HAPPY SPRING!!!

Enjoy spring with some Key Lime Pie. Open up your windows and hang a wind chime in the window (until it gets too chilly). Find a short glass and pick a spring blossom or even a weed to put in the "flower vase" to enjoy. Visit Longwood Gardens. Check out THEORGANICGARDNERS.BLOGSPOT.COM site. All these are great ways to get outside when spring traps you indoors.
Spring trivia: Did you know that tulips are actually natives of Turkey and Central Asia? Ranunculus means "little frog" in Latin? And Peony in Chinese is sho yu which translates into "most beautiful" despite the fact the more ants that climb the stocks the better the flowers? Modern flower genetics have formulated a yellow lilac bush?
On a sadder note: Last Wednesday was the 5th year anniversary of the war in Iraq. The Chinese again are challenging human rights in Tibet. Gas prices-need I say more?

POST-CLASS Thoughts on Basic Writing

First, thanks to Amy and Todd for a great class-fast moving and allowing for self evaluation. It was comical to see how we resisted being put in the "concrete" category.
Possibly, the difference in child and adult theory is our ability to move (hopefully) in and out and between the two. By just remembering some of our justifications for our responses I think we can see how "abstract" thinking has been ingrained into our society as being the more desired form of thinking.
Finally, can diversity of learning styles be incorporated into the classroom to allow every student to reach their potential?
Paulo Freire offers many insights into the purpose, goals, expectations, and possibilities of education that I personally find relevant today with the current recession, school budget cuts, threats of graduation testings, and teaching climate. I highly recommend that you check out some of his writings (they are all short).

Week 8A: Technology

Love the subject. I remember back when we started the blog assignment. There was a feeling of overwhelming fear and anxiety. Then I truly enjoyed how to make the site "ME". After the readings for the class I have some thoughts on the "blog". Some of these impressions found focused expression in "Distant Voices, Teaching and Writing in a Culture of Technology" by Chris Ansom when he goes beyond the technology into maintaining a dialogue.
First, the set up for the blogs can be individualized visually. There is room for variations and revisions week to week, by font, and the added dimensions of videos, pictures, or connections to other sites enabling imagination to flourish(which I have not mastered). There is the ability to read and post other classmates postings. I found this feature difficult to evaluate because there were few comments posted by other class members. There was no way of knowing if anyone accessed your postings without commenting I guess that could be addressed in the future as "number of accesses and if it was helpful or not" (like a hotel review). Are we writing a private journal or building a dialogue? I assume the feedback from the professor, Ms. Julie, will come after the last posting has posted. I also found it fascinating how the criteria for the project can be circumvented by the ingenious (thank you Ray) and a sign for use in the secondary classroom that might have to be more fully explored as computers find their way into more classrooms. Will this ability to circumvent become an issue for school boards and school policies?

The issues that remains for me and the use of computers with composition continue as access and knowledge of the vocabulary(how to find all the nuances of written, visual, connections, etc.) Added to those two BIGGIES will be the question of how is truth from the information posted on the Internet be determined (see Faigley's article in Bloom where on-the- surface values of our times blends with research into society as in Lewis's "Faking It") and what is the purpose of the communication factor with this method of composition(Lewis was able to utilize "3 genres in 4 media's"as layers of the composition build on each other). How will the lines of everyday communication on the Internet be diffenentiated from art and special interests?

Where will the money come from to keep the computers and software relevant to the students entering a world more technologically grounded? How will the safety of the net be ensured and regulated? How will the personal be protected within the public and political Internet connections?

I would like to comment the teacher of Christine Neuwirth in "Multimedia Literacy: confessions of a non-major" who "point[ed] out 'things to think about' that my novice eyes had missed and would lead to marked improvements" (Bloom 189) This showed that there was a need to know the vocabulary that connects the process with the thought that allows communication. I agree with Faigley that teaching traditiional composition theory does have a place as modern technology grows in the fields of communication. There is still room for the presentation of self in a physical manner that requires a knowledge of composition so we can use our spell and grammar checks as well as maintaing the flow of our thoughts through transitions. The creativity of the technology still requuires human contact. Charles Moran in "Technology and the Teaching of Writing" touches on all of these issues-access(wealth), vocabulary(English vs. ESL and learning disabilities), personal contact(peer review and teacher review), and trust of sources and information delivered. I believe the most important point Moran makes is that the teacher needs to know the media being used as technology as well as how the students use the technology (formal vs. informal). And as Anson warns in his article the face-to-face contact enabling immediante fed back and exploration of ideas is gone as computers are relied upon for the ultimate tutoring, research, and teaching tool. How will technology ensure that the quality of education as a whole and communication through composition as a use in all spheres and strata of our citizens? After all communication, visual and written, is about an individual being in a place they want to be. I believe the possibility and reality of hope should be available for all.

WEEK 8: Technology

more to come later....just had time to do my sidebar.

WEEK 7: BASIC WRITING

I believe that Mutnick's article is very timely with the "threat" of graduation testing, the revisions on admission to community colleges, and budget cuts at all levels of education. Shaughnessy and Bartholomae bogh address the problems of errors on the written page. Yes, errors do detract, but revision and guuidance can help. The statement "do not worry, you have spell and grammar check" is the easy way out. some rudimentary knowledge of the basics are still required. Sometimes the written composition is like the first handshake-first impressions place the person in a place in their society. Personally I believe that the concept of an error free composition from day one adds to the problem of confidence in the student's ability to write. "We [do] need to show our students how to seek, in the possibility of revision, the dissonances of discovery. . . and thus to show them the potential for development implicit in their own writing"(Tate 188). Even today there can be no assuming of "a level playing field" m I believe that Bartholomae and Petrosy are wrong for assuming that "the academy is an ideologically neutral zone that fosters critical thinking and self-criticism"(Tate 191).
I believe this to be true because often education is promoting the business of education rather than the passion of education. I very much liked the observation by Coles and Wall that basic writers are "people who live between two worlds" (Tate 192). The assumption that these people are outsiders in the hierarchy of society of society poses the question yet again-How do we promote equal access to the potential of writing and speaking well and correctly? Another question would be,"how important is the correctness for communication and respect of others within our society?

The perfect sequae to this article in "Diving In" by Mina Shaughnessy. Basic Writing should not just be about "lackings". It should be about possibilities. The language that the Basic Writing Pegagogy is tainted. Her discussiion of the power of the teacher over the student . The concept of "Guarding The Tower" and "Converting the Natives" make the pedagogy of basic writing "THEM" and "US". Upon reflection of "Diving In" I agree with Leo Strauss "always assume that there is one silent student in your class who is be far superior to you in head and heart" (317). What value will we place on the creativity underlying the limitations of a student's compositiion.

Sommers' article on "Revision Strategies of Student Writers and Experienced Adult Writers" once again connects the thought word with the spoken word with the written word. I love how Barthes says "speech is irreversible" (Villanueva 44). It was interesting to note that Sommers' methodology left the door open for a verbal explanation of the written words, particularly within the topic of how the student viewed revisions. The importance of vocabulary and word choice seemed to be the revision technique of the student writers who often had different perceptions from the teachers. The experienced writer attempts to discovery where the words take them in their composition. Again I would ask, who is giving meaning to the written word-the writer or the teacher? How brave will the writer be and how open-minded will the teacher be? I do love the ending statement, "Good writing disturbs: it creates dissonance. Students need to seek the dissoncance of discovery, utilizing in their writing. . . the very difference between writing and speech-the possibiility of revision" (Villanueva 53).

POST-CLASS

Thanks to everyone for participating with Vicki and me.

I think one of the most interesting observations that came out of the class was in regards to collaborative writing projects. How telling to realize that many of you did the collaborations because it was required, but ultimately wanted to create individually. Does anyone see this as a barrier to younger, less-secure students?

It was also fun to see how small group dynamics had a place in our class. Who wanted to be group leader, who was recorder, and just how did the group speaker bring everything together was very interesting to see "sitting in the front of the classroom".

Again, thanks to everyone.

WEEK 6: CRITICAL THEORY IN COMPOSITION

Short and sweet this week

(probably should not be using cliches for my postings)

Will critical theory of compostition let students learn as they get older to learn to write and read critically? Our readings offer glimpses of how questions and answers build in education from the obvious and literal to clues that infer into the final stage of evaluation that offers a learned opinion. Young students learn to "crawl through the foundation" and learn through Critical Theory to take the concrete into the abstract as they become older. I believe that without thinking there can be no critical theory in any subject. I also believe that reading the written word and literacey of adults is important to encourage all people to become empowered through knowledge.

CULTURAL STUDIES + COMPOSITION CONT.

The teaching of cultural studies and compostition have the common thread of communication. All our readings this week make mention of the ability to communicate through the written word.

There are two different uses of composition within cultural studies I would like to mention as a form of communication within specific groups. One is the use of composition as a written rhetoric connected to mass media and the popular culture. There is a kool commercial where a father and son go to Norway to trace their roots. After much tourist activity, the truth of their heritage is found in a library. They are Swedes not Norwegians. Well, the words that relate to composition in a bizarre consumer driven society are..."What is your story? Citibank will help you write it".

The other teaching of composition is found in a summer class offered through Maine Media Workshops. The title of the week long class is titled, " Writing for Photographers". Who would have figured they would be taught to "grasp the power of the written word and how it's used in photography today". "This workshop focuses (no pun intended) on characterizing meaningful ways (to make a statement, apply for a grant, or make a pitch for a storyline) rather than with needlessly ornate language". As always the teacher of the class comes with wonderful credentials.

These are just two more ways cultural studies has appropriated Composition Studies in our current world. Our readings address the appropriation and the effectiveness of the teaching in modern, popular culture. I will not discuss the clash between the elite and the masses today, but that is a common thread in all our theories.. Who writes? Who reads? Why is writing and reading important in our world today?

WEEK 5: CULTURAL STUDIES and COMPOSITION

The historical side of Cultural Studies and Composition looks at the personal language of a writer, the unigue message, and the audience. Teaching how a student may critically read a work centers around how language can be used to isolate, priviledge, and define the place of a person andpeople in their relationship to a community.

Please examine the following exherpts from Cynthia James poem Poster Poem from Jouvert, Vol. 4, Isssue 2 (Winter 2000).

POSTER POEM

"Caribbean Writing 2000--(for Caribbean Students only)
(Transcribed from the notice board in an empty lecture room at
UWI, St. Augustine)
. . . .
(1) Forbidden words and subjects: Middle passage/s,
slave, ancestor, Columbus in chains and Columbus roaming free:
divided to the vein, the primoridal vortex, the Sisyphean dream.
be wary of the sea. It can drag the unsuspecting to literal
drowning.
. . . .
(5) Customizing Practices: In this computer age (a cliche
that must not appear in your work) it has become necessary to
construct a policy against the abuse of the fanciful, calculatedly
designed to pass as true creativity. You are particularly waned about
writing the undecipherable and thereafter seeking artful ways of
explaining it. Tribute exceeding all bound has already been
paid to the radical imagination.
. . . .
A Special Welcome for the Male Writer (at the risk of Incurring
Invigorated Female Attack): We recommend that tyoung men take
up the challenge of Allison Hinds and "go bring [their] needle."
Hounded as you are, even in the corrals of dub and rap, it is
hoped that you realize you must prepare to make a stand somewhere- -
everywhere.

Expectations: Caribbean Writing 2000 is an elective.
Don't expect to become famous or earn money from it. The
prospective writer who remains still confused or harboring doubts
is free to leave. There is no shame. Nobody will know.
An add/drop slip is not needed. Those intending to stay,
however, Go Brave."

Even when teaching composition under the umbrella of cultural studies , rules and control appear to be part of the reality of the teaching. Is the power of the pegagogy to unify all writers or provide a starting place? Looking at some of the fine writing of marginalized groups offer insights into how the language of the patriarchal white male academic world is an insideous control. The prevelant language of the dominant group (for whatever reason) dominates. Languages not English require a translated version or a dual printing because of the limitations of the consumer audience. Unfortunately, the literacy of Americans does not include the beauty of the French language or the passion of Spanish, the specifics of Eskimo, or even the innuendo of Italian where words and gestures unite.
Years ago, language fluency beyond English was encouraged. Today with lack of funding (again its about the money) I believe we are missing a part of the interdisciplinary humanity aspect of Cultural Studies of Composition.

After Class Thoughts

First, I must apologize for being so tardy in my observations. Work and illness has hurt my attention span and ability to organize.

What a joy to hear the variety of methods that those who teach in the class share! (and yes, I do love !!!!!!'s). Those who read my blog also are acquainted with my love of "( )", " . . . " , and "-". Our class's bottom line for teaching composition appears to be doing what works for you and your students, being flexible, and taking hints from others to try for inspiring your students.

On a more academic bent, our class appears to be a microworld of what we probably have seen in classrooms. The pedagogy of compositionbecomes a fluid tool promoting an engaged audience.

WEEK 4: Expressive Writing

Expressive writing is about communication personal experiences, personal insights, and personal opinions AT THAT MOMENT.
How do we teach students to be expressive, yet appropiriate to the situation?

More thoughts on readings to come...
And these are the thoughts ... do I not claim importance for my posting by writing this intoduction?

Orsen Wells spoke about films, but I believe the thoughts work well for expressive writing, "a film [expressive writing] is a ribbon of dreams. The camera {story} is much more than a recording apparatus; it is a medium via which messages reach us from another world that {might not be our own} and that brings us to the heart of a great secret. Here the magic begins." Expressive writing allows the writer to bring his/her personal opinions, experiences, interpretations, and just plain story telling to the audience. While the audience is important, I believe expressive writing is about the writer. The chooses what is expressed, how, and to whom. Burnham's article on Expressive Pedagogy touches on all these points-BUT the writer is placed in the middle. The writer should be empowered by putting personal words on paper. But those words have to be read, otherwise how is the writer's thoughts validated? Expressive writing invites the writer and the reader to interact. The interpretation takes the concept of personal into the living world of the writer and the reader. The personal recording of Marxist, Cultural, Feminist, Gender, Critical, etc. for the writier opens up thoughts that the reader can embrace, refute, or ignore that thought process in turn becomes a product of the expressive writings for the reader. Without exposure to the writing, the writer and reader do not make a connection. That possibility of connection makes the beauty of effective expressive writing a joy!

Lamb touches on this when he discusses the three mysteries at the heart of writing. He also goes further when he discusses the "act of writing". Nothing comes easy. some may have the gift of clarity of writing, but the "engaged pedagogy" that belle hooks discusses on page 33 gives equal value to the writer, the reader, and the reason. Added to Lamb's "Practice/Theory, Theory/Practice" the teacher and the student are equally important and equally receptive to the voices of each other.

As a left over of the 60's, I do believe in social commitment and the importance of "words". Ideally words will empower individuals and inspire and unitea community. Unfortuantely the power of words can hurt and words can silence and marginalize. Always there should be an encouragement of a critical, thoughtful, and enjoyable reading of the written work. But always, the written work must be composed. The act of the writing to be shared is the Teaching of (effective and truthful, while personal) Compostition. be the I agree with Elbow and belle hooks when they advocate an "engaged pedagogy,holistic teaching, [that become of value in the teaching of] the expressivist project 33).

WEEK 3: Post Class Discussion

Great Discussion and a special thanks to our discussion leaders, Melanie and Justin. I believe the root of all the discussions was "Find what works for you as a teacher: and "Everyone will survive your class". As always, I believe in "the passion of you".
I have taken numerous Portfolio Classes from high school in th 60's to date. I believe in the process of the composition but the final product is also important. I think mixing up the readings, postings, presentations with the pre-writing, writing, and revisions is worthwhile (and allows for personal expression within the context of the class requirements). I would like to add one element-IF 5 articles are required during the course the final portfolio could be a writer's personal selection of 3.

WEEK 3: The Process

Tobin in "Process Pedagogy" offers his personal joy of teaching compostion when he quotes Murray, [teaching compostition] "is the process of discovery through language. It is the process of exploration..."(2). I believe he offers a way for writing to connect ourselves to our lives.

The teaching of composition becomes looking for the "nuance, possibilities, gaps, and potentials" in a student's writing that prevents the communication of the student's thoughts (6). If we accept the premise that students have different capabilities, needs, and situations, how do we become inclusive in our teaching of composition as a communication tool for the real world? With the differing learning styles and needs of average, gifted, challenged, blind, deaf, ESL, and challenged students in the classroom today, we have a responsibility to help students communicate in a way that will not limit or prevent their inclusion in their world. Progress,according to Tobin, has been made within the field attempting to address the fact that in pegagogy differences such as race, gender, and class do matter. Because in compositition, the writer, audience, and teacher all serve an equal roll in the writing of words, Perhaps the most important outcome of any pegagogy is the re-enforcement of the value of an individual's thoughts. A sense of pride and self-discovery may be a by-product of Composition. when the thoughts of the writer through mechanics, organization, etc. connect into a coherant written work.

One issue Tobin addressed saddened me. The issue of acceptance into the academic circle that sometimes deminishes the importance of "experimental, empiracl belief in the process but [with] no real scholarly basis" (8). In this age when the educators are encouraged to get a "scholarly footing" are we promoting the field and not the purpose?

I enjoyed Tobin's article for his personal methods of teaching. "In [his] current incarnation" (I love the fact his life as an educator is not static), he uses what works for him to promote a love of learning in his classrooms.

For those who might enjoy bell hooks, she has a videos through google videos where she discusses some of her theories

Flowers and Hayes article "A Cognitive Process Theory of Writing" puts diagrams and charts to the teaching of writing as process. I have used the Prewriting, Writing, and Revision techniques when helping my children. These techniques offered a plan for taking thoughts in the students minds that might be communicated through speech and allow the concrete communication of the written word. Revising and clarification allow the written record of what the student attempts to compose to find direction through the help of the teacher.

The exploration of ideas through the interconnection of ideas and interests can grow with what a student knows either personally or through research. The Stage Models of Writing offer a simple method of connecting a students goal for writing. Using revised and clarified subgoals, all of which are written with supporting facts , help draw the audience into the written work. A knowledge of the mechanics of compostition helps provide a focus that connects the writer and the audience.

Writing becomes about choices. I particularly like their discussion on page 274 about how writing can change as knowledge of the act of writing increases. The choices a writer decides upon can only come with prewriting, writing, and revision and the over-lapping of the three.

WHAT DID I DO?

I lost all the images on my previous entries...can I get them back? Everything I have archieved has the newest images.

Week II: Class Reflections

I found our discussions last night disturbing and challenging as well as hopeful.

As a parent of "now grown" children, I know how disturbing the education system was to me as a parent because of how the system stifled the love of reading and writing. Every year of schooling for my children brought a conflict between my expectations and the system's expectations.

Current literature, while acknowledging a tenuous acceptance of Compostition as a discipline, still addresses the many problems of the teaching of reading and composition. These problems appear unchanged over the last fifty years. Fun does not appear to be part of the equation for becoming a writer. I believe Writing across the Curriculum attempts to address the importance of reading and writing to our lives . . . but has it worked?
As a tax payer and advocate of children I have no answers for the challenges that confront our children, educators, and politicians. While I am hopeful of a future where people have learned to love the act of learning, you in this class are only a handful of those that teach. Vicki made an observation about two teachers in her school-one was a "grammar fanatic". I forget her discription of the other teacher, but I inferred that teacher was positive role-model (like many of you in this class)for instilling the potential to enjoy writing.
I loved Dr. Kearney's Process Of Composition: Fluency, Clarity, and Correctness. I was fortunate, that process was taught to me in the 1960's and became the basis for how I enncouraged my childre. I am a firm believer in "the more you write, the better you write". Not only do I believe in the value of prewriting and writing. but as I become older I believe that if you are lucky someone else will help you revise.

For those who addressed the mechanics of writing, check out my images.

Week II continued-more on grammar

I have been thinking about how grammar and communication are intregal to the presentation of self within groups. The groups we are a part of, the groups we wish to be a part of, and the groups we are excluded from all connect us to a living community. Without the possibility of being a part of a group there is no reason for communication. How we present ourselves through the written and spoken word are just as important as a firm handshake and eye contact. Our formal presentation of self vs. our informal presentation of self becomes a product of our education and our competency in English. That competency requires a knowledge of the rules and vocabulary in given situations. Some competencies we learn through our specific associations within a specific group. Other formal competencies we learn through education. Today we have a miriad of competencies thanks to technology that we may choose to participate. At the foundation of all communication are the abilities of the individual to compose and to decipher learned technigues.
Hartwell concludes his piece, Grammar, Grammar, and the Teaching of Grammar, promoting language and literacy. I find his emphais on ESL interesting, but limiting. We must be inclusive of all future members of our groups. I do not know how we prioritize our resources without burning out all the teachers.

I believe that Susanne Langer in Spectator Role and the Beginnings of Writing sums up Compostition (either visual, written, or spoken) by offering a definition of communication that is an "act of perception" that "reflects the "shape of every living act"(Britten 172).

Both people discussions regarding the field of Composition offer an extension of North's work The Making of Knowledge in Compostion. The "reading, writing, listening, and speaking" work well with "language, literature, and composition" which when taken out of the patriarchal white western male tradition allows the possibility of North's "multicommunal experience". This potential of possibility through communication i.e. rhetoric and composition, may level the playing field of "power and prestige" to include individuals in the ordinary world as well as the academic world.
As an interdisciplinary student I find the connections between individuals and groups as the foundation of communication of most importance. Where I may diverge from the purist in theory becomes a question of promoting what I will call the "Grammar of Living" at the expense of the "Grammar of Exclusion". My "Grammar of Living" allows an individual to communicate and function in day-to-day informal enviornment while my "Grammar of Exclusion" promotes elitism in daily activities and in academia. Just a thought I throw out for pondering.

Week II: Spectator, Grammar, and History

I find it enjoyable to read everyone's postings (even if I do not post) to see where we are all coming from. The make up of the class allows for different perspectives that fit into the discussion of Composition. Most important to the differences is how communication overlaps with our different subgroups-parent, teachers, students, etc.
Susanne Langer(who translated Ernst Cassirer's Language and Myth) addresses the ability of compostition to educate when she speaks of poetry "effect[ing]the break with the reader's actual environment" (page 153). Poetry becomes an art and a method of communicating. Reading the work allows an illusion of reality(possibly the author's) to widen our experience. The personal expression of the poet takes us beyond our individual limitations of personal expression. The words offer an expression of what can be taken from the works "efferent" amd what is felt through the words "aesthetic". Important to note here is how the technique of compostition in poetry becomes a connection between not only the writer and the reader, but a connection between the written and spoken word. I believe Compostition becomes a living language that not only connects people in their current time and place, but also in a past while allowing for the possibilities of a future.
In the Hartwell piece on Grammar, I do have some problems with some of the diagraming. I believe the acedemic theoriests are trying to hard to justify the science of compostition when it does not require the solid science. Groups change and such scientific formulas prevent the "living" aspect of communication.
On another note, I would have to agree with Vicki's comments that learning the foundations do allow students to participate in the real world. Beyond the rules of the written word, there is the neccesity to be able to evaluate the prompts on your computer with spelling + grammar check. I believe modern technology has not made basic grammar obsolete, rather the lines between formal grammar and informal grammar have blurred.

How do teachers evaluate the correct grammar without stifling the creative thought? In my educatiion we received grades for pre-write, for grammar, for content, and always a grade for the final re-write that incorporated teacher response. I know that time and testing mandates stretch the time of teachers. My bottom line as a parent requires a commitment by teachers school, districts, and government to that promote smaller class size and adequate funding.

Reflections on class discussions

At the end of class a few of us were discussing "TRUTH". My personal reflections center on the fol owing. There is the truth accepted on faith-the sun goes down every evening and the moon comes up every evening. Some truths change over time-the positioning of the planets and the changes in classification (the theories of Copernicus or poor planet Pluto). I believe the communication of the truths through written words, oral dissemination, and visual representations (music and dance are to be included) connect us to a past while living in the present and allowing for multiple possibilities of the future.

Bertolt Brecht wrote an interesting essay in the Laughton English Version of his play, Galileo entitled Writing the Truth: Five Difficulties. I mention this essay, not only because of the content, but as an example of the art of Composition. As the art and craft of composition mention must be made on his writing and rewriting of the essay. Originally it only contained 3 difficulties and was titled: Poets are to Tell the Truth. Then as his world around him changed his work became LIVING language.

An examination of the truth in communications as stated by Bertolt Brecht, I believe, follows what we are discovery in English 507. Kinneavy's encoder, decoder, signs, and reality diagram Brecht's essay on truth. He examines the connection between the writer, the reader, and the composition. Connecting our readings with this essay could possibly be the courage to write truth by the encoder using recognizable symbols. A keenness to recognize truth connects writer and audience. The skill to manipulate truth and therefore reality requires a knowledge of a recognizable personal knowledge of the words. Motivation (or what Brecht calls cunning) to write and the genre used requires a judgement on the part of the encoder to select the audience and the medium used to showcase the information. All of these methods find a technique in the study of Composition.

The reader should never forget that it is my belief in the importance of interdisciplinary connections that provides my personal connection with the written word, verbal rhetoric, and visual rhetoric. I offer the following images for books, plays, paintings, prints, as well as an audio book and music based on this play. All these works encourage the audience to know "the story". This story is about imagination and discovery.

Help...

Help! How do I save my changes to my blog so I can use the pages as a journal? I want to save the compostition of the complete page to document all my thoughts.

Sorry

I pushed post instead of save as draft. Therefore the font is small and the "check out" sections are inconsistent. Hopefully, the other errors you find will not detract from my content. Next week's entries should be better for this lady who "would rather be at the beach . . . " watching the full moon on the water.

Week I: Connecting Through Rhetoric and Compostion

Composition Theory provides teachers the tools to teach methods that enable an individual to communicate with others and function within their community. The foundation of grammar, vocabulary, and sentence structure offers a unifying structure to day-to-day communication. An ability to read and interprete remains essential to the act of communicating.

check out: The Patriot News, your mail, and your bank statement

Because communication in "terms of discourse" requires a writer, reader, and a text the student must be encouraged to critically examine "who writes", "how they write". "to whom they write", and "why they are writing" is a skill that I believe has a place in the pedagogy of rhetoric and composition.

check out: Armed Forces Recruitment Posters and Democratic Election Posters.

All of our readings allow for an look at what happens to the purpose of the discourse when someone outside the intended audience brings their own point of view to the interpretation of the text.

check out: Letters to the Editor in Sunday's New York Times.

As an older student, I am excited to learn that Kinneavy connects the old liberal arts tradition and the new interdisciplinary humanities tradition that "coalesced into the trivium of of grammar, rhetoric, and logic or dialectic. . . " as the "study of literature, the study of persuasion, and the study of scientific and exploratory discourse" (Villanueva 138). This connection allows "writing across curriculum" to expand our first hand experiences and opens our imagination to unlimited possibilities. What we write for ourselves connects with what we write for others. Education offers students and teachers to "experience" life outside out immediant community.
Berlin's exploration of the today's composition pedagogical theories centers around "teaching a way of experiencing the world, a way of ordering and making sense" (Villanueva 168). One method he describes promotes the "making connections with others in dialogue and discussion" (Villanueva 255). I believe that our knowledge of the past adds to the reality that the encoder is trying to explain The decoder as the audience brings a connection to different public, private, and political connections.

Check out: Archeology Magazine, Langston Hughes' poetry, and The Saint James' Bible.

"Discourse-language in use-that acknowledges the power of rhetoric to help create a community's worldview, knowledge, and interpretive practices" (Bedford/St. Martin 9). I suggest that Composition Theories as taught today requires a new commitment to the student outside the "average". Teaching that is inclusive and not exclusive requires a commitment beyond the teacher into domains of public education and political funding. ESL is not just for Mexicans. Speech limitations do not equal mentally challenged. Learning Disabilities are not only related to intelligence. All these students need to integrated into our communities. Teaching so many different personalities with different learning requirements is a burden with large class rooms and limited resources. Our commitment to providing access to the tools of communication requires more than State testing and Federal rhetoric. For the students outside the average there is a lack of access to the tools they need to communicate within their communities.

Check out: Your school's budget for Special Needs, Gifted, and other challenged students

Landmark School, Pride's Crossing, Massachusetts.

My last observations for this week are on new technology. The use of short concise communicationof instant messanger and cell phone texts are an abnomalty to educatioin in rhetoric and compostion when applied to living language. Subgroups to a community increase. Not only are the foundations of language changed, but traditional revisions and proofing no longer exist. We can no longer take back the words. The tradition of face-to- face has been weakened. Media makes us believe a strange, ever-changing TRUTH. What remains consistant in even this strange rhetoric and composition is the who, how, why, and to whom. The new technological writer, audience, and text developed a new grammar, vocabulary, and structure that includes as well as excludes.

Check out: Your last two text messages, one voice mail, and an e-mail.

Hello!

I think I'm in...

Mary Elizabeth