Dec 122015
 

Having reread Berlin and Inkster’s “Current-Traditional Rhetoric: Paradigm and Practice,” I am convinced of its truth. As I grade final papers, I am simultaneously engaging in a post-mortem of my first semester teaching, and I see that the FAU Writing Program, at least as introduced to me, is firmly ensconced in the CTR theory camp, at least for freshman writing.

GTAs are not given any sort of instruction in pedagogy prior to stepping foot in the classroom. All we really are given to go on in the beginning is a book of texts (not a textbook), a work book, and a syllabus. That is, of course, until we’ve worked through 6700 and Colloquium. So, I found my pedagogical inspiration from the grading criteria provided in Elements, which instructs us to grade for argument, organization, evidence, grammar/formatting, and audience. Is it any wonder that I find myself chastised by Berlin and Inkster?

This past semester, I was the incarnation of the textbooks they examined. I didn’t exactly instruct the students to find, sharpen, and believe your thesis,” but just as these texts gave very little if any instruction on how to write an effective thesis, I felt lost just about the entire semester thrashing away at the ether trying to do more than evaluate arguments. I can tell students what an effective thesis is, but how can I get this through to their brains? I often felt useless when trying to get my students to move beyond a summary thesis and five paragraph essay.

Also, I have found it intriguing that there is no grading criteria for quality of writing. It seems perfectly plausible that a student could receive perfect marks for argument, organization, evidence, grammar/formatting and audience and write the dullest, a most dull and uninteresting paper. I haven’t experienced this, but I can certainly see the possibility. CRT leaves no room for creativity and expression, at least according to the grading criteria and especially considering the texts our students are writing on.

Berlin and Inskster do not acknowledge the benefits of this instruction, however. There is value in the instruction of form and genre. We are charged with preparing students for academic writing, and it would be wrong and a disservice to the students to take a wholly aleatory approach. Despite this, I do not see any reason why we cannot teach our students to be good academic writers and to be good writers at the same time.

 

 

 

 

 Posted by at 9:33 pm
Dec 122015
 

Long ago, a trend arose in the corporate world to have employees complete a self-evaluation and combine that with a supervisor’s evaluation for the purpose of analyzing an employee’s previous year’s performance. When I first encountered this, I thought that it was a matter of fairness. However, after reading Lynn Z. Bloom’s “Why I (Used to) Hate to Give Grades, I have come to see that there is value in self-evaluation.

While a good chunk of her article outlines the problems with grading, the important message lies in the last half.  By having the students evaluate themselves prior to her evaluation, she increases the students’ self-awareness.  Had she done this progressively throughout the semester, I believe she would have seen a greater improvement in the quality of the student’s work.

I have seen the results of this process first-hand.  My partner, for whom English is a second language, is required to do this type of self-evaluation for his employment.  I help him complete the form every year, and I can see that it has helped him become a better employee.  It really does make a difference in making a change if you identify the pattern of error or area that needs improvement yourself. After all, some of the newer adaptations of Blooms Taxonomy include “meta-thinking” in the highest levels.

The FAU Writing Department approaches this type of self-evaluation with the assigned midterm and final evaluations.  I think that as assigned, these evaluations fall short of the bar set by Bloom, and I will be adjusting the prompt next semester for 1102 to make better use of these assignments.

 

 Posted by at 8:45 pm
Dec 122015
 

What is good:

We have been told many times that one of our goals as freshman composition instructors is to teach critical thinking. While that matter has been the subject of some debate in our class, I think that of all the theory camps, the various post-process pedagogical provide the best approach to meeting this goal.

This is because these approaches make the students think in new ways, then write about them. When we have our students read Restak then write a reply to him in the manner of the prompts provided, we find it very frustrating when we receive back 20 pages of summary on the dangers of multitasking. An eco-composition approach would get the student away from summary and encourage them to examine the text in new ways. It is similar to using theoretical approaches in literary studies to examine text.

What is necessary/possible:

While this approach has quite a bit of promise, I think that a realistic approach to ENC 1101 (as it is structured by the writing department), precludes its implementation. While trying to have students critically think is necessary, there is simply too much to do in ENC 1101. It has always seemed to me that the true purpose of 1101 is to introduce the student to the genre of academic writing and teach the students the expectations of the compositional expectations of the academy.

Certainly, it is possible to introduce this pedagogical approach in ENC 1102. I say this with the caveat that I have not yet actually taught 1102, but it seems that this would be a better time to do so.  In fact, after having seen the sequence for 1102 that the writing department has provided, I am considering an eco-compositional approach to the feminist related pieces.

 Posted by at 6:59 pm
Dec 122015
 
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Dec 122015
 
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Dec 122015
 
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 Posted by at 5:46 pm
Dec 092015
 

Although presidential candidate Donald Trump has recently shifted his focus of hate from Mexican immigrants to Muslim immigrants, the sentiment of his rhetoric remains the same: stay the fuck out of America. If Trump was just one batshit reality TV star with the white house in his sights as some sort of sick publicity stunt (which many were hopeful of in his campaign’s infancy), his words could be easily dismissed with eye rolls and head shakes. The grim reality is, of course, that he is currently leading in many polls over both democrat and republican hopefuls. What’s more, his words have broken the barrier of merely disconcerting political rhetoric and entered the realm of inciting violent action–proving that rhetoric matters and should be given much more gravity in academia than it currently receives.

According to an article written by Russell Berman which appeared in The Atlantic on August 20th, 2015, “Police in Boston say that one of two brothers who allegedly beat a homeless Hispanic man cited Trump’s message on immigration as a motivation for their attack. “Donald Trump was right, all these illegals need to be deported,” Scott Leader, 38, told officers, according to a police report.” Trump, in response to this news, had only this to say: “…the people that are following me are very passionate. They love this country. They want this country to be great again.” He takes zero responsibility and expresses no remorse for the innocent 58-year-old man who was “urinated on…and then assaulted…with a metal pole.”

Clearly, there is a point at which words are no longer just words. I think we can all agree that a good place to draw the line is when hate-speech influences violent action by others.

This is why the study of rhetoric, English, and/or composition is crucial for all students and should be taken just as seriously as any/all of the sciences. All students should know how to proficiently navigate the rocky terrains of rhetoric as they exit the university, lest the academy wishes to produce citizens who are susceptible to being easily swayed by such hateful ignorance; lest the goal of a college education is to leave students unequipped with the tools necessary to discern sound from poor logical constructions and argumentation; lest violence is an appropriate response to rhetorical interpretation.

If that is the case, continue to defund our programs, call our studies pointless, and laugh at our earnest pursuits from behind your Ivory doors while, outside, hatred flourishes and innocent people are beaten half to hell with metal pipes and pissed on. Cut our budgets. Piss on us while you’re at it. Our study doesn’t matter.

 Posted by at 4:35 pm
Dec 092015
 

As a liberal first year composition teacher who, on better days, believes in the decency of mankind, I was terrified by an 18 year old girl on the first day of my first class. I don’t remember how we arrived at the conversation, but at some point after we tediously outlined the syllabus, she said it and I knew immediately that we were all doomed.

“Oh, I’m definitely voting for Donald Trump,” she offered. The rest of the class fell silent, all of their eyes darting toward me, somehow already knowing that I would be deeply troubled by this statement. Maybe my septum ring gave it away. Maybe they were filled with the same blend of terror and bewilderment at hearing such a sentiment from one of their own–our generation, after all, is known for being characteristically filled with glossy-eyed democrats. I traced her face for any cues of irony. I found none.

I don’t recall exactly how I reacted. I like to think that I played it cool, though, that I somehow assuaged the tension with a bipartisan-friendly joke that would have made Marco Rubio and Hilary Clinton both buckle with laughter; Rubio reaching across the aisle to pat Clinton on the back.

Chances are I wasn’t that suave. I wanted to scream, cry, and jump on the first flight to Switzerland all in the same instant.

I didn’t want to expose my bias to the class. Especially not that early on in the game. But I fear, knowing myself as well as I do, that whatever my response was, did not do much in the way of veiling. I wondered, though, later on: what is the real benefit in playing this hiding game with my students? Why should they not know where I fall on certain topics? The professional zeitgeist certainly seems to discourage such actions. From what I can gather, it is frowned upon for a teacher to let his or her bias show in topics like these. I can see why this is the case in theory (you don’t want to make any students feel shunned or like they can’t or shouldn’t vocalize their beliefs in class and on papers, of course), but is there not a way for a teacher to express his or her opinions in an inclusive way? With care and sensitivity, I think there is. And, what’s more, there is a way in which doing so can inspire better in-class discussions. None of my own teachers, regardless of how successful they believe they may have been in achieving this, have ever been able to truly mask their own biases.

Students are likely to feel less self-conscious in verbalizing their own beliefs if we, the teachers, also do not flinch in doing so. There are ways in which we can influence the culture of a given classroom and I think this is one of them. I am in no way, however, claiming that teachers should run rampant with their opinions, dashing down students left and right. Like I said before, it has to be done carefully. Perhaps simply addressing how your own opinions are bound to creep their way into your rhetoric on the first day of class could work–telling them that it in no way will affect your students’ grades nor your views of them as people. Remind them that we all arrive at the classroom from disparate backgrounds and constitutions and that this is not only the cornerstone of argument, democracy, and good discussion, but it is also (when the mind is open) the way that some of the best learning is achieved.

 Posted by at 3:37 pm
Dec 092015
 

Apathy abounds in our students. I am not qualified nor do I possess the intellectual patience it would require to explore the question of why this is. I could probably rattle off a few lightly informed reasons for this, but they would do nothing more than exhaust you and have little to no solid theory to back them up. Fear not, dear reader, I will spare you my pseudo-academic social critique of the larger cultural forces at play here. If hearing a rant of this sort is something that, against all odds, does intrigue you, have a few drinks with me some night and they will most likely stumble their way out of my mouth around midnight.

However, here I am, in the sober light of day, and the question I wish to explore is “how?” More specifically, how can we create care in our students? As my last post posits, care is the prerequisite to good writing. I do not think that The Sequence is the answer (which is why I urge all of my colleagues to deviate from it wherever possible). I, of course, would never do such a thing…but, in theory, there are better ways to foster inspired writing in our freshmen.

One way that I think could work (and would still satisfy the text requirement of The Sequence), would be to let each student pick an essay from Emerging to write about. Encourage them to choose a piece that somehow speaks to them. Did it give them chills? Good. Did it blow their freakin’ minds? Sweet, dude. Did it piss them off? Even better. This is the Affect Effect. After about the third class of Restak talk, my classes had little to offer other than groans and boos every time I brought him up. Their brains shut off in unison at any mention of the R-word. The didn’t care. Not even a little bit. And, what’s worse, the content made them feel condescended to–like they were the problem and this doctor guy was preaching to them about the evils of their ways and how they were the ones destroying the sanctity of Human Interaction every time they glanced at their phones.

This is not how writing should be taught. A good essay can’t be produced on a text the essayist couldn’t give a damn about with a gun to his head. Call me soft, a hippie-dippie expressivist in a sweater vest, but I believe in the Affect Effect and I look forward to giving it a shot in ENC 1102.

 Posted by at 2:33 pm
Dec 092015
 

I’ve survived my first semester teaching freshman composition and I can’t help but think back to a question we explored early on in this class: can writing be taught? I’m recalling the New York Times article—the title of which is the aforementioned question, verbatim—written by Rivka Galchen and Zoe Heller. In this article, the writers ponder this question by comparing writing to the sciences and, ultimately, the biblical Word, implying that we hold writing to an impossible standard and that (the bible) is why we would even entertain such a question. “Is it somehow flattering to feel one’s endeavor is more gift than labor, and are writers more in need of such flattery than others” They wonder.

 

But I’ve seen the writing of many of my students improve dramatically over the course of but a few months. I’ve witnessed the answer to the central question materialize itself, firsthand. Yes, writing can be taught, but it requires a few crucial prerequisites in order for this to be accomplished: 1.) the student must care, must actually desire to improve; 2.) consistent practice; and 3.) the teacher must provide an environment in which the former 2 requirements can be fostered.

 

This leaves us with a new, more pertinent question as teachers of composition: how can we inspire our students to care about learning how to write and, furthermore, to do so with proficiency?

 Posted by at 2:07 pm
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