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Influenced by Erika Lindemann’s A Rhetoric for Writing Teachers, A Rhetoric for Writing Program Administrators delineates the major issues and questions in the field of writing program administration and provides readers new to that field with theoretical lenses through which to view those issues and questions. In brief and direct though not oversimplified chapters, A Rhetoric for Writing Program Administrators explains the historical and theoretical background of such concepts as “academic freedom,” “first-year composition,” “basic writing,” “writing across the curriculum,” “placement,” “ESL,” “general education,” and “transfer. ” Its thirty-nine contributors are seasoned writing program and center administrators who, in a range of voices, map the discipline of writing program administration and guide readers toward finding their own answers to solving problems at their own institutions.
In recent years we have witnessed a rising tension between the open architecture of the Internet and legal restrictions for online activities. The impact of digital recording technologies and distributed file sharing systems has forever changed the expectations of everyday users with regard to digital information. At the same time, however, U.S. Copyright Law has shown a decided trend toward more restrictions over what we are able to do with digital materials. As a result, a gap has emerged between the reality of copyright law and the social reality of our everyday activities. Through an analysis of the competing rhetorical frameworks about copyright regulation in a digital age, this book shows how the stories told by active parties in the debate shape our cultural understanding of what is and is not acceptable in the use of copyrighted works on digital networks. Reyman posits recent legal developments as sites of conflict between competing value systems in our culture: one of control, relying heavily on comparisons of intellectual property to physical property, and emphasizing ownership, theft, and piracy, and the other a value of community, implementing new concepts such as that of an intellectual "commons," and emphasizing exchange, collaboration, and responsibility to a public good.
Rhetorics, Poetics, and Cultures is James Berlin's most comprehensive effort to refigure the field of English Studies. Here, in his last book, Berlin both historically situates and recovers for today the tools and insights of rhetoric-displaced and marginalized, he argues, by the allegedly disinterested study of aesthetic texts in the college English department. Berlin sees rhetoric as offering a unique perspective on the current disciplinary crisis, complementing the challenging perspectives offered by postmodern literary theory and cultural studies. Taking into account the political and intellectual issues at stake and the relation of these issues to economic and social transformations, Berlin argues for a pedagogy that makes the English studies classroom the center of disciplinary activities, the point at which theory, practice, and democratic politics intersect. This new educational approach, organized around text interpretation and production-not one or the other exclusively, as before-prepares students for work, democratic politics, and consumer culture today by providing a revised conception of both reading and writing as acts of textual interpretation; it also gives students tools to critique the socially constructed, politically charged reality of classroom, college, and culture. This new edition of Rhetorics, Poetics, and Cultures includes JAC response essays by Linda Brodkey, Patricia Harkin, Susan Miller, John Trimbur, and Victor J. Vitanza, as well as an afterword by Janice M. Lauer. These essays situate Berlin's work in personal, pedagogical, and political contexts that highlight the continuing importance of his work for understanding contemporary disciplinary practice.
This reference guide provides a comprehensive review of the literature on all the issues, responsibilities, and opportunities that writing program administrators need to understand, manage, and enact, including budgets, personnel, curriculum, assessment, teacher training and supervision, and more. Writing Program Administration also provides the first comprehensive history of writing program administration in U.S. higher education. Writing Program Administration includes a helpful glossary of terms and an annotated bibliography for further reading.
In this classic text, Joseph Harris traces the evolution of college writing instruction since the Dartmouth Seminar of 1966. A Teaching Subject offers a brilliant interpretive history of the first decades during which writing studies came to be imagined as a discipline separable from its partners in English studies. Postscripts to each chapter in this new edition bring the history of composition up to the present. Reviewing the development of the field through five key ideas, Harris unfolds a set of issues and tensions that continue to shape the teaching of writing today. Ultimately, he builds a case, now deeply influential in its own right, that composition defines itself through its interest and investment in the literacy work that students and teachers do together. Unique among English studies fields, composition is, Harris contends, a teaching subject.
Winner of the 2001 W. Ross Winterowd Award Best book in composition theory presented by JAC and the Association of Teachers of Advanced Composition In this book, Bruce Horner provides a cultural materialist critique of discourse on work in composition. Each chapter traces the ways in which one of the defining terms of composition—work, students, politics, academic, traditional, and writing—operates as a site for competing constructions of composition's identity.
In this book, Jasper Neel’s sure-to-be-controversial resituating of Aristotle centers around three questions that have been constants in his twenty-two years of teaching experience: What does itmean to teach writing? What should one know before teaching writing? And, if there is such a thing as "research in the teaching of writing," what is it? Believing that all composition teachers are situated politically and socially, both as part of the institution in which they teach and as beings with lived histories, Neel examines his own life and the life of composition studies as a discipline in the context of Aristotle. Neel first situates the Rhetoric as a political document; he then situates the Rhetoric in the Aristotelian system and describes how professional discourse came to know itself through Aristotle’s way of studying the world; finally, he examines the operation of the Rhetoric inside itself before arguing the need to turn to Aristotle’s notion of sophistry as a way of negating his system. By pointing out the connections among Aristotelian rhetoric, the contemporary university, and the contemporary writing teacher, Neel shows that Aristotle’s frightening social theories are as alive today as are Aristotelian notions of discourse. Neel explains that by their very nature teachers must speak with a professional voice. It is through showing how to "hear" one’s professional voice that Neel explores the notion of professional discourse that originates with Aristotle. In maintaining that one must pay a high price in order to speak through Aristotle’s theory or to assume the role of "professional," he argues that no neutral ground exists either for pedagogy or for the analysis of pedagogy. Neel concludes this discussion by proposing that Aristotelian sophistry is both an antidote to Aristotelian racism, sexism, and bigotry and a way of allowing Aristotelian categories of discourse to remain useful. Finally, as an Aristotelian, a teacher, and a writer, Neel responds both to Aristotle and to professionalism by rethinking the influence of the past and reviving the voice of Aristotelian sophistry.
Over the last decade, colleges and universities have begun to pay significant attention to "multimodal rhetoric" --rhetoric that uses not just words, but a wide range of compositional elements, including still images, moving images, charts, graphs, illustrations, animations, layout schemes, colors, music, ambient noises, and other media components. This book explores how multimodal rhetoric may prompt foundational changes in writing centers, which have proven themselves, over the last several decades, to be a highly effective means of providing peer-based support for writers. Bringing together the insights and experiences of ten researcher-practitioners working in a diverse range of institutional contexts, the chapters collected here explore the transformations potentially involved in this shift to multimodality, including changes in the way centers configure space, the way they allocate resources, the way they train peer consultants, and the way they interact with other units on campus and with communities beyond campus. Theoretical exploration is balanced with discussions of pragmatic concerns that emerge from contributors' lived experiences. To confront the intellectual and practical challenges of integrating multimodal rhetoric into writing center work, contributors draw not only on writing center theory and the broader field of composition and rhetoric, but also on an eclectic mix of theoretical frameworks taken from other fields, including actor network theory, design, and property law. --Book Jacket.
Writing is central to the work of all intellectuals, yet any given scholar's relationship to writing is a uniquely personal one. Gary A. Olson and Lynn Worsham bring together some of the world's leading scholars from a variety of disciplines to examine how they conceive of their own relationship to writing and to the work of being a critical intellectual. Using excerpts from interviews, originally published in JAC, each scholar's thoughts are revealed about writing habits, how writing relates to intellectual work, and the politics of intellectual work. Included are excerpts of interviews with the following: Gloria Anzaldúa, Mary Field Belenky, Homi Bhabha, Judith Butler, Noam Chomsky, Donald Davidson, Jacques Derrida, Michael Eric Dyson, Stanley Fish, Paulo Freire, Clifford Geertz, Henry Giroux, Stuart Hall, Donna Haraway, Sandra Harding, bell hooks, Luce Irigaray, Ernesto Laclau, Jean-François Lyotard, J. Hillis Miller, Chantal Mouffe, Avital Ronell, Richard Rorty, Gayatri Chakravorty Spivak, Jane Tompkins, Stephen Toulmin, and Slavoj Zðizûek.