Preview this article: Review Essay: Administrative Cookbooks: The Evolving Genre of How-To Academic Leadership, Page 1 of 1 < Previous page | Next page > /docserver/preview/fulltext/ce/86/1/collegeenglish32662-1.gif

I revisit the so-called Illinois Decision of 1955, which eliminated basic writing from the University of Illinois Rhetoric Program and caused a chain of similar programmatic actions on other campuses nationwide. I contend that reviewing and archiving the Illinois Decision as a locally specific act with multiple actors besides WPA Charles Roberts historicizes a familiar narrative present today—namely, how WPAs address anxieties about writing in high school versus college, and how composition students and programs are beholden to ongoing institutional and extra-institutional imperatives regarding literacy and efficiency.

Preview this article: From the Editor, Page 1 of 1 < Previous page | Next page > /docserver/preview/fulltext/ce/79/4/collegeenglish28969-1.gif

Preview this article: From the Editor, Page 1 of 1 < Previous page | Next page > /docserver/preview/fulltext/ce/79/3/collegeenglish28891-1.gif

Preview this article: From the Editor, Page 1 of 1 < Previous page | Next page > /docserver/preview/fulltext/ce/79/1/collegeenglish28689-1.gif

Preview this article: From the Editor, Page 1 of 1 < Previous page | Next page > /docserver/preview/fulltext/ce/78/6/collegeenglish28625-1.gif

Preview this article: From the Editor, Page 1 of 1 < Previous page | Next page > /docserver/preview/fulltext/ce/78/5/collegeenglish28523-1.gif

Preview this article: From the Editor, Page 1 of 1 < Previous page | Next page > /docserver/preview/fulltext/ce/78/2/collegeenglish27546-1.gif

Preview this article: From the Editor, Page 1 of 1 < Previous page | Next page > /docserver/preview/fulltext/ce/78/1/collegeenglish27434-1.gif

Preview this article: From the Editors, Page 1 of 1 < Previous page | Next page > /docserver/preview/fulltext/ce/77/6/collegeenglish27371-1.gif

Preview this article: From the Editor, Page 1 of 1 < Previous page | Next page > /docserver/preview/fulltext/ce/77/5/collegeenglish27173-1.gif

Preview this article: From the Editor, Page 1 of 1 < Previous page | Next page > /docserver/preview/fulltext/ce/77/4/collegeenglish26919-1.gif

Preview this article: From the Editor, Page 1 of 1 < Previous page | Next page > /docserver/preview/fulltext/ce/77/3/collegeenglish26337-1.gif

Preview this article: From the Editor, Page 1 of 1 < Previous page | Next page > /docserver/preview/fulltext/ce/77/2/collegeenglish26144-1.gif

Preview this article: From the Editor, Page 1 of 1 < Previous page | Next page > /docserver/preview/fulltext/ce/77/1/collegeenglish26070-1.gif

Preview this article: From the Editor, Page 1 of 1 < Previous page | Next page > /docserver/preview/fulltext/ce/76/5/collegeenglish24742-1.gif

Preview this article: From the Editor, Page 1 of 1 < Previous page | Next page > /docserver/preview/fulltext/ce/76/4/collegeenglish24595-1.gif

Preview this article: From the Editor, Page 1 of 1 < Previous page | Next page > /docserver/preview/fulltext/ce/76/3/collegeenglish24522-1.gif

Preview this article: From the Editor, Page 1 of 1 < Previous page | Next page > /docserver/preview/fulltext/ce/76/1/collegeenglish24193-1.gif

Preview this article: From the Editor, Page 1 of 1 < Previous page | Next page > /docserver/preview/fulltext/ce/75/6/collegeenglish23834-1.gif

Preview this article: From the Editor, Page 1 of 1 < Previous page | Next page > /docserver/preview/fulltext/ce/75/4/collegeenglish22952-1.gif

Preview this article: From the Editor, Page 1 of 1 < Previous page | Next page > /docserver/preview/fulltext/ce/75/3/collegeenglish22108-1.gif

Preview this article: From the Editor, Page 1 of 1 < Previous page | Next page > /docserver/preview/fulltext/ce/75/2/collegeenglish21639-1.gif

This article argues that historians of composition studies are burdened by adherence to history-as-narrative in archival research, whether supporting or countering master narratives of the field. I propose that historians redefine their work in conversation with the principles of archival ethnography, a concept from the field of library and information science. Reseeing historiography through this lens means privileging the position of the archivist as community interloper, thus creating a shift in responsibility from interpretation of archival material to public transmission thereof. Re-imagining the historian's role as ethnographic also aims to redress the ethical burden of inevitable re-presentation of past agents, practices, and values.

New College English editor Kelly Ritter introduces the first issue of her editorship.

I draw upon Eileen Schell’s notions of “maternal pedagogy” and an “ethic of care” to analyze archival material from the National Education Association and Educational Testing Service pilot “lay reader” programs of the 1950s and 1960s. I argue that there are striking similarities between the material and social circumstances of these postwar lay readers’ labor and that of contingent faculty in first-year composition today. I additionally contend that lay reader program narratives and policies evince a longer historical trajectory of labor problems in the teaching of writing than we typically recognize. Thistrajectory illustrates a continual need for various types of “help” in achieving effective writing instruction, yet paradoxically values labor-intensive models for teachers that emphasize the personal (and interpersonal). Such conditions create a problematic “motherly” discourse for the discipline that is magnified by the gendered imbalance already typically found in the first-year writing teacher workforce.

Preview this article: Comment & Response: Comments on Creative Writing in the Twenty-first Century, Page 1 of 1 < Previous page | Next page > /docserver/preview/fulltext/ce/72/2/collegeenglish8989-1.gif

Preview this article: From the Guest Editor, Page 1 of 1 < Previous page | Next page > /docserver/preview/fulltext/ce/71/3/collegeenglish6931-1.gif

This article examines Yale’s “Awkward Squad” of basic writers between 1920 and 1960. Using archival materials that illustrate the socioeconomic conditions of this early, “pre-Shaughnessy” site of remedial writing instruction, I argue for a re-definition of basic in composition studies using local, institutional values rather than generic standards of correctness applied uniformly to all colleges and universities.

The Rate My Professors (RMP) online student discourse community shapes and defines current public rhetorics of pedagogy. RMP is a cultural phenomenon indicative of a larger movement in extra-institutional discourse toward ranking and assessing people and products. More important than the postings on RMP, however, or their measurable accuracy, is how RMP reflects the increasingly convergent interests of consumer culture and academic culture, shaping the ways that pedagogy is valued and assessed by students within the public domain. Faculty therefore must consider RMP's effect on public discourse about pedagogy in order to help students understand evaluation as a tool for civic exchange.

Many graduate creative writing programs depend on “star” faculty who have been hired more because of their professional reputation as writers than because of their commitment to teaching. As a result, such programs often fail to provide reflection on teaching that would truly serve their students. One step toward alleviating this problem is to offer undergraduate courses that enable creative writing graduate students to team-teach with regular faculty.

Research Article| January 01 2006 Buying In, Selling Short: A Pedagogy against the Rhetoric of Online Paper Mills Kelly Ritter Kelly Ritter Search for other works by this author on: This Site Google Pedagogy (2006) 6 (1): 25–52. https://doi.org/10.1215/15314200-6-1-25 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn Email Tools Icon Tools Permissions Cite Icon Cite Search Site Citation Kelly Ritter; Buying In, Selling Short: A Pedagogy against the Rhetoric of Online Paper Mills. Pedagogy 1 January 2006; 6 (1): 25–52. doi: https://doi.org/10.1215/15314200-6-1-25 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search Books & JournalsAll JournalsPedagogy Search Advanced Search The text of this article is only available as a PDF. © 2006 Duke University Press2006 Article PDF first page preview Close Modal You do not currently have access to this content.

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

reative writers exist as a group both inside and outside the academic community. Inside academia, the pursuit of creative writing as a graduate degree specialization is typically associated with the M.FA. However, another option, the Ph.D., also exists. I am the recipient of a Ph.D. in English with emphasis in creative writing, alternatively called the Ph.D. in English with creative dissertation. Like many of my colleagues who hold this degree, I also have an M.FA. in creative writing. I entered graduate school as a master's student to become a better writer, and a better scholar. While I was there, I also developed the desire to become a teacher. Told that the M.EA. was not sufficient for a university teaching position (without the all-important multiple books that many positions require), and without significant training or opportunity from my M.EA. program in teaching, let alone in the teaching of creative writing, I entered into a Ph.D. program in English/creative writing with hopes that this program would teach me how to teach in my field. But as a graduate student who did not know which way she might turn (teacher or writer? could I be both?), I was puzzled by the lack of attention on the part of my university to the pedagogy of my field. I took seminars, completed language and oral and written comprehensive examinations, and defended my dissertation-a booklength collection of poems-but heard little about what it might mean to enter a university teaching position, or what teaching creative writing as a professional writer/ teacher might involve. I consider myself to be one of the lucky ones: I took a graduate course in the teaching of composition and then taught composition, feeling well-prepared; I then taught creative writing, feeling less prepared, as a graduate student and postgraduate lecturer. This valuable experience allowed me to recently secure a tenure-track position teaching composition and co-directing a composition

Examines (1) job opportunities available for PhDs in creative writing as contextualized within the larger English Studies job market; (2) arguments for and against training such candidates to be university teaching professionals; and (3) training that might better prepare these candidates for both more productive, successful university teaching careers as well as more productive, successful undergraduate creative writing classrooms.