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Announcements for the following year included in some vols.
Writing Program Architecture offers an unprecedented abundance of information concerning the significant material, logistical, and rhetorical features of writing programs. Presenting the realities of thirty diverse and award-winning programs, contributors to the volume describe reporting lines, funding sources, jurisdictions, curricula, and other critical programmatic matters and provide insight into their program histories, politics, and philosophies. Each chapter opens with a program snapshot that includes summary demographic and historical information and then addresses the profile of the WPA, program conception, population served, funding, assessment, technology, curriculum, and more. Th...
Compositionists can either continue to hold the high ground against the influences of popular culture or, as Diane Penrod's book argues, accommodate it creatively, turning its pervasiveness into engaging, immediately useful writing instruction.
Growing up, what Sanford Tweedie knew about East Germany was basically . . . nothing. West Germans were our friends; East Germans, the enemy. In 2000, somewhat better informed, Tweedie took advantage of a Fulbright Scholarship to move his family to the eastern German town of Erfurt for the academic year. Far from home and the familiar, with temporary status and a tenuous grasp of the language, he and his wife were curious to see how they would function shorn of all the rules that governed their daily lives--housing, food acquisition, transportation, and even basic communication. As soon as their taxi delivered them to their grim tan and concrete Soviet-vintage apartment building, they knew their education had begun. Learning about life in the former East Germany, amid the feverish embrace of Western culture and the tenacious legacy of a totalitarian past, Tweedie comes to understand the deeper cultural assumptions through which Americans view the larger world. Part travelogue, part history, part cultural critique, all thoroughly engrossing, the story of his yearlong experience is one of dislocation and accommodation, making a German town his own and now ours.
Greg Giberson and Tom Moriarty have collected a rich volume that offers a state-of-the-field look at the question of the undergraduate writing major, a vital issue for compositionists as the discipline continues to evolve. What We Are Becoming provides an indispensable resource for departments and WPAs who are building undergraduate majors. Contributors to the volume address a range of vital questions for undergraduate programs, including such issues as the competition for majors within departments, the job market for undergraduates, varying focuses and curricula of such majors, and the formation of them in departments separate from English. Other chapters discuss the importance of flexibili...
Announcements for the following year included in some vols.
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Eileen Schell investigates, from a feminist perspective, the complex reasons why women are disproportionately represented in the ranks of contingent writing faculty.