to Burke, Mill, and the authors of The Federalist that Remer argues for are weak, as Remer himself admits. Although modern notions of political representation may not have their true roots in ancient theory, Remer shows there may be an opportunity for discovering important similarities as well as differences.In the final chapter, Remer seeks to connect Ciceronian sermo (“conversation”) with the ideal political discussion needed for deliberative democracy. He also examines the different ideas of and emphasis on “deliberative” found in Cicero and in current political thought. He asks an important question: “Why did Cicero view deliberative oratory, and not conversation, as the main genre for politics?” (182). As in the previous chapter, Remer's close reading of the Ciceronian texts causes him to miss the forest for the trees. Specific passages defining sermo and the genus deliberativum yield convenient academic definitions, but they obscure Cicero's practice and real contribution. In Remer's defense, this is a shortcoming of Ciceronian scholarship in general. Cicero's practice in his dialogues is to use sermo, the conversational style of discussion, as a model for negotiating important political issues of the day. In the turbulent decade of the 50s, De Oratore instantiates a model of reasoned political deliberation by respected leaders who were willing to die soon for their political beliefs. Such deliberation about the proper role of the statesman was the essence of Ciceronian conversation.Ethics and the Orator is an important reassessment of Ciceronian thought and a significant contribution to understanding Cicero's impact on the development of Western political theory. It deserves serious attention by all interested in the intersection of ethics, rhetoric, and politics from antiquity to the present. Gary Remer's careful reading of major political theorists in their historical contexts restores to view the ethical foundations of the Ciceronian tradition and suggests how continued engagement with Cicero's texts might offer new models of political leadership.

Drawing on data from a yearlong qualitative study examining how children in a multi-age (6-9 years) classroom utilized technology to write across genres, this article examines the gendered negotiation and discursive uptake of expert in early childhood writing. Zeroing in on genius hour as a “site of engagement,” the author thinks with rhetorical genre studies and mediated discourse analysis to examine how four second-grade writers positioned themselves as “experts” across the nexus of school writing. Findings highlight how expert—both conceptually and in practice—became gendered and was interdiscursively traced through three threads: the relational, the historical, and the distributive. Through analyses of young students writing in situ, this article contributes new understandings to thinking about children’s navigation of genres, not only as rhetorical typifications of academic and disciplinary discourse but as unique social actions of curricular play and gendered uptake.

In Dutch L1 classrooms, style in non-fictional genres is typically taught by means of normative exercises in which students are tasked to identify stylistic lapses. Not much is known about the effectiveness of such exercises when teaching style. Unknown factors include  what kinds of stylistic shortcomings are found in Dutch students’ writing, and how the occurrence of certain stylistic lapses relates to writing quality. The current study empirically explores these scarcely investigated issues. Teachers rated 125 argumentative texts written by tenth-grade pre-university students by means of comparative judgement. Additionally, these texts were manually analyzed to investigate the occurrence of stylistic lapses, taking into account stylistic lapses that are common in text books (‘standard category’) and other types of style related errors (‘other category’). Multilevel regression analyses revealed that only one of the stylistic lapses from the standard category negatively influenced text quality as evaluated by teachers, namely the use of detached phrases. In the other category, only mistakes in question marks negatively predicted text quality. A final model including those two predictors explained 11.1% of the variance in text quality. The article discusses the implications of these findings for non-fictional style education, suggesting that it might need to be refocused.

A pervasive finding in learner corpus research is that advanced EFL learners tend to overuse interactional features of writer/reader visibility (WRV) in their written academic texts, including first- and second-person pronouns, I think, modal adverbs, modal auxiliaries, and questions. Very little research has been done on younger learners, however. The present study is a mixed-methods investigation of WRV features in argumentative and expository genres in the TRAWL longitudinal corpus of learner texts from Norwegian lower secondary school. Comparisons are made with more advanced levels (undergraduate university students) using the Norwegian component of ICLE, ICLE-NO. The results show that the TRAWL pupils use many WRV features in their writing, first-person reference being especially frequent (with I dominating). Compared to the advanced learners in ICLE-NO, the TRAWL learners overuse some, but not all, features. One explanation for the high frequency of WRV features in TRAWL is that the prompts – both argumentative and expository – often request a personal style. Some expository prompts and texts are more impersonal, but overall there is little distinction between the genres. The pedagogical implications are that instructors need to be more specific about genre requirements, and create more obligatory prompts that do not request a personal style.

This article argues that science fiction is a powerful tool for teaching ethics in the technical communication classroom. As a literary genre, science fiction is uniquely situated to critique the social and political consequences of technological progress and to guide future behaviors. Using a speculative fiction-themed technical communication seminar as a case study, this essay demonstrates how science fiction theory, narratives, and projects can encourage students to think more holistically about their future roles as scientists and communicators. Such an approach can reinvigorate traditional workplace genres, support responsible decision-making, and promote multiculturalism, environmentalism, and social justice.

Reviewed by: Orality and Performance in Classical Attic Prose: A Linguistic Approach by AlessandroVatri Vasiliki Zali-Schiel AlessandroVatri, Orality and Performance in Classical Attic Prose: A Linguistic Approach. Oxford: Oxford University Press, 2017. 344 pp. ISBN: 978019879590 Vatri has produced a well-researched book that helpfully and skilfully marries the cultural-historical and the linguistic character of his work. The excellent use and review of scholarship enables Vatri to achieve the purpose of the book, which is to examine, with the help of modem psycholinguistics, whether there is any linguistic difference between classical Attic prose texts intended for public oral delivery and those intended for written circulation and private performance. The book starts with a thorough discussion of the complicated relationship between oral and written style (Chapter 1). The medium alone is not a decisive divisive factor because there is a great variety of communicative situations and priorities one needs to take into consideration even when the same medium is used. And this is indeed the case with Attic prose, where we cannot clearly distinguish between “literally” oral and written texts. However, the distinction between a written and a non-written conception can be traced very early in the development of ancient Greek stylistic theory (e.g., Alcidamas, Isocrates, Aristotle). For example, Isocrates in his Philip clearly marks the difference between speeches meant to be read and those meant to be delivered: those meant to be read may not be timely, hence their persuasive ability is compromised. Speeches for reading may also not manage to persuade the listeners because they may not be successfully delivered by the reader. This affects the reception of a text and changes the emphasis of the distinction between writtenness and non-writtenness from composition to performance. [End Page 96] Chapter 2 turns to contexts of reception. In classical Athens, close scrutiny of prose texts was possible in solitary and private group reading (“off-line” perusal) but not in situations whose norms of interaction excluded this possibility, such as public oratorical performances and semi-formal small- scale epideixeis. In such public competitive contexts, there was no room for anything but clarity (saphēneia) to convince an audience unable to revisit the text (“on-line” reception). Public texts could therefore not afford obscurity of expression by contrast to private texts (“where off-line perusal is possible, there is no need to take excessive pains to ensure the optimal on-line comprehension of a text,” 35). Hence, the different contexts of reception may be associated with linguistic difference. In Chapter 3, Vatri looks at the distinction between texts that were meant for off-line perusal/reception (scriptures) and those meant for on-line reception (scripts). The writing of Attic prose texts was quite a complex process, with several oral stages—and plausibly even oral composition— preceding written dissemination. But there were also revisions of publicly delivered texts (scripts), such as deliberative and forensic speeches, after their performance and often for the purpose of making a new version of the text public through written dissemination. After examining literacy and reading in classical Athens, Vatri determines the conception of written prose texts as scripts or scriptures proceeding on a genre-by-genre basis. Chapter 4 focuses on clarity (saphēneia), which was extremely important for texts meant for on-line reception (scripts) and especially so for public speeches in particular. The centrality of clarity of expression is already highlighted in ancient Greek rhetorical literature. For “Demetrius” (for example), clarity and familiarity are key to persuasiveness; persuasiveness and clarity can be achieved through plain style—an idea that can be traced back to the criticism of Aeschylus’ obscure language in Aristophanes’ Frogs. According to “Demetrius,” plain style is distinguished not only by its clarity but also by a vividness generated by precision (aknbeia). Both Aristotle and Isocrates consider precision an important feature of texts meant for reading, which may also generate saphēneia. Vatri then looks closely at a range of examples from ancient Greek rhetorical literature to examine what they say about the rhetorical devices employed to produce saphēneia. A recurrent issue in ancient discussions is ambiguity, which can be generated by vocabulary (e.g., ambiguous character of certain...

Reviewed by: L’art du sous-entendu: histoire, théorie, mode d’emploi by Laurent Pernot Mike Edwards Laurent Pernot, L’art du sous-entendu: histoire, théorie, mode d’emploi. Paris: Fayard, 2018. 334 pp. ISBN: 9782213706054 In July 2008, on behalf of Laurent Pemot, I represented the International Society for the History of Rhetoric at The First Biennial Conference of the Chinese Rhetoric Society of the World. Since this global event was scheduled to take place less than a month before the opening ceremony of the Beijing Olympics, my first idea was to give a paper on ancient Olympic speeches. On second thoughts, I realized that talking about the content of Lysias 33, with its proposed attack on the despotic rulers of Persia and Syracuse, might be taken as a veiled reference to China’s socialist democracy—a sous-entendu. Twelve years later, with the Tokyo Olympics postponed because of a threat allegedly emanating from Japan’s old foe, I find myself reviewing a book written by Pemot that will become a standard work on the art of innuendo. Pemot covers an extensive range of material from Graeco-Roman antiquity to the present, to which this review cannot hope to do justice, with examples drawn from rhetorical works, other genres of literature, and elsewhere. Thus, in chapter 1 Pemot discusses types of sous-entendu (as often, the French word is best) in daily life, with politeness such as “you shouldn’t have” to mean “thank you” for a gift. There is an understandable French bias throughout, but Pemot’s versatility is indicated by analyses of authors such as George Orwell, Boualem Sansal, and Arthur Miller. Other topics include politics (the subtle war of words between Giscard d’Estaing and Mitterrand in 1974); fables and riddles (the Sphinx, naturally, but also Jean Paulhan with his translations of enigmatic Malagasy poetry); and conspiracy theory (such as Kennedy, Coluche, the Da Vinci Code). An excellent opening. Sous-entendu in the ancient world is the subject of chapter 2, where Pemot discusses the unsettled place of figured speech in rhetorical theory, and the frequently difficult relationships in declamation between fathers and sons that led to ambiguous remarks like “I married the woman who [End Page 94] pleased my father” (57). Pernot returns to antiquity in a very strong chapter 5 that examines how Greek authors represented Rome with figured speech. Here, on his specialist research terrain, he offers perceptive discussions of Dio Chrysostom’s On Kingship (cf. the much earlier treatment of the theme in Isocrates) and Aelius Aristides’ To Rome, highlighting the latter’s numerous significant omissions, not least of the word “Rome” itself (similarly, the story of Paul Valéry’s grudging eulogy of his illustrious predecessor in the Académie française, Anatole France, in which he managed to avoid using the name “Francé” in reference to his subject, is a little gem). Among the interesting topics of chapter 3 is connotation, as in publicity slogans like “Tendre est la nuit à bord du France” (69), which for Pernot might recall a line of Keats, a novel of Scott Fitzgerald, a film of Henry King or a song by Jackson Browne (yes: type “tender is the night” into Google). Analysis of literary critics (Barthes, Luc Fraisse, William Empson, Roger Callois) and Gide’s The Counterfeiters, with its expression mise en abyme, contributes to another excellent chapter. In chapter 4 Pernot turns to the risks attached to interpretation, especially when an unintended (often sexual) message is received. In the theatre this may be designed to cause laughter (Much Ado About Nothing), but there is nothing funny about De Clerambault’s Syndrome (erotomania). Pemot’s discussion references Ian McEwan’s Enduring Love, but it made me think of Play Misty for Me. Arbeit macht frei? In chapter 6 Pernot turns to twentieth-century totalitarian regimes, focusing on the intellectual resistance to the Nazis of Louis Aragon in a poetic method he called “contrabande.” How could such works have escaped the censor (not all did)? One way was the use of historical parallels, as with Jules Isaac’s Les Oligarques and its analogy between ancient Athens under the Thirty and the German Occupation...

Reviewed by: Christ’s Subversive Body: Practices of Religious Rhetoric in Culture and Politics by Olga V. Solovieva Mark Clavier Olga V. Solovieva, Christ’s Subversive Body: Practices of Religious Rhetoric in Culture and Politics. Evanston, IL: Northwestern University Press, 2018. 328 pp. ISBN: 9780810136007 Few images have carried as much rhetorical power as corpus Christi, the Body of Christ. Originating in Jesus’ performative presentation of his own Body at the Last Supper and interpreted through the lens of the crucifixion, it quickly became one of the primary theological metaphors for the church. For example, Paul draws on the imagery of Christ’s Body in 1 Corinthians to demonstrate the mutual dependence and deep communion that should characterize the Corinthian church. Paul’s own use points to an integrative understanding of the image that not only promotes Christian unity but also establishes that unity as integral to Christian identity. In this way, the Body of Christ has been used to persuade would-be schismatics and heretics to “submit themselves one to another.” In short, Christ’s Body is more than simply an object of veneration—it contains rhetorical potency. In Christ’s Subversive Body: Practices of Religious Rhetoric in Culture and Politics, Olga Solovieva demonstrates how this rhetorical power has also been regularly and paradoxically deployed subversively, even iconoclastically. She does this by rooting her study of the rhetorical power of Christ’s Body in Paul’s highly rhetorical argument in 1 Corinthians 1.18-31 that Christ’s crucified Body profoundly challenges the powers of the world. Drawing on Dale Martin, Alam Badiou, and J. L. Austin, she proposes that Christ’s Body serves here a performative function—what she terms “an ideological operator” (10)—that both inaugurates and persuades: “It means not the destruction but the substitution of one system of meaning by another within a shared cultural horizon” (11). But because these rhetorical practices invariably result in the weakening of power, she interprets them as subversive rather than substitutionary. In Chapters 1–6, Solovieva carefully studies and explains how Christ’s Body is employed in this way in six completely disconnected historical situations: the iconoclasm of Epiphanius of Salamis, the 15th-century alchemical Book of the Holy Trinity, in the aesthetics of Johann Caspar Lavater, Dostoevsky’s Genealogy of Ethical Consciousness, the cinematography of Pier Paolo Pasolini, and by the Right in contemporary American politics. The span of genres covered here speaks not only to the breadth of Solovieva’s [End Page 88] expertise but also her particular perspective as a scholar of comparative literature. While some who may be interested in the underlying theology or ideological power of corpus Christi may find the basis for her broad comparative approach problematic, it would be hard to deny her ability to draw key insights from each of her case studies. Collectively, they also highlight how Christ’s Body has transcended confessional boundaries to shape the rhetoric and practices of people and groups even on the margins of Christian orthodoxy. For example, in her chapter on Epiphanius, Solovieva persuasively argues that one of the foundations for Epiphanius’s iconoclasm was his concern about the rhetorical impact of venerating the image of Christ on the Christian’s self-awareness of being part of the Body of Christ—in effect, seeing Christ’s Body compromised the worshiper’s sense of being Christ’s Body. Articulating this in the context of contemporary arguments (as in Eusebius) of church buildings functioning symbolically as Christ’s Body in zvhich Christians worship is enormously helpful. It allows the iconoclastic argument to move beyond mere aversion to idolatry (though that remains) and stand out more starkly as a challenge to Roman imperial power, the rhetoric of which was based in part on the worship of imperial images. Similar striking analyses abound in this volume. Solvovieva’s overall argument, however, is weakened by the disparity of her examples. While she does fine work in each chapter of demonstrating the cultural subversiveness of Christ’s Body, her lack of a conclusion that draws her argument together is striking in light of the expanse of time and genres she covers. Although each chapter is masterly in its grasp of...

As professor of Greek and theology at the University of Wittenberg, Philip Melanchthon (1497–1560) authored three of the most important rhetorical textbooks of his era. Melanchthon’s addition of a new genre of rhetoric, the didactic, to the classical genres of demonstrative, judicial, and deliberative oratory illuminates his view of rhetoric as an instrument for the renaissance and reformation of traditions and institutions. Cultivating faculties of judgment and understanding was Melanchthon’s prescription for survival amid theological and political chaos—a prescription that continues to hold value for rhetors in the current historical moment.

Quantitative measures of vocabulary use have added much to our understanding of first and second language writing development. This paper argues for measures of register appropriateness as a useful addition to these tools. Developing an idea proposed by Durrant and Brenchley (2019), it explores what such measures can tell us about vocabulary development in the L1 writing of school children in England and critically examines how results should be interpreted. It shows that significant patterns of discipline- and genre-specific vocabulary development can be identified for measures related to four distinct registers, though the strongest patterns are found for vocabulary associated with fiction and academic writing. Follow-up analyses showed that changes across year groups were primarily driven, not by the nature of individual words, but by the overall quantitative distribution of register-specific vocabulary, suggesting that the traditional distinction between measures of lexical diversity and lexical sophistication may not be helpful for understanding development in this context. Closer analysis of academic vocabulary showed development of distinct vocabularies in Science and English writing in response to sharply differing communicative needs in those disciplines, suggesting that development in children’s academic vocabulary should not be seen as a single coherent process.

This tenth-anniversary volume is an occasion to read A Journal of Critical Thinking and Writing reflexively, by turning its focus on critical thinking and writing back on itself as an academic genre that organizes knowledge according to time.A journal assumes time to be a linear, unidirectional movement segmented into a past, which has already happened; a present, which is happening; and a future, which has yet to happen.This sequence is inscribed in a journal's paratextuality, such as a chronological division into annual volumes, which conforms reading to knowledge configured temporally: a reference to a text locates that text in the past; an argument against locates a text in the present; and questions for further research locate a text in the future.This commonplace notion of time informs a process of inquiry understandable across the disciplines, but it is also at odds with disciplinary theories of temporality.Consider, for a moment, how the visual arts can realign perception with uncommon patterns of time.When this volume's cover image is viewed according to its title, Counter-Curve (see Figure 1), it creates a curvilinear motion that either quickens along contracting concentric circles or slows along expanding concentric circles.Each motion, as a counter-curve, implies the other, inverse motion, but the either/or structure of perception limits our awareness of time's bidirectionality, described by the image's artist, Dana Karwas (n.d.), as "a single moment curving infinitely around on itself" (para.10).As a moment, time is undivided into past, present, and future.It is instead composed of recurrences that simultaneously spiral inwardly toward an infinitesimal center of nonrecurrence, a point of origin, and outwardly toward an infinite circumference that is the end of time.Because our perception can align with time's contraction or expansion, but not both at once, Counter-Curve can perhaps explain an otherwise paradoxical experience of the moment as ephemeral and durable.If the last ten years of Double Helix is telescoped to this swirl of time, then the practice of reading the journal changes.It locates one in the moment, a condition of "mindfulness" that Ellen Carillo (2016) has advocated for reading, in which one sustains attention to the text, undistracted by the past or the future, because, in this case, neither the past nor the future exists.A sequence of texts is thereby converted into an intertext, and a reference to, an argument against, and questions for further research become recurring features of intertextuality that advance an area of knowledge toward pure originality and the completion of knowledge as ideal and inverse limits of inquiry (see Figure 2).

This tenth-anniversary volume is an occasion to read A Journal of Critical Thinking and Writing reflexively, by turning its focus on critical thinking and writing back on itself as an academic genre that organizes knowledge according to time.A journal assumes time to be a linear, unidirectional movement segmented into a past, which has already happened; a present, which is happening; and a future, which has yet to happen.This sequence is inscribed in a journal's paratextuality, such as a chronological division into annual volumes, which conforms reading to knowledge configured temporally: a reference to a text locates that text in the past; an argument against locates a text in the present; and questions for further research locate a text in the future.This commonplace notion of time informs a process of inquiry understandable across the disciplines, but it is also at odds with disciplinary theories of temporality.Consider, for a moment, how the visual arts can realign perception with uncommon patterns of time.When this volume's cover image is viewed according to its title, Counter-Curve (see Figure 1), it creates a curvilinear motion that either quickens along contracting concentric circles or slows along expanding concentric circles.Each motion, as a counter-curve, implies the other, inverse motion, but the either/or structure of perception limits our awareness of time's bidirectionality, described by the image's artist, Dana Karwas (n.d.), as "a single moment curving infinitely around on itself" (para.10).As a moment, time is undivided into past, present, and future.It is instead composed of recurrences that simultaneously spiral inwardly toward an infinitesimal center of nonrecurrence, a point of origin, and outwardly toward an infinite circumference that is the end of time.Because our perception can align with time's contraction or expansion, but not both at once, Counter-Curve can perhaps explain an otherwise paradoxical experience of the moment as ephemeral and durable.If the last ten years of Double Helix is telescoped to this swirl of time, then the practice of reading the journal changes.It locates one in the moment, a condition of "mindfulness" that Ellen Carillo (2016) has advocated for reading, in which one sustains attention to the text, undistracted by the past or the future, because, in this case, neither the past nor the future exists.A sequence of texts is thereby converted into an intertext, and a reference to, an argument against, and questions for further research become recurring features of intertextuality that advance an area of knowledge toward pure originality and the completion of knowledge as ideal and inverse limits of inquiry (see Figure 2).

This tenth-anniversary volume is an occasion to read A Journal of Critical Thinking and Writing reflexively, by turning its focus on critical thinking and writing back on itself as an academic genre that organizes knowledge according to time.A journal assumes time to be a linear, unidirectional movement segmented into a past, which has already happened; a present, which is happening; and a future, which has yet to happen.This sequence is inscribed in a journal's paratextuality, such as a chronological division into annual volumes, which conforms reading to knowledge configured temporally: a reference to a text locates that text in the past; an argument against locates a text in the present; and questions for further research locate a text in the future.This commonplace notion of time informs a process of inquiry understandable across the disciplines, but it is also at odds with disciplinary theories of temporality.Consider, for a moment, how the visual arts can realign perception with uncommon patterns of time.When this volume's cover image is viewed according to its title, Counter-Curve (see Figure 1), it creates a curvilinear motion that either quickens along contracting concentric circles or slows along expanding concentric circles.Each motion, as a counter-curve, implies the other, inverse motion, but the either/or structure of perception limits our awareness of time's bidirectionality, described by the image's artist, Dana Karwas (n.d.), as "a single moment curving infinitely around on itself" (para.10).As a moment, time is undivided into past, present, and future.It is instead composed of recurrences that simultaneously spiral inwardly toward an infinitesimal center of nonrecurrence, a point of origin, and outwardly toward an infinite circumference that is the end of time.Because our perception can align with time's contraction or expansion, but not both at once, Counter-Curve can perhaps explain an otherwise paradoxical experience of the moment as ephemeral and durable.If the last ten years of Double Helix is telescoped to this swirl of time, then the practice of reading the journal changes.It locates one in the moment, a condition of "mindfulness" that Ellen Carillo (2016) has advocated for reading, in which one sustains attention to the text, undistracted by the past or the future, because, in this case, neither the past nor the future exists.A sequence of texts is thereby converted into an intertext, and a reference to, an argument against, and questions for further research become recurring features of intertextuality that advance an area of knowledge toward pure originality and the completion of knowledge as ideal and inverse limits of inquiry (see Figure 2).

This tenth-anniversary volume is an occasion to read A Journal of Critical Thinking and Writing reflexively, by turning its focus on critical thinking and writing back on itself as an academic genre that organizes knowledge according to time.A journal assumes time to be a linear, unidirectional movement segmented into a past, which has already happened; a present, which is happening; and a future, which has yet to happen.This sequence is inscribed in a journal's paratextuality, such as a chronological division into annual volumes, which conforms reading to knowledge configured temporally: a reference to a text locates that text in the past; an argument against locates a text in the present; and questions for further research locate a text in the future.This commonplace notion of time informs a process of inquiry understandable across the disciplines, but it is also at odds with disciplinary theories of temporality.Consider, for a moment, how the visual arts can realign perception with uncommon patterns of time.When this volume's cover image is viewed according to its title, Counter-Curve (see Figure 1), it creates a curvilinear motion that either quickens along contracting concentric circles or slows along expanding concentric circles.Each motion, as a counter-curve, implies the other, inverse motion, but the either/or structure of perception limits our awareness of time's bidirectionality, described by the image's artist, Dana Karwas (n.d.), as "a single moment curving infinitely around on itself" (para.10).As a moment, time is undivided into past, present, and future.It is instead composed of recurrences that simultaneously spiral inwardly toward an infinitesimal center of nonrecurrence, a point of origin, and outwardly toward an infinite circumference that is the end of time.Because our perception can align with time's contraction or expansion, but not both at once, Counter-Curve can perhaps explain an otherwise paradoxical experience of the moment as ephemeral and durable.If the last ten years of Double Helix is telescoped to this swirl of time, then the practice of reading the journal changes.It locates one in the moment, a condition of "mindfulness" that Ellen Carillo (2016) has advocated for reading, in which one sustains attention to the text, undistracted by the past or the future, because, in this case, neither the past nor the future exists.A sequence of texts is thereby converted into an intertext, and a reference to, an argument against, and questions for further research become recurring features of intertextuality that advance an area of knowledge toward pure originality and the completion of knowledge as ideal and inverse limits of inquiry (see Figure 2).

This tenth-anniversary volume is an occasion to read A Journal of Critical Thinking and Writing reflexively, by turning its focus on critical thinking and writing back on itself as an academic genre that organizes knowledge according to time.A journal assumes time to be a linear, unidirectional movement segmented into a past, which has already happened; a present, which is happening; and a future, which has yet to happen.This sequence is inscribed in a journal's paratextuality, such as a chronological division into annual volumes, which conforms reading to knowledge configured temporally: a reference to a text locates that text in the past; an argument against locates a text in the present; and questions for further research locate a text in the future.This commonplace notion of time informs a process of inquiry understandable across the disciplines, but it is also at odds with disciplinary theories of temporality.Consider, for a moment, how the visual arts can realign perception with uncommon patterns of time.When this volume's cover image is viewed according to its title, Counter-Curve (see Figure 1), it creates a curvilinear motion that either quickens along contracting concentric circles or slows along expanding concentric circles.Each motion, as a counter-curve, implies the other, inverse motion, but the either/or structure of perception limits our awareness of time's bidirectionality, described by the image's artist, Dana Karwas (n.d.), as "a single moment curving infinitely around on itself" (para.10).As a moment, time is undivided into past, present, and future.It is instead composed of recurrences that simultaneously spiral inwardly toward an infinitesimal center of nonrecurrence, a point of origin, and outwardly toward an infinite circumference that is the end of time.Because our perception can align with time's contraction or expansion, but not both at once, Counter-Curve can perhaps explain an otherwise paradoxical experience of the moment as ephemeral and durable.If the last ten years of Double Helix is telescoped to this swirl of time, then the practice of reading the journal changes.It locates one in the moment, a condition of "mindfulness" that Ellen Carillo (2016) has advocated for reading, in which one sustains attention to the text, undistracted by the past or the future, because, in this case, neither the past nor the future exists.A sequence of texts is thereby converted into an intertext, and a reference to, an argument against, and questions for further research become recurring features of intertextuality that advance an area of knowledge toward pure originality and the completion of knowledge as ideal and inverse limits of inquiry (see Figure 2).

This tenth-anniversary volume is an occasion to read A Journal of Critical Thinking and Writing reflexively, by turning its focus on critical thinking and writing back on itself as an academic genre that organizes knowledge according to time.A journal assumes time to be a linear, unidirectional movement segmented into a past, which has already happened; a present, which is happening; and a future, which has yet to happen.This sequence is inscribed in a journal's paratextuality, such as a chronological division into annual volumes, which conforms reading to knowledge configured temporally: a reference to a text locates that text in the past; an argument against locates a text in the present; and questions for further research locate a text in the future.This commonplace notion of time informs a process of inquiry understandable across the disciplines, but it is also at odds with disciplinary theories of temporality.Consider, for a moment, how the visual arts can realign perception with uncommon patterns of time.When this volume's cover image is viewed according to its title, Counter-Curve (see Figure 1), it creates a curvilinear motion that either quickens along contracting concentric circles or slows along expanding concentric circles.Each motion, as a counter-curve, implies the other, inverse motion, but the either/or structure of perception limits our awareness of time's bidirectionality, described by the image's artist, Dana Karwas (n.d.), as "a single moment curving infinitely around on itself" (para.10).As a moment, time is undivided into past, present, and future.It is instead composed of recurrences that simultaneously spiral inwardly toward an infinitesimal center of nonrecurrence, a point of origin, and outwardly toward an infinite circumference that is the end of time.Because our perception can align with time's contraction or expansion, but not both at once, Counter-Curve can perhaps explain an otherwise paradoxical experience of the moment as ephemeral and durable.If the last ten years of Double Helix is telescoped to this swirl of time, then the practice of reading the journal changes.It locates one in the moment, a condition of "mindfulness" that Ellen Carillo (2016) has advocated for reading, in which one sustains attention to the text, undistracted by the past or the future, because, in this case, neither the past nor the future exists.A sequence of texts is thereby converted into an intertext, and a reference to, an argument against, and questions for further research become recurring features of intertextuality that advance an area of knowledge toward pure originality and the completion of knowledge as ideal and inverse limits of inquiry (see Figure 2).

This tenth-anniversary volume is an occasion to read A Journal of Critical Thinking and Writing reflexively, by turning its focus on critical thinking and writing back on itself as an academic genre that organizes knowledge according to time.A journal assumes time to be a linear, unidirectional movement segmented into a past, which has already happened; a present, which is happening; and a future, which has yet to happen.This sequence is inscribed in a journal's paratextuality, such as a chronological division into annual volumes, which conforms reading to knowledge configured temporally: a reference to a text locates that text in the past; an argument against locates a text in the present; and questions for further research locate a text in the future.This commonplace notion of time informs a process of inquiry understandable across the disciplines, but it is also at odds with disciplinary theories of temporality.Consider, for a moment, how the visual arts can realign perception with uncommon patterns of time.When this volume's cover image is viewed according to its title, Counter-Curve (see Figure 1), it creates a curvilinear motion that either quickens along contracting concentric circles or slows along expanding concentric circles.Each motion, as a counter-curve, implies the other, inverse motion, but the either/or structure of perception limits our awareness of time's bidirectionality, described by the image's artist, Dana Karwas (n.d.), as "a single moment curving infinitely around on itself" (para.10).As a moment, time is undivided into past, present, and future.It is instead composed of recurrences that simultaneously spiral inwardly toward an infinitesimal center of nonrecurrence, a point of origin, and outwardly toward an infinite circumference that is the end of time.Because our perception can align with time's contraction or expansion, but not both at once, Counter-Curve can perhaps explain an otherwise paradoxical experience of the moment as ephemeral and durable.If the last ten years of Double Helix is telescoped to this swirl of time, then the practice of reading the journal changes.It locates one in the moment, a condition of "mindfulness" that Ellen Carillo (2016) has advocated for reading, in which one sustains attention to the text, undistracted by the past or the future, because, in this case, neither the past nor the future exists.A sequence of texts is thereby converted into an intertext, and a reference to, an argument against, and questions for further research become recurring features of intertextuality that advance an area of knowledge toward pure originality and the completion of knowledge as ideal and inverse limits of inquiry (see Figure 2).

Transfer-focused pedagogies like Writing about Writing (WAW) or Teaching for Transfer (TFT) have claimed to better facilitate transfer of writing knowledge from first-year composition (FYC) courses. These pedagogies have emerged alongside research indicating that students in upper-level writing intensive courses often do not transfer FYC knowledge. While research has suggested that these transfer-focused pedagogies do improve transfer during subsequent semesters, research has not sought to determine whether students' long-term attitudes toward FYC knowledge is affected by these pedagogies. This article presents the results of an IRB-approved pilot survey study of what students enrolled in upper-level writing intensive courses at a small, private, Catholic, suburban university in the Midwestern United States remembered learning in their FYC courses, and whether they perceived that knowledge as having been useful for their writing. Results seem to indicate that some transfer-focused pedagogies do have significant effects on students' perceptions of the usefulness and transferability of what they recall learning in FYC. Additionally, many students identify conceptual knowledge of genre and discourse communities as useful for their upper-level writing, though often using alternative terms, particularly types, styles, forms, or formats of writing. To a large extent, this is true regardless of whether students enrolled in a transfer-focused course or not, but responses from those who experienced a transfer-focused course give indications of a more sophisticated understanding. These results might indicate that students may be predisposed to remember and connect knowledge at intermediate levels of generality that could lead to new possibilities for teaching for transfer.

Heather Brook Adams is assistant professor of English at the University of North Carolina (UNC) Greensboro. Her research investigates discourses of gender, reproduction, and shame as well as decolonial/intersectional methodologies. Adams's work has appeared in journals such as Quarterly Journal of Speech, Rhetoric Review, and Women's Studies in Communication. Her monograph, Enduring Shame: A Recent History of Unwed Pregnancy and Righteous Reproduction, is forthcoming from University of South Carolina Press. Adams has been granted funds for implementing undergraduate research while teaching at the University of Alaska, Anchorage as well as at UNC Greensboro. Currently she teaches courses on contemporary rhetoric, rhetorics of health and medicine, and advocacy and argumentation.Brian Cooper Ballentine is senior vice president for strategy and senior adviser to the president at Rutgers University. His research focuses on humanistic notions of value within the context of the modern universities, student debt, and the pressures of economic valuation and market forces. He has served as chief of staff to the president at Rutgers, as the director of the university's office for undergraduate research, and as research director at a global consulting firm. He holds a PhD in comparative literature, with a focus on classical reception in the English Renaissance, from Brown University.Laura L. Behling is provost at University of Puget Sound. She edited the Resource Handbook for Academic Deans (2014) and Reading, Writing, and Research: Undergraduate Students as Scholars in Literary Studies (2010). Publications in literary studies include Gross Anatomies: Fictions of the Physical in American Literature (2008); Hospital Transports: A Memoir of the Embarkation of the Sick and Wounded from the Peninsula of Virginia in the Summer of 1862 (2005); and The Masculine Woman in America, 1890–1935 (2001). She taught at Palacky University, Czech Republic, as a Fulbright scholar and served as a Fulbright specialist at the American University of Bulgaria.Hassan Belhiah is associate professor of English and linguistics at Mohammed V University in Rabat. Previously, he held the positions of chair of the Department of English Language and Literature at Mohammed V University, associate professor of English and education studies at Alhosn University in Abu Dhabi, assistant professor at Al Akhawayn University in Morocco, and lecturer/teaching assistant at the University of Wisconsin–Madison. His publications have appeared in Classroom Discourse, Journal of Pragmatics, Modern Language Journal, Language Policy, and Applied Linguistics. He has coedited a book entitled English Language Teaching in Moroccan Higher Education (2020).Andrea Bresee is a recent graduate of Utah State University with a degree in English teaching and a composite in writing. While at Utah State University, Andrea served as an undergraduate teaching fellow for three upper-level English classes, as well as an undergraduate researcher for three separate studies. She was named the English Department Undergraduate Researcher of the Year in 2019 and has presented at three undergraduate research symposiums and conferences. Andrea now teaches seventh-grade English at Space Center Intermediate School in League City, Texas.Kendra Calhoun is a PhD candidate in the Department of Linguistics at the University of California, Santa Barbara. Her research examines the intersections of language, race, and power in face-to-face and social-media contexts. Her dissertation analyzes diversity discourse in US higher education and its effects on graduate students of color. She served as a research mentor and instructor to undergraduate students in the UCSB-HBCU Scholars in Linguistics Program, and she recently published on Black-centered introductory linguistics curriculum in Language.Anne Charity Hudley's research and publications address the relationship between English language variation and K–16 educational practices and policies. She is the coauthor of three books: The Indispensable Guide to Undergraduate Research: Success in and beyond College (2017), Understanding English Language Variation in U.S. Schools (2011), and We Do Language: English Language Variation in the Secondary English Classroom (2013). She is the author or coauthor of over thirty additional articles and book chapters. She has worked with K–12 educators at both public and independent schools throughout the country. Charity Hudley is a member of the Executive Committee of the Linguistic Society of America (LSA).Dominic DelliCarpini is the Naylor Endowed professor of writing studies and dean of the Center for Community Engagement at York College of Pennsylvania, where he also served thirteen years as writing program administrator and five years as chief academic officer. He founded and administers the annual Naylor Workshop on Undergraduate Research and is coeditor of the Naylor Report on Undergraduate Research in Writing Studies (2020) as well as other articles on this topic. DelliCarpini served as president of the Council of Writing Program Administrators, secretary of the Conference on College Composition and Communication (CCCC), and as a member of the CCCC's Committee on Undergraduate Research.Mariah Dozé is a 2020 graduate of Emory University, where she received a BA in African American studies and sociology. While at Emory, she served as a research assistant studying racial disparities in capital punishment and a writing tutor, among many other positions. Dozé’s research exploring the intersection between rhetorical studies and social justice was awarded publication in the peer-reviewed scholarly journal Young Scholars in Writing. For this accomplishment, she was recognized as an Emory Undergraduate Research Program featured researcher. She is now a Georgetown Law 1L and intends to specialize in human rights law.Cecily A. Duffie is a PhD student in English literature at Howard University. She graduated cum laude from the University of Florida with a BA in African American studies with a concentration in journalism. Her master's thesis was on cycles of postmodernism in the work of contemporary Black women writers, particularly Terry McMillan and Toni Morrison. She has been selected as an UC/HBCU Initiative scholar, NeMLA panelist, and Howard University Research Week panelist and presenter. She has also been published by the Miami Herald. She writes Tudor-era historical fiction and southern Black gothic fiction.Jeremy Edwards is a PhD candidate in the Gevirtz Graduate School of Education at the University of California, Santa Barbara. His research examines higher-education practices and policies that impact college access and student development. His dissertation explores the relationships between Black students and the UC system in thinking about levels of support and advocacy for Black students on recruitment, retention, and postgraduation career plans. He was a co-instructor for the UCSB Engaging Humanities Initiative, was a 2019 graduate fellow of the Andrew W. Mellon Foundation, and served as a coordinator and mentor of the UCSB-HBCU Scholars in Linguistics Program.Jenn Fishman, associate professor of English and codirector of the Ott Memorial Writing Center at Marquette University, is a widely published, award-winning scholar and teacher whose current work addresses community writing and listening, longitudinal writing research, and undergraduate research in writing studies. She has edited special issues of CCC Online, Peitho, and Community Literacy Journal, as well as The Naylor Report on Undergraduate Research in Writing Studies (2020), and contributed national professional leadership through various roles, including inaugural cochair of the CCCC Committee on Undergraduate Research and president of the Coalition of Feminist Scholars in the History of Rhetoric and Composition.Lauren Fitzgerald is professor of English and director of the Wilf Campus Writing Center at Yeshiva University where she recently chaired the Yeshiva College English Department. With Melissa Ianetta, she edited Writing Center Journal (2008–13) and its first undergraduate research issue (2012) and wrote The Oxford Guide for Writing Tutors: Practice and Research (2015). She has also published on writing center undergraduate research in Writing Center Journal (2014) and the edited collection How to Get Started in Arts and Humanities Research with Undergraduates (2014).Hannah Franz is the Program Associate for Graduate Advisement at the Jack Kent Cooke Foundation. Her scholarship focuses on equity and inclusion in high-impact practices, such as undergraduate research and writing-intensive courses. She is coauthor of The Indispensable Guide to Undergraduate Research: Success in and beyond College (2017) and has published in Scholarship and Practice of Undergraduate Research.Collie Fulford is professor of English at North Carolina Central University. Her recent work on writing program development, writing across the curriculum, and the scholarship of teaching and learning has appeared in Pedagogy, Composition Studies, Across the Disciplines, and Journal of Effective Teaching in Higher Education.John S. Garrison is professor of English at Grinnell College, where he teaches courses on early modern literature and culture. He is coeditor of three essay collections: Sexuality and Memory in Early Modern England: Literature and the Erotics of Recollection (2015), Ovid and Masculinity in English Renaissance Literature (2020), and Making Milton (forthcoming). His books include Shakespeare at Peace (2018), Shakespeare and the Afterlife (2019), and Performing Gods in Classical Antiquity and the Age of Shakespeare (2020).Ian Golding is an assistant professor of English at the University of Cincinnati, Blue Ash. He is the editor of Queen City Review, an international journal of undergraduate research. His research addresses student agency, archival practices, and visual media.Kay Halasek is professor of English and director of the Michael V. Drake Institute for Teaching and Learning at Ohio State University. Halasek's research spans a range of topics within rhetoric and writing studies: feminist historiography, teaching writing at scale, collaborative learning, writing program administration, portfolio assessment, and basic writing. She is the author of A Pedagogy of Possibility: Bakhtinian Perspectives on Composition Studies (1999), which received the CCCC Outstanding Book award. As director of the Drake Institute, she leads enterprise initiatives in instructional support for faculty and graduate students and research on and policy development related to teaching and learning.Abigail Harrison graduated from the University of North Carolina at Greensboro (UNCG) in 2020. Her area of focus is English with minors in rhetoric and public advocacy and communication studies. While at UNCG, she participated in hands-on undergraduate research highlighting rhetoric in both historical and contemporary media. Her scholarship on rhetorical theory within university media centers can be found in the Communication Center Journal.Rachel Herzl-Betz (she/her) is the Writing Center Director and assistant professor of English at Nevada State College. She earned her PhD at the University of Wisconsin–Madison and began her writing center career at Carleton College. Her research focuses on intersections between disability, writing center studies, and educational access. Most recently, she has pursued projects centered on equity in Writing Center recruitment and the impact of “access negotiation moments” for disabled writing instructors. In 2017, her first novel, Hold (2016), received the Tofte/Wright Children's Literature Award from the Council for Wisconsin Writers.Katherine Hovland is an undergraduate student at Marquette University, double-majoring in writing-intensive English and data science. She was a member of a research team in the Ott Memorial Writing Center that studied the accessibility of writing on Marquette's campus.Kristine Johnson is associate professor of English at Calvin University, where she directs the university rhetoric program and teaches courses in linguistics, composition pedagogy, and first-year writing. Her work has been published in College Composition and Communication, Composition Studies, Rhetoric Review, WPA: Writing Program Administration, and Teaching/Writing: The Journal of Writing Teacher Education. An associate editor of Pedagogy since 2019, her research interests include writing program administration, teacher preparation, and undergraduate research.Rachael Scarborough King is associate professor of English at the University of California, Santa Barbara (UCSB). She is the author of Writing to the World: Letters and the Origins of Modern Print Genres (2018) and editor of After Print: Eighteenth-Century Manuscript Cultures (2020). She is also principal investigator for the Ballitore Project, a project combining archival research and digital analysis at UCSB Library's Special Research Collections.Joyce Kinkead is Distinguished Professor of English at Utah State University. In 2012, she was named a Fellow of the Council on Undergraduate Research. As associate vice president for research, overseeing undergraduate research, she instituted University Undergraduate Research Fellows, the Utah Conference on Undergraduate Research, and Research on Capitol Hill. Dr. Kinkead is a scholar of writing studies and undergraduate research; her titles on undergraduate research include the following: Researching Writing: An Introduction to Research Methods Undergraduate Research Offices and Programs (2016), Advancing Undergraduate Research: Marketing, Communications, and Fundraising (2010), Undergraduate Research in English Studies (2010), and Valuing and Supporting Undergraduate Research (2003).Danielle Knox is a Black creative writer who graduated from Howard University with a bachelor's degree in English. A prospective graduate student, her research interests include gender and sexuality across the African diaspora while noting the ways Black queer communities define and express themselves outside of a white Western context. She also desires to help challenge systemic inequalities, promote funding for public libraries, and support all forms of Black literature and art.Addison Koneval (she/her) is a doctoral candidate at The Ohio State University. Her work in rhetoric, literacy, and composition primarily focuses on culturally sustaining pedagogies. Most recently, she has been working with grammar education in first-year writing settings.Susan Lang (she/her) is director of the Center for the Study and Teaching of Writing and professor of English at The Ohio State University. Lang has extensive experience in teaching online and hybrid courses in technical communication at both undergraduate and graduate levels. She and colleagues at Texas Tech also developed Raider Writer, program-management software for large writing programs. Her research examines aspects of writing program administration, writing analytics, and technical communication. Her work has been published in College English, College Composition and Communication, Writing Program Administration, and Technical Communication, among others. She is the recipient of the 2016 Kenneth Bruffee Award for Best Article in Writing Program Administration and the editor-in-chief of the Journal of Writing Analytics.Bishop Lawton is a PhD student in history at the University of Illinois, Urbana-Champaign. His research interests include Pan-African Intellectual History, the history of precolonial African civilizations, and twentiethth-century Black movements. In further pursuit of his interests, in June 2020, Bishop became a writer for blackpast.org, the largest online encyclopedia of African American history.Ali Leonhard is an undergraduate at Marquette University, double-majoring in forensic science and philosophy. She was a part of the Ott Memorial Writing Center's research team that looked at the accessibility of writing on Marquette's campus.Hayden McConnell is an Elon University alumna. She graduated with a major in professional writing and rhetoric as part of the English Honor Society. Her research addresses the lack of video content that addresses the topic of rhetoric in an engaging manner while also using successful rhetorical strategies. Her work has many intentions, but the overarching goal is to begin providing more visually stimulating content that discusses rhetoric and its many branches for both new and current members of the field.John Henry Merritt is a senior English major and Mellon Mays fellow at Howard University. His research interests include African American fiction, postmodernism, literary theory, and the digital humanities. Currently, he is interested in using Twitter data to develop reader-response based analyses of blockbuster movies. His senior thesis examines the function of the underground as a setting throughout African American fiction. In his free time he likes to write code and study languages. After graduation, he hopes to pursue a PhD in English literature and get a puppy.deandre miles-hercules (they/them), MA, is a doctoral student in the Department of Linguistics at the University of California, Santa Barbara. They are originally from Prince George's County, Maryland, and obtained a BA in linguistics with minors in anthropology and African American studies from Emory University. Their research focuses on language as a nexus for the performance of race, gender, and sexuality in the domains of sociality and power, specifically as it pertains to Black, femme, queer, and trans communities. deandre currently holds a National Science Foundation Graduate Research Fellowship.Jessie L. Moore is director of the Center for Engaged Learning and professor of professional writing and rhetoric in the Department of English at Elon University. She is the coeditor of three books, including Excellence in Mentoring Undergraduate Research (2018). Her recent research examines transfer of writing knowledge and practices, multi-institutional research and collaborative inquiry, the writing lives of university students, and high-impact pedagogies. She served as Secretary of the CCCC, founded the CCCC Undergraduate Researcher Poster Session, and currently cochairs the CCCC's Committee on Undergraduate Research.Jamaal Muwwakkil (he/him), MA, is a PhD candidate in the department of linguistics at the University of California, Santa Barbara. Jamaal is originally from Compton, California, and transferred from Los Angeles City College to University of California, Los Angeles, where he earned a BA in linguistics. Jamaal's research focuses on political discourse, African American language and culture, and linguistic practices in educational and university contexts.Angela Myers is a professional writing and rhetoric alumna of Elon University. She was an honors fellow and a Lumen scholar, a two-year, competitive grant award earned by only fifteen Elon students each year. Her research addresses the rhetorical strategies of sexual violence prevention courses for undergraduate students.Sunaina Randhawa is a Marquette University alumna. She graduated in 2020 with a BA in English literature and minors in writing-intensive English, anthropology, and digital media. Along with a team of researchers from Marquette's Ott Memorial Writing Center, she worked in conjunction with the Office of Disability Services at Marquette. With their help, she and her team determined both the ways in which they could make writing more and the ways in which the writing center could help that Michael associate professor of English at the University of North as codirector of first-year composition and senior faculty fellow with Center for and He The Writing of (2018) and coedited Perspectives on and Writing He is currently and with undergraduate students that are on curriculum and is a of 2020 graduate of Grinnell College, with a major in English. He is a Undergraduate a research project on of by contemporary of the of the of the he has presented at and participated in a research at the University of in He to pursue a PhD in has a PhD in literary and studies from Mellon University, where she teaches courses on literature, and gender studies. Her current research explores can writing in the humanities. Her work on literature examines the ways in which and discourse the of gender as a modern of has a PhD in rhetoric and composition from Texas University. She Emory University as director of the Writing She has also been associate professor at College, associate professor and chair of English and language at University, and associate professor and chair of communication studies at King University. Her research in the intersections between literature and rhetoric as well as in teaching and She is a book on the in the She also coedited the Journal of the on Perspectives on Learning for is an undergraduate student in and in English and at Nevada State College. As an undergraduate writing and his work and code is professor of English and dean of the College of Arts at University. He taught undergraduate writing and graduate in the Rhetoric and Composition His scholarship focuses on writing program and the teaching of writing.