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Laura Wagner, writing for the Concourse section of Deadspin, called her post about the Covington High School controversy in Washington “Don’t Doubt What You See with Your Own Eyes.” What we have learned over the last two weeks is exactly the opposite—that we do need to question what we see. The extreme tension that exists in our nation was once again apparent after brief clips went viral showing teenagers from the school, some wearing Make America Great Again hats, seeming to taunt a Native American elder, Nathan Phillips. These clips were quickly followed by longer videos and the argument that there was more to the situation than was immediately apparent from the shorter clips. Some who posted the clips have apologized for taking them out of context. Others stand by their condemnation of the teenagers. Either way, anyone who expresses an opinion about the confrontation on the steps of the Lincoln Memorial should watch more of the most complete video than what was originally aired. In argumentation, context does matter. Even the New York Times had to admit a rush to judgment: “Interviews and additional video footage suggest that an explosive convergence of race, religion and ideological beliefs — against a national backdrop of political tension — set the stage for the viral moment. Early video excerpts from the encounter obscured the larger context, inflaming outrage.”

 

Those who condemn the students say they know taunting and disrespect when they see it. One young man, Nick Sandmann, faced down Phillips in what most consider a rude and rather odd and awkward way. You can read his account of what he was trying to do. His actions have led to his appearance on Today and an invitation to the White House as well as calls for his expulsion and death threats against him and his family. You can also read how Phillips felt threatened by the students, who, after he approached them, encircled him.

 

It may not be relevant that the students largely resisted the temptation to fight back when a small group of African American Israelites yelled all sorts of vulgar and insulting comments at them. This belligerent group turned their attention to the students only after exhausting their insults directed toward Native Americans nearby. They targeted the students because some were wearing the MAGA hats and, seemingly, because the students are Catholic. It is relevant that Phillips approached the students, trying, he says, to defuse what he saw as a volatile situation, instead of their approaching him to disrupt his chanting, as was implied by the early reports. (A typical early headline read, “Teens in MAGA hats taunt Native American elder at Lincoln Memorial.”) The students were shouting school chants—and jumping; Phillips was drumming and chanting. When he approached them, they continued chanting and jumping—and dancing—to his drumbeat. If there were chants of “Build the Wall” or “Trump 2020,” as some have claimed, they are not audible in the video.

 

We have all known obnoxious teenagers. Many of us were probably, at times, obnoxious teenagers ourselves. America saw Nick Sandmann with a smart-aleck smirk on his face and a red MAGA hat on his head—and attacked. When I watch with my own eyes the video of what happened before and during the encounter on the steps of the memorial and when I read what Sandmann and Phillips say about what happened, I can’t judge the honesty of what they say about their reasons for what they did. I can argue, though, that the telling of what happened by the annoying teenager matches more closely the facts of what happened than does the telling by the weathered elder.

 

 

Photo Credit: “tunnel vision” by André P. Meyer-Vitali on Flickr, 10/22/2011 via a CC BY 2.0 license.

This blog series is written by Julia Domenicucci, an editor at Macmillan Learning, in conjunction with Mignon Fogarty, better known as Grammar Girl.

 

Photo of a sign with an arrow pointing in two directions

 

Happy 2019! Let’s ring in the new year with a blog post that focuses on prepositions in Grammar Girl podcasts.

 

Podcasts have been around for a while, but their popularity seems to increase every day—and for good reason! They are engaging and creative, and they cover every topic imaginable. They are also great for the classroom: you can use them to maintain student engagement, accommodate different learning styles, and introduce multimodality.

 

LaunchPad products from Macmillan's English catalog include Grammar Girl podcasts, which you can use to support your lessons. If you’re teaching a lesson about prepositions or find your class needs some more help with the topic, you can assign one (or all!) of these suggested podcasts for students to listen to before class.

 

In your LaunchPad, see the unit “Grammar Girl Podcasts” for instructions on assigning podcasts. You can also find the same information on the support page "Assign Grammar Girl Podcasts."

 

Podcasts about Prepositions

  • Ending a Sentence with a Preposition [5:29]
  • How to Kick Your Preposition Habit [5:45]
  • Choosing the Correct Preposition [7:28]
  • Don't Take Prepositions So Literally! [12:46]
  • Preposition or Adverb? [16:03]

 

Students can do a lot more with podcasts than simply listen to them. Use one of the following assignments to encourage students to engage further with the Grammar Girl podcasts.

 

Assignment A: Whether or not you should end a sentence with a preposition is an ongoing debate. Ask students to write a short essay or response analyzing this debate. Have them use at least three outside sources, including the Grammar Girl podcast "Ending a Sentence with a Preposition." As they write, students might consider the following questions:

  • Who feels it’s okay to end a sentence with a preposition? Who does not?
  • How do they use prepositions in their own writing? In speech?
  • Which side of the debate do they agree with? Do they see an argument for both positions?

 

Assignment B: Have students listen to a podcast on prepositions, such as “Don't Take Prepositions So Literally!”  and then have them write a short response discussing and reflecting on the experience. (All Grammar Girl podcasts come with transcripts in LaunchPad—students can also read the podcast transcript to inform their response.) Have students consider the following questions:

  • How is listening to information about prepositions different from reading about them? How is it the same?
  • What does the host do to connect with the listener?
  • What new information did the student learn about prepositions? Can they pinpoint any element of the podcast that helped them remember this new information?

 

Assignment C: Ask students to listen to more than one podcast about prepositions, such as "How to Kick Your Preposition Habit" and "Preposition or Adverb?" Have them also read the transcripts. In addition to the questions above, have them write a response considering the following:

  • How do the podcasts compare? Does the information about prepositions overlap, and if so, where?
  • What is different about the coverage of prepositions in each podcast?
  • What content or information is conveyed through audio that does not appear in the transcripts? Is any additional information found in the transcripts that is not apparent from just listening to the podcast?

 

Have you used any podcasts about prepositions in your class? How did you use them? Let us know in the comments!

 

Credit: Pixabay Image 1834859by pexels, used under a CC0 Creative Commons License

 

I’m writing this posting on January 21, MLK day, and so I have been thinking of him and of his legacy as I do every year this time. Of course I remember exactly where I was on Thursday, April 4, 1968: I was still at the school where I was teaching 10th and 11th grades, working on plans and reading student work when a colleague knocked and told me King had been shot. I rushed home and, like most of the rest of the country, turned on radio and TV and sat, horrified and weeping, at what I was seeing and hearing. I remember feeling as if our country was close to exploding—so much hatred and violence. And of course I didn’t even know at the time what was coming—more assassinations, more protest, more violence, more hatred.

 

But King’s legacy has been about love and peace and connecting, not with violence and hatred, and that is one reason for hope, even today when, once again, hatred and racism and violence are on the rise. King’s message rises above all that and offers hope. We need that message now more than ever.

 

On this day, I am gathering donations for our local food bank, and I expect many of you are offering some service today as well. In addition, I want to recommend two items for teachers of writing everywhere to consider as we think of MLK. The first is a brief video produced by the Annenberg Foundation Trust in partnership with the Gandhi King Institute for Nonviolence and Social Justice in honor of Dr. King's 90th birthday. As you’ll see, the video features interviews with civil rights leaders conducted by documentary filmmaker Jesse Dylan. I loved hearing these inspiring voices and the message they bring to us today.  

 

Secondly, I am currently reading The Making of Black Lives Matter: A Brief History of an Idea by Christopher J. Lebron. It’s not an easy read for me, each chapter leaving me seething with anger at the injustices so thoroughly documented while also admiring Lebron’s scholarly work and especially his use of some of my own personal heroes—Ida B. Wells, Audre Lorde, Zora Neale Hurston, Anna Julia Cooper. In it, Lebron traces not just the history of the #BlackLivesMatter hashtag but the ideas and feelings and struggles of a much older, rich tradition preparing for this imperative demand for equal rights—and equal dignity.

 

White people like me need to ask ourselves if we are among those Lebron refers to as “morally dimwitted,” that is, people who are convinced of the rightness of their own positions yet “whose moral perceptions are so deeply mired in racial privilege that the critical perception and judgment needed to correctly interpret problems is suppressed to the point of motivating asinine observations and assertions.” As an example of such moral dimwittedness, Lebron asks readers to “imagine what it is like to read, as a black person in the wake of Freddie Gray nearly losing his head—literally—while in police custody: well, if he wasn’t doing anything wrong, why did he run? As if being legitimately afraid of the police . . . were reason at all to be practically decapitated by the state.” Have you heard such questions asked after a police killing of a young black male? I certainly have and I expect our students have too. Lebron asks us to face such dim-wittedness head-on, revealing it for what it is and offering a different, and more just, question in its place.

 

Lebron’s searing history is dark and devastating. But he does see some reason for hope when “three women decided that not one more black person’s life would be taken without America being forced to answer the question that black intellectuals have been asking for more than one-and-a-half centuries: do black lives in America matter or not.” Lebron concludes that we are still waiting for the answer to this question.  

 

Writing programs and writing teachers can continue to ask the question, and can engage their students in looking at various answers to it and examining their own responses. We can ask students to analyze their own assumptions and those nearest to them, to learn to look at issues from other perspectives and to listen to those who hold those other perspectives openly and with respect. There is good work that we can do to help answer the question “do black lives matter” and, in doing so, to honor the legacy of Martin Luther King Jr.

 

Image Credit: Pixabay Image 393870 by skeeze, used under the Pixabay License

 

This is the scene outside my campus office right now. The phrase “bleak midwinter” comes to mind while I dwell on the absurdity of typing “Spring 2019” on my syllabi. No matter the weather on your campus, it can be tough to summon the mojo for new classes in the middle of the teaching year. But, as I tell my students every snowy January: We may begin in a deep freeze, but we’ll end in flowers.

 

So, with a New Year’s buzzword – “intentionality” – in mind, I’ve appreciated posts like Miriam Moore’s “Be It Hereby Resolved” on what to commit to in the coming semester.

 

It might even be worth reflecting on our late-summer teaching goals, as in Traci Gardner’s stimulating post, “My New School Year Resolutions.”

 

Both of these posts remind us that being an effective teacher doesn’t always mean doing one more new thing. Instead, it may mean doing the things we do best, but with more intention.

 

So, I’ll share a short list of classroom practices I’m re-committing to this semester that ask little more of me than being intentional. I’d love to hear yours.

 

  • Coming to class a little early to chat with students informally. It’s easy to forget how much more quickly this fosters community. At the end of each class, I’m making an effort to hang by the door and say goodbye to students individually, and by name, if possible. (For online classes, a chat space can offer room for informal community-building.)
  • Learning students names early and using them often, both aloud and in written comments. It’s a simple, effective way to let students know they are seen and valued.
  • And speaking of seeing: In face-to-face classes, I’m intentional about making solid, clear eye-contact with every single student during the class period. Rather than just repeatedly scanning the room, I am deliberate about making a real connection that says “I see you.” I remember how much this meant to me as a student. Students sit up when I really “see” them, and they often speak after I’ve engaged with them visually. They know I’m paying attention to them, and they pay attention to the class.
  • Ensuring every student speaks right away, every day. Breaking the silence in the first five minutes makes it more likely students will participate during the rest of the class. This might mean a lightening round of “Question of the Day” — something silly to get to know one another (“What’s your favorite candy?”), or something more pedagogically nutritious (“Two words to describe your reactions to today’s reading,” or “Read a sentence you’d like to talk about from today’s text.”).
  • Including reflection opportunities for students as often as possible. I wrote last fall about incorporating student journals into my class. This semester, I’m duplicating this effort but with a lighter touch — more consistent written reflection at the end of a class, or in the middle for five minutes after we’ve addressed a challenging concept. I’m trying to teach self-reflection as a habit, rather than an assignment.

 

Unsurprisingly, these intentions feel good and help me do good beyond the classroom, too.

 

Snowflakes may be flying, but these practices remind me that teaching well can feel like bursting into bloom.

 

 

Photo Credit: April Lidinsky

I am often asked about simple suggestions to help multilingual students in FYC and IRW co-requisite classrooms. For the next several weeks, I want to examine some strategies for addressing the needs of all students in diverse classrooms, with a particular emphasis on multilingual learners. I would love to hear from you as well: what techniques, assignments, strategies, and resources would you recommend when you are working in a multilingual and multicultural classroom?

 

One place to begin is a review of assignments and the written instructions that accompany them. An article by Joy Reid and Barbara Kroll, “Designing and Assessing Effective Classroom Writing Assignments for NES and ESL Students,” outlines several criteria for effective writing assignments, covering context, content, language, task, rhetorical requirements, and clear evaluation criteria. 

 

The Reid and Kroll article provides excellent guidelines for teachers to assess their own assignments and evaluation criteria. The goal, as the authors suggest, is to provide assignments that “stretch the students without overwhelming them and provide students with significant learning experiences” (20). In a multilingual classroom, I’ve seen assignments that have done just the opposite: they have overwhelmed students and, as a result, put them into panic or survival mode—and in some cases pushed them towards cheating or plagiarism. One thing that has worked for me, in addition to the suggestions provided by Reid and Kroll, is to make the assignment instructions themselves (and whatever problems students have with them) a teaching tool. In short, I think engaging students as co-evaluators of assignments can promote reflection and agency, serving as scaffolding for future “significant learning experiences.”

 

When I introduce a new assignment or tweak an assignment in some way, for example, I give the students time to read and think about the instructions. Then I do a quick anonymous survey via a Google Form:

 

  • Do you have all the information you need to begin this assignment?
  • If not, what else do you need to know?
  • Do you have the resources you need?
  • What questions do you have for me?

 

We spend just a few minutes at the beginning of the next class discussing the questions and concerns, and if needed, I update the assignment instructions (kept on a shared Google Doc). 

 

Next, once students have worked through each part of the assignment, I ask them to consider the writing or reading decisions that the assignment has required them to make. I ask:

 

  • Which decisions were the most difficult?
  • Did you have the information and resources you needed to make those decisions?
  • Why or why not?

 

Once again, we discuss the writing choices they are making, and if needed, I further adjust the assignment instructions. If the writing decisions that trouble them stem from word choice or sentence structure, we may spend class time identifying helpful and relevant structures. I also make a note to consider teaching certain structures as part of future instruction with this assignment.

 

We may go through several iterations of this feedback loop. Then, once the final draft of the paper has been submitted and graded, I ask for one final reflection:

 

  • What surprised you about this draft?
  • What did you learn about yourself as a reader or writer?
  • What is something you wish you had known when you started?
  • If you could change one thing about the assignment itself, what would you change and why?
  • If you could do one thing differently in writing this paper, what would you do?

 

I use these reflections to further refine and develop the assignment instructions for students. Their comments help me understand how successfully the assignment communicated its purpose and process. The comments also help me understand what scaffolding can support future student success.

 

I plan to try one additional step this semester. I am going to ask the students to work with me to develop a rubric for assessing assignments. We’ll use what they discuss to outline what makes an effective assignment (and I am guessing that their criteria will be quite similar to those suggested by Reid and Kroll). Then, I am going to let them assess an assignment I am planning for the future, using the rubric they have generated. Based on their comments and feedback, I will refine the assignment, and I will acknowledge their feedback on the final version of the assignment that I develop.

 

Involving students in assessing, revising, and refining assignments can benefit all students, but I think it has great potential for multilingual students, as the process can make expectations and resources for academic literacy explicit for those students, and it invites them to voice concerns and seek needed assistance without stigmatizing them as somehow “deficient.” 

 

I will be looking at other strategies for working with multilingual writers over the next few weeks. If you’ve got a teaching tip you would be willing to share, let me know.

People examining research posters at a poster sessionThe last assignment in my Incubator series is a research poster, designed to test students’ understanding of document design and audience. The activity focuses on the same topic as the White Paper Assignment students worked on for the penultimate writing project. The assignment has two underlying goals:

  • Students will recast the information from their white papers for a different audience and purpose.
  • Students will focus on visual design to communicate their messages.

As with previous assignments in this series, the assignment below has some minor changes to remove specific information that is relevant only to the students in my classes. References to “Markel & Selber” in the assignment refer to chapters in Technical Communication.

Research Poster Assignment

Background

You will design a poster presentation, based on the details in your white paper. Your poster will be part of a poster session that the incubator sponsors for the local community. Like the white paper, the presentation will focus on the incubator goal of public outreach and education. As an extension, additional investors and clients also attend the session, so you have the potential to make critical connections for your business.

The Scenario

This week, you received the following memo explaining details on your company’s participation in the December poster presentation event:

Ut Prosim Incubator logo Ut Prosim Incubator

   1872 Inventors Way, Blacksburg, Virginia 24060

 

   Interoffice Memo

 

 

 

To:December Poster Presentation Participants
From:Traci Gardner, Ut Prosim Director
Manolito Reyna Bautista, Manager of the Public Outreach Office
Subject:Preparing Your Research Poster
Date:October 29, 2018

 

Now that you have your white papers well under way, it’s time to begin work on your research posters for the December poster presentation. We have invited 250 local business, university, and community leaders to the upcoming event. Members of the general public can also attend.

Your poster presentation (like your white paper) is due by November 26 [Portfolio 2 due date].

Research Poster Purpose and Audience

Your research poster focuses on the same purpose as your white paper. As explained in the call for proposals, your research poster will inform non-expert readers about a technical topic relevant to the work and mission of your company. These documents will share what we do and why we do it with the university, alumni, and local community. Your poster will contribute directly to our goal of public outreach and education.

As an objective research poster, your document will either provide knowledge or information about a subject relevant to your company or provide solutions to a problem or challenge that relates to your company—or even a combination of both goals.

The audience for your poster presentation differs slightly from that of your white paper. You will communicate your research to the general public, university community, and potential investors and clients who will attend the session.

Poster Content

Your research poster will define or explain your topic and discuss it with the goal of informing your readers about it fully and with relevant, specific details. To follow the customary poster presentation structure, you need to shape the information into a Problem-Solution organization. Imagine that your topic either is a problem or a solution to a problem, and then discuss how to solve it or how it solves the problem.

For instance, for a white paper that focuses on best password management strategies, the problem for your research poster would be password hacking and security. The solution would be your password management strategies.

You should focus on this structure for your poster:

  • Introduction
  • Problem Discussion
  • Solution(s)
  • Conclusions & Recommendations
  • Works Cited

You should present the information in your report objectively; that is, without letting opinion shape what you have to say. Its goal is to provide a response to the question "What is [your subject] all about?" This doesn't mean you can't present opinions about it, but those opinions must come from experts in the field. For example, Expert A thinks the subject of your article is a fantastic option for reducing the need to irrigate crops, but Expert B is sure it won't work as planned. You can present these opposing viewpoints, and draw conclusions about why one option is preferred.

Poster Presentation Expectations

  • Size: 48" X 36", presented in landscape orientation (horizontal). The size is absolute, based on our display boards.
  • Document Design: Use a polished, professional layout that relies on design strategies that increase the document’s readability. Must use appropriately-sized headings, text, and images. People need to be able to see your work.
  • Graphics and Visual Elements: Include as many relevant graphical elements (e.g., photos, illustrations, graphs, tables) as necessary to present your ideas. Avoid clipart (which typically looks unpolished or unprofessional), and use only graphical elements that directly relate to the information in the presentation. All graphical elements must be your company’s intellectual property, or you must provide complete documentation. Graphical elements that are not your own intellectual property must meet fair use guidelines.
  • Research Support: Information must be supported by fully-documented research, including short, relevant quotations. In addition to citing published research studies, you can take advantage of the campus community by tapping university experts on the topic you are discussing.
  • Documentation Format: APA citation style (or the appropriate style for your field, if desired—for instance, an electrical engineer can use IEEE).
  • Submission Format: *.ppt, *pptx, or Google Slides link.

Deadlines

To ensure that we have time to review and edit your submission, please submit your research poster by 11:59 PM on Monday, November 26. If additional time is necessary, you can take advantage of the grace period, which ends at 11:59 PM on Thursday, November 29.

Any Questions?

If you need any help with this project, please let either of us know or contact Traci’s assistant, Leslie Crow <lcrow@utprosimincubator.org>.

Relevant Details

Note: These details apply to all of the projects you include in your portfolio.

Your company’s address is [Your Company Name], Ut Prosim Incubator, 1872 Inventors Way, Suite #[you choose a number], Blacksburg, Virginia 24060. Your company’s phone number is 540-555-5555. You may create a fictional Internet domain for your company, and use that domain for a web page address and your email addresses. If you’d like, you may create other information (including a logo) for your company as appropriate. Be sure that you use the information that you create consistently across all of your projects.

The Project Assignment

Step 1: Review your notes on the topic and audiences, as established in your proposal.
Your proposal should have the basic starting information that you need to begin work on your research poster.

Step 2: Examine the information about research posters in the readings.
Review the following readings for specific details on the information and details to include in your research poster:

Step 3: Examine the information about presentations in the readings.
The textbook provides complete details on how to write proposals. Follow the textbook as you work on your project. In particular, be sure that you do the following:

  • Use “Figure 18.1 A Problem-Solving Model for Recommendation Reports” (on page 474 of Markel & Selber) to structure your information.
  • Follow the advice in the “Ethics Note: Presenting Honest Recommendations” (on page 477 of Markel & Selber) to ensure your poster meets the ethical requirements of your field.
  • Review the “Checklist for Preparing and Presenting an Effective Research Posters” [sic] (starting on page 326 of Miller) to determine the information to include on your poster.
  • Follow the extensive advice in “Best Practices for Effective Scientific Posters” to arrange your content, design your work, and polish your presentation.
  • Use the details in “Appendix Part B: Documenting Your Sources” for information on APA citation style (starting on page 622 of Markel & Selber) and information on IEEE citation style (starting on page 639 of Markel & Selber) to gather relevant details for your documentation and citations. Note that you may alternately use the citation style that is relevant for your field if you prefer.

Step 3: Write and design your poster.

Work steadily on your poster for the entire two-week period. Do not leave the work until the last minute!
Create your research poster, as requested in The Scenario above, with all of the details you have gathered in your research. Remember that your poster should be a factual and objective document. Do not include fictional information about your topic. Review the assessment guidelines below to ensure you have met all the requirements for the instructions.

 

As you work, also keep the following points in mind:

  • Use plain language to make the ideas easy to find and read. Refer to the resources from Module 2 as needed.
  • Follow all relevant ethical guidelines as you work using the Writer’s Checklist at the end of Chapter 2 (on page 40 of Markel & Selber).
  • Follow the suggestions for emphasizing important information, using the Writer’s Checklist for Chapter 9 (on page 211 of Markel & Selber) to check your work.
  • Use the Writer’s Checklist for Chapter 11 (on page 288 of Markel & Selber) to ensure that your document takes advantage of design principles to make it reader-friendly.
  • Make a good impression with accuracy and correctness. Your document should be polished and professional.

Step 4: Check your draft against the Writer’s Checklist.
Be sure that you include the required features for your research poster. Review your project, using the Assessment Criteria below.

Step 5: Review your draft for design and basic writing errors.
Everything you write should use accurate/appropriate image editing, grammar, spelling, punctuation, mechanics, linking, and formatting. These are important basic writing skills that you should have developed in high school. Review your project, using the Writer’s Checklist at the end of Markel & Selber, Chapter 10 (on page 242 of Markel & Selber).

You can also consult the information on “Sentence-Level Issues” in Markel & Selber, “Appendix, Part D: Guidelines for Multilingual Writers (ESL)” (on page 683 of Markel & Selber). While the section is labeled for multilingual writers, it is useful for everyone. It includes explanations and examples for many common mistakes writers make.

Step 6: Submit your draft to your Writing Group in Canvas.
Post a rough draft of your research poster to your Writing Group in Canvas in the 11/08 Draft Feedback Discussion in Canvas. Additional instructions are in the Discussion. Post a draft of your research poster by November 9. If you are late submitting a draft, your group may not have time to provide feedback.

Step 7: Provide feedback to your Writing Group in Canvas.
Provide feedback to the members of your writing group in the 11/08 Draft Feedback Discussion in Canvas, by November 12 (end of the grace period). Use the information on the Writing Groups page to provide constructive feedback that will help your group members make concrete improvements to their drafts. 

Step 8: Revise your draft.
Use the feedback that you receive from your group members to revise and improve your document. You can share your draft again with your Writing Group, if you desire. As you revise, keep in mind the advice in the steps above, as well as the Assessment Criteria below.

Step 9: Include a polished version of your project in Project Portfolio 2, due November 26.
Have your Research Poster finished and ready for submission in your Project Portfolio 2, which is due Monday, November 26. The grace period for Project Portfolio 2 ends at 11:59PM on Thursday, November 29.

Assessment Criteria

For All Technical Writing Projects

All technical writing projects should meet the following general criteria:

  • Makes a good first impression as a polished and professional document.
  • Meets the needs of the intended audience.
  • Demonstrates how to emphasize important information.
  • Uses layout and formatting that makes information easy for readers to find and read, and that follows the standards you have set for your company.
  • Is written in plain language, which communicates the ideas clearly.
  • Follows all relevant ethical guidelines.
  • Uses accurate/appropriate grammar, spelling, punctuation, mechanics, linking, and formatting.

For Research Posters

Your project should meet the following criteria for effective instructions:

  • Has a clear, compelling title that is specific to the poster.
  • Adopts a tone and approach that will appeal to readers.
  • Demonstrates a clear understanding of the research literature on this topic.
  • Provides details and explanation of the information arranged in this structure:
    • Introduction
    • Problem Discussion
    • Solution(s)
    • Conclusions & Recommendations
    • Works Cited
  • Relies on sources that are accurate, unbiased, comprehensive, appropriately technical, current, and clear.
  • Uses quotations from research sources to support and strengthen the project.
  • Includes presentation graphics that meet these five characteristics (see Markel & Selber, pp. 587–589):
    • It presents a clear, well-supported claim.
    • It is easy to see.
    • It is easy to read.
    • It is simple.
    • It is correct.
    • It is either your own work or meets fair use guidelines.
  • Provides accurate and complete in-text citations for all information that is not the author’s own work (including information that is paraphrased, quoted, and summarized).
  • Includes a Works Cited section (e.g., bibliography) that does the following:
    • identifies each source cited in the poster
    • contains complete and accurate information for each citation.
    • uses either APA citation style or the preferred citation style for your major.
  • Demonstrates a clear relationship between the graphics and the accompanying text.

 

Students were generally successful with this assignment. Aside from errors in the size or shape of the posters, the most typical challenges related to the balance between words and visual elements and the design issues such as the font size. When I teach the genre again, I will spend more time on design, to help students learn how little changes can make a significant difference. I am thinking of an activity where students are given the content for the poster and work on how to design the piece as a possibility.

Now that the term has come to an end, students have worked their way through all of these assignments. The different activities connected relatively well, but the projects had the typical issues that I see when assignments are not as authentic as possible. Specifically, the imaginary companies that students created were not always an exact match for the projects. Additionally, students were required to make up information for some of the writing projects. In more authentic writing scenarios, all the details would be established and known. There is still value in the Incubator idea, but I need to do some more development to help ensure students succeed. If you have any ideas that will help me revise any of the assignments, please leave me a comment below.

 

 

Photo credit: Digital humanities poster session by Quinn Dombrowski on Flickr, used under a CC-BY-SA 2.0 license.

One of the crucial elements in teaching, and performing, popular cultural semiotics is the identification of the larger contexts (or systems of associations and differences) in which particular popular signs may be situated. This means that one must be aware not only of current popular movies, TV shows, consumer trends, etc., in order to conduct semiotic analyses of them, but that one must also be ever attuned to what one might call, for lack of a better term, the "spirit of the age." In this vein, then, my first blog for the new year will constitute a semiotic analysis of the spirit of the digital era, beginning with what will likely appear to be a rather peculiar starting point: namely, the eighteenth-century European Enlightenment.

 

I start here due to a purely fortuitous decision to pull an old book off my shelf last week that I should have read forty years ago but didn't, until now: Garry Wills' Inventing America (1978). Now, I don't want to get involved here in the somewhat controversial thesis Wills proposed about the sources of Jefferson's thought and language when he first drafted the Declaration of Independence—that's something better left for specialists in the field. Rather, I am only interested in the extraordinary revelations of the ins and outs of Enlightenment thinking that Wills masterfully presents. In a word, Wills reveals that behind the Newtonian clockwork universe informing much of Enlightenment discourse was a veritable religion of the number. And I'm not just talking about the quantitative advances that led, towards the end of the eighteenth century, to the Industrial Revolution and the emergence of scientific modernity; I'm talking about the ecstatic belief that Newtonian methods could be applied to the explication of, and solution to, every human problem.

 

Let me offer (courtesy of Wills' ample citations) a particularly striking example. Here is Francis Hutcheson's algebraic formula for the measurement of human morality as presented in the second edition of his founding text for the Scottish Enlightenment, Inquiry into the Original of our Ideas of Beauty and Virtue (1726):

 

M = (B + S) X A = BA + SA; and therefore BA = M - SA = M - I, and B = M - I/A

[where B = Benevolence, A = Ability, S = Self Love, I = Interest, and M = Morality].

 

Actually, there's more to the formula than I've reproduced here, but you'll get the point. Here, from a Presbyterian Divine, we find dramatic evidence of the extraordinary prestige of the Newtonian method, the belief that if Newton could use mathematics to measure and explain the universe, philosophers could do the same in measuring and guiding, humanity.

 

Sound familiar? Substitute the words "big data" for "mathematics" and you've got the current zeitgeist in a nutshell. For here too, from Steven Pinker to the purveyors of AI, digital humanists to data analysts, Educause to edX, and so on and so forth ad infinitum across our cultural spectrum, we can find what is effectively a religious faith in the omnipotence of numbers.

 

The Enlightenment accordingly offers a significant point of association to which we can relate our current l’esprit de l’époque. But (and I can never repeat this often enough) the significance of a phenomenon lies not only in what it can be associated with but also in its differences from similar phenomena within its system. And there is a difference between the origins of the enormous cultural prestige enjoyed by Enlightenment mathematics and of twenty-first century data worship. For while the Enlightenment was wowed by Newton's scientific achievements (achievements, it can be added, that long preceded any large-scale commercial applications), the wow factor today (as I have noted before in my blog on the "religion" promoted by the now-defunct corporation Theranos) derives from the unimaginably huge fortunes that have been made, and will continue to be made, by the corporate masters of big data. Google effectively started it all by finding a way to monetize its free services by tracking our online behavior and selling it to marketers, making personal data the holy grail of post-industrial capitalism (Facebook, of course, is the second biggest name in this tradition). The difference, in a word, is between science and commerce, with the Googleplex and its offspring occupying the cultural role once occupied by Newtonian physics. To put it another way, here is yet another signifier of our hypercapitalist culture.

 

Whether or not this hypercapitalist faith is a good thing or not is a value judgment, and since the goal of teaching cultural semiotics is to provide students with the critical equipment necessary to make informed judgments of their own, not to dictate those judgments to them, I will withhold my own here. But I will say this much: Hutcheson's equations, as well intentioned and nobly founded as they may have been, look pretty silly to us today. And I can't help but wonder how our current data-infatuated zeitgeist will look to future culture critics.

 

 

Image Credit: Pixabay Image 3088958 by xresch, used under a Pixabay License

Asian woman working at a macintosh commercialThis term, I designed a new assignment for the major report in my technical writing course. Students focus on communicating a technical subject to an audience unfamiliar with their fields. Additionally, they must integrate readability features in their document design to give their documents a polished, professional appearance.

As with previous assignments in this series, the assignment below has some minor changes to remove specific information that is relevant only to the students in my classes. References to “Markel & Selber” in the assignment refer to chapters in Technical Communication. 

White Paper Assignment

Background

You will write an informational report for non-experts (a white paper) that presents details on a specific issue related to your company and the work that it does. Your white paper will tie directly to the incubator goal of public outreach and education. Specifically, the incubator founders want to provide a library of documents that inform readers about how science, technology, and engineering work.

You proposed the topic for your White Paper Project in your Short Proposal. Your Poster Presentation Project will provide an alternate presentation of the information in your White Paper Project.

The Scenario

This week, you received the following memo, accepting your proposal for the Incubator’s December White Paper Publication:

Ut Prosim Incubator logo Ut Prosim Incubator

   1872 Inventors Way, Blacksburg, Virginia 24060

 

   Interoffice Memo

 

 

 

To:December White Paper Authors
From:Traci Gardner, Ut Prosim Director
Manolito Reyna Bautista, Manager of the Public Outreach Office
Subject:Preparing Your White Paper
Date:October 8, 2018

 

Congratulations! We are pleased to accept your proposal for a white paper and research poster for December publication. We look forward to learning more about your topic and working with you to share the information with the public on our website.

Your white paper and poster presentation are due by November 26 [Portfolio 2 due date] and will ultimately be published as PDFs in the December 2018 release on the Incubator website.

Today, we are sharing details on the expectations for your white paper. We will send details on the research poster later this month.

White Paper Purpose and Audience

As explained in the call for proposals, your white paper will inform non-expert readers about a technical topic relevant to the work and mission of your company. These documents will share what we do and why we do it with the university, alumni, and local community. Your documents will also contribute directly to our goal of public outreach and education by adding to our growing library of documents that inform website readers about how science, technology, and engineering work.

As an objective white paper, your document will either provide knowledge or information about a subject relevant to your company or provide solutions to a problem or challenge that relates to your company—or even a combination of both goals.

The audience for the white paper is the general public and the university community Readers with no background in your field should be able to fully understand your white paper.

White Paper Content

Your report will define or explain your topic with the goal of informing your readers about it fully and with relevant, specific details. You should focus on answering questions such as these:

  • What is it?
  • When was it invented or discovered and by whom?
  • Where did it originate and why?
  • What does it involve?
  • How does it work?
  • What is its possibility or potential impact on the future?

You should present the information in your report objectively, that is, without letting opinion shape what you have to say. Do not draw conclusions, make recommendations, argue for one side or the other, or in any way take a position on the subject. Its goal is to provide a response to the question "What is [your subject] all about?" This doesn't mean you can't present opinions about it, but those opinions must come from experts in the field. For example, Expert A thinks the subject of your article is a fantastic option for reducing the need to irrigate crops, but Expert B is sure it won't work as planned. You can present these opposing viewpoints, but you must remain objective and let readers make their own decisions.

White Paper Expectations

  • Length: 25 pages or less. The length typically depends upon the document layout. If your white paper looks like a double-spaced research paper, it will be longer than a white paper that is formatted in single-spaced columns and sidebars (more like an industry magazine or journal article).
  • Document Design: Use a polished, professional layout that relies on design strategies that increase the document’s readability. You are encouraged to use a non-traditional format that incorporates sidebars, columns, and other visually-interesting design strategies. Do not include a cover page.
  • Graphics and Visual Elements: Include relevant graphical elements (e.g., photos, diagrams, graphs, tables). Avoid clipart (which typically looks unpolished or unprofessional), and use only graphical elements that directly relate to the information in the white paper. All graphical elements must be your company’s intellectual property, or you must provide complete documentation. Graphical elements that are not your own intellectual property must meet fair use guidelines.
  • Research Support: Information must be supported by fully-documented research, including relevant quotations. In addition to citing published research studies, you can take advantage of the campus community by tapping university experts on the topic you are discussing.
  • Documentation Format: APA citation style (or the appropriate style for your field, if desired—for instance, an electrical engineer can use IEEE).
  • Submission Format: *.doc, *.docx, *.pdf, or Google Document link. While your document will be published on the Incubator website, it will be published as a PDF (not as HTML).

Deadlines

To ensure that we have time to review and edit your submission, please submit your white paper by 11:59 PM on Monday, November 26. If additional time is necessary, you can take advantage of the grace period, which ends at 11:59 PM on Thursday, November 29.

Any Questions?

If you need any help with this project, please let either of us know or contact Traci’s assistant, Leslie Crow <lcrow@utprosimincubator.org>.

Relevant Details

Note: These details apply to all of the projects you include in your portfolio.

Your company’s address is [Your Company Name], Ut Prosim Incubator, 1872 Inventors Way, Suite #[you choose a number], Blacksburg, Virginia 24060. Your company’s phone number is 540-555-5555. You may create a fictional Internet domain for your company, and use that domain for a web page address and your email addresses. If you'd like, you may create other information (including a logo) for your company as appropriate. Be sure that you use the information that you create consistently across all of your projects.

The Project Assignment

Step 1: Review your notes on the topic and audiences, as established in your proposal.
Your proposal should have the basic starting information that you need to begin the research for your white paper. Be sure that you have a strong, well-focused topic before you begin your research.

Step 2: Examine the information about white papers in the readings.
Review the assigned readings for specific details on the information and details to include in your white paper.

Step 3: Begin your research, taking notes and paying attention to documentation and citation details.
The textbook provides complete details on how to conduct your research and keep track of your notes and sources. Follow the textbook as you work on your project. In particular, be sure that you do the following:

  • Follow the instructions in the “GUIDELINES: Researching a Topic” list (starting on page 119 of Markel & Selber) to gather information.
  • Identify the best kinds of sources for your research by exploring the examples in “TABLE 6.1 Research Questions and Methods” (starting on page 120 of Markel & Selber).
  • Assess your sources with the “GUIDELINES: Evaluating Print and Online Sources” (starting on page 128 of Markel & Selber) to ensure your sources meet the evaluation criteria listed in the text (e.g., that they are accurate, unbiased, comprehensive, appropriately technical, current, and clear, as stated above the guidelines). You should also consult the web resource Evaluating Web Resources: The CRAAP test from North Carolina A&T.
  • Use the “GUIDELINES: Conducting an Interview” (starting on page 137 of Markel & Selber) if you talk with experts in your field (on campus or off) who provide information for your projects.
  • Review the information in “Appendix Part A: Skimming Your Sources and Taking Notes” (starting on page 613 of Markel & Selber) to be sure that you use the notetaking strategies of paraphrasing, quoting, and summarizing accurately.
  • Use the details in “Appendix Part B: Documenting Your Sources” for information on APA citation style (starting on page 622 of Markel & Selber) and information on IEEE citation style (starting on page 639 of Markel & Selber) to gather relevant details for your documentation and citations. Note you may alternately use the citation style that is relevant for your field if you prefer.

Step 4: Write your white paper.

Work steadily on your report for the entire three-week period. Do not leave the work until the last minute!
Compose your white paper, as requested in The Scenario above, with all the details you have gathered in your research. Remember that your white paper should be a factual and objective document. Do not include fictional information about your topic. Review the assessment guidelines below to ensure you have met all the requirements for the instructions.

 

As you work, also keep the following points in mind:

  • Use plain language to make the ideas easy to find and read. Refer to the resources from Module 2 as needed.
  • Follow all relevant ethical guidelines as you work using the Writer’s Checklist at the end of Chapter 2 (on page 40 of Markel & Selber).
  • Follow the suggestions for emphasizing important information, using the Writer’s Checklist for Chapter 9 (on page 211 of Markel & Selber) to check your work.
  • Use the Writer’s Checklist for Chapter 11 (on page 288 of Markel & Selber) to ensure that your document takes advantage of design principles to make it reader-friendly.
  • Make a good impression with accuracy and correctness. Your document should be polished and professional.

Step 5: Check your draft against the Writer’s Checklist.
Be sure that you include the required features for your white paper. Review your project, using the Assessment Criteria below.

Step 6: Review your draft for design and basic writing errors.
Everything you write should use accurate/appropriate image editing, grammar, spelling, punctuation, mechanics, linking, and formatting. These are important basic writing skills that you should have developed in high school. Review your project, using the Writer’s Checklist at the end of Markel & Selber, Chapter 10 (on page 242).

You can also consult the information on “Sentence-Level Issues” in Markel & Selber, “Appendix, Part D: Guidelines for Multilingual Writers (ESL)” (on page 683 of Markel & Selber). While the section is labeled for multilingual writers, it is useful for everyone. It includes explanations and examples for many common mistakes writers make.

Step 7: Submit your draft to your Writing Group in Canvas.
Post a rough draft of your technical description to your Writing Group in Canvas in the 10/25 Draft Feedback Discussion in Canvas. Additional instructions are in the Discussion. Post a draft of your technical description by September 20. If you are late submitting a draft, your group may not have time to provide feedback.

Step 8: Provide feedback to your Writing Group in Canvas.
Provide feedback to the members of your writing group in the 10/25 Draft Feedback Discussion in Canvas, by September 24 (end of the grace period). Use the information on the Writing Groups page to provide constructive feedback that will help your group members make concrete improvements to their drafts. 

Step 9: Revise your draft.
Use the feedback that you receive from your group members to revise and improve your document. You can share your draft again with your Writing Group, if you desire. As you revise, keep in mind the advice in the steps above, as well as the Assessment Criteria below.

Step 10: Include a polished version of your project in Project Portfolio 2, due November 26.
Have your Technical Description Project finished and ready for submission in your Project Portfolio 2, which is due Monday, November 26. The grace period for Project Portfolio 2 ends at 11:59PM on Thursday, November 29.

Assessment Criteria

For All Technical Writing Projects

All technical writing projects should meet the following general criteria:

  • Makes a good first impression as a polished and professional document.
  • Meets the needs of the intended audience.
  • Demonstrates how to emphasize important information.
  • Uses layout and formatting that makes information easy for readers to find and read, and that follows the standards you have set for your company.
  • Is written in plain language, which communicates the ideas clearly.
  • Follows all relevant ethical guidelines.
  • Uses accurate/appropriate grammar, spelling, punctuation, mechanics, linking, and formatting.

For White Papers

Your project should meet the following criteria for effective instructions:

  • Has a clear, compelling title that is specific to the document.
  • Adopts a tone and approach that will appeal to readers.
  • Demonstrates a clear understanding of the research literature on this topic.
  • Provides details and explanation of the information that
    • Presents an objective summary of the facts.
    • Discusses the importance of these facts.
    • Forecasts the importance of these facts in the future.
  • Relies on sources that are accurate, unbiased, comprehensive, appropriately technical, current, and clear.
  • Uses quotations from research sources to support and strengthen the project.
  • Provides accurate and complete in-text citations for all information that is not the author’s own work (including information that is paraphrased, quoted, and summarized).
  • Includes a references section (e.g., bibliography) that does the following:
    • identifies each source cited in the white paper.
    • contains complete and accurate information for each citation.
    • uses either APA citation style or the preferred citation style for your major.
  • Demonstrates a clear relationship between the graphics and the accompanying text. 

 

This assignment was challenging for students, who were less familiar with the genre than they typically are with more generic technical reports. The demands of an audience of non-experts complicated the assignment for some students who were unaccustomed to explaining the concepts and technical lingo of their field. Those aspects made for a rewarding project. When I use the assignment again however, I want to have more supporting resources for students to draw on. Specifically, students would benefit from more examples and some explicit instruction on document design for this genre.

Based on these white papers, students next work on research posters. I’ll share that assignment in my next post, so be sure to come back for the details. If you have any feedback on this assignment or useful resources on white papers, please leave me a comment below.

 

 

Photo credit: Dawa deep in pixel thought by Juhan Sonin on Flickr, used under a CC-BY 2.0 license.

 

“I heard it on NPR” is an often-spoken truth among my friends, as we tend to listen to our local stations and compare notes. Recently, I “heard on NPR” a story about a bridal boutique in England that put a wedding-dressed mannequin sitting in a wheelchair in their window display. The store itself didn’t seem to think the display was “a big deal.” But a lot of people who saw it disagreed. One woman, who uses a wheelchair, tweeted:

Her tweet went viral as people around the world tweeted and reposted. As the shop’s co-owner said, their display had created “an absolute frenzy and this outpouring of messages on this debate that more shops should follow suit.” Indeed. I expect (and hope) that more shops everywhere will follow the lead of this bridal boutique.

 

But I was taken with this story because of a serendipitous coincidence: as I was listening to NPR in the background, I was working on a revision of one of my textbooks, The Everyday Writer, and in particular on a section dealing with language and identity. I was working with an illustration that’s been created for the new edition showing a young woman in the foreground at a protest rally—using a wheelchair. The speech bubble above her head says “I am a bilingual woman and a student activist.” I’m asking students to look at the illustration and analyze it for what it says about language and identity—and then asking them to think carefully about what words and images they would choose to illustrate their own identities—and to take a careful look at the words they tend to use to describe the identities of others: what assumptions may underlie those word choices?

 

With this particular image, I ask students to begin by observing it attentively. Then, make some notes, answering these questions: What is your eye first drawn to, and why? What is in the background of the illustration, and how does the background inform the image in the foreground? How would you describe the mood or atmosphere of the illustration? How does color contribute to establishing that mood? How would you describe the facial expression of the woman in the foreground? Look again at the speech bubbles: what words has the person chosen to describe herself? What do those words suggest about what she identifies with? How might the words differ from what you might have expected, and why? 

 

So perhaps textbooks will join Britain’s bridal shop in depicting people as people, rather than people with disabilities. If so, I’m very happy to be in their company!

 

Image Credit: Pixabay Image 2588238 by StockSnap, used under the Pixabay License

This spring I will teach a second-semester first-year writing course that engages literary studies through the lenses of rhetoric and composition. In other words, the course aims to present literary readings (poetry, prose, drama) and invites students to engage these texts rhetorically, with careful attention to language and its uses, audience, purpose, and persuasion. In creating this course syllabus, I will adhere to the writing program constraints, but will be able to choose my own readings to fashion the required assignments.

 

It helps to teach my passions, of course, but it is necessary as well to consider how to introduce students to readings and means of approaching readings that will open doors in their own living, thinking, reading, and writing. Reading and writing need to be more than school subjects and a set of strategies or commodities.

 

At the same time, I also want to include readings that will open the way to help me learn from my students. Perhaps this was the most important lesson learned from last semester’s Final Writing Project: Create Your Own Course Syllabus. Since students could choose their own subjects for this assignment, I was able to gauge a wide variety of general interests through three sets of classes of racially, ethnically, and linguistically diverse traditional-age college students at two different institutions. The most common subjects included:

 

  • Creative arts classes for non-majors (music, filmmaking, comics)
  • Health: (mental and physical health, self-help, food studies)
  • Courses in a special topic not offered by their colleges (sports science and history, religious studies and social justice,  business theory and practice)

 

My sense in planning the syllabus is to introduce literary readings through these general lenses, while keeping in mind the concerns of students. “I don’t like poems that don’t rhyme,” one student told me last semester, and then recommended that I listen to Kendrick Lamar’s “To Pimp a Butterfly,” of which, at the time, I had only passing awareness.

 

The students’ interests in comics offered additional considerations. After we finished our second writing project on Black Panther (Listening to Students: Revising an Assignment and Teaching Black Panther) last fall, and they wrote their reflections, two students included long lists of movies I needed to see to better understand Black Panther’s place in the Marvel Universe. For students who have come of age in diverse racial, ethnic, and linguistic spaces, Black Panther and other films in the Marvel Universe are not only allegorical, but also material reality.

 

In other words, in real life students have faced situations equivalent to Black Panther’s most symbolic moments, such as journeying to the ancestral plane or creating community in the aftermath of war and destruction.In transitioning to college, students often struggle with unanticipated borders between home and school communities. In choosing readings for the spring semester course, I remember that such borders can be deeply complex and contested. I also remember how my own encounters with literary works helped me to navigate and negotiate the struggles of college transitions.

 

For example, I think back on my experience of reading Rimbaud’s poetry for the first time as an undergraduate. For my advisor, a specialist in French 19th century literature, Rimbaud’s work was an exemplar of French symbolist poetry. Yet for me  Rimbaud’s poems felt as real and as full of transcendent possibilities as life itself. In “Novel,” (“Roman” in French) Rimbaud writes:

 

Night in June! Seventeen years old! —We are overcome by it all

The sap is champagne and goes to our head . . .

We talked a lot and feel a kiss on our lips

Trembling there like a small insect . . .

 

These lines felt as ethereal as the popular culture worlds in which I lived as a teenager in the 1970s.  Rimbaud’s words were as resonant as the theme from Star Wars, and as poignant as Bowie’s genderqueer teenager in Rebel, Rebel. Popular art fused with the language hidden away in literary works unknown to me before college. In the midst of that fusion, the future opened before my eyes, allowing me to reach toward language and life experiences I had never before imagined. Literature, in my experience, remains a significant means of engaging with worlds outside of my own, and of envisioning futures beyond the limited scope of everyday life.

 

My hope is that the new syllabus will create a more fluid universe and collapse the binaries between the old and the new, remixing canons and drawing connections and similarities in spaces where the mind and the heart have been trained to perceive only difference and separation. These difficult times call for nothing less.

Donna Winchell

Argument and Aesthetics

Posted by Donna Winchell Expert Jan 11, 2019

All claims, whether of fact, value, or policy, are the thesis statements that arguments support. It may seem a bit counterintuitive that claims of fact need to be supported, but keep in mind that readers or listeners may need to be convinced that a statement of fact is indeed true. Consider, for example, the resistance to the claim that global warming is changing the earth’s climate.

 

Less surprising, perhaps, is the need to support a claim of value. One of the large areas in which to support a claim of value is aesthetics. Judgments about art are value judgments and are expressed through claims of value. Any time you express an opinion about a painting, a film, a book, a concert, or any other work of art, you are making a value claim. Others don’t have to agree with you, but well-written argument supporting a claim of value will rely on clear references to specific elements of the work and try to convince others that your opinion is valid.

 

The recent Golden Globe awards elicited a flurry of responses about the values implicit in the choice of winners. Two of the big winners were Green Book and Bohemian Rhapsody. Audiences clearly liked Green Book, the story of talented black musician Dr. Don Shirley and his foray into the American South of the 1960s accompanied by his newfound chauffeur/bodyguard, rough cut Italian bouncer Tony Vallelonga. The film is a feel-good story that, while recording the animosity and blatant racism that Shirley faces in the American South, also focuses on Vallelonga’s growing realization of how ridiculous the rules are. The climax is reached when Dr. Shirley is preparing to perform for four hundred white guests, but he, in his elegant tuxedo, is not allowed to eat in the same room with them.

 

Less favorably impressed than many critics and moviegoers were the ones who knew the real Dr. Shirley best—his family. While audiences applauded the friendship that blossomed between the two men, the family denied that a friendship ever developed, arguing that it was merely a business arrangement. To his credit, Mahershala Ali, who played Shirley, acknowledged after the awards show that he was not aware that there were close family members of Shirley that he could have talked to in order to learn more about Shirley’s relationship to his family, which is presented negatively in the movie. To their credit, Shirley’s family congratulated Ali on winning the award for Best Supporting Actor for the movie, praising his acting ability. In depicting the relationship between Shirley and Vallelonga as he did, the film’s director chose a picture of racial harmony that people wanted and needed to see over fidelity to truth. As such, the value the movie is accorded depends on whether a viewer wanted accuracy or sentimentality.

 

A similar judgment call had to be made in the making of Bohemian Rhapsody. Ironically, what some view as the limitations of the movie were caused by the directors’ attempt to please surviving members of the rock band Queen featured in the film. One criticism is that director Bryan Singer and his replacement Dexter Fletcher tried to make the PG-13 movie that the remaining band members wanted by downplaying the reality of the life of lead singer Freddie Mercury. Mercury was brilliantly played by Rami Malek, and it is obvious that Mercury was bisexual, but the portrayal of his same-sex relationships is so delicate that it almost comes as a surprise when he is diagnosed with the AIDS that killed him. Some critics wanted a warts-and-all expose of Queen’s—and Mercury’s—backstory, but felt they got a sanitized stereotypical biopic instead.

 

As with most arguments, arguments about aesthetics are received differently by different audiences, as are the artworks themselves. A scene from an even more recent movie, All Is True, has Kenneth Branagh as Shakespeare state, “When I dip the ink and make the mark, all is true.” The quotation is more memorable than accurate.

 

Photo Credit: “Golden Globes Hosts Sandra Oh, Andy Samberg Preview "Crazy-Pants" Show”by Marco Verch on Flickr, 1/3/19 via a CC BY 2.0 license.

 

As always at this time of year, I’m checking to see what words have been called out as especially characteristic or indicative of the year we have just endured. The first one I came across was from Merriam-Webster, which chose “justice,” their Editor-at-Large Peter Sokolowski saying that “the pursuit of justice and the potential of obstruction of that pursuit are at the eye of the storm” today. Sokolowski goes on to note that people looked up the term “justice” in surges, especially around the time of the Kavanaugh hearings and the testimony of Christine Blasey Ford, and during President Trump’s many attacks on the Department of Justice.

 

The venerable Oxford English Dictionary opted for “toxic,” defining the word as “poisonous” and noting that it captured the atmosphere in many countries this last year. Dictionary.com went for “misinformation” for absolutely obvious reasons, as we are currently awash in what the dictionary calls “false information that is spread, regardless of whether there is intent to mislead.” And the Cambridge Dictionary chose “nomophobia”—the fear of being without a mobile phone or being able to use it—as their word of the year.

 

Others weighed in with their own nominations. In an article for the Cleburne Times Review, Steve and Cokie Roberts lamented the government’s current “amnesia” regarding two important words: “debt” and “deficit.” They argue that “rapidly rising debt payments will squeeze the government’s ability to serve as a safety net for needy Americans,” that our government will spend more money on interest than on children in the coming year, and that the fact that half of our national debt is held by China and other foreign countries all means we face “a dire threat to our economic and national security.” They then choose their word of the year, saying “But when it comes to that threat, the word of the year from most official Washington is simply ‘silence.’”

 

Of all these offerings, I gravitate most to “toxic,” which seems to capture in five letters the sense of ill-will, distrust, and sickness—both physical and mental-- that seems to permeate the air we are breathing these days. So I could certainly go with that as a word of the year. But as I’ve tried to think what one word I have heard over and over and over in the past year, another one comes to my mind: “unprecedented,” meaning something that hasn’t been done before. I believe I have heard this word at least several times on almost every newscast I have heard during 2018, most of them attached to something that our current President has done—or not done. From “unprecedented actions on asylum,” to “unprecedented actions against gun control,” to “unprecedented move to install a right-wing activist on the National Security Council,” to “unprecedented number of unfilled government positions,” and to “unprecedented unilateral decisions affecting national security”—not even to mention unprecedented tweeting. During one evening news cycle during December, I counted 18 uses of the term! Of course, unprecedented things can be good or bad, but my informal survey suggests that when this word is attached to the current government, its connotations are almost always negative.

 

Maybe teachers of writing should get in the act, naming our words of the year and asking our students to do the same. I wonder, for example, how students would evaluate the words offered here, how they would define them, and what better nominations they might have in mind. We could do a lot worse than begin the new year with a careful and thorough analysis of words that characterize our current moment. For my part, I’m going to be watching Congress closely to see if they take some unprecedented actions that will help lead to justice and to peace.

 

What is your word of the year? Leave a comment below!

 

Credit: Pixaby Image 698538 by StockSnap, used under a CC0 Creative Commons License

Typing content by Search Engine People Blog on FlickrThe last three assignments in the Incubator series of assignments that I have designed for my technical writing courses are directly related to one another. Students write a Short Proposal for the White Paper and the Research Poster projects that they will complete during the second half of the term. In today’s post, I will share the assignment for the Short Proposal.

Because I want them to focus their energy on the major report (the white paper), I ask for a short, memo-based proposal, rather than a longer document. The assignment gives students very specific guidelines to follow so that the more in-depth coverage from the textbook does not lead them to do more than they need to. My underlying goal for the activity is two-fold: I want them to learn to write a proposal, but just as importantly, I want to spot-check their topics for the white paper and research poster before they get too far into the project.

As with previous assignments in this series, the assignment below has some minor changes to remove specific information that is relevant only to the students in my classes. References to “Markel & Selber” in the assignment refer to chapters in the class textbook Technical Communication by Mike Markel and Stuart Selber.

Short Proposal Assignment

Background

You will write a short proposal that presents the topic you will explore for your white paper and poster presentation. Your proposal should explain not only what the topic is but how it relates to your company (and therefore your career field and major) and the incubator goal of public outreach and education.

The Scenario

Today, you received the following memo, asking you to submit a proposal for a white paper and related poster presentation:

Ut Prosim Incubator logo Ut Prosim Incubator

   1872 Inventors Way, Blacksburg, Virginia 24060

 

   Interoffice Memo

 

 


To: All Incubator Companies

From: Traci Gardner, Ut Prosim Director

Subject: RFP: White Papers and Poster Presentations for December Publication

Date: October 1, 2018

Our Public Outreach Office is requesting proposals for white papers and research posters that will inform non-expert readers about a technical topic relevant to the work and mission of your company. These documents will share what we do and why we do it with the university, alumni, and local community. Your documents will also contribute directly to our goal of public outreach and education by adding to our growing library of documents that inform website readers about how science, technology, and engineering work.

As an objective white paper, accepted documents will either provide knowledge or information about a subject relevant to your company or provide solutions to a problem or challenge that relates to your company—or even a combination of both goals. These white papers will also be the basis of a presentation that will be part of the quarterly poster session we sponsor for the local community in December. As an extension, additional investors and clients also attend the session, so you have the potential to make critical connections for your business.

These white papers and poster presentations are due by November 26 [Portfolio 2 due date] and will be published in the December 2018 release on the Incubator website.

White Paper Expectations

  • Length: 25 pages or less.
  • Document Design: Polished, professional layout that relies on design strategies that increase the document’s readability. You are encouraged to use a non-traditional format that incorporates sidebars, columns, and other visually-interesting design strategies. Please do not include a cover page.
  • Graphics and Visual Elements: Include relevant graphical elements (e.g., photos, illustrations, graphs, tables). All graphical elements must be your company’s intellectual property, or you must provide complete documentation. Graphical elements that are not your own intellectual property must meet fair use guidelines.
  • Research Support: Information must be supported by fully-documented research, including relevant quotations. In addition to citing published research studies, you can take advantage of the campus community by tapping university experts on the topic you are discussing.
  • Documentation Format: APA citation style (or the appropriate style for your field, if desired—for instance, an electrical engineer can use IEEE).
  • Submission Format: *.doc, *docx, *.pdf, or Google Document link.

Additional criteria and examples will be provided once proposals are accepted.

Poster Presentation Expectations

  • Size: 48" X 36", presented in landscape orientation (horizontal).
  • Document Design: Polished, professional layout that relies on design strategies that increase the document’s readability. Must use appropriately-sized headings, text, and images.
  • Graphics and Visual Elements: Include as many relevant graphical elements (e.g., photos, illustrations, graphs, tables) as necessary to present your ideas. All graphical elements must be your company’s intellectual property, or you must provide complete documentation. Graphical elements that are not your own intellectual property must meet fair use guidelines.
  • Research Support: Information must be supported by fully-documented research, including short, relevant quotations. In addition to citing published research studies, you can take advantage of the campus community by tapping university experts on the topic you are discussing.
  • Documentation Format: APA citation style (or the appropriate style for your field, if desired—for instance, an electrical engineer can use IEEE).
  • Submission Format: *.ppt, *pptx, or Google Slides link.

Additional criteria and examples will be provided once proposals are accepted.

Proposal Requirements

Your proposal should be in memo format, be no more than four pages in length, and provide the following information to help us gauge the appropriateness of the topic for December publication:

  • Background (or Introduction)
    Give some background on your topic, your experiences with it to date, what you already know, etc. Then clearly state, “[We, OR your company name, OR similar] would like to produce a white paper and poster presentation on [your topic] for the following reasons: . . . .” In your statement, explain your motivations for sharing information about the topic with the public.
  • Areas to be Studied
    Provide more details on the proposed topic for your white paper and poster presentation so that the Public Outreach Office understands the approach you will take. Consider the following questions:
    • What are the key points you will explore or explain?
    • What are some questions you will ask and try to answer in this white paper and poster presentation?
    • How do the areas to be studied relate to your company’s mission?
    • What ethical and/or intercultural and global issues will you consider as you examine the topic you have chosen?
  • Methods of Research
    Explain how you will gather the information that you present in your white paper and poster presentation. Tell the Public Outreach Office your research strategy by outlining exactly how are you planning to gather information and find answers to your questions explored in the white paper and poster presentation.
  • Timetable
    Share a calendar that includes the target dates for various milestones that will lead to completion of your white paper and poster presentation. Be sure that your schedule allows you to finish by the white paper and poster presentation due date, November 26 [Portfolio 2 due date].
  • Qualifications
    Explain why you are qualified to do this research and outline the skills you have that will help you deal with this topic effectively.
  • Request for Approval
    Ask for approval; ask for guidance, articulate your biggest concerns at this point; ask for suggestions about next right steps; provide contact information.

Due Dates

October 8, 2018: Proposal submitted as a memo, addressed to me and to Manolito Reyna Bautista, Manager of the Public Outreach Office

November 26, 2018: Finished White Paper and Poster submitted [in Canvas, as part of Portfolio 2]

Any Questions?

If you need any help with your proposal, please let me know or contact my assistant, Leslie Crow <lcrow@utprosimincubator.org>.

Relevant Details

Note: These details apply to all of the projects you include in your portfolio.

Your company’s address is [Your Company Name], Ut Prosim Incubator, 1872 Inventors Way, Suite #[you choose a number], Blacksburg, Virginia 24060. Your company’s phone number is 540-555-5555. You may create a fictional Internet domain for your company, and use that domain for a web page address and your email addresses. If you’d like, you may create other information (including a logo) for your company as appropriate. Be sure that you use the information that you create consistently across all of your projects.

The Project Assignment

Step 1: Decide on the focus for your white paper and poster presentation(which you will write as future projects).
Your focus will be to inform non-expert readers about a technical topic that is related to your company (and therefore, related to your career field and major). Try to limit yourself to topics with which you have some expertise (or at least some experience) to simplify the research process. These example white papers may help you think of appropriate topics and/or approaches:

Step 2: Examine the information about proposals in Markel & Selber.
The textbook provides complete details on how to write proposals. Follow the textbook as you work on your project. In particular, be sure that you do the following:

  • Follow the “GUIDELINES: Demonstrating Your Professionalism in a Proposal” (starting on page 430 of Markel & Selber) to ensure you adopt the appropriate tone.
  • Use the “ETHICS NOTE: WRITING HONEST PROPOSALS” (starting on page 430 of Markel & Selber) to make your proposal professionally acceptable.
  • Work through the “GUIDELINES: Introducing a Proposal” (starting on page 432 of Markel & Selber) to gather information for your proposal’s Background section.
  • Explore the information in the “Tech Tip: Why and How to Create a Gantt Chart” (starting on page 436 of Markel & Selber) to see an effective strategy for explaining your timetable.

Step 3: Write the proposals for your white paper and poster presentation.
Compose your proposal, as requested in The Scenario above, with all the details you have gathered. Review the assessment guidelines below to ensure you have met all the requirements for the proposal. As you work, also keep the following points in mind:

  • Use plain language to make the ideas in your proposal are easy to find and read. Refer to the resources from Module 2 as needed.
  • Follow all relevant ethical guidelines as you work using the Writer’s Checklist at the end of Chapter 2 (on page 40 of Markel & Selber).
  • Follow the suggestions for emphasizing important information, using the Writer’s Checklist for Chapter 9 (on page 211 of Markel & Selber) to check your work.
  • Use the Writer’s Checklist for Chapter 11 (on page 288 of Markel & Selber) to ensure that your document takes advantage of design principles to make it reader-friendly.
  • Make a good impression with accuracy and correctness. Your document should be polished and professional.

Step 4: Check your draft against the Writer’s Checklist.
Be sure that you include the required features for instructions. Review your project, using the Writer's Checklist for Chapter 16 (on page 439 of Markel & Selber) and the Assessment Criteria below.

Step 5: Review your draft for design and basic writing errors.
Everything you write should use accurate/appropriate image editing, grammar, spelling, punctuation, mechanics, linking, and formatting. These are important basic writing skills that you should have developed in high school. Review your project, using the Writer’s Checklist at the end of Markel & Selber, Chapter 10 (on page 242 of Markel & Selber).

You can also consult the information on “Sentence-Level Issues” in Markel & Selber, “Appendix, Part D: Guidelines for Multilingual Writers (ESL)” (on page 683 of Markel & Selber). While the section is labeled for multilingual writers, it is useful for everyone. It includes explanations and examples for many common mistakes writers make.

Step 6: Submit your draft to your Writing Group in Canvas.
Post a rough draft of your Proposal to your Writing Group in Canvas in the 10/04 Draft Feedback Discussion in Canvas. Additional instructions are in the Discussion. If you do not post your draft by noon on Sunday, October 7, your group may not have time to provide feedback.

Step 7: Provide feedback to your Writing Group in Canvas.
Provide feedback to the members of your writing group in the 10/04 Draft Feedback Discussion in Canvas, by October 8 (end of the grace period). Use the information on the Writing Groups page to provide constructive feedback that will help your group members make concrete improvements to their drafts. You are not obligated to provide feedback for any drafts posted after noon on Sunday, October 7.

Step 8: Revise your draft.
Use the feedback that you receive from your group members to revise and improve your document. You can share your draft again with your Writing Group, if you desire. As you revise, keep in mind the advice in the steps above, as well as the Assessment Criteria below.

Step 9: Include a polished version of your project in Project Portfolio 2, due November 26.
Have your Proposal finished and ready for submission in your Project Portfolio 2, which is due Monday, November 26. The grace period for Project Portfolio 1 ends at 11:59PM on Thursday, November 29.

Assessment Criteria

For All Technical Writing Projects

All technical writing projects should meet the following general criteria:

  • Makes a good first impression as a polished and professional document.
  • Meets the needs of the intended audience.
  • Demonstrates how to emphasize important information.
  • Uses layout and formatting that makes information easy for readers to find and read, and that follows the standards you have set for your company.
  • Is written in plain language, which communicates the ideas clearly.
  • Follows all relevant ethical guidelines.
  • Uses accurate/appropriate grammar, spelling, punctuation, mechanics, linking, and formatting.

For Proposals

Your project should meet the following criteria for effective proposals, based on the checklist at the end of Chapter 16 of Markel & Selber:

  • Meets the guidelines established in the request for proposals (see The Scenario, above).
  • Demonstrates professionalism and honesty.
  • Includes an introduction that indicates the following:
    • the problem or opportunity.
    • the purpose of the proposal.
    • the background of the problem or opportunity.
    • your sources of information.
    • the scope of the proposal.
    • the organization of the proposal.
    • the key terms that you will use in the proposal.
  • Provides a clear, specific plan for research and justifies that methodology.
  • Describes the qualifications and experience clearly outlining
    • relevant skills and past work.
    • relevant equipment, facilities, and experience.
  • Includes full documentation for all ideas, words, and visuals that the work of others (see Part B, “Documenting Your Sources,” in Markel & Selber).


This assignment has gone relatively well. The most frequent issue has been confusion about memo format. Students either didn't follow the instructions and used other formats, or they did not follow the format accurately. The most serious issue that has come up has been failure to provide enough details and development of the proposal. I wonder if the emphasis on a “short” proposal has misled some to think that general and underdeveloped ideas were adequate. When I use this activity again, I will work to address both of these issues.

My next post will share the instructions for the white paper, which is the next project students worked on. Be sure to come back to read more about that activity, and in the meantime, if you have any feedback to share, please leave a comment below.

 

Photo credit: Typing content by Search Engine People Blog on Flickr, used under a CC-BY 2.0 license.

Miriam Moore

Be It Hereby Resolved

Posted by Miriam Moore Expert Jan 9, 2019

It’s January, and I am seeing signs of resolutions everywhere: explicit declarations of relationship, health, and professional goals, along with tacit commitments indicated by images of tracking devices, fitness equipment, organic fruits and veggies, garden plans, drawers or closets awaiting organization, and booklists. 

 

Resolve—along with related forms resolution and resolute—is a rich and powerful word, brought into English as a verb from Latin and extended via functional shift to serve also as noun. We resolve (make resolutions) to address what is unresolved—dissonant, jumbled, confused, unsettled, or lacking—in music, in labs, in institutions, in government, and in ourselves. 

 

After spending a day with colleagues and workshop leader Asao Inoue reflecting on our pedagogy and, in particular, our assessment and feedback practices, I am ready to make some resolutions for my FYC and IRW co-requisite classrooms this spring. I am also inspired by Traci Gardner’s "My New School Year’s Resolutions."

 

Here are my resolutions for this semester:

 

  1. Expand use of social media/technology to support collaborative activities outside the classroom, with an overarching goal of fostering a deeper sense of community within the class. Collaborative activities—from shared reading experiences to peer review—is difficult to establish (much less sustain) in the 150 minutes we are together weekly. And all too easily, these activities within my classes can become perfunctory, not constructive. As a starting point, I want to explore joint annotations of some sections of our more difficult readings using Google Docs.
  2. Give students more options and opportunities to negotiate our classroom activities and (some) assignment parameters. One of the “big ideas” or threshold concepts that I use to structure my writing course is that all writing involves choices that affect meaning, whether words, structures, details, punctuation, or organization. But I suspect it’s difficult for students to accept the potential power of (and responsibility for) smaller writing decisions when they have little sense of agency for broader learning activities in the classroom.
  3. Make a meaningful portion of a student’s grade related to the labor the student has invested in the process of the course (see Traci Gardner's post, as well as Asao Inoue’s Labor-Based Grading Contract). I am an Alabama Crimson Tide football fan (I hope I won’t lose too many readers at this point!), and I have read a several articles about Nick Saban’s approach to coaching, which centers on what he calls “the process.” He asks his players to commit to the process—the rigorous and regular work that goes into a season and into each individual game—not to a specific outcome. Players can control the time devoted to the process, but they cannot control (not fully!) the outcome. I am going to play with an analogy to Saban’s coaching this semester, asking my students to commit to a rigorous process that requires time: completing drafts, participating in workshops, reading (and annotating readings collaboratively), and exploring language with me. I am asking them to trust this process, and a significant portion of their grade will be derived from their willingness to devote time to this process, regardless of the final outcome or product.
  4. Introduce vocabulary and concepts from rhetorical and systemic-functional grammars. I have been using a writing-about-writing foundation for my FYC and co-requisite courses for a few years now, and I am pleased with the results. But I am not yet satisfied with my approach to grammar within that framework, and I’d like to experiment with the metalanguage of rhetorical grammar and SFG as strategies for helping students re-envision their grammatical choices.  
  5. Reduce the number of major writing assignments so that students can spend more time on them, seeing their investment in the process of these assignments yield intellectual insights that encourage them to continue reading and writing. Similarly, I plan to increase opportunities for low-stakes, exploratory writing and reflective writing.

 

My resolutions come from the tensions I have been wrestling with for the past couple of years: fair, meaningful, and useful assessments; effective collaboration; grammatical instruction that empowers student choices.

 

What are your resolutions for teaching in the coming year?

Cecilia SheltonCecilia Shelton (nominated by Dr. Michelle Eble) is pursuing her PhD in Rhetoric, Writing, and Professional communication in the English department at East Carolina University. She expects to finish in May 2019. She has more than ten years of experience teaching college writing so she has taught lots of different courses. Her favorite course was one called "Critical Writing Seminar" that married critical theories, pop culture, and writing and tried to employ a code-meshing pedagogy. Most recently, she has been teaching Writing Foundations courses (first and second year writing), Writing for Business and Industry, and Scientific Writing. Her research interests explore the intersections of cultural rhetorics and technical communication in activist work and social movement theory. She is also a 2018 CCCC Scholar for the Dream and a 2018 recipient of ECU's Diversity and Inclusion Award.

 

Students and their professors often have very different visions for what should come of a writing course, but on this we can agree: the first-year writing course is overloaded with expectations. As the single course with perhaps the most stakeholders invested in its outcomes, participating in the first-year writing classroom as a teacher or a student is a high stakes endeavor. For students who enter the classroom with 13 years of conditioning against their nonstandard cultural rhetorical practices—spoken, written, and otherwise—the stakes are even higher and the students are risk averse because of it.

 

In my time as a writing center administrator and an English instructor at an HBCU, my pedagogy became rooted in teaching students to become critical consumers and producers of language. That goal means different things to different teachers and students; for almost all Black students—regardless of their preparation for and perceived skill in writing—it means grappling with the probability that their race will likely always influence the way their language use is consumed and interpreted no matter how precisely they align themselves with standard English. I think it can also mean teaching students to see their cultural rhetorics as linguistic resources (not deficits) in producing texts that speak truth to power in the academy.  

 

The texts we hold up in our classrooms as worthy of study and the values imbued in our assignments betray our language politics. My "Soundtrack of the American Dream" assignment was my first real attempt to align my pedagogy with my language politics. In it, I ask students to "prepare a creative interpretation of the American Dream by composing an album cover and writing a track list for an album." More and more rhetoric and composition scholars are challenging the cannon and disrupting stale notions of expertise to explore new voices as models in the composition classroom. But how often are scholars willing (or allowed) to invite the same kinds of disruptions from students?

 

The Soundtrack of the American Dream assignment is, essentially, a much more interesting version of a critical analysis essay. It asks students to resist assumptions and generalizations of the “American Dream,” and it requires them to find concrete examples that consider the component parts of this myth and the significance of those parts to the whole concept (in other words, analysis). But it does this on terms that the student sets for themselves.

 

By foregrounding music as a cultural artifact that reflects the American Dream, students are free to assign importance and value to the voices that they see as credible. Although class discussions root everyone’s exploration in the same popular associations with the American Dream—money, houses, marriage, family, self-determination, etc.—students can approach these associations through the lens of their lived experience. Perhaps most importantly, students are explicitly invited to use the linguistic resources that best serve the lived experiences that they want to amplify in explaining and reflecting on the American Dream.

 

Because this assignment is now more than five years old, I often think about how it is aging. When I was much closer to it, I wrote about the pedagogical exploration that it represents here: Disrupting Authority . Having taught first-year writing less and less as I accumulate teaching experience and sharpen my pedagogy, I haven’t had many opportunities to revisit and revise the assignment. I expect that many scholars with a number of years of teaching experience share this retrospective stance. What could I do better here? How does my current research trajectory and pedagogical stance inform a project like this one?

 

The political and social urgency of this moment has brought resistance and activist rhetorics to the center of my research agenda and pedagogical commitments. Not only am I interested in students becoming critical producers and consumers of language, but I am also determined to support their advocacy and intervention in the systems they observe. Stevens (2009) offers a perspective that challenges me to see new opportunities in my Soundtrack of the American Dream assignment. She argues that “rhetors have a responsibility to choose between social reproduction and change, and part of this responsibility is to choose whether or not to accept rhetorical situations, and the social relations that construct them, as presented” (50). She goes on to argue in favor of inappropriate rhetorical strategies or even outright rejection of the rhetorical situation as potentially effective responses for students in our writing classrooms.

 

What would it look like for my students to outright reject the premise of an American Dream at all? Given the realities of the lived experiences of many people in this country, that kind of response seems to reflect not only critical thinking but also a true exigence for their writing outside my classroom and with audiences beyond the academy. Am I inviting the kind of responses that enable this sort of disruption and academic success at the same time? Shouldn’t I be? Are you? How are we preparing students to use language to break systems, not just see them? 

 

Among all of the many ways that first-year writing courses have been customized to meet specific institutional (and other) contexts, I am most heartened by those that offer students a way to think about language over strict guidelines for its usage. In a contemporary knowledge economy where technology and artificial intelligence can do more and more of the sentence level work that props up our bigoted notion of a standard variety of English—I want to give students more—preparing them to engage as active citizens of the world who use their critical thinking and composing skills to advocate for equity and justice feels right to me.

 

To view Cecilia’s assignment, visit The Soundtrack of the American Dream. To learn more about the Bedford New Scholars advisory board, visit the Bedford New Scholars page on the Macmillan English Community.

 

References

Stevens, S. M. (2009). Dreaming to change our situation: Reconfiguring the exigence for student writing. In Stevens, S. & Malesh, P. M. (Eds.) Active voices: Composing a rhetoric for social movements (47-68). Albany: Statue University New York Press.