tag:blogger.com,1999:blog-69715822241404164992024-03-12T22:45:16.444-04:00ENC 5700 Theories of Compositiontgrabanhttp://www.blogger.com/profile/16913401531606867135noreply@blogger.comBlogger41125tag:blogger.com,1999:blog-6971582224140416499.post-73283698063144433892014-11-06T12:20:00.004-05:002014-11-06T12:20:57.767-05:00Working Definitions<!--[if gte mso 9]><xml>
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<span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;">After reading the texts for this week,
Tyreek and I were both left with the impression that there were so many key
terms that supported theories of genre that building a critical gloss would be
helpful for students like us who are new to the theories. The tool that we
sketched out is more than a mere glossary though. Rather, it was designed to
function as a map of related terms--though we shun the word network--that would
illuminate the development of those terms in between theorists across time. I
won't belabor the description of the tool, which is detailed in our exploratory
write-up. Briefly, we planned for the tool to be a collection of hyperlinked
terms in a wiki space online, so that users could eventually become
contributors as their understanding of genre theory developed. In the tool,
users click on the hyperlinked text of the terms to generate a drop-down (or
pop-up) field containing an evolving conceptual definition of the term with a
focus on how it had changed over time as authors had repurposed it, or renewed
former uses of it, in building theories of genre. Then we would list the
authors from this week's readings who had used the terms. For the sake of
organization, we chose to present the authors in chronological order, and
following each author, the scholars influencing their use of the term. For some
terms we imagined (based on our experience with the readings this week) that
some terms would share common origins, so we devised a color system to show
that overlap of influence. Tyreek and I each provided an example of how a term
might look in the tool, but the examples we provided are only rough sketches in that
they do not contain the conceptual definitions of the terms charted over time.
I would like to use this critical blog post to elaborate a bit on how such a
description might look for the term 'form'. </span></span></div>
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<span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;">According to multiple genre theorists
including Amy Devitt and Carolyn Miller, understanding of genre goes beyond
treating form and content or substance as a divisible dichotomy. Devitt showed
how "older" theories of genre contained many false dichotomies between
surrounding terms that support theories of genre, revealing many related to the
term form. One prominent dichotomy that seems to be well known across
rhetorical theory (see Silva Rhetoricae) is that form and content are somehow
separable from one another. In Miller's theory of genre, which she defined as
"typified rhetorical actions based in recurrent situations" the
fusion of form and substance results in meaning (159). Further, form and
substance fuse into "symbolic meaning as action" at different
hierarchical levels, which provide context for the other combinations. Drawing
from Kenneth Burke, Karlyn Cambell and Kathleen Jamieson, Miller claimed that
"Form shapes the response of the reader or listener to substance by
providing instruction, so to speak, about how to perceive and interpret; this
guidance disposes the audience to anticipate, to be gratified, to respond in a
certain way. Seen thus, form becomes a kind of meta-information, with both
semantic value (as information) and syntactic (or formal) value" (159).
Form was a central element in Miller's theory and arguably many theories of
genre. What we saw in our readings for this week was how certain authors
complicated the term, noting how certain traditional theories (Miller might
argue that these were not in fact theories) of genre uncritically conflated
form and genre. This is also a practice that arguably still occurs today, which
necessitates exposure to the "newer" genre theories. Hopefully this
means that our tool could serve a vital purpose in facilitating this exposure. </span></span><br />
<br />
<span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;">On a somewhat related note, there is one final thought that I would like to express concerning the ongoing nature of our tool, which I think derives in part from the nature of assignment. Two salient features for me are the collaboration inherent to the exploratory assignments and the technical explanation of how the tool should work (without having actually built the tool). Tyreek and I briefly discussed this yesterday following our collaborative work session. Through our collaboration we negotiated the nature of the tool itself. In this rhetorical situation, we arrive at a shared conceptualization of what our tool is and how it should work. During this process, there is some degree of trial and error in imagined functionality, especially when we put the ideas into writing. This negotiation continues after the collaboration ends, as the formal description of the tool (if this is composed when team members are apart, as was the case for us) the tool might drift in functionality as the team members work independently. With more time together, more discussion, or more revision, the "drift" might be reduced, but I think that a little a little drift is natural and even exciting. Part of this comes from spending more time thinking about how the tool can and should work as one is engaged in the act of describing it. I think this especially comes into play when we decide to "perform" or demonstrate the tool to the class. Has this been a longwinded way of expressing my anxiety about the presentation? Yes. Is our tool unfinished? Of course. But I am also excited to walk through the idea with Tyreek, possibly do some real-time negotiation, and see and hear everyone else's ideas (and if I'm lucky some real-time negotiation, discomfort, excitement, etc.). </span></span><br />
<span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;"> </span></span></div>
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<span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;">Works Cited</span></span></div>
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<span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;">Devitt, Amy.
“Generalizing about Genre: New Conceptions of an Old Concept.” <i>CCC</i> 44.4
(Dec. 1993): 573-586.</span></span></div>
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<span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;">Miller, Carolyn.
“Genre as Social Action.” <i>Quarterly Journal of Speech</i> 70.2 (1984):
151-67.</span></span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6971582224140416499.post-43328249760141327972014-11-06T11:37:00.001-05:002014-11-06T11:40:08.443-05:00Why a Genre Genealogy? When Travis and I began imagining our citation-tracing tool, one concern we had to address was how, beyond its more limited scope, was this tool different from other tools readily available in the library databases, such as Web of Science? Our tool purports to trace the conversations about genre and collaboration in composition studies by tracking forward and backward from the core texts we read this week. Our choice of core texts is admittedly somewhat arbitrary, and do leave out Brooke's "Perspective: Notes toward a Remediation of Style," but we feel that as the texts selected by Dr. Graban for us to read during this turn, they represent an adequate starting point. Our tool tracks both the influences on these articles and the influence they have had on subsequent articles concerned with genre and collaboration.<br />
<br />
This focus on genre and collaboration is what differentiates our tool from those like Web of Science and makes it more useful for a peer conducting inquiry into the concepts from the position of composition studies. <a href="http://enc5700.blogspot.com/2014/11/a-generic-web-of-citationthe-necessity.html">Travis's blog post</a> addresses some of the insights our tool reveals as we look to the influences on these works, so I'll turn to the future citations. When tracking Miller in Web of science, 452 results appear. Google Scholar, which offers a similar resource, finds 2497 citations. Our tool narrows those results to a more manageable and relevant number--two of our core articles, Berkenkotter and Huckin and Devitt, plus four articles drawn from the list of supplemental readings for the week. Among these supplemental articles is, not surprisingly, <a href="http://blog.lib.umn.edu/blogosphere/blogging_as_social_action_a_genre_analysis_of_the_weblog.html">a later work by Miller</a>, examining blogging as one specific genre and form of social action. The other three apply Miller's article to the role of genre in constructing texts and contexts (Bawarshi 335), to ideas of genre as ways of doing and therefore knowing (Carter 388), and to examination of a bank's communication strategies with outsiders (Smart, in Bazerman and Russell 15). Exploring Miller's treatment in these texts, we learn that she is heralded as an important figure in reconceptualizing genre and that she is also included in discussions of composition as constructive. Those conducting a more comprehensive exploration of Miller could then turn to Web of Science or Google Scholar for a more thorough listing of locations where she is cited, but someone conducting research that is specifically focused on genre in composition studies would find our tool useful in exploring the ways Miller's ideas have been taken up in the discipline.<br />
<br />
By focusing on a curated selection of articles, drawn originally from the core readings and supplemental readings but with the intention to expand as developers found appropriate, our tool allows users to focus more in depth on the ideas connecting the readings this week and extending into a wider pool of scholarship on genre and collaboration rather than merely offering an automated algorithm for tracking citations.<br />
<br />
<span style="font-size: x-small;">Works Cited: </span><br />
<span style="font-size: x-small;">Bawarshi, Ania. "The Genre Function." <i>College English</i> 62.3 (Jan. 2000): 335-60. </span><br />
<span style="font-size: x-small;">Bazerman, Charles, and Russell, David, eds. <i>Writing Selves/Writing Societies: Research from Activity Perspectives</i>. Fort Collins, CO: The WAC Clearinghouse, 2002. </span><br />
<span style="font-size: x-small;">Carter, Michael. "Ways of knowing, doing, and writing in the disciplines." <i>College Composition and Communication</i> 58.3 (2007): 385-418. </span><br />
<span style="font-size: x-small;"><span style="font-family: ";">Miller, Carolyn. “Genre as
Social Action.” Quarterly Journal of Speech 70.2 (1984): 151-67</span> </span><br />
<span style="font-size: x-small;">Miller, Carolyn and Dawn Shepherd. "Blogging as Social Action: A Genre Analysis of the Weblog" <i>Into the Blogosphere: Rhetoric, COmmunity, and Culture of Weblogs.</i>2004. </span><br />
<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6971582224140416499.post-14374501170204578282014-11-06T11:21:00.002-05:002014-11-06T11:23:31.851-05:00A shift in tool<div class="MsoNormal">
<span style="font-family: Times, Times New Roman, serif;"><span style="mso-tab-count: 1;"> </span>When Netty
and I first started to plan our research tool, it did not much resemble what we
eventually decided upon. And I think unpacking why we’ve made a shift from one
idea to the next might tell us something about genre theory—in particular, how
we might use a framework of genre for analysis or how to research genre. <o:p></o:p></span></div>
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<span style="font-family: Times, Times New Roman, serif;"><span style="mso-tab-count: 1;"> </span>In our
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text is networked with antecedent texts—users would be able to find a text or a
genre and trace it historically or to look at other texts/genres that are in
parallel to the text in question.<span style="mso-spacerun: yes;"> </span>This research
tool would be more of an archive of texts that are represented in a visual way.
The artifacts within the genre would be arranged visually where similar
artifacts would be in closer proximity to the artifact, but also clusters of
texts would denote a specific genre. This idea we borrowed from this website: <a href="http://www.music-map.com/">http://www.music-map.com/</a> At this website,
you can search a music group and the interface places the band at the center.
Other bands circle around the band of focus—the closer a group is to the
center, the more similar it is in genre, but interestingly, depending on where
the other band is in terms of direction demonstrates it’s closer proximity to a
different genre. So, we see how the band at the center may be operating within
several genres. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Times, Times New Roman, serif;"><span style="mso-tab-count: 1;"> </span>When we
designed this initial tool, our main focus was on how a user might use a <i style="mso-bidi-font-style: normal;">framework of genre</i> to research a specific
artifact: the map would be an archive that was tagged for the genre. The visual
map could also tell us something about how a large genre (we were thinking like
letters or even documents generally) has been organized into sub-genres. But
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genres? We saw that this archive is more geared toward genre as <i style="mso-bidi-font-style: normal;">an aspect</i> of many other theories: users
could use the archive to look at genres but we could not figure a way to fit
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<o:p></o:p></span></div>
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<span style="font-family: Times, Times New Roman, serif;"><span style="mso-tab-count: 1;"> </span>So, we
began to move toward a set of Frequently Asked Questions—I won’t go too far
into how the FAQ operates because we describe it <b style="mso-bidi-font-weight: normal;"><u><a href="https://docs.google.com/document/d/1Dl1D-7D7mxpxAMaXe7AAK8zs7_yj2umktTJdKodCHwY/edit?usp=sharing">here</a></u></b> . Specifically, we would get the best of both worlds:
first, we could include the voices of people who were specifically theorizing
genre. And second, we could include other archives or tools that imply a genre
theory, but we could offer users a frame to understand the tool through
theorist of genre. For example, the music map mentioned above is provided under
“how do genres emerge?” That question coupled with the brief description of the
tool may prompt users to see the map as contributing the questions of genre,
specifically. </span><o:p></o:p></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6971582224140416499.post-16593388408405859342014-11-06T10:45:00.000-05:002014-11-06T10:48:33.300-05:00Tools Combined: A Termline for Locating Theorists with Terms and Dates <style>
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">As we began brainstorming
our tool, Charise and I wanted users to walk a way with a well-grounded sense
of key terms, the theorists talking about terms, and the dates of the conversation
of each term surrounding theories of genre- quite a large task at hand. Devitt
explains the necessity for grounding theories of genre in time, “Understanding
genre requires understanding more than just classification schemes; it requires
understanding the origins of the patterns on which those classifications are
based” (575). Hence, the termline: a timeline of theorists connected to
identified terms related to theories of genre. We decided to not only include
theorists from this week, but included the authors they referenced. To ground
our project, we identified essential terms from our readings relevant to
theories of genre. We also began organizing a list of theorists and terms they
are connected to, to give a better idea of out aim for the tool. </span></div>
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</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">There are four parts to the
Termline: the search engine, timeline, theorists, and term thread. First, the
user is presented with a search bar in which they can search terms they think
most relevant to theories of genre. In addition to the search bar, a list of
words available on the site will be accessible to the user. We decided to add
this second feature of the home page since there are a limited number of terms
related to theories of genre. Once a term is searched or selected, the user is
brought to the term page. On the term page, a timeline is presented connecting
theorists who employed the term in conversation. Users are then able to see who
said what, when. Using the termline, users are then able to access articles to
read to conceptualize the selected term. Inspired by Trimbur’s theories of collaborative
learning, we also decided to provide a discussion forum for users to comment on
the term page. The discussions are organized much like a forum, by topics
created by users. Because we have allowed users to add theorists and articles
to the termline, we wanted to provide a space for them to also discuss their reasons
for doing so and a way to discuss relevant topics and “explore the rhetoric of
dissensus that pervades writing situations” (Trimbur 610). </span></div>
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">We envision this tool being
used for research on theories of genre and as a rhetorical device to explore
ideas within a shared community that could potentially lead to further theory
building. We take up theories social constructivism as essential to the theory building
process and as such, embedded collaborative options into the termline. Because
we don’t see theories of genre as a flat entity, we want users to have the option
to add to the discussion and the tool. </span></div>
<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">
</span><br />
<div class="MsoNormal">
<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><br /></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><br /></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">Works Cited </span></div>
<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">
</span><br />
<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">
</span><br />
<div class="MsoNormal">
<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">Devitt, Amy. “Generalizing
about Genre: New Conceptions of an Old Concept.” <i>CCC </i>44.4 </span></div>
<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">
</span><br />
<div class="MsoNormal">
<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">(Dec. 1993): 573-586.</span></div>
<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">
</span><br />
<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">
</span><br />
<div class="MsoNormal">
<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">Trimbur, John. “Consensus and Difference in
Collaborative Learning.” College English 51.6 (Oct.1989): 602-16. </span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6971582224140416499.post-87839544144494092642014-11-06T10:14:00.002-05:002014-11-06T10:17:43.339-05:00Uncovering Genre Through The "Termline" <div class="MsoNormal" style="text-indent: .5in;">
<div style="margin-bottom: .0001pt; margin: 0in;">
<span style="color: black; font-family: ""Times New Roman"","serif";">For the “Build-A-Tool”
activity, Mackenzie and I wanted to demonstrate the relationship between
terminology and theorists that are integrated throughout the “Theories of
Genre” readings. <span class="apple-converted-space"> </span>In order
to accomplish this, we decided to create an interactive, stackable “termline,”
which would organize the readings by specific criteria. <span class="apple-converted-space"> </span>Ultimately, we wanted to combine the
functions of a glossary, timeline, and annotated bibliography, while primarily
maintaining vocabulary and articles that circulate within the discussion of<span class="apple-converted-space"> </span><i style="mso-bidi-font-style: normal;">genre<span class="apple-converted-space"> </span></i>and collaborative learning. <span class="apple-converted-space"> </span>In the spirit of collaborative
learning, we wanted to ensure that searchers would have the capability to add
additional sources, theorists, terms, and articles onto the stackable
“termline”, which would allow the term to grow as new voices entered the field.</span><span style="color: black;"><o:p></o:p></span></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<span style="color: black; font-family: ""Times New Roman"","serif";">
Because Carolyn Miller integrates multiple voices in
"Genre As Social Action," it is fitting to use this text to
demonstrate how our "termline" synthesizes terms and theorists. She
introduces theorists, such as Campbell and Jamieson, Burke, Karrell and
Linkugel, Bitzer, Fisher, Wellek and Warren, Brinton, Patton, Halliday, Blumer,
Searle, Toulmin, Pearce and Conklin, Downey, and Simons. <span class="apple-converted-space"> </span>It was our hope that our tool would
contain various organizational capabilities that could allow accessibility to
these theorists and publications, while sorting and displaying the abstracts
according to terminology. <span class="apple-converted-space"> </span>For
instance, Miller utilizes Campbell and Jamieson’s argument that “genre study is
valuable…because it emphasizes some social and historical aspects of rhetoric
that other perspectives do not” (151). <span class="apple-converted-space"> </span>If
the searcher was trying to obtain materials on this topic, Campbell and
Jamieson’s “Form and Genre in Rhetorical Criticism: An Introduction” would
appear beside Miller’s “Genre As Social Action,” allowing the searcher to
compare theorists and time of publication. <span class="apple-converted-space"> </span>For additional clarification, a visual
example utilizing the term "audience" is provided below.</span><span style="color: black;"><o:p></o:p></span></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<span style="color: black; font-family: ""Times New Roman"","serif";">Ultimately, the aim of our
tool is to build and create conversations among the theorists presented in our
weekly, while expanding the conversation to additional sources. <span class="apple-converted-space"> </span>Because the interactive, stackable
“termline” synthesizes theorists, terms, and ideologies over the span of time,
the searcher can also draw conclusions based in historical findings and
contemporary ideologies. This can prove to be beneficial when observing
theoretical turns in genre study.</span><span style="color: black;"><o:p></o:p></span></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<span id="docs-internal-guid-645bfdc5-85ae-244c-f4a6-dcd0249f060c"><span style="font-family: Arial; font-size: 15px; vertical-align: baseline; white-space: pre-wrap;"><img height="440px;" src="https://docs.google.com/drawings/d/sG96aF1Jh_aEW6iTIaZ990g/image?w=633&h=440&rev=980&ac=1" style="-webkit-transform: rotate(0.00rad); border: none; transform: rotate(0.00rad);" width="633px;" /></span></span></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<span style="color: black; font-family: ""Times New Roman"","serif";"><br /></span>
<span style="color: black; font-family: ""Times New Roman"","serif";"><br /></span>
<span style="color: black; font-family: ""Times New Roman"","serif";">Works Cited</span><span style="color: black;"><o:p></o:p></span></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<span style="color: black;">Campbell, Karlyn Kohrs., and Kathleen Hall. Jamieson. <i>Form
and Genre: Shaping Rhetorical Action</i>. Falls Church, VA: Speech
Communication Association, 1978. Print.<o:p></o:p></span></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<span color:black="" new="" roman="" serif="" style="font-family: ";" times="">Miller, Carolyn. “Genre as
Social Action.” Quarterly Journal of Speech 70.2 (1984): 151-67</span><span style="color: black;"><o:p></o:p></span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6971582224140416499.post-27948271988438760082014-11-06T10:13:00.005-05:002014-11-06T10:13:48.725-05:00Everything Else is in the Cloud These Days, Why Not Terms?<div class="MsoNormal">
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<span style="color: black; mso-ascii-font-family: Cambria; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Cambria;">For this exploratory, we
wanted to construct a tool that would reflect the multiple meanings and
layering of terms present throughout this week’s readings. We also wanted to
demonstrate the connections between the readings in order to help users
navigate through the networked concepts put forward about genre. In order to
accomplish these tasks, we decided to build a full text archive, in which key
terms would be hyperlinked. These hyperlinks would enable users to not only
view the definition of how the term is being used in the one particular
context, but also to see the other ways in which the term is used in a kind of
critical gloss. <o:p></o:p></span></div>
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<span style="color: black; mso-ascii-font-family: Cambria; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Cambria;">On the home page of the
archive, we would have a word cloud comprised of key terms that we see present
across the readings: <i style="mso-bidi-font-style: normal;">genre, discourse,
social, ecology, collaboration, rhetorical situation, social construction, etc.</i>
Though we realize that this list of terms in not exhaustive, we do think it
provides a good starting point for theorizing the interconnections and subtle
nuances of these terms and how they have circulated within a network of
meaning. These key terms would be clickable so that a user can select a term
and be directed to readings that address or include that concept. <span style="mso-spacerun: yes;"> </span>We chose these terms in particular because
most of them are relatively fluid as employed or interpreted across our
readings for this week. As we wrote in our theoretical tool description, the
most obvious example of this fluidity is the term “genre.” The concept is
present in each of the respective readings—though not always explicitly named. For
me, it was difficult to see the slight differences that characterized each
scholar’s definition of genre, so we wanted to create a tool that would make
the intertextual conversation more apparent and highlight the slight nuances of
use between the terms. <o:p></o:p></span></div>
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Furthermore, we want these
same key terms to be hyperlinked in the full texts themselves. These
hyperlinks, when hovered over, would provide a definition of the term as
employed in that particular text. When clicked, the link would take the user to
a separate page that lists the various ways in which the term could be defined
in reference to the other archived texts. <span style="color: black;"> </span>We do realize that in providing definitions
for these terms, we might be constraining the potential meaning. However, we
think the benefits of definition outweigh the costs. Having multiple
definitions available and embedded within the texts creates a navigable
intertext that allows user to see the many similarities between each scholar’s
uses of the terms, and prevents reducing the term to just one definition. This,
I think, incorporates Miller’s understanding of genre as a social act: “If we
understand genres as typified rhetorical actions based in recurrent situations,
we must conclude that members of a genre are discourses that are complete, in
the sense that they are circumscribed by a relatively complete shift in
rhetorical situation” (159). Miller also discusses the ways in which genre can
be used as a classification system. Devitt takes up a similar approach, but
cautions, “Understanding genre requires understanding more than just
classification schemes; it requires understanding the origins of the patterns
on which those classifications are based” (575). We hope that by providing
multiple definitions, we are helping to make the origins of these more terms
accessible without conforming or resulting in “accommodation” (Trimbur 603). In
a sense, our glossary of terms may actually represent what Trimbur refers to as
consensus: “In its deferred and utopian form, consensus offers a way to
orchestrate dissensus and to turn the conversation in the collaborative
classroom into a heterotopia of voices—a heterogeneity without hierarchy” (615).
The gloss may in fact work as a “heterotopia of voices” in which the multiple
definitions serve as an instrument to incite conversation of parallels and
divergences.<o:p></o:p></div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>In sum, we
see our tool as offering a networked archive that chronicles the existing
intertextual conversation within this particular group of readings. Providing
multiple definitions of our terms through hyperlinks enhances this intertext by
allowing users to more easily access and note the parallels and divergences of
each scholar’s use of terminology. Our archive is intended to be a network of
meaning, in which users can explore the layers of this intertextual
conversation. As Julianna wrote in her blog post, “<span style="color: black; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">The terms
are never intended to be read only singularly, but rather, we invite viewers to
view the terms in isolation only to better understand the larger meaning
created through the intertext.” Though our tool is complicated and
multi-layered, we believe that if navigated correctly, it could provide a
useful way of approaching these readings. We even see the potential for adding
new texts, key terms, and materials to supplement the grouping of texts about
genre.</span><span style="background: yellow; color: black; font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-highlight: yellow;"><o:p></o:p></span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6971582224140416499.post-83509351919942635232014-11-06T09:57:00.000-05:002014-11-06T10:00:02.714-05:00The Inherent Intertextuality of Terms: Making Sense of (Multi-)Layered Conversations Similarly to Julianna and Mandy's full-text archive, Erik and I looked to construct a hypertextual map that would serve users of our tool to first provide access into a broad conversation about terms used to theorize about genre by limiting the scope of the discourse to solely our theorists for Week 11, then work as a critical glossary of those terms as they are used by our theorists in order to highlight the fluidity and ever-changing conceptualization of those terms. Our tool by no means exists to provide users with a closed and definitive contextual apparatus that highlights and synthesizes all conversations and discourses held about both genre theory and those terms used in those negotiations, but does offer a small corpus of text that offers an inlet into those discourses and is constructed to invite users into explore the broader community as a whole. In order to direct students in their usage of this tool as we have intended it, our online tool begins with a blurb detailing its nature, suggesting that students view the tool as their entryway into a larger discourse community that exists outside of the corpus of theorists included, making illicit that it is from that discourse community that we have extracted the theorists and the theories they offer. Because the content of our tool as it currently exists only offers users a small glimpse into the conversations at large, we offer users to use the tool to not only teach themselves, but as a text to which they can contribute in order to teach others. What we mean by this is that the tool serves the function of both a site for learning and as a site for further exploration, addition, and reconfiguration. Like Julianna mentions in her post, the terms included in the readings for Week 11 are not static, in that they used and defined in many different ways dependent upon the theorists using them, so we do not wish for our tool to remain static in its functionality. Be inviting users to contribute to the tool, working in the same way a wiki space would, the tool is able to accurately represent the discourse being held, or was once held, about genre and the theorizing about genre.<br />
<br />
Because of the nature of discourse communities located in the discipline of composition studies, our tool looks to follow the same pathways of those members of the community. Several of our key terms brought forth by our limited corpus of texts do not have settled and agreed upon definitions or parameters for usage. Our tool looks to mimic these ongoing (re)conceptualizations, offering to users a critical glossary of the terms as they are used in context by one or several authors, while at the same time inviting them to add to these definitions as they seem them used by other theorists that they have encountered in their address of the same subject of genre. By conceiving our tool in this way, we were able to examine how our theorists used these terms a bit more in depth. For example, while John Trimbur sees collaborative learning as <span id="docs-internal-guid-220b03c3-857a-e1f2-b55b-6cc2e231caef"><span style="vertical-align: baseline;"><span style="font-family: Arial;"><span style="font-size: 15px; white-space: pre-wrap;">a form of group work in the composition classroom that organizes students in order to not just have them work together, but to foster between students a process of intellectual negotiation and collective-decision making, he also outlines other theorists concepts that they have either terms </span></span><span style="font-family: Arial;"><span style="font-size: 15px; white-space: pre-wrap;">collaborative</span></span><span style="font-family: Arial;"><span style="font-size: 15px; white-space: pre-wrap;"> learning or have used similar </span><span style="font-size: 15px; white-space: pre-wrap;">terminologies</span><span style="font-size: 15px; white-space: pre-wrap;"> </span><span style="font-size: 15px; white-space: pre-wrap;">that still represent or allude to collaborative learning (604). Trimbur outlines for his readers a history of the conception and reconception of the term and practice of collaborative learning, an outline that would be included under Trimbur's link under the term "COLLABORATIVE LEARNING." In his outline, he notes that collaborative learning has been in discussion amongst many circles dating back much further than the 1980s, when American college teachers joined the conversation. Trimbur asserts that those conversations were first introduced in the 1950s and 60s in Britain in the field of medical education. Trimbur highlights the work done and theories posited by the like of M. L. J. Abercrombie in her suggestion that diagnosis, in medical studies, not explicitly in composition studies, "is better learned in small groups of students arriving at diagnoses collaboratively than it is learned by students working individually" (636). Trimbur goes on to assert that American colleges arrival upon the use of collaborative learning was a response to the pressing need of easing incoming college students' entrance into academic studies in the 1970s. He continues his description by shedding light on the influence of theorists such as John Bremer and Michael von Moschzisker and their work on the social organization of learning. It is through these multiple conversations that ultimately influence all later theories about collaborative learning. Our tool looks to highlight and encompass these types of influences on the defining of our terms. However, we recognize that these conversations stem from such a wide breadth of other discourses and would need further research that can be done in collaboration with all users of the tool. </span></span></span></span><br />
<span style="vertical-align: baseline;"><span style="font-family: Arial;"><span style="font-size: 15px; white-space: pre-wrap;"><br /></span></span></span>
<span style="vertical-align: baseline;"><span style="font-family: Arial;"><span style="font-size: 15px; white-space: pre-wrap;">I hope that in the above example it can be perceived not only how the tool would function for our users, but how the construction or planning of the tool lent to our reading of our theorists and providing insight into how they define these critical terms and the influence behind those measures. Just as we could not read our critical terms singularly, knowing how packed and contextually dependent they are, we could not construct a tool that suggested that our users read them singularly or without consideration of the discourse community at large. The critical terms and constantly in flux, similarly to how theories of genre are. We look to have our tool serve as a metaphor for our own purposes in navigating theories of genre and the critical terms associated, and as a field of representation and site for both discovery and teaching anew for our users. </span></span></span><br />
<span style="vertical-align: baseline;"><span style="font-family: Arial;"><span style="font-size: 15px; white-space: pre-wrap;"><br /></span></span></span>
<span style="vertical-align: baseline;"><span style="font-family: Arial;"><span style="font-size: 15px; white-space: pre-wrap;"><br /></span></span></span>
<span style="vertical-align: baseline;"><span style="font-family: Arial;"><span style="font-size: 15px; white-space: pre-wrap;">Works Cited:</span></span></span><br />
<span style="vertical-align: baseline;"><span style="font-family: Arial; font-size: 15px; white-space: pre-wrap;"></span></span><br />
<span style="vertical-align: baseline;"><span style="font-family: Arial; font-size: 15px; white-space: pre-wrap;">Trimbur, John. “Consensus and Difference in Collaborative Learning.” College English 51.6 (Oct. </span></span><br />
<span style="vertical-align: baseline;"><span style="font-family: Arial; font-size: 15px; white-space: pre-wrap;"> 1989):602-16.</span></span><br />
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6971582224140416499.post-23410941798502285232014-11-06T09:25:00.004-05:002014-11-06T09:25:36.161-05:00A Generic Web of Citation/The Necessity of Consensus, A Blog in Two Parts<div class="MsoNormal">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">When Anna and I first set out to design our tool, we at once
felt the shadow of our last build-a-tool assignment looming over our shoulder.
I can’t speak for Anna, but I feel like the tools we built last time were a
constraint on this assignment, limiting our invention of new or unique tools.
Alternatively, I think we might have a limited number of genres in mind when it
comes to research tools, since research is such a goal-directed and constrained
endeavor to begin with. Together, these two constraints led to the two of us
hemming and hawing about the tool we designed, for fear that what we designed
would be too similar to what came before. And to a degree, what Anna and I
decided upon was similar to the tool Joe and I designed way back when, in that
it focuses on creating and visualizing an intertext of citation centered around
a certain concept. But instead of coming up with threshold concepts related to
a turn, we arbitrarily took Dr. Graban’s selection of articles as the genre
canon that would be the locus of our tool. With these as our focal point, we
wanted to trace the ancestry and subsequent influence of this turn and
visualize it in such a way that the app could be generative to a user.
Navigating either forward or backward in time, a scholar could return to the
early genre theorists like Bakhtin to potentially find a different point of
intellectual departure; or alternatively, one could trace citations into the
future to see how the ideas of the “genre-turn” have evolved and been adopted
by others in the field. <o:p></o:p></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Looking at this week’s readings and the scholars they draw upon,
I’ve seen lots of familiar names—some I expected and some that surprised me.
Bitzer, Burke, and Bakhtin were no surprise, as they figure so heavily into
what we do in rhet/comp. Even Halliday has a connection to linguistics. But two
names I didn’t expect to see in relation to genre and community were Kuhn and
Rorty. Evoking Kuhn in relation to community makes sense because his <i style="mso-bidi-font-style: normal;">Structure of Scientific Revolutions</i> is a
sociological/social psychological study of the scientific community; implicit
within that work are scientific genres, as uniform methods of reporting
experimental results are part of the initial construction of a scientific
paradigm. Kuhn ultimately concludes that scientific epistemology is inherently
social, despite its pervasive claim to truth—a “truth” we see in scientific
views of writing as just a means of transmitting results, not inflected with
ideology at all. Rorty attempts to take up Kuhn and expand him to all
discursive communities, and I think actually falls short by suggesting that
abnormal discourse acts in ignorance of or willingly flouts genre conventions.
And maybe Rorty is being misrepresented here in Trimbur, but that doesn’t align
with my understanding of Kuhn. While “revolutionary” scientists are trying to change
fundamental beliefs about the universe, they keep some consistency with
conventions so experiments can be replicated or they work under some of the
same procedures and assumptions as the rest of science—a far cry from
abandoning the conventions of a community completely.<o:p></o:p></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">What I’m getting at here is that even in scientific
revolutions—a space of active rhetorical dissensus that generates new
consensus—there must remain some underlying consensus among the participants of
a group. There remains in that social system an element of stability, and there
will inevitably be excluded discourses. Given that, I’m not sure if I follow
Trimbur’s idea that consensus should be considered unattainable. Kuhnian
epistemology calls for periods of de-stabilized discourse, but ultimately a
balance is restored. In science, its fairly easy to see how “abnormal”
discourses are suppressed because empirical evidence doesn’t support the
Othered discourse; its obviously not as easy to reach stability when we are
dealing with people and different ways of speaking/writing/knowing, but
embracing dissensus in the name of an unattainable consensus seems just as utopian
as the consensus Trimbur proposes. So, I guess ultimately I’m coming down on
the side of collaborative learning that is indeed collaborative. Introducing
students to a discourse community—whether the Academy or the realm of writing
as a whole—providing some guidelines or genre conventions, or even the notion
of genre itself, and tasking students with working through these discourses
together; both with each other and with the teacher.</span><o:p></o:p></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6971582224140416499.post-24605227411672791822014-11-06T08:29:00.000-05:002014-11-06T08:29:12.831-05:00This is the house where genre studies live -- The Genre FAQ <div class="MsoNormal">
When designing the Build-a-Tool for Genre this week, our
final weekly, it was difficult not to reproduce some of the same tools that
were created when we built the build-a-tool the first time. Since genre can’t
be conceived of a turn, we wanted to create something that would be open for
inquiry, but also would be helpful for those interested in research related to
genre studies. Joe and I decided to model our tool off of the <a href="mailto:http://compfaqs.org//CompFAQs/Home">CompFAQ</a> tool, which is a
research tool compiled by the folks who brought us CompPile. The CompFAQ shares
relevant questions about various topics related to composition studies and
offers responses to key question as well as links to resources. The CompFAQ is,
according their mission statement, a wiki site that provides collaborative,
research based answers to questions posed regularly by writing teachers and
administrators. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
How would we find which questions were currently relevant to
genre studies? Joe suggested we take a look at the WPA listserv to get a sense
of what conversations were going on right now about genre. Viewing the WPA
listserv offered a concrete method for accessing these conversations. We could
literally search the threads for genre, and the results were plentiful. Over
300 results could be found that contained genre in the subject heading and over
200 additional emails contained genre somewhere in the body of the text. These
numbers give evidence to me that genre studies is both as Dr. Graban says,
“both a theory and an aspect”. We see genre as a present force and as an
organizing principle. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Our Genre FAQ would be a wiki and a collaborative tool. In
an ideal scenario, we could invite genre studies scholar to join the
conversation and add their voices to our FAQ. As I’m typing this I am
envisioning ways that we could make relevant conversations rise to the top our
FAQ. If we were able to create some sort of “Is This Helpful?” button, we could
use that data to help more relevant questions rise to the top and have less
popular entries sink towards the bottom of the queue. We can see the wiki as an
ecology in itself, an constantly evolving text that is made and remade by users
with use and action. It is as Miller states, “<span style="color: black; mso-bidi-font-weight: bold;">The systems are not given, not limitations on
writers; instead they are made and remade by writers in the act of writing”
(368). The FAQ could be a place to house the making and remaking of discourse
in regards to genre studies and genre theory. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<u>Works Cited <o:p></o:p></u></div>
<div class="MsoNormal">
<span style="color: black;">Bawarshi, Anis S., and Mary Jo.
Reiff. <i>Genre: An Introduction to History, Theory, Research, </i></span><o:p></o:p></div>
<div class="MsoNormal" style="text-indent: .5in;">
<i><span style="color: black;">and
Pedagogy</span></i><span style="color: black;">. West Lafayette, IN: Parlor,
2010. </span><o:p></o:p></div>
<div class="MsoNormal">
<span style="color: black;">Bruffee, Kenneth A. “Collaborative
Learning and the ‘Conversation of Mankind.’” <i>College </i></span><o:p></o:p></div>
<div class="MsoNormal" style="text-indent: .5in;">
<i><span style="color: black;">English
</span></i><span style="color: black;">46.7 (Nov. 1984): 635-652.</span><o:p></o:p></div>
<div class="MsoNormal">
<i><span style="color: black;">CompFAQs from CompPile</span></i><span style="color: black;">. N.p., n.d. Web. 05 Nov. 2014.</span><o:p></o:p></div>
<div class="MsoNormal">
<span style="color: black;">Cooper, Marilyn. “The Ecology of
Writing.” <i>College English </i>48.4 (Apr. 1986): 364-375.</span><o:p></o:p></div>
<div class="MsoNormal">
<span style="color: black;">Devitt, Amy. “Generalizing about
Genre: New Conceptions of an Old Concept.” <i>CCC </i>44.4 </span><o:p></o:p></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="color: black;">(Dec.
1993): 573-586.</span><o:p></o:p></div>
<div class="MsoNormal">
<span style="color: black;">Dobrin, Sidney I. and Christian R.
Weisser. “Breaking Ground in Ecocomposition: Exploring </span><o:p></o:p></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="color: black;">Relationships
between Discourse and Environment” <i>College English </i>64.5 (May <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="color: black;">2005):
566-589.</span><o:p></o:p></div>
<div class="MsoNormal">
<span style="color: black;">Lessig, Lawrence. "Laws That
Choke Creativity." <i>TED Talks</i>. N.p., n.d. Web. 05 Nov. 2014.</span><o:p></o:p></div>
<div class="MsoNormal">
<span style="color: black;">Miller, Carolyn. “Genre as Social
Action.” <i>Quarterly Journal of Speech </i>70.2 (1984): 151-67.</span><o:p></o:p></div>
<div class="MsoNormal">
<span style="color: black;">Trimbur, John. “Consensus and
Difference in Collaborative Learning.” <i>College English </i>51.6 <o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="color: black; mso-fareast-font-family: "Times New Roman";">(Oct. 1989): 602-16.</span><o:p></o:p></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6971582224140416499.post-74218722001636298542014-11-05T19:39:00.000-05:002014-11-05T19:39:23.618-05:00A Networked Archive <div class="MsoNormal" style="margin-bottom: 0.0001pt; text-indent: 0.25in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">For
our build-a-tool project, we decided to construct a full-text archive of this
week’s articles, but to add nuance to the task at hand, we also decided to
hyperlink key terms throughout the readings to illuminate the fluidity with
which terms are used within this scholarly discussion of gene at large. A tour
of our proposed tool starts with the homepage, on which viewers would see a
word cloud of all of our key terms: <i>ecology,
social constructivism, genre, consensus, dissensus, authority, power,
collaboration, abnormal discourse, exigence, conversation, technique</i>, etc. Below
the word cloud would be a search bar, which would also allow visitors the
freedom to search based on author, subject, title, or publication date. We
included this as an option because we feel that it would be essential if a
researcher wanted to trace historical or theoretical turns in the field. So
there are two points of entry into the archive from the home page: through the
search bar or through the word cloud terms. If a researcher clicked on a term
within the word cloud, he or she would then be redirected to that term’s
placement within specific articles located in the archive. Once the researcher
has the archived article on his or her screen, she then has the option of
hovering over the blue, hyperlinked term, which would display the term’s
guiding definition as it is employed within that article, and as it could
generally be interpreted for that article’s argument. If the viewer chooses to
click on the hyperlinked word within the article, rather than just hover over
it, she is taken down yet another rabbit hole. She will be redirected to a page
listing all the possible ways of defining the term across the various readings
from this week. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-indent: 0.25in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">We
recognized from the outset that there was perhaps a limitation in the act of
singularly defining a term as it is used within one article. The act of
definition could imply a “closing off” of other potential meanings, and as
we’ve witnessed across this week’s readings, particular theorists don’t
necessarily define the term “genre” in a way that represents a conceptually
closed or limited reading. For example, Miller’s explication of genre as a
social act is perhaps the most expansive and allows room for other definitions
to be subsumed within it. She writes, “If we understand genres as typified
rhetorical actions based in recurrent situations, we must conclude that members
of a genre are discourses that are complete, in the sense that they are
circumscribed by a relatively complete shift in rhetorical situation” (159).
However, throughout the course of the article, we also see genre operating as a
classification system, and in more implicit ways, such as an ideology or a
discourse system. Therefore, we recognize the potential limitations in deriving
one seemingly static definition for each term, and also the risk we would be
taking in ascribing implicit meanings to terms. To put it another way, it would
be difficult to prevent subjectivity from infiltrating the defining process. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-indent: 0.5in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">The
rationale for defining terms within the text is that it creates, collectively,
a dispersed glossary that allows the terms to be located both within their
theoretical/ textual content, but also individualized within their own
conceptual space, as you hover over them. We attempt to stymy this act of
“closing off” meaning by having each hyperlinked term link to a page that
features all of the definitions of a term that could be derived across this
week’s readings. Devitt writes that formal views of genre make it into a
“normalizing and static concept, a set of forms that constrain the individual;
genuine writers can distinguish themselves only by breaking out of those
generic constraints […]” (574). So we recognize that by cataloguing the term,
we might also be imposing constraints on its meaning, but we still think that
it would be useful for researchers to have these definitions floating within
the text, at their disposable as they are making sense of the text they are
reading. In this way, we create an intertext that threads the readings together.
In many cases, we think that these definitions would yield more similarities
than differences from our readings. For instance, defining the term “genre” as
a social act in Miller doesn’t necessarily mean separating it from
Berkenkotter’s definition of genres as “inherently dynamic rhetorical
structures that can be manipulated according to the conditions of use,” at the
same time that they are “best conceptualized as a form of situated cognition
embedded in disciplinary activities” (477). The focus on cognition obviously
nuances Miller’s definition, but we also can see Miller’s social constructivist
definition of genre at work as well. Berkenkotter even explicitly draws on
Miller, as well as many of the theorists mentioned throughout the readings this
week: Bakhtin and Bitzer, for example. So in a way, there is already an
existent intertexual conversation being generated by this particular
arrangement of texts; however, defining our terms further enriches that
intertext by allowing the viewer of our archive to note more readily the
parallels and divergences among each term’s definition set. <o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-indent: 0.5in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">We
see this archive as a network of meaning. The terms are never intended to be
read only singularly, but rather, we invite viewers to view the terms in
isolation only to better understand the larger meaning created through the
intertext. A potential hazard of our site is its complexity. It is in every
sense a multi-layered tool in which researchers could get lost if they weren’t
navigating smartly. However, these terms themselves are similarly multi-layered,
and so we see our tool as a metaphor representative of these “layers” of
context.<o:p></o:p></span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6971582224140416499.post-7728953912032303942014-10-30T12:07:00.000-04:002014-10-30T12:07:19.580-04:00It Does Matter! or, They Do Matter: Confluence of Multiple Literacies and a Theory for Navigation within/between Them<!--[if gte mso 9]><xml>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>Joe
and I created our schema after discussing our interpretations of the readings.
We went through several iterations before arriving at the final model. In order
to consider how the different literacy theories that we read for this week would
fit into the model, we first discussed several intertextual relationships in
our discussion. After recreating the schema several times (i.e., using a
whiteboard in the Johnston building’s Digital Studio) and arriving at our final
model, we sought to locate the theorists in the schema, deemed them to be present,
and so we proceeded to build the model using a free online service called
Canva. I will briefly discuss some of the more salient connections as I
describe the schema in this post. First, to provide some impression of the
evolution of the schema, I would like to emphasize that one common thread or
element within our different models was the relationship between the dominant literacy
ideology--the capital “L” Literacy--and the myriad language communities that
use language variants of the dominant language complex and thus have local
literacy ideologies. This relationship is still at the center of our final model.
The language communities, which may be bound together by language practices,
can be variously defined, and so we imagined a nearly infinite number of
language communities existing subordinately to the dominant language ideology.
In our model, the relationship between the dominant literacy and the many
community literacies is represented by the large arrow that passes temporally
through all community spheres. This temporal element was heavily informed both
by Brandt’s notion of the piling up or accumulation of literacy practices and
also Johnson-Eilola’s discussion of the hypertextual or intertextual
relationships within texts as products. Within the schema, this simple two
dimensional image belies a complex four dimensional relationship. That is, the
dominant literacy ideology flows through the many communities across time, encapsulating
the ideological shifts in the dominant and community literacies. The community
literacies include speech, writing and reading, as well as other literate
behaviors or practices. Beside the series of green circles representing a
language community’s core literacy ideology across time, there is another group
overlapping circles that represent the overlapping spheres of different
language communities. Of course, there can be overlap between multiple language
communities, in terms of the experiences of a single individual or group or
individuals. There can also be communities that do not overlap with other communities.
While it might be difficult in the real world to identify communities that
share no overlap with other communities in terms of the characteristics of the
language users within the communities, we allowed for such mutual exclusivity
in our model because then such communities could interact and share literacy
practices within contact zones. Over time, such contact zones could conceivably
bring the communities together inexorably in terms of shared language features
and literacy ideologies. Contact zones also occur between individual language
communities and the interaction between other community ideologies with the
dominant ideology.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>Now,
to move back or up (i.e., within the related concepts in the schema, towards
the top of the image) we envisioned that the large arrow flowing from the
dominant Literacy ideologies would contain the interaction between dominant and
community literacies in the form of normative socialization such as schooling,
professional development, etc. As communities undergo socialization, some
dominant literacy practices may be retained and some language practices
associated with the language communities can interact or push back against the
dominant literacy as described by Richardson. We did not have the space in the
image to depict the arrows that move in the opposite direction to the other
errors, emanating from the communities towards the dominant ideology. According
to Richardson, and as we intended to be implicit in our schema, the local
literacy ideologies can impact the dominant ideology, but the disparity in
force or influence might always be imbalanced in favor of the dominant
ideology. Such bidirectionality happens in the interaction space of our schema,
but also, perhaps more effectively, in the space for negotiation depicted near
the bottom of the image where many of the arrows converge. One critical
assumption on our part affects interpretation of the negotiation that occurs because
of the many points of contact between/within communities and the dominant Literacy
ideology. We assumed that this negotiation space could navigated by individuals
who are deemed successful in that they have agency from navigating multiple
ideologies. Success is defined in terms of being literate within a community
according to the local normative standards that define that ideology, AND the
ability to critically interact with or within the dominant Literacy ideology. In
Bizzell’s terms, these individuals would have the rhetorical ability to
understand multiple audiences, with critical insights that come from the
awareness of the power imbalance between the dominant ideology and the myriad
local ideologies. Our negotiation space describes an <i style="mso-bidi-font-style: normal;">ideal</i> form of the possibilities for negotiation, where success and agency
are complex terms that are determined in part by those competing ideologies. A
specific literate individual would likely be literate within his or her own
language community and as a result capable of pursuing literacy in other
communities or by performing the literate practices sanctioned by the dominant
ideology. We speculated that the “successful” navigation of the negotiation space,
which is a confluence of contact zones, might be apparent in such an individual’s
composition of texts in the form of agency.</span></div>
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<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Works Cited</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Bizzell, Patricia. “Arguing about
Literacy.” College English 50.2 (1988): 141-53.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Brandt, Deborah. “Accumulating Literacy:
Writing and Learning to Write in the Twentieth Century.” College English 57
(1995): 649-68.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Johnson-Eilola, Johndan. “Negative
Spaces: From Production to Connection in Composition.” Literacy Theory in the
Age of the Internet. Ed. Todd Taylor and Irene Ward. New York: Columbia UP,
1998.17-33. Rptd. in Computers in the Composition Classroom: A Critical Sourcebook.
Ed. Michelle Sidler, Richard Morris, and Elizabeth Overman Smith. New York:
Bedford/St. Martin’s, 2007. 454-468.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Richardson, Elaine. “‘English-Only,’
African American Contributions to Standardized Communication Structures, and
the Potential for Social Transformation.” Cross-Language Relations in
Composition, eds. Bruce Horner, Min-Zhan Lu, and Paul Kei Matsuda. Carbondale:
Southern Illinois UP, 2010. 97-112.</span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6971582224140416499.post-87251007994280664742014-10-30T11:51:00.004-04:002014-10-30T11:51:55.698-04:00Literacy: Schematizing the Conversation Sometimes in group projects, people have largely the same vision and understanding for the end product. Sometimes they're wildly different, and major compromises take place. Both of those models of group work are fairly static, however, and when Tyreek and I worked together this week, our collaboration instead slowly shifted the ways I was thinking about the readings as a whole.<br />
<br />
Our prezi presents literacy by schematizing the conversations of literacy; linking together the theorists for this week in a model that connects ideas of what literacy <i>is</i> with images of what it is <i>not</i>, placing influences, arguments, and outcomes into a model that emphasizes the key ideas of this turn.<br />
<br />
As I read the articles for this week, before meeting with Tyreek, the mental structure I created of literacy was one model, an attempt to create a coherent, whole image of literacy as defined by our authors that accounted for their nuances. I vaguely imagined situating "literacy" situated within ideas of social context, drawing from Johnson-Eilola's emphasis on the connections arising from texts and Brandt's theory of literacy as accumulation, spreading back and forth across generations (659), across learning contexts (666), and throughout everyday life (653). Leading into that from the left would be the "legacies" of literacy (Ohman 677)--economic domination (Ohman 677), the various literacy theories Bizzell identifies, Brandt's various transformations throughout history (654), and so on. Some aspects of our schema do evidence traces of my early thought process, particularly the four circles of influence we identify, which represent patterns of thought shared by our authors as they examine the various forces and realities bound up inextricably with ideas of literacy.<br />
<br />
As we began to create the map, we added ideas from our authors. We populated the giant circle of context with the voices and ideas the articles from this week were speaking back to, arguing with, drawing from, and complicating. We extended out beyond the circle the ways the authors envisioned their perspectives on literacy applying in the classrooms. And we created a circle to identify what literacy is/should be, according to our authors.<br />
<br />
In creating and going back over our schema, I realized that it had become something different than what I imagined back when I was reading. Because of all the history, tensions, and traces our authors identify, to create a coherent idea of literacy, no matter how nuanced, would end up flattening and hiding aspects that these authors wanted to highlight, such as the aspects of identity and ways of knowing (Richardson 100), the dynamic standards and connotations of literacy (Brandt 654), and particularly the rhetoricity and audience-situated-ness of these debates (Bizzell 150). By conceptualizing literacy the way we did, and by populating our circles with ideas from various authors rather than synthesizing one coherent definition of literacy or pedagogical ideal, our schema represents the multi-voiced conversation, with its various priorities, perspectives, and individual arguments. Literacy, as a concept and practice, resides in the various voices making it up.<br />
<br />
<span style="font-size: x-small;">Works cited: </span><br />
<span style="font-size: x-small;"><span style="font-family: "Times New Roman";">Bizzell, Patricia. “Arguing about Literacy.” <i>College English</i> 50.2 (1988): 141-153.</span><br /><span style="font-family: "Times New Roman";">Brandt, Deborah. “Accumulating Literacy: Writing and Learning to Write in the Twentieth</span><span style="font-family: "Times New Roman";"> Century.” <i>College English</i> 57.6 (1995): 649-667.</span><br /><span style="font-family: "Times New Roman";">Johnson-Eilola, Johndan. “Negative Spaces: From Production to Connection in</span><span style="font-family: "Times New Roman";"> Composition.” <i>Computers in the Composition Classroom: A Critical Sourcebook</i>. Eds. Sidler, Michelle, Richard Morris, and Elizabeth Overman Smith. New York: Bedford St. Martin’s, 2007. 454-468.</span><br /><span style="font-family: "Times New Roman";">Ohmann, Richard. “Literacy, Technology, and Monopoly Capital.” <i>College English</i> 47.7 (1985):</span><span style="font-family: "Times New Roman";">675-688.</span><br /><span style="font-family: "Times New Roman";">Richardson, Elaine. “’English Only,’ African American Contributions to Standardized</span><span style="font-family: "Times New Roman";"> Communication Structures, and the Potential for Social Transformation.” <i>Cross-Language Relations in Composition</i>. Eds. Horner, Bruce, Min-Zhan Lu, and Paul Kei Matsuda. Southern Illinois Press, 2010. 97-110.</span></span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6971582224140416499.post-19114025508326487942014-10-30T11:19:00.003-04:002014-10-30T11:22:20.470-04:00Literacy Seen (Anew?): Navigation and Negotiation<br />
In our construction of a schema of literacy, Anna and I looked to bring our authors not only into conversation with one another, but also into conversation with those speaking on the subject of literacy and looking to navigate and negotiate the same channels they were/are. We first sought to examine the correlations of our authors and offer several key concepts or nodes that we believed could organize our authors' assertions and overall contributions to the discussion of literacy. In order to create these nodes, Anna and I discussed some of the key congruities that we found within our authors' texts, settling on four in particular. These four organizational concepts were not created with the intention of becoming concrete and non-negotiable points of reference to examine the discussions being held about literacy, but we believed that they were sufficient starting points to serve as an inlet into the conversation. For us, in our authors' discussions of literacy, we believed that our authors situated their concepts and assertions about literacy particularly in these four ways: in matters of accumulation, discussions of power or power relationships, economics (influenced by or from), and when speaking about culture.<br />
<br />
For matter of accumulation, we first looked to Brandt, who offered the theory explicitly. For Brandt, one accumulated literacy by way of piling up and spreading out. Brandt asserted that literacy could be influenced by previous generations, from the home, from early education environments, and residual materials (652; 659; 664; 665; 666). Literacy also was spread out in that it must be used to navigate various channels throughout one's life (653). Richardson, while not explicitly mentioning accumulation theory, made several assertions that could fall under the theory. In her advocation to include the contributions made by African American authors and offering insight to students the examples of literacy acquisition and literacy practice, Richardson may be giving a practical application of Brandt's theory of accumulation. Most of our theorists situated or discussed literacy in terms of power or power relationships. Ohman examined the usage of literacy as a way to "keep the lower orders docile," and what he saw as an "inextricable part" of social and class relations (677; 687). Bizell acknowledged the power of literacy in her own conception of the composition classroom. Even in a classroom where literacy in constantly negotiated by professor and student, the professor has unequal power inherently by the position they hold (150). Richardson explicitly states that language serves as "medium for power and control" (99). Literacy is, for some of our authors, is almost inevitably shares some relationship with economics. Ohman believes that literacy has been used to measure quantities and modify people, and that computer literacy can be utilized to separate the elite from the poor because it can be used to "expand the minds and the freedom of the elite meanwhile facilitating the degradation of labor and the stratification of the workforce" (683). Johnson-Eilola says that the process movement reshaped how we understand writing and helped us include production and power structures (457). The most prevalent construct that is utilized as grounding for our authors' arguments is the power of culture and its connectedness to literacy. Richardson asserts that language learning should build on the vernacular strategies of students and their ways of displaying knowledge and the historical or philosophical underpinnings of that knowledge, something that is overtly culture based (104). Bizzel includes cultural literacy to ground her theories and suggest that students have their own valid literacies that they bring into the classroom. Because of the prevalence of these grounding concepts, we felt that they were very sufficient for our organization and schematizing of literacy.<br />
<br />
While these were settled on by our discussions about our authors, we do not believe that these are the only ways in which to situate or ground discussions of literacy. It is for this reason that we looked to include in our schema the conversations held about literacy at large. For Anna and I, we believed it to be key the matters, assertions, conversations, beliefs, and/or contributions made by other theorists and participants in the discourse about literacy in order for a more thorough examination of our authors' own contributions. In order to understand our authors' texts more thoroughly, we needed to examine the discourse community at large. We looked to identify both who and what our authors were engaging with in their texts. This helped us to better navigate the contours of this discussion in order to build a more nuanced schema. For Bizzel, "foundationalist" arguments that sought to to draw attention away from the social class basis of academic literacy were problematic (142). Bizzel took issue with the assumptions of the Great Cognitive Divid theory and looked to find a more useful way to examine literacy acquisition. From Walter Ong's offering of a theory that posited technology's ability to enable men to communicate knowledge in all new ways, Ohman found an excellent point for extension (681). Richardson looked to combat the ways of thinking about literacy constituted by English-Only and grounded her theory in what seemed to be identity politics. For us, in order to properly assess our authors' contributions, we felt it necessary to examine the conversations that may have influenced or help guide them to their theories and assertions.<br />
<br />
From an examination of these conversations, we were able to better conceptualize and make sense of our authors' own assertions. By making sense of the surrounding conversations, we felt we were able to better understand both our authors' own assertions and what they believed could be brought into practice and what that practice may look like in the classroom. In order to schematize literacy, we needed to examine the discourse about literacy from the outside in. It is from this examination that were able to construct our schema in the way that we did.<br />
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Works Cited:<br />
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<div class="MsoNormal" style="background-color: white; font-family: Georgia, Utopia, 'Palatino Linotype', Palatino, serif; font-size: 13px; line-height: 18px;">
<span style="font-family: 'Times New Roman';"><br class="Apple-interchange-newline" /></span><span style="font-family: 'Times New Roman';">Bizzell, Patricia. “Arguing about Literacy.” <i>College English</i> 50.2 (1988): 141-153.</span><br /><span style="font-family: 'Times New Roman';">Brandt, Deborah. “Accumulating Literacy: Writing and Learning to Write in the Twentieth</span><span style="font-family: 'Times New Roman';">Century.” <i>College English</i> 57.6 (1995): 649-667.</span><br /><span style="font-family: 'Times New Roman';">Johnson-Eilola, Johndan. “Negative Spaces: From Production to Connection in</span><span style="font-family: 'Times New Roman';">Composition.” <i>Computers in the Composition Classroom: A Critical Sourcebook</i>. Eds. Sidler, Michelle, Richard Morris, and Elizabeth Overman Smith. New York: Bedford St. Martin’s, 2007. 454-468.</span><br /><span style="font-family: 'Times New Roman';">Ohmann, Richard. “Literacy, Technology, and Monopoly Capital.” <i>College English</i> 47.7 (1985):</span><span style="font-family: 'Times New Roman';">675-688.</span><br /><span style="font-family: 'Times New Roman';">Richardson, Elaine. “’English Only,’ African American Contributions to Standardized</span><span style="font-family: 'Times New Roman';">Communication Structures, and the Potential for Social Transformation.” <i>Cross-Language Relations in Composition</i>. Eds. Horner, Bruce, Min-Zhan Lu, and Paul Kei Matsuda. Southern Illinois Press, 2010. 97-110. </span></div>
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6971582224140416499.post-75512974803135612482014-10-30T11:19:00.002-04:002014-10-30T11:19:04.921-04:00A Moving Monolithic Target<div class="MsoNormal">
Building on Julianna’s blog post, I’ll continue with some
commentary about trying to take on the “monolith” of literacy in a visual form.
One of the first challenges we experienced was choosing a tool to express our
ideas visually. Our own “literacy” of these visual tools came into play when we
were designing the schema. PowerPoint was too difficult. Traditional paper
methods would take to long to utilize and wouldn’t translate well to the
screen. Additionally, the software Charise and I used last time “MindNode Lite”
wouldn’t allow a user to connect two nodes together. We used a free online
flowchart application called Draw.io to create the “map” as the the program
balances the technical ability we have with our need to create a legible and
screen worthy schema.</div>
<span id="goog_331760417"></span><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><span style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-QzKpt7f8dEE/VFJWqBHn-CI/AAAAAAAAB84/_xxW9q-g5i0/s1600/Literacy%2BSchematized_Netty%2Band%2BJuliana%2B(2).jpg" height="247" width="320" /></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="https://www.blogger.com/goog_331760416">Our Literacy Schema</a></td></tr>
</tbody></table>
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<a href="https://www.blogger.com/"><o:p></o:p></a></div>
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On <a href="https://docs.google.com/drawings/d/1uvwoZTYMoYhBMbQ6Lr37nXycZ1Zp_VTzRzwrgjc4Tn0/edit?usp=sharing">the map</a>, there are four “bubbles” or sub-fields of
literacy designated by the purple squares. The four sub-fields are: Cultural
Literacies, Academic Literacies, Cognitive Literacies and the bubble we had the
most trouble articulating—Literacies, Technology & Materiality. Branching
off of each sub-field, this week’s readings are designated in green hexagons.
Additional scholars that we think are relevant to each sub-field of literacy
studies are marked with orange trapezoids.<o:p></o:p></div>
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The bubble that we had the most trouble articulating was
Literacies, Technology & Materiality. We created this bubble to encompass
the material aspects of literacy that Ohmann refers to, but also to capture
connections to mastery of objects or technologies that Ohmann and
Johnson-Eilola explores. In doing this, we also wanted to connect these authors
to current scholarship in regards to technology, literacy, and multimodal
composition from scholars like Kathleen Yancey, Walter Ong, and the New London
Group, thereby also incorporating aspects like visual literacy. One thing we
struggled with was the difference between thinking of technology in material
terms and in thinking about technology in a broader sense—the idea that writing
is technology—because the broader sense of technology would encompass all of
the authors in our schema. <o:p></o:p></div>
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A key decision we made was to pluralize the word
“literacies” in all of the sub-fields, as we felt that all the authors
presented a multiple and nuanced view of literacy.<o:p></o:p></div>
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The author we had the most difficulty placing was Johndan Johnson-Eilola,
who presented a theory of text as related to composition studies.
Johnson-Eilola’s doesn’t connect his theories to literacy in the course of her
article, but his argument about a pedagogy of connection and collaboration in
place of single texts and single authors implies a need for multiple
literacies. His use of hypertext as an example made a connection to technology
palpable. We had originally placed Johnson-Eilola between Cognitive Literacies
and Literacies, Technology & Materiality, because his argument is more
pedagogical, but the more we thought about it, we decided that Johnson-Eilola
was arguing for a cultural shift in the way that we view text and subjectivity,
so we moved him between cultural and technological literacies. <o:p></o:p></div>
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In making our schema, I kept getting the nagging sensation
that there were connections we <i style="mso-bidi-font-style: normal;">weren’t </i>making.
I imagined a three-dimensional and much more complex web (a possible flattening
inherent in visual representation?). More possibilities for connection could
easily be evidenced by our struggles with the Literacies, Technology &
Materiality bubble. For example, Ohmann could also be connected to issues of
Academic Literacies when he notes, “This age of technology, this age of
computers, will change very little in social relations—the class relations—of
which literacy is an inextricable part” (687). Issues of academic literacies
often revolve around closing gaps in education between wealthy and poor
students, and a student’s ability to be literate in the ways of the academy are
at the heart of that challenge. In addressing desires by educators to give
poorer students the literacy skills necessary to perform in the academy, I also
would theorize that the authors grouped around Cognitive literacies could all
be connected to Academic Literacies as well. <span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
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Deborah Brandt’s comments about
the fluctuating nature of literacy give insight into the difficulty of pinning
down the term literacy. Brandt states, “<span style="color: black; mso-bidi-font-weight: bold;">Important too is the realization that the history of literacy at any
moment is always carrying along a complex, sometimes cacophonous mix of fading
and ascending materials, practices, and ideologies. Literacy is always in flux”
(666). In order to understand what it means to be literate, we always have to
be checking in with ourselves, our field, our cultural context and with our
available materials. Literacy is a moving target. <o:p></o:p></span></div>
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<u><span style="color: black; font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Works Cited<o:p></o:p></span></u></div>
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<br /></div>
<div class="MsoNormal" style="background: white;">
<span style="color: black; font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Bizzell, Patricia.
“Arguing about Literacy.” <i>College English</i> 50.2 (1988):
141-153.</span><span style="color: black; font-family: Georgia; font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div>
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<br /></div>
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<span style="color: black; font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Brandt, Deborah.
“Accumulating Literacy: Writing and Learning to Write in the Twentieth <o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; text-indent: .5in;">
<span style="color: black; font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Century.” <i>College English</i> 57.6 (1995): 649-667.<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; text-indent: .5in;">
<br /></div>
<div class="MsoNormal" style="background: white;">
<span style="color: black; font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Johnson-Eilola, Johndan.
“Negative Spaces: From Production to Connection in <o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; margin-left: .5in;">
<span style="color: black; font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Composition.” <i>Computers in the Composition Classroom: A
Critical Sourcebook</i>. Eds. Sidler, Michelle, Richard Morris, and Elizabeth
Overman Smith. New York: Bedford St. Martin’s, 2007. 454-468.</span><span style="color: black; font-family: Georgia; font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="background: white;">
<span style="color: black; font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Ohmann, Richard.
“Literacy, Technology, and Monopoly Capital.” <i>College English</i> 47.7
(1985): <o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; text-indent: .5in;">
<span style="color: black; font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">675-688.</span><span style="color: black; font-family: Georgia; font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div>
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<br /></div>
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<span style="color: black; font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Richardson, Elaine.
“’English Only,’ African American Contributions to Standardized <o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; margin-left: .5in;">
<span style="color: black; font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Communication Structures, and the Potential for Social
Transformation.” <i>Cross-Language Relations in Composition</i>. Eds.
Horner, Bruce, Min-Zhan Lu, and Paul Kei Matsuda. Southern Illinois Press,
2010. 97-110. </span><span style="color: black; font-family: Georgia; font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6971582224140416499.post-64264012956651568142014-10-30T10:55:00.008-04:002014-10-30T10:55:49.200-04:00Whose Line Is It Anyway?<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="color: #191919; font-family: Times; mso-bidi-font-family: Calibri;">Attacking this project, schematizing literacy, forced Mandy and
I to work through the complexities of this term so that we could represent it
as a multidimensional entity. Starting the readings this week, it was no secret
to me the massiveness and nuances of literacy. Below I've shared a brief
story how literacy is represented in some K-12 classrooms that you
might find interesting. Reading the articles this week echoed a question that
Dr. Graban asked in class on Tuesday and reminded me of an old-time show, whose
line is it anyway? Rather, who determines what literacy is and how we should
come to it? Then, <i style="mso-bidi-font-style: normal;">how</i> do we do “it”
accordingly? I read the articles through that lens and wanted to track <i>who</i>
thought <i>what</i>. <o:p></o:p></span></div>
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<span style="color: #191919; font-family: Times; mso-bidi-font-family: Calibri;">Mandy and I decided to use a key with the main theorist from
this week so that we could track all the principle concepts of literacy, as
well as the authors of each concept. Doing so allowed us to represent literacy
as portrayed in our readings and keep track of the authors. Thus we needed to identify
the main categories of literacy and the subcategories within. This was
surprisingly simple as the authors, in many cases, explicitly stated their
stances. For example, Bizzell devotes a whole section
to orality, alphabetic literacy, and cultural literacy as massive
parts of literacy. Brandt wrote a lot about the situadedness of time in
relation to literacy accumulation by looking at three different generations
experiences of literacy acquisition. It seemed as if throughout the majority of
the readings this week, the social aspect of literacy was represented in all
authors. Working through each reading allowed us to schematize how literacy is
represented throughout the prescribed readings. <o:p></o:p></span></div>
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<span style="color: #191919; font-family: Times; mso-bidi-font-family: Calibri;">I think Brandt illustrates the complexity and ever-changing
nature of literacy best in the following statement, “<span style="mso-bidi-font-weight: bold;">The piling up and extending out of literacy
and its technologies give a complex flavor even to elementary acts of reading
and writing today. Contemporary literacy learners-across positions of age,
gender, race, class, and language heritage-find themselves having to piece
together reading and writing experiences from more and more spheres, creating
new and hybrid forms of literacy where once there might have been fewer and
more circumscribed forms” (pg. 651). If I could edit this statement, I would
add an element of time. The time-period of an individual directly impacts the
effects of age, race, gender, technology, etc. Brandt mentions. <o:p></o:p></span></span></div>
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<span style="color: #191919; font-family: Times; mso-bidi-font-family: Calibri; mso-bidi-font-weight: bold;">Working from Brandt, we chose our
large categories to be “Ideologies”, “Multiple Literacies”, and “Context
Dependent”. We felt that from the readings, we could postulate three
ideologies- literacy accumulation (directly from Brandt and indirectly from
Bizzell), technological determinism (directly from Ohmann), and mass culture (directly
from Ohmann and Richardson). What these ideologies mean might look different
among the authors identified, but they give a starting place for discussion.
Multiple literacies was the largest category in our literacy schema. All of the
authors this week portrayed the multidimensional<i style="mso-bidi-font-style: normal;">ism </i>of literacy. Representing this accurately and sufficiently
proved to be challenging, as some authors spoke of the same concept using
different terminology (e.g. multiculturalism, authorship). A big “aha” moment
came when conceptualizing the dependency of literacy on the context it is
situated in. As mentioned before, the time-period has large impacts on the
author and literacy accumulator. Within the category of “Context Dependent” we
narrowed the sub categories to time, power and control, and social. Personally,
I personally think these subcategories are all interrelated with one another. <o:p></o:p></span></div>
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<span style="font-family: Times; mso-bidi-font-family: Calibri;">Returning
back to my question, Whose line is it anyway?, I can now use the schema to
better understand that perhaps the answer comes from many voices. Perhaps it is
the line of the acquirer, the society, the time period, the discipline, the
teacher. Maybe, when one becomes literate it is the voice of many, as Bizzell
writes “You can’t act alone, perhaps, but you can act with others with whom you
make a common cause” (pg. 152)- whatever that cause may be. <o:p></o:p></span></div>
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<span style="color: #191919; font-family: Times; mso-bidi-font-family: Times;">In addition to my critical blog post, I will share an instance
that recently occurred with a teacher- somewhere between here and Japan-
in order to illustrate how literacy is represented in some classrooms. As many
of you know, the push for Common Core has teachers of all content areas
(science, social studies, math) implementing "literacy
practices" in their classrooms. The unfortunate part about this is,
there is little professional development or defining of literacy in the
content areas for many of these teachers. We know how complex this term is and
we may know what this requires of students, but it has produced quite
interesting results in the K-12 classroom. Some time I ago I visited
a 25-year veteran educator teaches middle-school Science and is
seen by colleagues as a exemplarily educator. While I was preparing to teach
RED4335 (Literacy in Content Areas) a few semesters ago I wanted to
understand how literacy practices were implemented in the Science classroom.
Through email correspondence I asked this teacher if she wouldn’t mind sharing
a lesson she used where literacy practices were evident in Science. Excitedly
she gave me student work of a skit in which she required her students to write
about a science experiment. The teacher told me this was the best one and she
really felt that it required students to employ literacy practices. After
analyzing the skit, I realized that there were very few Science concepts
evident and therefore no content area literacy practices were used. Walking
away from reading the skit, I could not tell if the student even knew what
an experiment was. The skit was, however, a very cute skit. The
teacher had commonly confused literacy practices with English-discipline practices
(playwriting). This raised some very interesting questions about
the nature of literacy. It seems as if, literacy is not simply the act
of reading and writing. There is more. That is why I said in class on
Tuesday, that we must look to the discipline to see what practices are in
place and identify those as literacy practices in that content area.<o:p></o:p></span></div>
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<span style="color: #191919; font-family: Times; mso-bidi-font-family: Times;">Works Cited<o:p></o:p></span></div>
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<span style="font-family: Times;">Bizzell, Patricia. “Arguing
about Literacy.” College English 50.2 (1988): 141-53.<o:p></o:p></span></div>
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<span style="font-family: Times;">Brandt, Deborah.
“Accumulating Literacy: Writing and Learning to Write in the Twentieth
Century.” College English 57 (1995): 649-68.<o:p></o:p></span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6971582224140416499.post-9308327818829830432014-10-30T10:16:00.002-04:002014-10-30T10:22:44.362-04:00Triangulating Literacy: Negotiation, Agency, and Technology<div class="MsoNormal">
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<a href="http://1.bp.blogspot.com/-sOv--gnpPzk/VFJJg__RjcI/AAAAAAAAAI8/iBM8uC1yEA8/s1600/Literacy.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-sOv--gnpPzk/VFJJg__RjcI/AAAAAAAAAI8/iBM8uC1yEA8/s1600/Literacy.png" height="320" width="226" /></a></div>
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<br />
The schema that Erik and I constructed has many layers and
nuances that will take a much more extended reflection to give justice to all
the aspects, but for my blog post, I want to focus on the relationship between
the negotiation of literacy practices and a person’s agency in our schema of
literacy. <o:p></o:p></div>
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I want to begin with Brandt who discusses “accumulating
literacy” and the “material and ideological surplus” that people in the 21<sup>st</sup>
century are now confronting in that accumulation and literacy; she writes,</div>
<blockquote class="tr_bq">
The piling up and extending out of literacy and its
technologies give a complex flavor even to elementary acts of reading and
writing today. Contemporary literacy learners…<i style="mso-bidi-font-style: normal;">find themselves having to piece together reading and writing
experiences from more and more spheres</i>, creating new hybrid forms of
literacy where once there might have been fewer and more circumscribed.
(emphasis mine, 651)</blockquote>
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So, here I want to focus on two aspects that will begin my
discussion negotiation and agency. First, her discussion of emerging
technologies (particularly, we might assume, digital technologies) can connect
us to Ohmann’s warning (if we might call it that) to pay attention to how
technologies, such as the computer. And second, the idea I’ve emphasized which
may get us to agency: the act of <i style="mso-bidi-font-style: normal;">piecing
together</i> seems like the important point of negotiation. This may also
connect us to Johnson-Eiola’s discussion of the composing process as assemblage
of texts. <o:p></o:p></div>
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To the first point, Ohmann gives us a warning that some
writing technologies (he discusses the computer) are commoditized by a
corporation who attach practices to the technology that enforce a dominant
ideology—a top-down model of building literacy practices; or what I would call <i style="mso-bidi-font-style: normal;">the global writing the local</i> (I’m getting
this language from David Barton). In other words, when the global literacy
practices—or the broadcasting of dominant ideals worthy of broadcasting—are
emerging from the home via personal writing technologies, we cannot allow them
to flatten our community literacy practices. Ohmann might say that the <i style="mso-bidi-font-style: normal;">local should write the global—</i>or, that
the local should preserve its literacy practices <i style="mso-bidi-font-style: normal;">alongside</i> a dominant global literacy.<i style="mso-bidi-font-style: normal;"> </i>I have two examples I want to discuss: first, in Brandt, I’m
interested in how one of her interviewees was using the radio (I cite in
length):</div>
<blockquote class="tr_bq">
So to listen to those stories of “The Shadow” or “Orson
Welles Theatre” or “Mercury Theatre.” God, you could get right in. I mean, you
could picture this whole thing going on and it was done with words. In our
neighborhood plays we would try to reconstruct that… Or if you got a little
poem that your mother wants you to read in front of them, a dozen relatives,
because they think it’s good and you want to show off. And you read this dumb
thing and <i style="mso-bidi-font-style: normal;">you realize how really limited
you are compared to Orson Welles. You were always comparing yourself to Orson
Welles</i> (emphasis mine, 657)</blockquote>
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Here, I want to raise the question over negotiation, agency,
and technology. Here is an a example, very clearly, of how the global is
writing the local: Mr. May, the interviewee, is describing how the radio
brought several dominant literacy practices to the home via Orson Welles. But
what’s important here is that instead of seeing the literacy practices as of a
different kind, he thought of it as a difference in degree: that his literacy
practices were <i style="mso-bidi-font-style: normal;">limited</i> when compared
to Orson. May, in fact, tried to emulate these Orson-Wellian practices. And I’m
sorry to say, May doesn’t seem to be an active agent in this “negotiation” (if
we want to call it negotiation) because of his passive (and almost defeatist)
surrender to those other literacy practices. If we look to the schema that Erik
and I made, we may say that the large arrow of dominant practices takes
complete precedence over the smaller arrows derived from his home-grown
practices. The top-down takes precedence over the bottom-up; the global is
writing his local. <o:p></o:p></div>
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The second example is not from our readings so I’ll be
brief. In Shane Borrowman’s <i style="mso-bidi-font-style: normal;">On the Blunt
Edge</i>, Shawn Fullmer writes in his chapter "'The Next Takes the Machine':
Typewriter Technology and the Transformation of Teaching” about how the
personal typewriter—the kind that goes into the home—was embraced by formalists
as standardizing users (students, citizens, etc) into the “proper” form.
Initially, I would be under the assumption that the typewriter, one that enters
the home, would offer users more agency because the <i style="mso-bidi-font-style: normal;">home</i> <i style="mso-bidi-font-style: normal;">literacy practices</i>
would take precedence (at least be equal to) the practices attached to it. But
from the formalist perspective (according to Fullmer), if students are
socialized to use the typewriter in the way that aligns itself with a formalist
ideology, then their practices will invade their home life. <o:p></o:p></div>
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I would argue that a <i style="mso-bidi-font-style: normal;">successful
negotiation</i> happens when a person embodies agency by <i style="mso-bidi-font-style: normal;">acknowledging and recognizing</i> that they are negotiating between
dominant and vernacular practices: that there are different literacy practices
by <i style="mso-bidi-font-style: normal;">kind </i>rather than by degree. Mr.
May, if given a typewriter and socialized with a formalist ideology, might
fully surrender to those values—to which I would say, that doesn’t look like
negotiation to me. (Bizzell discusses this question of negotiation in
teacher-student relationships).<o:p></o:p></div>
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This discussion then connects us to my last point: when
confronted with a surplus of different kinds of literacy practices, how do we
sift through and choose which ones to attach ourselves to (or align ourselves
with)?<span style="mso-spacerun: yes;"> </span>In class, we discussed how
students <i style="mso-bidi-font-style: normal;">are</i> conscious of this piecing
together of literacy practices—it may be naïve to think otherwise. However, I
would disagree: if a person is socialized to believe that the dominant is the
ultimate and proper kind of literacy, then that person is not so much piecing
together literacy practices themselves, but mirroring the dominant.<span style="mso-spacerun: yes;"> </span>Richardson would call this miseducation—“a
form of training or socialization designed for the uplift of the dominant
society, which inadvertently works to the demise of the oppressed people in the
society” (98). In other words, I’m not convinced that a person—such as a
student—automatically has agency simply because they’ve made a choice—that choice
may not be a choice at all, but a trained response. Per Burke (qua Enoch),
critical reflection allows us to bring visible those aspects of our literacy
practices and language that often operate under our radar, but dangerously
impact our lives. <o:p></o:p></div>
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We can’t enter a classroom with the assumption that students
<i style="mso-bidi-font-style: normal;">automatically</i> have agency—we,
instructors, may need to prompt our students to see literacies as being different
in kinds rather than degrees. In my experiences, students are more willing to sacrifice
a bottom-up model of building literacy practices, but through critical
reflection (Burke) we might get them to see it differently.<br />
<br />
Who I mention (Thanks to Julianna who I copy-and-pasted from):</div>
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<span style="font-family: Times, Times New Roman, serif;">Bizzell, Patricia. “Arguing about Literacy.” <i>College
English</i> 50.2 (1988): 141-153.<o:p></o:p></span></div>
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<span style="font-family: Times, Times New Roman, serif;">Brandt, Deborah. “Accumulating Literacy: Writing and Learning to
Write in the Twentieth Century.” <i>College English</i> 57.6 (1995):
649-667.<o:p></o:p></span></div>
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<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
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<span style="font-family: Times, Times New Roman, serif;"><span style="line-height: normal;">Enoch, Jessica. "Becoming Symbol-Wise: Kenneth Burke's Pedagogy of Critical Reflection." </span><i style="line-height: normal;">CCC</i><span style="line-height: normal;"> 56.2 (2004): 272-296.</span></span></div>
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<span style="font-family: Times, 'Times New Roman', serif; line-height: normal;">Fullmer, Shawn. “The Next Takes the Machine”: Typewriter Technology and the Transformation of Teaching” </span><i style="font-family: Times, 'Times New Roman', serif; line-height: normal;">On the Blunt Edge: Technology in Composition's History and Pedagogy</i><span style="font-family: Times, 'Times New Roman', serif; line-height: normal;">. Ed. Shane Borrowman. </span><span style="font-family: Times, 'Times New Roman', serif; line-height: 21px; text-align: justify;">Anderson, S.C.: Parlor Press. 2012. Print.</span></div>
<div class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; line-height: 13.85pt;">
<span style="font-family: Times, 'Times New Roman', serif; line-height: 21px; text-align: justify;"><br /></span></div>
<div class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; line-height: 13.85pt;">
<span style="font-family: Times, Times New Roman, serif;">Johnson-Eilola, Johndan. “Negative Spaces: From Production to
Connection in Composition.” <i>Computers in the Composition Classroom: A
Critical Sourcebook</i>. Eds. Sidler, Michelle, Richard Morris, and Elizabeth
Overman Smith. New York: Bedford St. Martin’s, 2007. 454-468.<o:p></o:p></span></div>
<div class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; line-height: 13.85pt;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div class="MsoNormal" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; line-height: 13.85pt;">
<span style="font-family: Times, Times New Roman, serif;">Ohmann, Richard. “Literacy, Technology, and Monopoly
Capital.” <i>College English</i> 47.7 (1985): 675 688.</span><span style="font-family: Georgia; font-size: 10pt;"><o:p></o:p></span></div>
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<span style="background-color: white; font-family: 'Times New Roman', serif; font-size: 12pt; line-height: 18.4799995422363px; text-indent: -0.5in;"><br /></span>
<span style="font-family: Times, Times New Roman, serif;"><span style="background-color: white; line-height: 18.4799995422363px; text-indent: -0.5in;">Richardson, Elaine. “’English Only,’ African American Contributions to Standardized Communication Structures, and the Potential for Social Transformation.”</span><span style="background-color: white; line-height: 18.4799995422363px; text-indent: -0.5in;"> </span><i style="background-color: white; line-height: 18.4799995422363px; text-indent: -0.5in;">Cross-Language Relations in Composition</i><span style="background-color: white; line-height: 18.4799995422363px; text-indent: -0.5in;">. Eds. Horner, Bruce, Min-Zhan Lu, and Paul Kei Matsuda. Southern Illinois Press, 2010. 97-110. </span></span><br />
<span style="font-family: Times, 'Times New Roman', serif;"><br /></span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6971582224140416499.post-23841633535802049302014-10-30T09:24:00.003-04:002014-10-30T09:26:17.225-04:00“I have nodes.” The Interconnectedness of Literacy<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-hVoOqD0a8Xg/VFI7N5GnkpI/AAAAAAAAAQk/ymaViNtZy6g/s1600/nodes.gif" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-hVoOqD0a8Xg/VFI7N5GnkpI/AAAAAAAAAQk/ymaViNtZy6g/s1600/nodes.gif" height="163" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Sorry, I saw a Pitch Perfect opportunity,<br />
and I had to take it.</td></tr>
</tbody></table>
<div class="MsoNormal" style="text-indent: .5in;">
Attempting to create a schema for
“literacy” seemed like an overwhelming task, even within the parameters of the
readings for this week. However, once Mackenzie and I started to plot out key
terms and concepts, we realized some of the subtle—and not so subtle—interconnections
between each scholar’s conceptions of literacy. We started by identifying what
we thought were broader categories: Ideologies, Multiple Literacies, and
Context Dependent. Each of these categories could be broken down into nodes to
demonstrate specific concepts and terms present in the readings. For instance,
Multiple Literacies would include Connects/Relations, Multiculturalism, Notions
of “Text,” and Orality. Subsequently, these concepts are split into more
specific key ideas. To place Johnson-Eilola, Richardson, Ohmann, Bizzell, and
Brandt on our schema, we created a symbol key. It should be noted that the
symbols are completely random; they in no way signify anything about the
scholars or the texts, besides serving as identification (i.e. We do not necessarily
“heart” Richards). The symbols populate on key terms and concepts that we felt
represent the scholars’ unique versions of literacy. We chose the format of a
mind map for our schema because it seemed best suiting to showing not only the
similarities and differences between notions of literacy, but also because it
coherently demonstrates the relationships between terms. Such a schema allows
us to create a network of literacy.<o:p></o:p></div>
<br />
<div class="MsoNormal" style="text-indent: .5in;">
It was clear to see where each of
our scholar’s contributions would fit into the larger categories, but plotting
the less apparent nuances proved more challenging. Personally, I was surprised
to see some of the ways in which these readings overlapped. <span style="mso-spacerun: yes;"> </span>For instance, we decided that a majority of
the readings, that is four, explained the issue of literacy as related to power
and control.<span style="mso-spacerun: yes;"> </span>Richardson, Ohmann,
Bizzell, and Brant all discuss how literacy is context dependent, but
specifically, how that context includes power structures. For example,
Richardson sees “English Only” as enforcing an oppressive power structure over
marginalized groups: “language as social construction and contested phenomenon,
must be policed by those who want to keep certain power arrangements in place”
(99). Furthermore, she writes that language is a medium of power and control;
teaching other languages, then, has to align with the government’s interests. <span style="mso-spacerun: yes;"> </span>Ohmann, too, discusses power and control,
although his argument focuses mainly on class and economic power rather than
political power. Ohmann’s point of view on the context of power and control
cannot be separated from ideology. He identifies several at work in his
article, but points mainly at technological determinism and monopoly
capitalism. Ohmann writes, “Thus, our ‘age of technology’ looks to me very much
like the age of monopoly capital, with new channels of power through which the
few try to control both the labor and the leisure of the many” (684). For
Ohmann and Richardson, understanding literacy practices means understanding the
underlying power structures at work. <o:p></o:p><br />
<br /></div>
<div class="MsoNormal" style="text-indent: .5in;">
Another point of interconnection we
saw was that of literacy being context dependent. Richardson states, “language
must be evaluated in the context of use and only makes sense when studied in
the context of social and cultural practices of which it is but part” (105).
She goes on to explain that literacy is a social practice that is closely
related to identity and knowledge making. Ohmann similarly writes, “Technique
is less important than context and purpose in the teaching of literacy; and the
effects of literacy cannot be isolated from the social relations and processes
within which people become literate” (687). In other words, literacy must be
taken within the context of the political and class structures at work. For
Johnson-Eilola, the context is mainly social. Literacy is a social act, and
authorship is often multiple and dynamic outside of the classroom.
Johnson-Eilola claims that our literacy practices represent a contradiction: “While
we espouse social construction and cultural studies, we continue to position
students as lone individuals struggling to bring forth ‘original’ texts” (461).
For these scholars, the contexts surrounding literacy are not clean cut and
defined. As aforementioned, for Ohmann, political power is inseparable from
ideology. For Johnson-Eilola, literacy as a social practice is inherently
related to the idea of multiple literacies. For Richardson, channels of power
and control inevitably bring up multiple literacies and the concept of cultural
literacy. Because of all these interconnections, we felt that linking nodes
might be the best way to represent the complex network of literacy.<br />
<br /></div>
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Overall, the schema was helpful for
making connections between the various ideas about literacy that have been
circulating. Moreover, I think it allowed me to see, at least some, of the
literacy practices and thinking that we have inherited and integrated into our
educational system thanks in particular to Ohmann, Richardson and
Johnson-Eilola. We did run into some challenges, though. Some of the readings
didn’t explicitly mention literacy, and it was up to us to sort of extrapolate
how their articles may have arisen from certain literacy concepts or practices.
Furthermore, we felt that sometimes our arrangement and selection was
reductive. For example, a good sampling of the authors discuss the idea of
multiple literacies, but they do so with varying intentions and definitions of
multiplicity. We hope that our schema represents this at least somewhat
accurately. Finally, I worry that while we may have “schematized” literacy for
the scholars represented, the nodes we have chosen may not apply to literacy as
discussed by other scholars and theorists.<o:p></o:p></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6971582224140416499.post-15023041129363401722014-10-29T19:54:00.001-04:002014-10-29T19:54:22.363-04:00Constellations of Literacy: Mapping Meaning, Materiality, and Technology <div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">In
schematizing literacy, Netty and I resisted the urge to flatten this “turn” by
mapping the various constellations or variants of literacy we see circulated
within Rhet/Comp scholarship. The four major categories we chose to map were “Academic
Literacies,” “Cultural Literacies, “Cognitive Literacies,” and “Literacies, Technology,
and Materiality.” “Literacy” as a broad category is centered on the map to indicate
how these different subcategories grow out of one concept. The authors from our
readings are mapped in green, while miscellaneous scholars we see as integral
to this conversation are mapped in tan. While our efforts center mostly upon
our urge to locate this week’s readings in relation to these different types of
literacy, we also wanted to provide a larger backdrop for the discussion to
further prevent the term from being flattened and to indicate that our mapping
is not entirely exhaustive. We realized from the outset that categorizing these
theorists was somewhat reductive, even in instances where we show them
connected to various types of literacy. However, we still seek to emphasize the
overarching focus of each theorist’s exigence, although we realize that this
effort of connection might, simultaneously, manifest itself as a cessation of
sorts. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">To
further explicate our categories, we chose Academic Literacies to serve as a
broad marker for a debate that we see paralleling discussions of English Only
and Students Rights to Their Own Language. Bizzell establishes academic
literacy as “more pluralistic than that enforced at the turn of the century,”
yet we still think this term is useful for establishing the standards of
academic discourse as it is still understood within the field. We position both
Bizzell and Richardson as our representatives of this category, out of all the
other theorists from this week, because they most clearly illustrate the
hegemonic nature of language, but also illuminate the ideologies that undergird
these standardizing means of knowledge-making. Richardson writes, for instance,
“The standardized language ideologies underlying English Only run counter to
the spirit of cultural, linguistic, and human diversity and reveal a preference
for a certain type of ‘naturalization’ of immigrants and an ideal type of
assimilated African American and other ‘minority’ American groups” (97).This
issue of academic literacy, its attendant standardizing and flattening effects,
clearly provides impetus for our other subcategory of cultural literacies. Therefore,
including this particular offshoot of academic literacy on our map better
illustrates the need of the other categories, which arise within scholarship as
either a reaction to or a variant of pre-existing ones. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">We
also connect Bizzell and Richardson topically to Cultural Literacy for these
reasons, but we also include Ohmann and Brandt within this category, because we
see them taking up the issue of cultural literacy in ways that seemed different
than Bizzell and Richardson. While it’s true that Richardson discusses the
agentive nature of literacy (particularly its hegemonic function within
society), Ohmann describes this agency as socially networked, cooperative, <i>and</i> conflictive – a much richer and
dynamic way of viewing literacy. He writes, for example, “Like every other
human activity or product, [literacy] embeds social relations within it. And
these relations always include conflict as well as cooperation. Like language
itself, literacy is an exchange between classes, races, the sexes, and so on”
(685). Placing the concept of literacy within a cultural framework, for Ohmann,
means acknowledging its dialectical and recursive nature. Similarly, Brandt’s
theory of accumulating and residual literacy echoes Ohmann’s spatial and
cyclical discussion of literacy. While Ohmann speaks of the top-down effect
(677), Brandt also provides us with a spatial representation of literacy
through her rendering of horizontal and vertical effects (652). We also hear
echoes of Richardson’s focus on ideology in Brandt’s discussion of cultural
literacy: “However, because changes in the twentieth century have become so
much more rapid, the ideological texture of literacy has become more complex as
more layers of earlier forms of literacy exist simultaneously within the
society and within the experiences of individuals” (652). But what cements
Brandt more solidly to this category is her acknowledgment that these residual cultural
constructions inherent in literacy represent barriers <i>and</i> resources for learners. In addition, her discussion of literacy
as culturally situated opens up spaces to discuss more micro subcategories of
literacies that always operate concurrently but separately: home-based and
school-based literacies. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Our
toughest challenge in constructing our schema was determining which title we
would give to “Literacies, Technology, and Materials.” The title in this final
revision is supposed to reflect these particular theorists’ focus on the material
accessibility of literacy. Ohmann, Brandt, and Johnson-Eilola most clearly fell
into this category, for us, because their arguments forward a line of
argumentation that poises materiality at its center of the literacy discussion.
Brandt writes that “It is through such material channels that literacy
traditions of previous times appear in the present and that formal education
accumulates as a resource in middle-class and working-class households” (660). We
also see this idea of materiality in Ohmann’s discussion of technological
determinism and symptomatic technology (681). And we can see Ohmann’s
connection between these two categories in his claim that “Technology, one
might say, is itself a social process, saturated with the power relations
around it, continually reshaped according to some people’s intentions” (681).
In this way, Ohmann most distinctly moves us between these two categories of “Cultural
Literacy” and “Literacies, Technology, and Materials,” because he emphasizes
the need for accessibility of material technologies, which contributes to circulating
discussions of how ideology and politics work together to forward a hegemonic
function of language. His article also focuses more exclusively upon issues of
literacy with material modes. While we see Ohmann as discussing literacy with
material modes, we see Johnson-Eiola as discussing literacy with multiple
relationships with texts, as well as modes. We see this through his discussion
of <i>connection</i>: “Viewing connection as
creative act places emphasis on selection and arrangement. Traditional ideas of
text, to which we still cling, identify writing with positive objects: this
text as distinguished from all others. The relations between texts are taken to
indicate both similarity and difference […]” (462). Furthermore, Johnson-Eilola
extends this discussion of space and materiality into the social, writing that
this view of literacy can “help us transform our notions of space from
something owned to something that is shared by a community; thus texts become
social (ethical) responsibilities” (462). <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Finally,
we wanted to at least acknowledge the cognitivist approach to literacy, although
it isn’t proffered as a guiding light within this week’s readings. We clustered
a few theorists around this category to continue with our efforts of
unflattening literacy as a concept, as well as highlighting what a malleable
and all-encompassing term “literacy” is. We can see Bizzell most directly
taking up the cognitivist debate, though she certainly doesn’t align herself
with its tenets. She writes of Hirsch’s position, “His argument for the
cognitive superiority of a clear, concise style of Standard English, like the
humanists’ argument for the cognitive characteristics of literate style, fails
to notice that this style is socially situated” (145). Therefore, by including
cognitive literacy on our schema, we hope to draw attention to how these other
theories of literacy which we see circulating are all located in conversation
with one another and grow out of one another in response to the limitations and
reductions of a monolithic conception of literacy. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Works
Cited<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Bizzell,
Patricia. “Arguing about Literacy.” <i>College
English</i> 50.2 (1988): 141-153. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 0.0001pt 0.5in; text-indent: -0.5in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Brandt, Deborah.
“Accumulating Literacy: Writing and Learning to Write in the Twentieth Century.”
<i>College English</i> 57.6 (1995): 649-667.
<o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 0.0001pt 0.5in; text-indent: -0.5in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Johnson-Eilola,
Johndan. “Negative Spaces: From Production to Connection in Composition.” <i>Computers in the Composition Classroom: A
Critical Sourcebook</i>. Eds. Sidler, Michelle, Richard Morris, and Elizabeth
Overman Smith. New York: Bedford St. Martin’s, 2007. 454-468. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 0.0001pt 0.5in; text-indent: -0.5in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Ohmann, Richard.
“Literacy, Technology, and Monopoly Capital.” <i>College English</i> 47.7 (1985): 675-688. <o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0.0001pt 0.5in; text-indent: -0.5in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Richardson,
Elaine. “’English Only,’ African American Contributions to Standardized
Communication Structures, and the Potential for Social Transformation.” <i>Cross-Language Relations in Composition</i>.
Eds. Horner, Bruce, Min-Zhan Lu, and Paul Kei Matsuda. Southern Illinois Press,
2010. 97-110. <o:p></o:p></span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6971582224140416499.post-7577756750630532712014-10-29T18:13:00.001-04:002014-10-29T18:13:07.873-04:00The Wheel of Literacy, Pt. 2: Remediating the Gate<div class="MsoNormal">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">This exploratory
gave Charise and I some trouble on two interrelated fronts. First, rather than
visualizing a concept in relation to one reading, we were visualizing a concept
as articulated by a handful of theorists, which led us to seek out a number of
different threads that run through most of these readings. Second, once we had
articulated some of these threads, we struggled with choosing the best visual
metaphor to encapsulate them. We considered a spectrum of different views of
literacy, where something like Foundationalism would be one extreme and
socially situated views of literacy in the center; however, we couldn’t really discern
what the other extreme of literacy might be from our readings, since literacy context(s)
is so important to each of the articles. We also discussed the possibility of
making a network or web of ideas, showing how key terms are configured and
reconfigured by the authors. In grappling how we would unify these readings in
a network, we were drawn to Johnson-Eilola’s quotation positioning us as
composers at “the nexus connecting an apparently infinite number of social and
technological forces…” (454). In a moment of inspiration, we decided to center
our schema around this quotation.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Although
Johnson-Eilola is only talking about a single literate practice—writing—we felt
that it encapsulates the views of literacy, or literacies, in the articles. As
such, we placed this quotation at the literal nexus of our circular schema,
with each wedge of this circle representing the social and technological forces
that contribute to literacy. We designed the borders separating each of these
wedges to be dotted rather than solid to show the permeability of these sections,
illustrating how these factors often collude and contribute to one another. In
each of these sections, we placed smaller sub-terms we felt helps illustrate
some of this permeability. For example, Bizzel’s treatment of foundationalism
and Richardson’s critique of English-Only illustrate how certain literacies can
be wielded as power of entry into a particular discourse community. Closely
related to this, literacy may be a resource that is granted or denied to demographic
groups in order to keep them docile, or the primary commodity of an information
economy, giving rise to symbolic-analytic work, as seen in Ohmann and Johnson-Eilola.
And of course, as our culture develop new forms of literate practice, we see
them both accumulate and draw upon the residual forms that came before them.
These brief examples of overlap helped us see how these aspects of literacy are
intertwined and create an intertext among our materials this week.<o:p></o:p></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">I’m really glad
that we discussed the idea of gatekeeping in class on Tuesday because it
presented literacy in a way that I’m familiar with but with a different frame
of reference. I had often thought about literacy in a Marxist/cultural
studies/multicultural kind of way—focusing on literacy as power or denigrating
to groups through dominant representations—but had never explicitly made the
connection to the legitimizing powers of institutions like academic discourse. I
responded to Dr. Graban’s comment in particular that a type of literacy must be
legitimized in some form or fashion, and it made me think of the interaction
between literacy technologies and FYC. Since rhet/comp has continued to produce
knowledge related to multimodality and digital composing, we are part of that legitimizing
structure as we bring assignments like remediation into our classrooms,
allowing our students to use literacies they already have for new purposes,
primarily academic ones. Its very interesting to me how we are beginning to
capitalize on our students’ accumulated literacies in order to foster new ones
in the classroom through something like remediation, because literacy almost
always relies on a fluidity between accumulated and residual literacies, much
in the way Bolter and Grusin’s theory of remediation posits that residual and “new”
media appropriate one another in their processes of development. The fluid dialectic
between forms of literacy, students, cultures, and technology exemplifies how literacy
is dependent on a number of different factors, as we tried to illustrate in our
schema.</span><span style="font-family: Times New Roman;"><o:p></o:p></span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6971582224140416499.post-57022963726615769572014-10-29T13:32:00.001-04:002014-10-30T00:42:56.511-04:00The Wheel of Literacy: "Weights, strengths, and directions"<div class="MsoNormal">
<span style="font-family: Times;">The first step that Travis
and I took when trying to create our schema was coming up with a mutual
definition for the term, “literacy”.<span style="mso-spacerun: yes;"> </span>By
establishing a concrete definition of “literacy”, we were able to create multiple
connections between literacy and the external factors that support the
definition.<span style="mso-spacerun: yes;"> </span>Johndan Johnson-Eilola
describes the supporting elements of literacy as “social and technological
forces of varying weights, strengths, and directions,” and it is this
description that grounds our schema and defines the direction that we went in,
in terms of our choice of key words and the connections between them
(454).<span style="mso-spacerun: yes;"> </span>While the overall configuration
of our schema was inspired by Elaine Richardson’s application of the
center-periphery model, we were able to structure the schema in order to
synthesize the texts and demonstrate the main components of literacy (97).<o:p></o:p></span></div>
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<span style="font-family: Times;">As challenging as it was to
establish the connections among all five texts, it became evident that there are
five key terms that are responsible for creating Johnson-Eilola’s explanation
of “literacy”.<span style="mso-spacerun: yes;"> </span>Deborah Brandt lends the
idea of accumulating literacy as “piling up” and “spreading out” of text and
information, which integrates technology and acts as a mobile channel for
distribution of literacy (652).<span style="mso-spacerun: yes;"> </span>The
social influence of literacy, mainly coined as “Identity”, encompasses Elaine
Richardson’s argument that “language is structure and use…used systematically
by human beings and are governed by our culture, social practices, and
conditions under which we are communicating” (101). Concurrently, the term “identity”
is integrated by Richard Ohmann’s description of literacy as “an activity of
social groups, and a necessary feature of some kinds of social organization”
(685).<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: Times;">A common thread between the
readings was the discussion of the introduction of technology in composition
and how technology is altering the definition of literacy from a former belief
that is rooted in a more traditional viewpoint.<span style="mso-spacerun: yes;">
</span>We wanted to demonstrate this significance by pairing the implementation
of technology with “symbolic-analysis,” as introduced by Johnson-Eilola
(459).<span style="mso-spacerun: yes;"> </span>Patricia Bizzell discusses
“foundationalism” and the lengths one must take to avoid the “foundationalism
of humanist literacy work,” which is represented by the “Gatekeeping” category
(148).<span style="mso-spacerun: yes;"> </span>The influence of the changing
definition of “literacy” is also in response to Ohmann’s integration of market
forces, such as mass media and public education. He connects this concept with
technology and cultural identity when asking, “Isn’t the functional literacy
rate just about what you’d expect, given how schooling relates to the needs and
life chances of the working class? Shouldn’t we expect similar results in
computer literacy?” (686).<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: Times;">Demonstrating the
relationship that these terms have with the evolving definition of literacy
assist in creating a conversation between Johnson-Eilola, Bizzell, Ohmann,
Richardson, and Brandt. <span style="mso-spacerun: yes;"> </span>Representing equal
importance and influence that these terms have on defining “literacy” was vital
in the creation of our schema, thus allowing us to expand on the existing
notion that literacy is an ever-changing concept. <o:p></o:p></span><br />
<span style="font-family: Times;"><br /></span>
<span style="font-family: Times;"><br /></span>
<span style="font-family: Times;">Works Cited</span><br />
<span style="font-family: Times;"><br /></span>
<span style="font-family: Times;">Bizzell, Patricia. “Arguing about Literacy.” College English 50.2 (1988): 141-53.</span><br />
<br />
Brandt, Deborah. “Accumulating Literacy: Writing and Learning to Write in the Twentieth Century.” College English 57 (1995): 649-68.<br />
<br />
Johnson-Eilola, Johndan. “Negative Spaces: From Production to Connection in Composition.” Literacy Theory in the Age of the Internet. Ed. Todd Taylor and Irene Ward. New York: Columbia UP, 1998. 17-33. Rptd. in Computers in the Composition Classroom: A Critical Sourcebook. Ed. Michelle Sidler, Richard Morris, and Elizabeth Overman Smith. New York: Bedford/St. Martin’s, 2007. 454-468.<br />
<br />
Ohmann, Richard. “Literacy, Technology, and Monopoly Capital.” College English 47.7 (1985): 675-89.<br />
<br />
Richardson, Elaine. “‘English-Only,’ African American Contributions to Standardized Communication Structures, and the Potential for Social Transformation.” Cross-Language Relations in Composition, eds. Bruce Horner, Min-Zhan Lu, and Paul Kei Matsuda. Carbondale: Southern Illinois UP, 2010. 97-112.<br />
<br /></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6971582224140416499.post-11912846534545893852014-10-02T11:34:00.002-04:002014-10-02T11:34:38.814-04:00<div class="MsoNormal">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Walking
away from the “build-a-tool” assignment, I think it helped me to expand the preconceptions
I had about cognitivism coming into the course. I would still position myself
far away from Flower and Hays’ 1981 article, but I was at least able to
understand a little better what was at stake in the process/cognitive debate;
in doing so, I can now see some value in what Flower and Hays offered the field
in ’81 and how cognitivism can be used to build toward a pedagogy when put in
dialogue with other theories (a la Carter). Upon re-reading Flower and Hays
this week, I realized there were three different kinds of “processes” at play:
the stage theory “process” like tagmemics, Flower and Hays’ recusive cognitive
“process(es),” and the third provided my me: my conception of “process” as we
know it in the field: composition as recursive stages, influenced by the
interplay between internalized past experiences and external social forces. It
was my own fault that I came to the readings this week with this notion because
I assumed “process” had come to use pre-formed in the way I (we?) use it today;
but now I’m seeing this process/cognition debate as somewhat of a Kuhnian pre-paradigm
debate, in which we had two camps presenting their theories of writing and
learning and each was trying to gain adherents through the journals. What we
have now is a synthesis of the two—at the very least that while we might think
of writing as coming in “stages,” we recognize recursivity, and we don’t think
that writing comes soley from the individual writer and a “monitor”—a synthesis
attempted by Carter in his “The Idea of Expertise.”<o:p></o:p></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Carter
attempted to give us the best of both words, as it were. On the one hand, he
acknowledges that we do need some starting principles to work with, his idea of
general knowledge, on the other he pairs it with context-centered experiential learning
that allows students to become specifically trained in a discipline through a
“cognitive apprenticeship.” I like this idea, and I think its remarkably
similar to what we do with WAC/WID, but I found a fault with the apprenticeship
being four years—meaning, while Carter acknowledges we need some general
knowledge in FYC, he doesn’t do much to point us in the direction of what that
general knowledge might be. I’m absolutely for a student becoming accustomed to
a discipline through his/her college career; that’s kind of the point. We see
an advocating for heuristics, but what kind of heuristics? Looking at it from
2014, I can’t help but think about how Writing about Writing might be the answer
Carter was looking for. As so many WAW advocates ask, why shouldn’t we be teaching
the materials of our discipline, the ways we understand composition today? We
saw that in Irmscher’s article for this week, where his department dropped
classes that didn’t teach the material of the field, giving so many antagonists
grounds to dismiss FYC and Rhet/Comp broadly (240). Were we to adapt the
cognitive apprenticeship model (and I think we have), we need to start students
off with a grounded knowledge of not only <i style="mso-bidi-font-style: normal;">how</i>
to write, but also <i style="mso-bidi-font-style: normal;">what writing is</i>.
Introducing students to writing processes, genre, and digital composing spaces
gives them a way to see their future writing tasks through these lenses, which
can be accomplished by giving our students some theory to work with. However, I
think we might be hampered by some tinges of expressivism here; I get the sense
we feel like we can’t give our first-year students our theory unless severely
watered down and we moreso need to focus on skills-based or voice-based
writing. Not only would such a course introduce students to an apprenticeship
in R/C, but it will prepare them to take on the cognitive apprenticeship of
their choosing.</span><o:p></o:p></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6971582224140416499.post-33363460961305080802014-10-02T11:25:00.002-04:002014-10-02T11:25:48.014-04:00City Map to World Map: Putting Concepts in ContextLike Mandy, I've been struggling to see the connections and bigger picture behind our readings, and--again like Mandy--I found creating a map for this project helped me begin to draw those connections more clearly. Mackenzie and I chose to create an interactive map based on key terms. Like a prezi, our tool would zoom in and out to view connections, helping us to see key points on a macro level and then zoom in to see more specific key terms and concepts connected to and subsumed by the larger concepts. As we started to chart out some of the main themes we saw running through the readings this week, I began to see not only how these theorists worked together to present a turn toward cognition and student power but also the ways in which they interacted with themes we've been identifying throughout the semester. <br /><br />Mandy identifies "evaluation" as one idea linking several of the readings this week, and for the concept map Mackenzie and I drew, that was subsumed under "learning climate," the way several theorists this week offered ways this turn to cognition plays into the composition classroom. One theme Mackenzie and I highlighted was the idea of writing as knowledge or writing as learning--a discussion many of the theorists this week either actively engage in or at least touch on. Irmscher echoes Burke that knowing is an action rather than a state, and claims writing as a generative act of knowing, "learning in action" (241). Writing is an act of abstraction, Irmscher claims, and through abstraction we create meaning (243). Murray, too, presents composition as an act of knowledge creation, at least on the level of student perception, when he describes how students must engage with the world critically as they write, reacting and collecting information (119). Olson's discussion of the "rhetoric of assertion" suggests that not only can writing create knowledge, it can also close off and prevent further creation and exploration of knowledge through claims of objectivity and refusal of other perspectives (10). Olson posits instead a view of writing as knowledge making that creates a continuing dialogue of questions without hard, sure answers (13). <br /><br />Though situated as part of the turn to cognition we identified this week, these theorists also engage themes that recur throughout our readings over the course of semester. The question "how is writing connected to knowledge?" appears in readings as far back in the semester as Berthoff and Brummet, and weaves throughout and underlies the assertions and questions of theorists each week, such as Kinneavy and Moffett. While organizing the ideas of this week's readings into several main themes helped me understand the turn to cognition better, it also helped me place these readings and their ideas within the larger field of composition theory. I can imagine our interactive map of the turn to cognition as part of a much larger conceptual map tool to visually represent many more theories of composition.<br />
<span style="font-size: x-small;"><br /><br />Works Cited:</span><br />
<span style="font-size: x-small;">Irmscher, William F. “Writing as a Way of Learning and Developing.” CCC 30.3 (Oct. 1979): 240-44.</span><br />
<span style="font-size: x-small;">Murray, Donald M. “Finding Your Own Voice: Teaching Composition in an Age of Dissent.” CCC 20 (1969): 118-23.</span><br />
<span style="font-size: x-small;">Olson, Gary A. “Toward a Post-Process Composition: Abandoning the Rhetoric of Assertion.” Post-Process Theory: New Directions for Composition Research. Ed. Thomas Kent. Carbondale: Southern Illinois UP, 1999. 7-15</span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6971582224140416499.post-13481253852683765482014-10-02T11:22:00.004-04:002014-10-02T12:46:03.307-04:00Keyword: ExpertiseJulianna and I looked to construct a tool that would not necessarily showcase or clearly exhibit theoretical turns in the discussions of process and cognition, but would serve as a tool to help students and researches construct their own compass to help navigate them through various articles, authors, and theorists their contributions to the discourse being shared. By using our tool, the texts included in our archive would be made available for tracing, comparing, and discovery. Rather than simply organizing the texts by topic, our search feature allows researches to choose their own line of inquiry based on the concepts, keywords, or features they choose. We chose this method to afford researchers more autonomy in their research methods that would help foster learning by way of doing rather than simple reception.<br />
<br />
Similar to how we look to create intertextual conversations in theories of composition classroom, we looked to create a tool that would provide a space for researchers to place various texts next to one another in order to find and navigate a conversation of concept and theory, even if at surface the texts chosen do not seem to operating within the same discipline. Because our field encompasses various disciplines and the theories that posed in those disciplines, we wanted to create a space that would do the same and operate under the same methodology. Our tool looks to help researchers create their own guide into creating intertextual conversations in order to find and discuss theoretical turns in seemingly differentiated and divergent discourses and discourse communities. By positioning these texts alongside one another, scholarly discussions can be found or posited to be discovered. As we can see in our texts concerning cognition and process, we can see the influence of the authors' various research methods and knowledge from other disciplines outside of just composition or pedagogy. Using our tool, researches are able to identify these influences and look to examine how these authors are adding to the discourses for many of other discourse communities rather than just that of which they are positioned within.<br />
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We want our tool to be utilized not only to find points of intersection between authors, texts, and theories, but also to position these texts next to one another in order to raise questions based on the assumptions made and conclusions drawn within the texts and how one may respond, diverge, correspond, or negotiate with another. For instance, while Flower and Hayes may look to respond to questions about the writing process and answering the question, "what then are the criteria that govern that choice?" ("A Cognitive Process Theory of Writing<i>"</i>; 365) their conclusions are later critiqued and responded to by authors like Olson who says that theories like that of Flower and Hayes have limitations in that they imagine the writing process in a certain way that can apply to all writing situations (7). While Olson generalizes authors that assume this, it can be asserted that Flower and Hayes are included in his generalizations. While our tool can be utilized to exhibit these types of conversations, we hope that it can be used to go beyond just that. We hope that with our "field" search tool, researches are able to see where it is that the authors featured in our archive conduct most of their research and from what discipline do we see them position themselves. To refer to the above examples and authors, Flower and Hayes could be identified as cognitive theorists, while Olson can be found in disciplines concerned with composition and pedagogical studies.<br />
<br />
One of the many reasons that we constructed our tool in this way was to create the type of <i>expertise</i> and follow the model set out by Carter in his "The Idea of Expertise: Exploration of Cognitive and Social Dimensions." By placing students within the community by using our tool, we hope to help student-researchers build both their local and general knowledge in order to attain a level of expertise. Local knowledge, as described by Carter, is "constituted by a community and that writing is a function of a discourse community" (266). Additionally, by supporting student-researchers in their acquisition of general knowledge, we hope to provide students guidance, means to acquire local knowledge, offer strategies to help perform in related domains and for solving atypical problems. We look to follow Carter's pluralistic theory of expertise in our tool's design and features. By offering students the tools to create their own success, the student has autonomy in attaining the aspirations for becoming a member and contributing to various discourse communities.<br />
<br />
Carter, Michael. "The IDea of Expertise: An Exploration of Cognitive and Social Dimensions of Writing." CCC 41.3 (Oct. 1990): 265-86.<br />
<br />
<span style="background-color: white; color: #262626; font-family: 'Times New Roman'; font-size: 16px; line-height: 22px; text-indent: -48px;">Flower, Linda, and John R. Hayes. "A Cognitive Process Theory of Writing." </span><i style="background-color: white; color: #262626; font-family: 'Times New Roman'; font-size: 16px; line-height: 22px; text-indent: -48px;">CCC </i><span style="background-color: white; color: #262626; font-family: 'Times New Roman'; font-size: 16px; line-height: 22px; text-indent: -48px;">32.4 (Dec. 1981): 365-387. </span><br />
<span style="background-color: white; color: #262626; font-family: 'Times New Roman'; font-size: 16px; line-height: 22px; text-indent: -48px;"><br /></span>
<span style="background-color: white; font-family: 'Times New Roman', serif; font-size: 16px; line-height: 22px; text-indent: -48px;">Olson, Gary A. “Toward a Post-Process Composition: Abandoning the Rhetoric of Assertion.” </span><i style="background-color: white; font-family: 'Times New Roman', serif; font-size: 16px; line-height: 22px; text-indent: -48px;">Post-Process Theory: New Directions for Composition Research. </i><span style="background-color: white; font-family: 'Times New Roman', serif; font-size: 16px; line-height: 22px; text-indent: -48px;">Ed. Thomas Kent. Carbondale: Souther Illinois UP, 1999. 7-15.</span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6971582224140416499.post-62962030757235749142014-10-02T10:50:00.002-04:002014-10-02T10:50:51.140-04:00The relationship between process theories and cognitive theories--and methodologyThe research tool that Travis and I made really fell into place smoothly once we had a synthesized vision about how we would represent the turn itself, but this latter discussion about representation definitely took some parsing out. <div>
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One discussion we had was questioning <i>what are we turning from in the cognitive turn? </i>We felt that we had two options in representing the cognitive turn: (1) we could focus solely on the emergence of cognitive perspectives without nodding toward a specific point of departure, but mapping out how this turn caused a trajectory; or (2) we do focus on two paradigms (philosophies? axioms?) that are in conversation with one another--this latter idea would then show the antecedents that lead us to a turn toward the cognitive. And we identified with this latter idea as being more effective: we beleive it is, in fact, important to represent the antecedents to know where the turn was headed. As Dr. Yancey might say: we need to look back before we move forward. But again, we needed to know what we were turning away from. </div>
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The syallbus gave a hint toward this: as the title of this weeks readings suggests, "from Process to Cognition", the turn might be seen as between <i>process</i> and <i>cognition</i>. But then a few other questions arise: what is the relationship between process and cognition? If we discuss the cognitive turn as a <i>turn</i> then the metaphor suggests that a new path, approach, trajectory is being charted out--the key word here being "new" or, rather, distinctive. But distinctive in what sense? Does the cognitive turn from a process theory of writing toward non-process theories of writing? Or is the cognitive turn still contained within the overarching idea of process, but is a difference in degree rather than kind. </div>
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Based on this weeks readings, there's evidence that suggests both (though I'm willing to buy one over another:</div>
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Flower and Hayes are explicit in their departure from (traditional) process theorists who theorize models in stages: they specifically allude to Rohman's Pre-Write/Write/Re-Write model and Britton et al's Conception/Incubation/Production model. As they explain, the metaphor of stages implies that these are discrete, distinct stages that happen linearly; however, a cognitive model allows for more recursivity via the monitor--each stage bleeds into one another and can be occurring in different orders and simultaneously. Even more (and this next part I'm basing off my memory of the book we sifted through in class) Chris Anson gave us a visual where he put pre-process theories on one end and process theories on the other end. I don't quite know the specifics, but several aspects of pre-process theories that Anson offers might align with the cognitive model. </div>
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But even as I outline these two points, the analysis is problematic: I'm attempting to find evidence about how a cognitive model is <i>not</i> or <i>in opposition</i> to process theories, but that's not necessarily true. In Flower and Hayes departure from Rohman/Britton, they are actually re-defining process rather than departing or turning away from it.</div>
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But then this conversation may be missing the point completely: maybe comparing process to cognition is not as productive as a different conversation. I'm still drawn to the idea that the cognitive turn, at it's basis, was a turn in research methodologies. A perceived literacy crisis was being promoted and to respond to criticism that comp theory was based on classroom lore, we borrowed the research methods from a social science to ground our theory in logical, sound methodology. And <i>through the methods</i> we were able to redefine composition and (in turn) process theories. A different methodology can re-define the conversations and I think that's what the cognitive turn was. Not walking away from process, but redefining it through methodology. </div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6971582224140416499.post-7547645342342520762014-10-02T09:11:00.000-04:002014-10-02T09:18:56.150-04:00@Process / @Cognition -- Plans for an Annotated bibliography<div class="MsoNormal">
<span style="font-family: Times, Times New Roman, serif;">Erik and I chose to create an annotated bibliography for <a href="https://docs.google.com/document/d/1U2Em3D36iyXvrKZvRJjzLFyILc57Ir4Fc4GOcc4OuPQ/edit?usp=sharing">our Build-A-Tool</a>. When I read about this assignment, I had visions of magical
infographics and a dancing Prezi presentation, but these ideas weren’t
confronting the ideas straight-on—they were the equivalent of walking into the
art supply store, and feeling as though you are going to start painting right
there in the store aisles—being overwhelmed with possibility. <o:p></o:p></span></div>
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<a href="http://1.bp.blogspot.com/-b5-Pk8bMwPc/VC1OP529NHI/AAAAAAAAB70/q8Sm8Ukyaa0/s1600/hashtag-thumb.gif" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-family: Times, Times New Roman, serif;"><img border="0" src="http://1.bp.blogspot.com/-b5-Pk8bMwPc/VC1OP529NHI/AAAAAAAAB70/q8Sm8Ukyaa0/s1600/hashtag-thumb.gif" height="122" width="200" /></span></a><span style="font-family: Times, Times New Roman, serif;">We chose to create an annotated bibliography and wanted to
include some of the keywords from the grid that we had been doing. Erik brought
up the concepts of hashtags and I remembered a similar model that I had seen
involving the <a href="http://www.ncte.org/journals/rte/biblios">RTE annotated bibliographies</a> that I had seen in a previous
graduate level course. The <a href="http://www.ncte.org/journals/rte/biblios">RTE annotated bibliographies</a> make use of hash tags
so that a user can search for articles via topic. We decided that these
hashtags could also be used to demarcate theoretical turns. That work would
require some serious intellectual heavy lifting, but if an individual were to
undergo such a project, a lot of insight could occur for future scholars. <o:p></o:p></span></div>
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<a href="http://4.bp.blogspot.com/-Knx8JyBB7EU/VC1OWhkIQBI/AAAAAAAAB78/0FWUVJo3Ch4/s1600/at-sign.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: Times, Times New Roman, serif;"><img border="0" src="http://4.bp.blogspot.com/-Knx8JyBB7EU/VC1OWhkIQBI/AAAAAAAAB78/0FWUVJo3Ch4/s1600/at-sign.jpg" height="200" width="200" /></span></a><span style="font-family: Times, Times New Roman, serif;">Erik suggested the addition of the “@” symbol to demarcate
direct conversations between articles, and that addition is another aspect that
distinguishes our tool from the <a href="http://www.ncte.org/journals/rte/biblios">RTE bibliographies</a>. Additionally, since the @
symbol is well known, users would understand the relationship implied without a
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understanding of those texts.<o:p></o:p></span></div>
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<span style="font-family: Times, Times New Roman, serif;">In doing “the work” for this type of project, the builder of
the tool would really have to think intertextually, especially when bringing in
articles that are part of the conversation but may not seem so at first like
that of Kinneavy. I also considered bringing in non-academic articles such as
“<a href="http://disdblog.com/wp-content/uploads/2012/12/sheils_johnnycantwrite.pdf">Why Can’t Johnny Write</a>” by Merrill Sheils published in Newsweek in 1975 and articles about
the advent of open admissions in the 1970’s, which Mina Shaughnessy does
discuss, as these were real world forces that may have been driving the turn
away from process pedagogy and towards theories of cognition. <o:p></o:p></span><br />
<span style="font-family: Times, Times New Roman, serif;"><br /></span>
<u><span style="font-family: Times, Times New Roman, serif;">Works Referenced</span></u><br />
<div class="p1">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div class="p1">
</div>
<div class="p1">
<span style="font-family: Times, Times New Roman, serif;">Kinneavy, James L. “The Basic Aims of Discourse.” <i>College Composition and Communication </i>20 (1969): 297- 304.</span></div>
<div class="p1">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div class="p1">
<span style="font-family: Times, Times New Roman, serif;"><span style="background-color: white; color: #222222; line-height: 16.1200008392334px;">Shaughnessy, Mina P. "Open admissions and the disadvantaged teacher."</span><i style="background-color: white; color: #222222; line-height: 16.1200008392334px;">College Composition and Communication</i><span style="background-color: white; color: #222222; line-height: 16.1200008392334px;"> (1973): 401-404.</span></span></div>
<div class="p1">
<span style="font-family: Times, Times New Roman, serif;"><span style="background-color: white; color: #222222; line-height: 16.1200008392334px;"><br /></span></span></div>
<div class="p1">
<span style="font-family: Times, Times New Roman, serif;"><span style="background-color: white; color: #222222; line-height: 16.1200008392334px;">Sheils, Merrill. "Why Johnny can't write." </span><i style="background-color: white; color: #222222; line-height: 16.1200008392334px;">Newsweek</i><span style="background-color: white; color: #222222; line-height: 16.1200008392334px;"> 92.8 (1975): 58-65.</span></span></div>
</div>
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