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Writing Centers and the New Racism
Noting a lack of sustained and productive dialogue about race in university writing center scholarship, the editors of this volume have created a rich resource for writing center tutors, administrators, and scholars. Motivated by a scholarly interest in race and whiteness studies, and by an ethical commitment to anti-racism work, contributors address a series of related questions: How does institutionalized racism in American education shape the culture of literacy and language education in the writing center? How does racism operate in the discourses of writing center scholarship/lore, and how may writing centers be unwittingly complicit in racist practices? How can they meaningfully operationalize anti-racist work? How do they persevere through the difficulty and messiness of negotiating race and racism in their daily practice? The conscientious, nuanced attention to race in this volume is meant to model what it means to be bold in engagement with these hard questions and to spur the kind of sustained, productive, multi-vocal, and challenging dialogue that, with a few significant exceptions, has been absent from the field.
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The program era : postwar fiction and the rise of creative writing
Mark McGurl explores the connections between fiction and higher education in the United States by demonstrating how much literature comes to us mediated by writing programs.
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Changing creative writing in America
In this compelling collection of essays contributors critically examine Creative Writing in American Higher Education. Considering Creative Writing teaching, learning and knowledge, the book recognizes historical strengths and weaknesses. Most of all it explores the possibilities for the future of Creative Writing as an academic subject in America.
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MFA vs NYC : the two cultures of American fiction
\"Chad Harbach and contributors map out the 'two cultures' of American fiction: MFA programs and NYC publishing. In a widely read essay titled 'MFA vs. NYC,' bestselling novelist Chad Harbach (The Art of Fielding) argued that the American literary scene has split into two cultures: New York publishing versus university MFA programs. This book brings together established writers, MFA professors and students, and New York editors and agents to talk about these overlapping worlds, and the ways writers make (or fail to make) a living within them.\" -- Provided by publisher.
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Generation Vet
Institutions of higher education are experiencing the largest influx of enrolled veterans since World War II, and these student veterans are transforming post-secondary classroom dynamics. While many campus divisions like admissions and student services are actively moving to accommodate the rise in this demographic, little research about this population and their educational needs is available, and academic departments have been slower to adjust. InGeneration Vet, fifteen chapters offer well-researched, pedagogically savvy recommendations for curricular and programmatic responses to student veterans for English and writing studies departments.
In work with veterans in writing-intensive courses and community contexts, questions of citizenship, disability, activism, community-campus relationships, and retention come to the fore. Moreover, writing-intensive courses can be sites of significant cultural exchanges-even clashes-as veterans bring military values, rhetorical traditions, and communication styles that may challenge the values, beliefs, and assumptions of traditional college students and faculty.
This classroom-oriented text addresses a wide range of issues concerning veterans, pedagogy, rhetoric, and writing program administration. Written by diverse scholar-teachers and written in diverse genres, the essays in this collection promise to enhance our understanding of student veterans, composition pedagogy and administration, and the post-9/11 university.
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Reframing the subject : postwar instructional film and class-conscious literacies
\"Ritter offers an extensive theoretical analysis of the alliance of the value systems inherent in postwar mental hygiene films (class-based ideals, democracy, patriotism) with writing education--an alliance that continues today by way of the mass digital technologies used in teaching online. She further details the larger material and cultural forces at work in the production of these films behind the scenes and their effects on education trends\"-- Provided by publisher.
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Going North Thinking West
A long-time writing program administrator and well-respected iconoclast, Irvin Peckham is strongly identified with progressive ideologies in education. However, inGoing North Thinking West, Peckham mounts a serious critique of what is called critical pedagogy-primarily a project of the academic left-in spite of his own sympathies there.
College composition is fundamentally a middle-class enterprise, and is conducted by middle-class professionals, while student demographics show increasing presence of the working class. In spite of best intentions to ameliorate inequitable social class relationships, says Peckham, critical pedagogies can actually contribute to reproducing those relationships in traditional forms-not only perpetuating social inequities, but pushing working class students toward self-alienation, as well.
Peckham argues for more clarity on the history of critical thinking, social class structures and teacher identity (especially as these are theorized by Pierre Bourdieu), while he undertakes a critical inquiry of the teaching practices with which even he identifies.
Going North Thinking Westfocuses especially on writing teachers who claim a necessary linkage between critical thinking and writing skills; these would include both teachers who promote the fairly a-political position that argumentation is the obvious and necessary form of academic discourse, and more controversial teachers who advocate turning a classroom into a productive site of social transformation.
Ultimately, Peckham argues for a rereading of Freire (an icon of transformational pedagogy), and for a collaborative investigation of students' worlds as the first step in a successful writing pedagogy. It is an argument for a pedagogy based on service to students rather than on transforming them.
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Activist WPA, The
One wonders if there is any academic field that doesn't suffer from the way it is portrayed by the media, by politicians, by pundits and other publics. How well scholars in a discipline articulate their own definition can influence not only issues of image but the very success of the discipline in serving students and its other constituencies.The Activist WPAis an effort to address this range of issues for the field of English composition in the age of the Spellings Commission and the No Child Left Behind Act.Drawing on recent developments in framing theory and the resurgent traditions of progressive organizers, Linda Adler-Kassner calls upon composition teachers and administrators to develop strategic programs of collective action that do justice to composition's best principles. Adler-Kassner argues that the \"story\" of college composition can be changed only when writing scholars bring the wonders down, to articulate a theory framework that is pragmatic and intelligible to those outside the field--and then create messages that reference that framework. InThe Activist WPA,she makes a case for developing a more integrated vision of outreach, English education, and writing program administration.
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To know her own history
To Know Her Own Historychronicles the evolution of writing programs at a landmark Southern women's college during the postwar period. Kelly Ritter finds that despite its conservative Southern culture and vocational roots, the Woman's College of the University of North Carolina was a unique setting where advanced writing programs and creativity flourished long before these trends emerged nationally.Ritter profiles the history of the Woman's College, first as a normal school, where women trained as teachers with an emphasis on composition and analytical writing, then as a liberal arts college. She compares the burgeoning writing program here to those of the Seven Sisters (Wellesley, Smith, Radcliffe, Barnard, Vassar, Bryn Mawr, and Mount Holyoke) and to elite all-male universities, to show the singular progressivism of the Woman's College. Ritter presents lively student writing samples from the early postwar period to reveal a blurring of the boundaries between \"creative\" and \"expository\" styles.By midcentury, a quantum shift toward creative writing changed administrators' valuation of composition courses and staff at the Woman's College. An intensive process of curricular revisions, modeled after Harvard's \"Redbook\" plan, was proposed and rejected in 1951, as the college stood by its unique curricula and singular values. Ritter follows the plight of individual instructors of creative writing and composition, showing how their compensation and standing were made disproportionate by the shifting position of expository writing in relation to creative writing. Despite this unsettled period, the Woman's College continued to gain in stature, and by 1964 it became a prize acquisition of the University of North Carolina system.Ritter's study demonstrates the value of local histories to uncover undocumented advancements in writing education, offering insights into the political, cultural, and social conditions that influenced learning and methodologies at \"marginalized\" schools such as the Woman's College.
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