The first selection I will address is "Writing as Making/Making as Writing" by speakers Elyse Eidman-Aadahl, Nichole Pinkard, Bud Hunt, and Andrew Sliwinsky. In a refreshing change of pace, this assignment is a recorded video chat conversation between four speakers on the importance of writing as an interdisciplinary skill, and how this skill can be introduced to people with all kinds of different interests. This talk strikes a familiar chord with our class, as it is related to the National Writing Project, an organization with which we are all familiar.
The entry point into this conversation comes from Elyse Eidman-Aadahl who speaks about the young person as the productive agent in the learning environment. Eidman-Aadahl places immense importance on this fact, and emphasizes the importance of teachers realizing this and treating students with respect to this title as agent. After all, as is noted in the video chat, writing is not just about essays and research papers, it's about making. As Eidman-Aadahl says, "Writing is craft." Writing is a tool for the creator and, whatever the project, it should be recognized as such. We have talked about this idea extensively throughout the semester- how students need to be encouraged to write in relevant ways.
Another point that Eidman-Aadahl made that I think is important to note is the role of the teacher as "maker." I think it is extremely important for a teacher to stay relevant in his or her field by contributing. In doing this, the teacher never stops learning and participating in their fields of interest, which keeps the subjects fresh for them and enables them to be inspired, which is good both for them and for their students. I remember talking about this more extensively in the second part of this class (coming for everyone else next semester), but I think it was an interesting and crucial thing to note in the context of this talk.
Crucial to this talk is the concept of the "maker space," which is a learning space established as a separate entity from schools. Most excitingly, these spaces aren't just limited to the natural writers! According to our speakers, "writers are made, not born." Additionally, they aren't all English majors. Contributor Bud Hunt comes from a STEM perspective and made a case for such spaces as "promoting habits across domains." Nichole Pinkard, a computer programmer, speaks to the importance of maker spaces as places which cultivate the "integration of literacies." Gone are the days in which students could limit writing to the English classroom, and thank goodness for that!
I appreciate the idea that anyone can be a writer. For some reason, it seems that people have the concept that writers are born with the talent to write, but Eidman-Aadahl points out that in other fields (engineering, computer programming, etc.), it is understood that knowledge is gained through hard work. This is also true for writing! I do believe strongly that people are born with certain talents and propensities, but I think that much can be learned through training and perseverance.
Writing should not be work, it should not be an obligation. The best thing that could happen to the perception of writing would be for it to be seen as a joy, and an outlet. Andrew Sliwinski sites a quote from William Morris: "Art is man's joy and labor." He does this for the purpose of pointing out that labor is necessary but, when joy is involved, the product comes naturally. It's not about training, necessarily, it's about love of the craft-- whether the craft is writing itself, or anything else you could be interested in and want to share with the world.
The biggest thing I got from this talk is that writing is inter-disciplinary, open to students of all walks of life. As I noted above, each of the speakers in this talk had something different to offer, and each came from a different world. It's for reasons like this that students can no longer have an excuse to not care about writing, because it is completely relevant to all fields and interests, and can find a home in any kind of passion. The concept of maker spaces is fantastic to me, because it separates writing from school assignments. I was particularly struck by the concept of maker spaces as having "low floors and high ceilings," which is an incredibly inclusive and inspiration concept. It's also refreshing to have hope that writing will evolve with the times and remain an important part of scholarship, whether it is writing in the traditional research paper sense, or writing to convey interest and excitement in Minecraft.
I enjoyed this video because it felt like a fresh take on the topics we have discussed in class. Because it's not another paper, it felt more interactive and engaging, and overall I enjoyed the discussion.
In a stark contrast to the first selection, the other assigned selection is "Writing Assessment in the Early Twenty-First Century" by author Katheen Blake Yancey. Whereas the first conversation focused on the importance of maker spaces and interactive and practical applications of writing, Yancey brings the focus back to writing assessment in the contemporary classroom. As much as it hurts to think about, tests like the SAT still exist to assess student's knowledge, and it's still the teacher's primary job to prepare them for these examinations. Traditional classroom writing instruction isn't going anywhere so the discussion becomes, "how can we best introduce this to students in a way that they will understand?"
In this piece, Yancey dissects the current movement in writing assessment, which she defines as "complicated, dynamic, and...in flux" (172), which certainly does seem to be the case. Writing instruction has evolved to include themes that have become prevalent in writing in recent years, including race, social status, ESL, and the digital world, among others. In a way that faintly echoes the sentiments of the speakers in the first selection, Yancey makes note of the fact that the environment surrounding writing is changing and there are far more variables surrounding the field that must be taken into account.
A particular approach which has been implemented over the years is the portfolio approach, which requires the student to compile a portfolio of drafts throughout the semester, culminating in a final work. The goal of this approach is the ability to trace progress throughout the writing process. In regard to the conversation surrounding portfolio grading (granting the fact that I am not a teacher), the portfolio seems to be an effective way of observing student, as long as it is observed by the teacher throughout the semester. If the portfolio were to be collected at the end of the semester with no prior review, I fail to see how this would help the student. If the portfolio were to be compiled throughout the semester with periodic reviews and conversations regarding process, I feel that this approach could be quite effective. However, the unfortunate truth is that this might prove to be idealistic, considering that teachers have limited time.
This piece is a far more technical essay than the first selection, which made it challenging to follow, but I'm looking forward to seeing what my classmates were able to draw from the conversation. Personally, I was engaged by her discussion of portfolio grading, so I would especially like to hear from the teachers in class as to if they think this is an effective solution.
Sunday, December 4, 2016
Sunday, November 27, 2016
Formula and Tradition--Blog #9
I didn't know what to expect at the start of this Why the "Research Paper" Isn't Working (2011), considering how strongly I feel about the importance of research papers, but I found myself nodding in understanding with much of what author Barbara Fister had to say on the topic. A lot of the research paper process can translate as pointless and confusing rules, and much of this pointless confusion begins and ends with citations. At the start of her article, Fister links to a blog post that she wrote in 2009, called Manual Labor, in which she mourns the stupidity of the updated MLA and APA guidelines. One part of this article that particularly stood out to me was the following paragraph:
Going back to the assigned article, Fister makes another compelling point in saying:
Now, for my opinion. I think this is an interesting theory, and I think it could work for some students, particularly those who aren't going to care that much about style in the first place. Ultimately however, I feel the same way about this as I do about the importance of learning grammar in the classroom-- it's important. As an English major, I've had that one professor and by God, I'm grateful for her because, despite the hell she put me through, I learned how to format a paper. She taught me awareness, and she taught me that there are certain ways to do things. I don't think style should be judged over content, but it is important, and there is something to be said for tradition. The students who are going to care about strict attention to style will learn how to work with it, and those who need just survive the class will experience the true way of formatting a traditional paper.
Admittedly, this is a tricky situation because, like much of what we have discussed thus far, there isn't one correct answer. For all the complaints against citations and the rigid rules surrounding them, there is something to be said for the discipline of learning these methods. It is entirely possible to turn the rules into guidelines, and write an incredible paper with and despite them. However, writing is not a one-size-fits-all process, and different approaches work for different people. I personally think there is real merit to be found in the citation styles, because I do find purpose in setting parameters.
Next up, we have a slightly older article, from 2000, The Popularity of Formulaic Writing (And Why We Need to Resist) by Mark Wiley. This article immediately seems to tie in well to the first selection, after all, what's more formulaic that citation styles?
Wiley immediately states his opinion that "formulaic writing is the actual villain in this classroom drama....it is the pedagogical blindness that formulaic writing leads to that disturbs me and that seems to be the real culprit" (61). He goes on to introduce Schaffer's approach to writing, a highly formulaic approach which feels quite familiar to me, as resembling the formula I leaned as a young student.
Wiley fairly highlights the strengths of Schaffer's approach as unifying students by having all focus on the same concepts-- repetitively and consistently, creating a unified front through all classrooms. This approach focuses on the importance of fact over opinion-- a key separation that will be crucial for students to understand throughout their academic lives. Schaffer's approach teaches that claims must be made and substantiated in very specific and clear-cut ways. At bare minimum, this formulaic method gives all students a rudimentary understanding of how to write an essay.
On the flip side, some find Schaffer's approach to be too bare-bones and stifling. Wiley cites one teacher as saying that students need to learn "writing fluency.....not simply learn how to fill out a form" (63). This is a fair criticism, the bare-bones approach can appear to be very much a skeleton with not much room left for growth. The essay is also supposed to be a flexible form, and Schaffer's method certainly doesn't appear to be flexible, despite, interestingly enough, Schaffer's own proclamation that "writing is an act of discovery" (qtd. in Wiley 64).
Once again, I'm conflicted in reacting to this article. Personally, I learned to write an essay using formulaic methods, and it never stopped me. Every essay I wrote throughout elementary and middle school was in the five paragraph structure: introduction, three topic sentences, conclusion. This structure was set in stone, but it didn't keep me from growing to love writing, and this might just be a situation in which those who are going to love writing will love it regardless, and those who don't, won't. One of the problematic things that Wiley mentions is that some students might learn this structure and cling to it forever, to which I respond, it's a good thing I didn't learn addition and subtraction and refuse to move on from that point in my mathematics education.
That being said, I get it. Structure is boring, dull, and rigid, and might not work for everyone. Wiley moves toward a more conceptual understanding of Schaffer's approach later in his article, as he cites James Collins, who has suggested that Schaffer's approach not be applied mechanically, but understood as a method that can be adapted to fit particular situations. Ultimately, I think this is the best way of looking at this dilemma. Similarly to what I said above, I think that structure and formula is important in learning, and once you know the method, you can work with it. Students, especially children, need parameters, and formulaic writing instruction may be one such parameter. That all being said, I'd be interested to hearing a counter approach to the formulaic method because there's always room for new ideas that will teach and serve the students in the best ways possible.
And what exactly are the learning outcomes of creating an error-free list of references? You learn that research is a pain in the butt. You learn that it’s really, really important to follow pointless rules with utter scrupulousness. You learn that, at the end of the day, you’ll get points off because you didn’t follow the pointless rules – unless, of course, you’re making a bundle off book sales, in which case “nonsignificant” is a valid defense.Really though, if we're being honest, where is the lie? We've all had that that one professor. The type you're terrified of because s/he is the type to take away credit due to an incorrectly applied citation, or quotation style. We've all written research papers, done the research, and worried all the while that that one professor might focus too much on style over content. And most of us, as Fister points out, have thrown together the Works Cited page the night before the paper was due, with painstaking attention paid to every word for fear of being penalized for an incorrect citation style. If you stop to think about it, this does sound pretty ludicrous.
Going back to the assigned article, Fister makes another compelling point in saying:
The first year 'research paper' has always sent a mixed message. You’re supposed to be original, but must quote someone else to back up every point you make - while in constant fear that you’ll be accused of stealing from them.The obscure rules of citing sources only exacerbates the confusion and focuses attention on mechanics.Fister suggests that students writing outside of the research paper structure have plenty to say because they aren't limited and find more personal satisfaction outside of the traditional conventions. She proposes that students learn enough to know the importance of finding sources and valid information, but suggests that the traditional research paper isn't the right way to go about presenting this information. She suggests, "If you want students to learn about a topic and be able to synthesize information effectively, fine – but don’t call it research. Turn it into a presentation, an informational brochure, or a Wikipedia article." She then notes an interesting counter to the traditional research paper, an idea presented by Nick Carbone, that students "first learn to write using sources the way people outside academia do—drawing them into the text as journalists and essayists do. The fussiness of citation rules can be left until students are writing something truly academic, in their junior or senior year."
Now, for my opinion. I think this is an interesting theory, and I think it could work for some students, particularly those who aren't going to care that much about style in the first place. Ultimately however, I feel the same way about this as I do about the importance of learning grammar in the classroom-- it's important. As an English major, I've had that one professor and by God, I'm grateful for her because, despite the hell she put me through, I learned how to format a paper. She taught me awareness, and she taught me that there are certain ways to do things. I don't think style should be judged over content, but it is important, and there is something to be said for tradition. The students who are going to care about strict attention to style will learn how to work with it, and those who need just survive the class will experience the true way of formatting a traditional paper.
Admittedly, this is a tricky situation because, like much of what we have discussed thus far, there isn't one correct answer. For all the complaints against citations and the rigid rules surrounding them, there is something to be said for the discipline of learning these methods. It is entirely possible to turn the rules into guidelines, and write an incredible paper with and despite them. However, writing is not a one-size-fits-all process, and different approaches work for different people. I personally think there is real merit to be found in the citation styles, because I do find purpose in setting parameters.
Next up, we have a slightly older article, from 2000, The Popularity of Formulaic Writing (And Why We Need to Resist) by Mark Wiley. This article immediately seems to tie in well to the first selection, after all, what's more formulaic that citation styles?
Wiley immediately states his opinion that "formulaic writing is the actual villain in this classroom drama....it is the pedagogical blindness that formulaic writing leads to that disturbs me and that seems to be the real culprit" (61). He goes on to introduce Schaffer's approach to writing, a highly formulaic approach which feels quite familiar to me, as resembling the formula I leaned as a young student.
Wiley fairly highlights the strengths of Schaffer's approach as unifying students by having all focus on the same concepts-- repetitively and consistently, creating a unified front through all classrooms. This approach focuses on the importance of fact over opinion-- a key separation that will be crucial for students to understand throughout their academic lives. Schaffer's approach teaches that claims must be made and substantiated in very specific and clear-cut ways. At bare minimum, this formulaic method gives all students a rudimentary understanding of how to write an essay.
On the flip side, some find Schaffer's approach to be too bare-bones and stifling. Wiley cites one teacher as saying that students need to learn "writing fluency.....not simply learn how to fill out a form" (63). This is a fair criticism, the bare-bones approach can appear to be very much a skeleton with not much room left for growth. The essay is also supposed to be a flexible form, and Schaffer's method certainly doesn't appear to be flexible, despite, interestingly enough, Schaffer's own proclamation that "writing is an act of discovery" (qtd. in Wiley 64).
Once again, I'm conflicted in reacting to this article. Personally, I learned to write an essay using formulaic methods, and it never stopped me. Every essay I wrote throughout elementary and middle school was in the five paragraph structure: introduction, three topic sentences, conclusion. This structure was set in stone, but it didn't keep me from growing to love writing, and this might just be a situation in which those who are going to love writing will love it regardless, and those who don't, won't. One of the problematic things that Wiley mentions is that some students might learn this structure and cling to it forever, to which I respond, it's a good thing I didn't learn addition and subtraction and refuse to move on from that point in my mathematics education.
That being said, I get it. Structure is boring, dull, and rigid, and might not work for everyone. Wiley moves toward a more conceptual understanding of Schaffer's approach later in his article, as he cites James Collins, who has suggested that Schaffer's approach not be applied mechanically, but understood as a method that can be adapted to fit particular situations. Ultimately, I think this is the best way of looking at this dilemma. Similarly to what I said above, I think that structure and formula is important in learning, and once you know the method, you can work with it. Students, especially children, need parameters, and formulaic writing instruction may be one such parameter. That all being said, I'd be interested to hearing a counter approach to the formulaic method because there's always room for new ideas that will teach and serve the students in the best ways possible.
Tools to Inspire (Student) Writers
#WhyIWrite - An Introduction
"Moses said to the Lord, ‘Pardon your servant, Lord. I have never been eloquent, neither in the past nor since you have spoken to your servant. I am slow of speech and tongue.’ The Lord said to him, ‘Who gave human beings their mouths? Who makes them deaf or mute? Who gives them sight or makes them blind? Is it not I, the Lord? Now go; I will help you speak and will teach you what to say.’” Exodus 4:10-12
I write because, from a young age, writing is how I am best able to express my feelings and communicate with others. I have always struggled to have the confidence to speak in front of people, a limitation I am slowly fighting to overcome, but I have always been able to communicate through writing. I believe God gives us gifts, and I feel that writing is the gift that has been given to me. I write to communicate, and believe that words are power. Because the ability to write has helped me so much in my life, I want to share this gift with other students.
My #WhyIWrite project is a list of strategies and ideas for teachers looking for new ways to help and inspire their students-- those who love writing, and those who do not. Although this list is directed at teachers looking to inspire their students, I believe that writers of all ages and stages will find it to be a wonderful compilation of resources. Let's begin!
Strategy #1: Grammar Review
Teachers can take for granted that all students are on the same level of understanding grammar and basic writing skills when, in reality, this may be far from the truth. In a college classroom, the students are coming from various backgrounds, and the best place to begin is with basic grammar. Here is a review of basic grammar from Cayuga Community College, prepared by Professor James Delaney.
Another fantastic tool for anyone interested in refreshing their knowledge of grammar is The Gremlins of Grammar by Toni Boyle and K.D. Sullivan. This book is both engaging and educational, and deserves a spot on every bookshelf in the world. It is particularly excellent for students who need to refresh their grammar, but find traditional instructional methods to be incomprehensible and dry (sorry, Strunk and White).
By starting on the ground floor, each student should feel that they are prepared to tackle what comes next-- the actual writing. At best, the students who are unfamiliar with basic grammatical rules will have the opportunity to learn. At worst, the students who already have an understanding of English grammar will be able to refresh their knowledge.
If you or your students are interested in the “why” beyond some grammar rules, than Mignon Fogarty, a.k.a. Grammar Girl, is the girl for you. Her blogs and podcasts cover topics such as the difference between affect and effect, used to vs. use to, and who vs. whom. Whether you’re writing a paper, or are just curious about the intricacies of the English language, Mignon probably has the answer.
Strategy #2: Structure Review
Much like grammar, we often are quick to assume that students are all on the same page in knowing how an essay (of any kind) is structured. While I had the five paragraph essay format hammered into my head at a young age, I cannot assume that each of my readers (or students) have had the same experience.
The following link includes a wealth of guiding information from Dr. Randy Rambo, of Illinois Valley Community College, regarding the basic steps of composing an essay. It also helpfully includes samples.
In addition to essay writing guidelines, Rambo also provides a detailed explanation of punctuation and grammar, stylistic matters, writing with sources, and more.
Strategy #3: Writing is Crucial to All Majors
“I’m not an English major, I’m an [insert major here]. I don’t need to know how to write well.” This ever-popular straw man argument against writing classes is often heard uttered from the lips of students disinterested in writing, but forced into it by course requirements. In reality, the ability to write and communicate well is as crucial for every major as the ability to do basic addition and subtraction. As true as it is that writing is crucial to students of all disciplines, this truth is not necessarily going to be embraced by every computer science or engineering major who could easily question when they’ll need writing skills in their respective fields.
For some people, examples are key. Below I have listed three articles from the Wall Street Journal, the Washington Post and Forbes, all dates from within the past five years, stating the importance of writing skills in the workplace.
Strategy #4: Make it Fun!
As someone who has been immersed in grammatical studies all my life, it is easy for me to slash at a paper full of egregious grammatical or spelling errors. While the correction of such things does certainly have its place, it is important to remember that such things can be disheartening to students. It can be easy to forget that to many students, the intricacies of grammar only matter in dusty, old textbooks and bear no relevance to reality. In this case, a relevant example can make all of the difference in the world-- after all, don’t discount the importance of fun! Before jumping into the serious stuff, an intro like the following can be a great way to get students’ toes wet. These lessons examine such things as metaphor, visual representation, and speaker/audience relationships, all of which are important to understand in the student’s own writing.
For the sake of holding students’ attention, I would recommend a quiz or worksheet in addition to this video, but I recommend it as an entertaining, relevant way to introduce the importance of analysis.
Strategy #5: The Internet is Your Friend
“Teacher knows best.” Although the traditional classroom approach may have once supported this impression, we now have tools that can eliminate this antiquated philosophy entirely. The internet provides a wealth of information, and much of it is completely free! In addition to free-of-charge information, writing inspiration and tools for writers are also widely available.
One quick Pinterest search led me to this list of fantastic resources for writers along each step of the writing journey. One in particular that stood out to me was Stellar, which allows users to tell their story with pictures and videos, alongside text. Some students are more visual than others, and this is a cool way to incite their interest. Although it would not work for every paper expected in a freshman comp class (i.e. research papers), it could be an exciting thing to incorporate in a short story or memoir. Students need to see that writing while crucially practical, is not limited to professional settings.
Strategy #6: Inspiration
The best way to learn is by doing, and the best way to learn writing is to write. However, how do you know what to write about? One-size-fits-all prompts aren’t meant for everyone, and might give students the ability to say, “I didn’t know how to respond.” In this day and age, that’s no longer than excuse, evidenced by the existence of sites such as Writing Exercises, and their Random Subject Generator. In addition to the subject generator, the site has functions such as Random First Line prompts, Random Plot Generator (if you were looking for a story idea), and Random Scenario. No more excuses!
Another way to inspire students is to encourage them to use their own platforms to find writing inspiration. Sites like Pinterest, Tumblr, Twitter, and Facebook are filled with groups and accounts dedicated to inspirational quotes to respond to, and writing prompts-- they’re only one quick search away.
Conclusion
Considering the amount of inspiration and helpful resources that the internet has to offer, there is no longer any reason for writing to be considered boring or irrelevant. This article covers a lot of resources, and this is only a small fraction that the internet has to offer. I have learned so much through my findings, and I hope you have as well. It is my most sincere hope that you use these resources for yourself and your students, and find success in encouraging young minds to write.
Sunday, November 20, 2016
#WhyIWrite Project Memo- Blog #8
I am incredibly excited about my #WhyIWrite draft. At first, I was unsure if my list of resources would come together in the way I intended, but I am happy with my progress. My biggest concern was that I would be unable to find potential solutions to issues in the field of writing studies, but I was pleasantly surprised to find that I was concerned in vain. Writing means the world to me, and I think it's important to make it accessible to all kinds of students, especially those who might struggle and want to give up. I believe there is always a way to inspire.
I still have some work to do, but I am happy with my progress thus far. I'm hoping to have a final list of ten solutions, but as for now I am proud of the solid six I've compiled. I am looking forward to the peer-review session on Monday because I want to ensure that my list reflects back on the theme of our project (#WhyIWrite), and that the format is the best that it could be--or if there's anything I can do to make it more interesting.
Questions:
1. Does this effectively connect with the overarching #WhyIWrite theme?
2. Is there any way I can make this more interesting/engaging to students?
3. Is Google docs the most effective way of presenting this information?
4. As teachers, do you have ideas for more "solutions"? Is there anything you think I should look into that would help students be more interested in writing?
Sunday, November 13, 2016
Looking Back and Looking Forward-- Blog #7
"Looking Back as We Look Forward: Historicizing Writing Assessment" by Kathleen Yancey
It's always interesting to consider how things change as years go by, and writing assessment is no exception to this. Upon delving into this essay, I found myself immediately stopping to consider that, as we have discussed before, writing assessment and composition studies have only really been analyzed since the 1950s. When we discuss waves and trends therefore, they are only dating back ~66 years, which is a chunk of time, but certainly not very much relatively. This is a bit of a tangent, but it makes me wonder what writing instruction in schools was like earlier in history.
It's always interesting to consider how things change as years go by, and writing assessment is no exception to this. Upon delving into this essay, I found myself immediately stopping to consider that, as we have discussed before, writing assessment and composition studies have only really been analyzed since the 1950s. When we discuss waves and trends therefore, they are only dating back ~66 years, which is a chunk of time, but certainly not very much relatively. This is a bit of a tangent, but it makes me wonder what writing instruction in schools was like earlier in history.
Going back to the essay, Yancey writes about the three waves of writing assessment: objective tests (1950s-70s), the hollistically scored essay (1970-86), and portfolio/programmatic assessment (2986-present). These three approaches are exactly as different as they appear, but they share the commonality that all are grounded in method.
I think there is a good deal of merit in suggesting that other approaches to writing assessment are equally as valid, because the three waves mentioned in Yancey's piece give a great deal of power to the teacher as the final judge over a student's writing and, as we have discussed in other classes, this often does not yield the best outcome. For this reason, I appreciate the future issues that Yancey points to, first, the role of students' "self" in their writing, second, how assessment can be used to help students and third, what the teacher can learn from the assessment. I appreciate the focus on these issues because I think they offer much more to everyone involved in the writing process. They are less objective goals and leave room for subjective findings.
From what I gathered through this essay, the three waves had their purposes in student writing. Objective tests and portfolio assessment did work in some contexts and for some students, but a big part of teaching is adjusting to changing times and changing needs. In the 50s, for example, Yancey notes that the use of tests served to determine what the students needed to know and where they should be placed. A solid example of this would be Paul Diederich's explanation of "The best test to use at the college entrance level..." (7). He offers a fair, objective presentation about how students results should correspond to one another, but fails to take into consideration all of the variables that can change. As Yancey notes, Diederich's placement exercise is "an exercise in numbers, not words" (7).
As time went on, modes of assessment shifted and the question of validity came into the picture. Instead of looking at objective test scores, new forms of assessment examined the essay test and measured it up against certain standards of reliability. Instead of comparing numerial scores, this movement emphasized the comparison of works. This form of assessment was a huge step forward because it helped to bring composition into the real world, rather than in the classroom, relegated to a numerial scale.
The third wave contained elements of both the first and the second and, to this day, is still practiced in classrooms. What stood out most about this wave was that, unlike in the second wave where teachers read and graded work, teachers are now encouraged to conference and come to "an agreeable compromise...[coming to] communal agreement" (Elbow, qtd. in Yancey 11).
Reading through this essay, what is most interesting to me is, as we have discussed, the huge amount of variation in methods and corresponding effectiveness. Portfolios are discussed as being ways to grade samples of students' work, but some consider them "messy" and too varied between students. Personally, I would think that the portfolio would be a highly effective way of evaluation, but not everyone would agree. The constand redefinition of standards is helpful, but also brings to light the fact that there is no perfect way to teach, or assess. The methods that work for some students will not work for others, and therefore the classroom tends to turn into a utilitarian movement of doing the most good for the most students.
The third wave contained elements of both the first and the second and, to this day, is still practiced in classrooms. What stood out most about this wave was that, unlike in the second wave where teachers read and graded work, teachers are now encouraged to conference and come to "an agreeable compromise...[coming to] communal agreement" (Elbow, qtd. in Yancey 11).
Reading through this essay, what is most interesting to me is, as we have discussed, the huge amount of variation in methods and corresponding effectiveness. Portfolios are discussed as being ways to grade samples of students' work, but some consider them "messy" and too varied between students. Personally, I would think that the portfolio would be a highly effective way of evaluation, but not everyone would agree. The constand redefinition of standards is helpful, but also brings to light the fact that there is no perfect way to teach, or assess. The methods that work for some students will not work for others, and therefore the classroom tends to turn into a utilitarian movement of doing the most good for the most students.
However, my biggest draw from this article is that by taking into consideration the methods of the past and the corresponding results, we are able to attempt to teach and help others in the best way that we possible can. By taking into consideration both the three waves of the past, as well as future considerations (i.e. self in writing, etc...) we are able to shape a classroom that choose an approach while keeping in mind that learning is not, and will never be, one-size-fits-all.
"Bi, Butch, and Bar Dyke: Pedagogical Performances of Class, Gender, and Sexuality" by Michelle Gibson, Matha Marinara, and Deborah Meem
In the last article by Kathleen Yancey, we were asked to look back at the history of writing assessment. This article presents a compelling juxtaposition, because it discusses a topic that is very much at the forefront of our day and age: identity. This pressing concern, relevant to many in our day and age, is bound to reflect on the experience of writing and expression, and Gibson, Marinara, and Meem present a fantastic discussion of what it has meant to them in their respective experinces.
Much of what we depend on in writing relies on structure, context, and social identity, and sometimes these things are not as black and white as they might initially seem. This is especially true for those among us who have built their lives around "building, manipulating, and rebuilding the cultural context(s) in whhich they form their social identities" (4). Writing, true writing, is about finding yourself, finding your voice and who you are, both as a writer and as a person. The authors explain that this can be hard when a person is attempting to do this in the midst of a culture full of binaries. How can you find "the real me" when you are struggling to define "the real me"?
I find this discussion fancinating because I, personally, am not familiar with the struggles that these groups face, and I think it is crucial to understand a situation from all angles. How can a teacher effectively teach a group of students if he or she is not aware of the struggles they might be facing? Writing is a process that, when done well, can strip you bare. It is the one of the most revealing things in the world. How can I stand in front of a student and tell them to write about "the real them," when they're struggling to figure out who that person is?
A topic such as sexuality can through a huge wrench into how a writer writes, or how people relate to him or her. I think this could be because the world is still getting used to such topics begin discussed, after so many years in the shadows. Things that are close to our hearts and define us are bound to shape our experiences in the world, how we see others and how others see us. Whereas some are influenced by race, some by faith, and some by class, others still are shaped by sexuality and, within this categorization, some fall in the LGBTQ+ spectrum.
I believe it is a huge challenge to bring many identities into the traditional classroom because, if there's one stereotype about academia, it's that the structures are the structures. It's okay to write controversial things...if they service those who need to be serviced. Michelle Gibson's contribution to the essay certainly pointed to that truth-- as she explained that the higher-ups did not approve of the way in which she related to her students. The writers of this piece have stood against the traditional ways, and expressed their experiences in ways that have helped their students, and provided a degree of understanding that one outside of the community might not otherwise understand.
---
To conclude my blog, I am including the link to the Google Doc which contains the first draft of my #WhyIWrite project. I have begun the document with a brief introduction of why I write, and then I move into my list of tools and inspiration for college students in a college composition class. I have tried to approach this project from the perspective of a teacher facing a mixed group of students, some who love writing, but also those who do not. The internet has so many amazing tools to offer, and every time I found one new resource, a new batch would pop up! Right now I have about 5 tools, but I plan on at least doubling this amount for the final project. Additionally, my plan is to link each tool that I list to one (or more) of the articles we have read in class, to illustrate how the tool helps to solve the problem discussed in the article. At this point I know that each tool corresponds to an article, but I need to go through and find the specific articles. I feel that I am in a good place with this project thus far, and I'm quite excited to continue on. I hope I get to implement some of these strategies myself, one day!
#WhyIWrite Project
"Bi, Butch, and Bar Dyke: Pedagogical Performances of Class, Gender, and Sexuality" by Michelle Gibson, Matha Marinara, and Deborah Meem
In the last article by Kathleen Yancey, we were asked to look back at the history of writing assessment. This article presents a compelling juxtaposition, because it discusses a topic that is very much at the forefront of our day and age: identity. This pressing concern, relevant to many in our day and age, is bound to reflect on the experience of writing and expression, and Gibson, Marinara, and Meem present a fantastic discussion of what it has meant to them in their respective experinces.
Much of what we depend on in writing relies on structure, context, and social identity, and sometimes these things are not as black and white as they might initially seem. This is especially true for those among us who have built their lives around "building, manipulating, and rebuilding the cultural context(s) in whhich they form their social identities" (4). Writing, true writing, is about finding yourself, finding your voice and who you are, both as a writer and as a person. The authors explain that this can be hard when a person is attempting to do this in the midst of a culture full of binaries. How can you find "the real me" when you are struggling to define "the real me"?
I find this discussion fancinating because I, personally, am not familiar with the struggles that these groups face, and I think it is crucial to understand a situation from all angles. How can a teacher effectively teach a group of students if he or she is not aware of the struggles they might be facing? Writing is a process that, when done well, can strip you bare. It is the one of the most revealing things in the world. How can I stand in front of a student and tell them to write about "the real them," when they're struggling to figure out who that person is?
A topic such as sexuality can through a huge wrench into how a writer writes, or how people relate to him or her. I think this could be because the world is still getting used to such topics begin discussed, after so many years in the shadows. Things that are close to our hearts and define us are bound to shape our experiences in the world, how we see others and how others see us. Whereas some are influenced by race, some by faith, and some by class, others still are shaped by sexuality and, within this categorization, some fall in the LGBTQ+ spectrum.
I believe it is a huge challenge to bring many identities into the traditional classroom because, if there's one stereotype about academia, it's that the structures are the structures. It's okay to write controversial things...if they service those who need to be serviced. Michelle Gibson's contribution to the essay certainly pointed to that truth-- as she explained that the higher-ups did not approve of the way in which she related to her students. The writers of this piece have stood against the traditional ways, and expressed their experiences in ways that have helped their students, and provided a degree of understanding that one outside of the community might not otherwise understand.
---
To conclude my blog, I am including the link to the Google Doc which contains the first draft of my #WhyIWrite project. I have begun the document with a brief introduction of why I write, and then I move into my list of tools and inspiration for college students in a college composition class. I have tried to approach this project from the perspective of a teacher facing a mixed group of students, some who love writing, but also those who do not. The internet has so many amazing tools to offer, and every time I found one new resource, a new batch would pop up! Right now I have about 5 tools, but I plan on at least doubling this amount for the final project. Additionally, my plan is to link each tool that I list to one (or more) of the articles we have read in class, to illustrate how the tool helps to solve the problem discussed in the article. At this point I know that each tool corresponds to an article, but I need to go through and find the specific articles. I feel that I am in a good place with this project thus far, and I'm quite excited to continue on. I hope I get to implement some of these strategies myself, one day!
#WhyIWrite Project
Monday, November 7, 2016
New Applications of Composition Studies-- Blog #6
A great deal of American everyday life is based, as least in part, on the knowledge that our country has long been known as "The Melting Pot." This nickname exists because of all the cultures that have shaped (and are still shaping) America, a country inclusive of people of all colors, creeds, languages, and cultures. However, the Melting Pot can run into issues when all of these different cultures come together and struggle to communicate, due to the differences in language. For this reason, a key issue in the field of Composition Studies is the issue of teaching writing to people who speak languages other than English.
To address the point that learning a new language takes a lot of time, this is true, and a potential way to solve this issue is through providing ESL writing classes in schools, when children are at their most teachable. However, Matsuda also makes note that ESL has not been widely embraced by people who work in writing centers and, by lacking this ability, they are not serving the community in the best way possible. In failing to serve, school communities are losing valuable assets, according to Matsuda, because "second language learners may have expanded their intellectual capacity as a result of the constant demand of working with a broader range of linguistic and discursive resources" (5). In this day and age, ESL is no longer just a job for specialists, and teachers should be aware of how to help students who might have talent, but are limited because of language. Matsuda tosses around a few different ideas for the best ways of integrating non-native English speakers into the world of English composition, and I look forward to discussing this further in class. Composition Studies is certainly a field that should be internationally shared and recognized, because writing is important for everyone, regardless of language and if we need to do this by going out and learning about different cultures, then I say we go right ahead!
-
The second article we will be looking at in this class is "Blogs, Wikis, Podcasts," by Will Richardson and this title reminds me very much of the discussions we had in New Media Studies regarding writing in the digital age. It is very obvious that our interests have shifted, and people share their news and opinions in public forums such as Twitter, Facebook, and Tumblr. Although these sites tend to be more personal hosts for individuals, outlets such as blogs, wikis, and podcasts offer a new way of listening to and retaining information. The digital age offers more reach than has ever been seen before, especially in the recent past when stories and videos have become viral and spread all over the internet.
It blows my mind that, according to Richardson, as of 2006, there was almost 26 million blogs. That was ten years ago! If this was the case ten years ago, I can't even begin to comprehend the numbers now. Access to the web has changed what it means to be both a reader and a writer, and one field that Richardson notes in particular is the field of journalism. The internet has provided a huge reach for people, and news can be shared and seen faster than the speed of light. If you need information to be communicated, you no longer have to wait for television or the next day's paper, all you need to do is post online. The internet has also put power in the hands on individuals who might not have it otherwise. For better or worse, anyone can be a reporter nowadays and, while this can be risky in terms of quality control, I think it's amazing that the average person has this option.
One of the biggest issues of the digital age, however, is how it will impact the student/teacher dynamic. After all, the student is the "digital native." How is a teacher who did not grow up with the internet supposed to establish control over a student who has known how to navigate the web, almost like a second language?
We discussed this extensively in New Media Studies, but the topic never grows old because there are so many different ways of approaching the issue, and Richardson suggests that, even given the hardships, technology can be a major tool in the hands of the teacher. Yes, there are issues, most notably, safety, but the internet is too important of a development to be avoided. If students can be taught to navigate safely, there is no reason for them not to make use of this incredible resource.
The topic of safety brings to mind a past issue that was found with the sharing of information publicly. The Greek philosopher Socrates did not like the idea of writing down and preserving information, I believe, because he felt that the power was in memory, and that recording information would make people lazy. In Phaedrus, written about 370 B.C. he said
"He who thinks, then, that he has left behind him any art in writing, and he who receives it in the belief that anything in writing will be clear and certain, would be an utterly simple person, and in truth ignorant of the prophecy of Ammon, if he thinks written words are of any use except to remind him who knows the matter about which they are written."He goes on, but I think you get the point. I bring this up for the purpose of mentioning that people, no matter how intelligent, are always resistant to change and new technologies. The internet is far too big an asset to be discarded in favor of avoidable risks. The online world, as Richardson notes, has opened us up to so many opportunities, such as shared/collaborative knowledge, open access to any topic, fewer limitations than pen and paper, and the concept of knowledge as a process. It's going to take time to master, but I think it's certainly worth the risks.
Monday, October 24, 2016
The Voice Controversy -- Blog Post #5
It's interesting to me how, no matter which classes I take in a semester, topics tend to tie together in unexpected ways. For example, I'm working on a presentation on Voice in Creative Writing, and the first article we are reading this week is "Voice in Writing Again: Embracing Contraries" by Peter Elbow.
Personally, I appreciate a strong sense of natural, authorial voice in writing. For example, if I were to be given a passage by David Sedaris, without knowing that he wrote it, I'd probably be able to guess, because Sedaris has a distinct voice. It is my opinion that this kind of voice gives flavor to an author's work. However, I had never considered the negative reactions to voice-- "it's misleading," "sincerity is not a useful goal for writing" (1)-- nor had I considered that the voice debate goes as far back in history as Plato and Aristotle. Recently, the discussion has quieted down quite a bit, which is also interesting. Have we tired of the debate? Elbow certainly doesn't want this to happen.
In terms of recent discussions regarding voice, Elbow examines Theodore Baird's approach in his classroom in the mid 1900s, which had a significant impact on many who came into contact with it-- including many great thinkers in the field. Baird's approach focused on the importance of voice, however did not see it as reflective of the author behind the pen. They define "self" in writing as being "continually made and re-made by language" (3). Personally, I'm not a huge fan of this approach because it reminds me very much of New Criticism which I have very mixed feelings about, because I don't think it gives enough credence to the presence and experience of an author entering into his or her own text.
Even though we don't acknowledge it now as much as we used to, voice is still very much alive in our modern world, perhaps even more so now than ever before. Voice has become all the more important in this new digital age, when a text message can be interpreted in many different ways. Ever heard of the many different ways to read the sentence, "I never said I stole her money"? The voice behind writing becomes all the more important as the world of "text" takes over.
I like the difference that Elbow highlights between "text" and "voice," establishing text as literal words on the page, just the words, without any external meaning attached to them-- rather like numbers in a math problem. Voice, on the other hand, is less like the mathematical equation of text, and is instead likened to the personal handwriting of each individual person-- warmer and unique. In my opinion, this is establishing voice as the soul of the piece.
It takes time for a writer to establish and become comfortable with his or her voice, in fact, it is a lifelong process. In the classroom setting, it becomes the teacher's job to gently guide students into finding their own voice in the midst of handing out assignments on strict deadlines-- much easier said than done. I agree with Elbow that an understanding of voice can come through reading and understanding that voices of authors they enjoy, and then using those examples to try to better understand their own. I know this certainly worked for me.
Interestingly, Elbow, also mentions some of the cons of voice in writing, for example, in some instances it may be best to overlook voice, in order to find meaning in a work. For example, one might not enjoy a certain writer because of the voice in his or her work, but that does not mean that he or she does not have something important to offer. A teacher might not automatically connect with a student's voice, but the student might just have an entirely different style. There are instances in which looking beyond voice, although hard, can be greatly beneficial. I enjoyed Elbow's article because I think he offered a fair perspective both for and against voice in writing. No matter which side you fall on, the discussion is far from over.
Our next article, "Responding to Student Writing" by Nancy Sommers, doesn't quite tie in with the first, but it does tie back to a topic we have discussed in extensively in class, that is, the most effctive ways of responding to student writing. Despite a teacher's best efforts, a student may simply not connect with their teaching approach because teaching is not one-size fits-all. For this reason, it is important to be prepared to have different strategies for dealing with different kinds of students.
Responding to student writing takes a long time-- Sommers estimates about 20 to 40 minutes per student, which adds up greatly considering the amount of students and periods one teacher has total. This is a lot of time to dedicate to an effort which may or may not be appreciated by the students, and it's hard to say whether or not it is. As we have discussed in previous classes, some students respond well and some don't care at all, which can be incredibly discouraging to the teacher trying his or her best.
As I read through this piece I felt a strong sense of déjà vu, and I found out why pretty early on, as Sommers cites Lil Brannon and Cyril Knoblauch as other thinkers in the field. Brannon and Knoblauch wrote the article I covered last week, "On Student's Rights to Their Own Texts," which covers similar ideas of placing emphasis on the student's work. A major conclusion that Sommers comes to is that often a teacher's comments on a paper are much like that of a computer, "arbitrary and idiosyncratic" (3) which, as has been concluded, can draw the student's attention away from their own purposes in writing. Commanding students to "expand" and to think more about certain parts of their writing may be done with good intentions, but it may also defeat the purpose of what the student is trying to convey.
I certainly think that teacher comments can be nitpicky. Sommers talks about students becoming frustrated because the comments on their papers seem like they could have been copied and pasted from one to the other, especially in cases when something like "be specific," "be precise" is said over and over. However, in some cases, comments like this are totally warranted, and I think it all depends on the relationship that is built between teacher and student which makes all the difference. If the student knows that the teacher cares and is on his or her team, they're going to be more likely to question a comment, rather than be discouraged.
In regard to our final project, I'm excited about our spin on Genius Hour and passion projects! Genius Hour was birthed by Google, one of the current most powerful companies in the world, and I think it's an incredibly empowering exercise. The original idea is that for one hour, once a week, students are allowed to take class time and work on their personal "passion projects," which they will present at the end of the year Passion projects are cool because they give students the ability to learn and work on a project that is important to them, outside of a class syllabus. I think that these passion projects will be a great way of workshopping our individual ideas, and will serve as a way for all of us to gather together and collaborate on all of our different ideas. The unifying strand that runs throughout all of our work will be the hashtag #WhyIWrite, which is a big question for anyone involved in our field.
Personally, I began writing because it gave me a voice in ways that my own voice failed me. I was a painfully shy child who struggled to speak to anyone about something as simple as the weather, let alone about serious matters. However, even though I couldn't speak up, I could write. In time, teachers noticed that I wrote well, and encouraged me to write more, and on different subjects. Through positive responses to my writing, I learned that I did have something to say and it gave me the courage to speak up. Now, I write because it allows me to think through complex ideas and outline theories, and come up with my own new concepts that I would love to introduce to the world of literature. Now, I write for the sake of research.
For my passion project, I like the idea of compiling a few lesson plans that incorporate theories and techniques we have learned about in class, in order to come up with a curriculum that might help other students to love writing. I would especially appreciate our group time for this effort, because of all the teachers in class who could advise me in the practicality of my plans. I like this idea because it could turn #WhyIWrite into #WhyWeWrite.
Personally, I appreciate a strong sense of natural, authorial voice in writing. For example, if I were to be given a passage by David Sedaris, without knowing that he wrote it, I'd probably be able to guess, because Sedaris has a distinct voice. It is my opinion that this kind of voice gives flavor to an author's work. However, I had never considered the negative reactions to voice-- "it's misleading," "sincerity is not a useful goal for writing" (1)-- nor had I considered that the voice debate goes as far back in history as Plato and Aristotle. Recently, the discussion has quieted down quite a bit, which is also interesting. Have we tired of the debate? Elbow certainly doesn't want this to happen.
In terms of recent discussions regarding voice, Elbow examines Theodore Baird's approach in his classroom in the mid 1900s, which had a significant impact on many who came into contact with it-- including many great thinkers in the field. Baird's approach focused on the importance of voice, however did not see it as reflective of the author behind the pen. They define "self" in writing as being "continually made and re-made by language" (3). Personally, I'm not a huge fan of this approach because it reminds me very much of New Criticism which I have very mixed feelings about, because I don't think it gives enough credence to the presence and experience of an author entering into his or her own text.
Even though we don't acknowledge it now as much as we used to, voice is still very much alive in our modern world, perhaps even more so now than ever before. Voice has become all the more important in this new digital age, when a text message can be interpreted in many different ways. Ever heard of the many different ways to read the sentence, "I never said I stole her money"? The voice behind writing becomes all the more important as the world of "text" takes over.
I like the difference that Elbow highlights between "text" and "voice," establishing text as literal words on the page, just the words, without any external meaning attached to them-- rather like numbers in a math problem. Voice, on the other hand, is less like the mathematical equation of text, and is instead likened to the personal handwriting of each individual person-- warmer and unique. In my opinion, this is establishing voice as the soul of the piece.
It takes time for a writer to establish and become comfortable with his or her voice, in fact, it is a lifelong process. In the classroom setting, it becomes the teacher's job to gently guide students into finding their own voice in the midst of handing out assignments on strict deadlines-- much easier said than done. I agree with Elbow that an understanding of voice can come through reading and understanding that voices of authors they enjoy, and then using those examples to try to better understand their own. I know this certainly worked for me.
Interestingly, Elbow, also mentions some of the cons of voice in writing, for example, in some instances it may be best to overlook voice, in order to find meaning in a work. For example, one might not enjoy a certain writer because of the voice in his or her work, but that does not mean that he or she does not have something important to offer. A teacher might not automatically connect with a student's voice, but the student might just have an entirely different style. There are instances in which looking beyond voice, although hard, can be greatly beneficial. I enjoyed Elbow's article because I think he offered a fair perspective both for and against voice in writing. No matter which side you fall on, the discussion is far from over.
Our next article, "Responding to Student Writing" by Nancy Sommers, doesn't quite tie in with the first, but it does tie back to a topic we have discussed in extensively in class, that is, the most effctive ways of responding to student writing. Despite a teacher's best efforts, a student may simply not connect with their teaching approach because teaching is not one-size fits-all. For this reason, it is important to be prepared to have different strategies for dealing with different kinds of students.
Responding to student writing takes a long time-- Sommers estimates about 20 to 40 minutes per student, which adds up greatly considering the amount of students and periods one teacher has total. This is a lot of time to dedicate to an effort which may or may not be appreciated by the students, and it's hard to say whether or not it is. As we have discussed in previous classes, some students respond well and some don't care at all, which can be incredibly discouraging to the teacher trying his or her best.
As I read through this piece I felt a strong sense of déjà vu, and I found out why pretty early on, as Sommers cites Lil Brannon and Cyril Knoblauch as other thinkers in the field. Brannon and Knoblauch wrote the article I covered last week, "On Student's Rights to Their Own Texts," which covers similar ideas of placing emphasis on the student's work. A major conclusion that Sommers comes to is that often a teacher's comments on a paper are much like that of a computer, "arbitrary and idiosyncratic" (3) which, as has been concluded, can draw the student's attention away from their own purposes in writing. Commanding students to "expand" and to think more about certain parts of their writing may be done with good intentions, but it may also defeat the purpose of what the student is trying to convey.
I certainly think that teacher comments can be nitpicky. Sommers talks about students becoming frustrated because the comments on their papers seem like they could have been copied and pasted from one to the other, especially in cases when something like "be specific," "be precise" is said over and over. However, in some cases, comments like this are totally warranted, and I think it all depends on the relationship that is built between teacher and student which makes all the difference. If the student knows that the teacher cares and is on his or her team, they're going to be more likely to question a comment, rather than be discouraged.
In regard to our final project, I'm excited about our spin on Genius Hour and passion projects! Genius Hour was birthed by Google, one of the current most powerful companies in the world, and I think it's an incredibly empowering exercise. The original idea is that for one hour, once a week, students are allowed to take class time and work on their personal "passion projects," which they will present at the end of the year Passion projects are cool because they give students the ability to learn and work on a project that is important to them, outside of a class syllabus. I think that these passion projects will be a great way of workshopping our individual ideas, and will serve as a way for all of us to gather together and collaborate on all of our different ideas. The unifying strand that runs throughout all of our work will be the hashtag #WhyIWrite, which is a big question for anyone involved in our field.
Personally, I began writing because it gave me a voice in ways that my own voice failed me. I was a painfully shy child who struggled to speak to anyone about something as simple as the weather, let alone about serious matters. However, even though I couldn't speak up, I could write. In time, teachers noticed that I wrote well, and encouraged me to write more, and on different subjects. Through positive responses to my writing, I learned that I did have something to say and it gave me the courage to speak up. Now, I write because it allows me to think through complex ideas and outline theories, and come up with my own new concepts that I would love to introduce to the world of literature. Now, I write for the sake of research.
For my passion project, I like the idea of compiling a few lesson plans that incorporate theories and techniques we have learned about in class, in order to come up with a curriculum that might help other students to love writing. I would especially appreciate our group time for this effort, because of all the teachers in class who could advise me in the practicality of my plans. I like this idea because it could turn #WhyIWrite into #WhyWeWrite.
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