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?
Wednesday, February 20, 2008
Tuesday, February 19, 2008
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).
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.
(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.
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.
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