Introduction and Acknowledgments

TEXT

Jen Webb reviews Julia Prendergast’s Bloodrust; Kevin Brophy reviews Paul Magee’s Suddenness and the Composition of Poetic Thought; Dominic Symes reviews Marcelle Freiman’s Spirit Level; Julia Fazzari reviews Marion May Campbell’s languish, and Rosemary Williamson reviews Roslyn Petelin’s How Writing Works: A Field Guide to Effective Writing (2nd Edition).

English Language and Literature Department: Selected Student Essays II, 2024

As the digital era reshapes conventional practices, both students and lecturers encounter new and significant challenges, a topic thoughtfully explored by scholars such as Susan Bassnett, Judith Seaboyer, and Tully Barnett. This engaging exploration invites readers to examine the effects of shifting reading habits and the appeal of digital alternatives. Within this collection, graduate, undergraduate, and Ph.D. students from the English Language and Literature Department of Istanbul Yeni Yüzyıl University contribute their insights, transforming their assignments into compelling book chapters. We hope these selected student essays bridge the divide between traditional and modern literary texts, fostering a harmonious coexistence that enriches academic discussions in adaptation studies and English language and literature.

TEXT, 2012

This book is the first in a proposed international series. The next will be Researching Creative Writing by Jen Webb, with two more planned after that. The titles are aimed at scholars, students and teachers in higher education settings. If this first book is an indication of the purpose of the series, then they will be books that insert themselves in the contemporary debates, the contemporary developments and the 'practical' problems faced by the burgeoning presence of creative writing programs and creative writers in higher education. Vanderslice's book is sharply intelligent, and for its purposes deeply researched, but it is not a book that draws upon philosophy, aesthetic theory, critical theory, cultural theory, post-modern thinking or deconstructive argument. It is a polemical pamphlet produced by a practitioner of long experience who senses crisis in a discipline that, at least in the USA, seems to her to be shambling along too amiably and too smugly. This is a practical book, one that urges all creative writing programs to be more transparent about their philosophy of teaching, to focus responsibly on learning outcomes that give students a chance to find creative lives somewhere in the arts, in word-based professions or in publishing industry, and finally to be more critical of the workshop as a central teaching technique.

Language Arts Journal of Michigan, 1999

2023

This junior-year course provides instruction in writing as it relates to the discipline of architecture. The aim of this course is to explore writing as a process of invention, drafting, and revising-sometimes individually, sometimes collaboratively. Through encounters with many genres, styles, and research practices, we will approach writing not just as a vocational skill, but as its own form of thinking, learning, and expression. In this class, we will practice various modes of creative and professional communication, from drafting design proposals and mission statements to developing a research plan for a final essay. Readings for this course encompass the intersections of design with urban life, ecology, aesthetics, technology, social history, policy, and more. Each reading and writing assignment is intended to complement your understanding of architectural and urban studies while supporting your growth as a critical thinker, thoughtful reader, and e ective writer in academic and professional settings. Many thanks to Prof. Sandy Litchfield for her guidance in developing this course.

2017

2016

et al., which planted the seeds for my project. Dr. Todd Harper's course on the history of rhetoric was essential to my understanding of the classical traditions that inform composition studies. As one of my capstone advisors, Dr. Harper has patiently coaxed a more academic voice from me while respecting the lighter tone with which I tend to write. And courses taught by Dr. Laura McGrath introduced me to the fascinating world of composition studies theory and teaching. On my first graduate v school essay, Dr. McGrath wrote a special comment-"A well-crafted sentence!"inspiring me to aim for more of them. She has also been a tireless capstone advisor, offering guidance that is wise and always on target. Frequent lunch dates with two particular writer friends have been invaluable: Becky Kraegel, an outstanding teacher and mentor whose kindred pedagogical philosophy and love of California Dreaming salads have led to delicious conversations; and Tammy DeMel, who, during one of our many get-togethers at Panera, helped me narrow the focus of my capstone in the early stages of the project. Generous thanks go to the family I grew up with: my parents, Rolfe and Dave Godshalk, who raised me in a home where reading and writing were valued-and who made me write thank-you notes; my sister Merrell Foote, a professional writer living in Saudi Arabia who happened to be visiting the U.S. just in time to provide terrific feedback on my capstone and share her expertise in Microsoft Word's "Styles"; my brother, David Godshalk, a history professor and superb writer who benefited from the sentence rhetoric of imitation when he was an undergraduate; and my sister Rolfe Olsen, a pragmatic business professional whose best advice throughout this project was to "meet the deadline." In addition, I want to thank the nuclear family of my adulthood: Oscar, the cutest canine on the planet, who has hiked with me through endless miles of writer's block on Kennesaw Mountain; my sons, James and Thomas, whose use of proper punctuation and capitalization in their text messages delights me; and my English major husband, Andrew-my best friend and life partner, who couldn't possibly have been as vi enthusiastic about proofreading every single essay I've written in graduate school as he claimed to be. Finally, I am indebted to the wonderful students at Kennesaw State University, who taught me much more about composition studies and teaching than I could ever learn in a textbook.

qcpages.qc.edu

2013

Based on National Writing Project principles, this workshop focuses on the theory and practice of teaching writing across the disciplines in K-12 schools and provides K-12 teachers across the curriculum with opportunities to experience and apply researched composition pedagogies for use in their own classrooms and in a wider professional community.

2004

Shelley Aley is associate professor in the James Madison University Writing Program, where she serves as the director of composition. She teaches composition and courses in rhetoric and writing. She has presented papers and published articles and book chapters on the history of rhetoric, composition studies, technology and writing, popular culture, and literature. Her current writing projects focus on the history and future development of independent writing programs.