You could say it's a cop out that when asked whether I teach writing to emphasize subjective, objective, or transactional theories of knowledge of truth (as James Berlin categorizes them) that I say, All three. But it's more than just teaching them in balance, it's teaching them which style is appropriate when, and how to mix them.
I think the assignments in my English 110 class lend themselves to teaching a variety of approaches. Some of the assignments are implicitly subjective, some objective, and some transactional.
The memoir assignment is basically subjective. The student writes about how a personal event shaped who they are. The subjective approach captures inner knowledge and records it. The epistemic end of subjectivists would have the process of writing also be a process of learning, but at it's core, the knowledge is inside the writer and is transcribed. When I grade memoirs I look for students to express their feelings.
The annotated bibliography is basically objective. After researching a topic, the student creates a list of sources which summarize and evaluate the material in the source. Objective approaches use language to document external reality. The use of language is very similar to the subjective approach--language is fundamentally a passive medium used to record truth. But the truth is not based in the writer's psyche, it's based in the outside world. When grading bibliographies, I'm looking for sufficient information about the sources. The sources exist apart from the writer (I pretend that summary is not an act of interpretation), and the writer records what is in them.
The position paper is basically transactional. The transactional approach is not a mix of objective and subjective, but it is a bridge. Objective and subjective use language to record truth and secondarily to find truth, but in the transactional approach the truth that is found is not internal or external, it's in the exchange. The position paper requires the writer to set forth their opinion, based on a research of external reality, conveyed in a way to convince a reader. If the position paper was subjective, it would be an op/ed. If it was objective, it'd be a research paper. Instead it bridges the two and finds truth in the communication among writer, reader, and reality.
It's the mixes that can be an unexpected hangup. Students often want to take one approach and stick with it, but they can't. The I-search teaches students to cross boundaries within a single piece. It is a research paper (objective). But it also about the writer's experience with the research (subjective). The I-search isn't really transactional, though. Primarily the students are recording truth, they aren't using language to find truth.
I want my students to be able to do it all, because for most majors, they'll have to. We can say all writing outside the English department is objective, but that's not true. Subjective assignments are given by all kinds of teachers from art history to math. But even if my students only go on to write "objective" research papers, I want them to be able to do it without being boring. That involves moving your focus beyond recording external reality and thinking about how human beings actually interact with it.
Friday, November 17, 2006
Wednesday, November 08, 2006
Grammar
This is related to composition theory, if not related to the readings for the class.
I suppose I could talk about audience awareness in reference to the guest speaker in 603 this morning, but I'd rather talk about grammar. I'd usually rather talk about grammar. (Do I mean I'd rather talk about grammar than talk about something else, or do I mean I'd rather talk about grammar than listen to a talk about grammar?)
One thing that concerns me is a near dismissal of value-related questions. Tim Hadley made a reference to "African American English" and how he won't devalue it as a spoken language, but he would teach speakers "standard written English." There's a couple things that concern me about this (which I'd've loved to have discussed at the time, given the chance).
1) What is standard written English? Am I to believe that all professional and academic forms of written English are the same? I know better. I suppose I could counsel business students in the writing center to take on the discourse of the creative writing students. But it seems that there is no one standard written English. The professional English in business is different from the professional English of creative writing, on the level of the word, the sentence, and organization. So which written English should I be teaching?
2) Is is really value neutral to teach children which form of English is "standard"? My dad would say yes. But I think if you're obligated to accept the child's spoken language as valuable, then the same goes for their written language. Why do we say that spoken language can't be judged? Well...we didn't talk about that. I'd like to know exactly what Hadley thinks about that, to be sure. My inclination is that it's because the accepted dialect is accepted for social reasons. There's nothing inherently better about the different ways of talking.
So...what's inherently better about the different ways of writing? Writing tends more towards standardization because in print, you can't go back and explain your meaning if your audience is confused. And you can't share nonverbal clues about meaning (beyond such things as scare quotes). So there's more incentive for standardization. The problem is, I don't believe there is a single standard. So while I think we should teach standard forms of written English, I don't believe we should act as if they are value neutral and not based on social convention.
In conclusion, I really want to know what the difference is between teaching a student to use a standard dialect in writing and teaching students to avoid split infinitives. Both are social rules, aren't they? Why is one okay and not the other?
I suppose I could talk about audience awareness in reference to the guest speaker in 603 this morning, but I'd rather talk about grammar. I'd usually rather talk about grammar. (Do I mean I'd rather talk about grammar than talk about something else, or do I mean I'd rather talk about grammar than listen to a talk about grammar?)
One thing that concerns me is a near dismissal of value-related questions. Tim Hadley made a reference to "African American English" and how he won't devalue it as a spoken language, but he would teach speakers "standard written English." There's a couple things that concern me about this (which I'd've loved to have discussed at the time, given the chance).
1) What is standard written English? Am I to believe that all professional and academic forms of written English are the same? I know better. I suppose I could counsel business students in the writing center to take on the discourse of the creative writing students. But it seems that there is no one standard written English. The professional English in business is different from the professional English of creative writing, on the level of the word, the sentence, and organization. So which written English should I be teaching?
2) Is is really value neutral to teach children which form of English is "standard"? My dad would say yes. But I think if you're obligated to accept the child's spoken language as valuable, then the same goes for their written language. Why do we say that spoken language can't be judged? Well...we didn't talk about that. I'd like to know exactly what Hadley thinks about that, to be sure. My inclination is that it's because the accepted dialect is accepted for social reasons. There's nothing inherently better about the different ways of talking.
So...what's inherently better about the different ways of writing? Writing tends more towards standardization because in print, you can't go back and explain your meaning if your audience is confused. And you can't share nonverbal clues about meaning (beyond such things as scare quotes). So there's more incentive for standardization. The problem is, I don't believe there is a single standard. So while I think we should teach standard forms of written English, I don't believe we should act as if they are value neutral and not based on social convention.
In conclusion, I really want to know what the difference is between teaching a student to use a standard dialect in writing and teaching students to avoid split infinitives. Both are social rules, aren't they? Why is one okay and not the other?
Wednesday, October 25, 2006
Monkeys and Bartholomae
I think David Bartholomae's "Inventing the University" plays into some of what's going on in my class now. As I mentioned before, in my students' textual analysis papers (and more recently, their annotated bibliographies) they are reaching out for that academic voice. And Bartholomae, apparently, would be proud. But I want them to stop. If academic prose is necessary, it can come later, when they've internalized it more completely. But right now I want them to use a style of prose they are comfortable in.
I want to see their ideas, and they muddle their ideas by thinking too much about audience or discourse communities, even if they're not thinking in those words. I am trying to acclimate them to academic discourse, but I don't think they can learn how to differentiate summary from analysis and evaluation if they can't even keep their ideas clear for trying to sound scholarly. The prose style cannot come first.
I've got one student who emails me all the time with questions about the assignments, wanting to change topics, and so on. She's very self-conscious about her I-search topic: monkeys. I think it's a great topic and I have told her she can change it if she wants, but she really doesn't need to. She found good sources for her annotated bibliography and she has a personal interest--she wants a monkey for a pet, like Ross had on Friends.
This student is embarrassed of her desire itself, and more embarrassed to be writing a paper about it. The other students are tackling such topics as AIDS in Africa and alternative fuel sources. She wrote me an email an hour ago because she has writer's block and the first draft of the paper is due Friday. I'm thinking, Err...it's just a draft, and it's not due till Friday. But here's what get's me: "Its really hard to make my reasoning as to why I'm interested in monkeys sound professional."
My advice? Don't. She's working with this assumption that her paper should sound "professional," and as such, she realizes she has nothing to say. She has defeated the I-search, which is supposed to validate her experience, by turning it into an exercise in academic discourse.
See, Bartholomae? I want my students to know that they have something to contribute. I think the best way to acclimate them to the academic discourse community is by validating their style as much as possible. There is a sense in which they remain outsiders if they don't talk the talk, but only if we teach them to value "the talk" more than the ideas behind it. If we encourage them to be comfortable (within the bounds of articulate), then they don't have to feel like their failing simply because they can't make it sound "professional."
I want to see their ideas, and they muddle their ideas by thinking too much about audience or discourse communities, even if they're not thinking in those words. I am trying to acclimate them to academic discourse, but I don't think they can learn how to differentiate summary from analysis and evaluation if they can't even keep their ideas clear for trying to sound scholarly. The prose style cannot come first.
I've got one student who emails me all the time with questions about the assignments, wanting to change topics, and so on. She's very self-conscious about her I-search topic: monkeys. I think it's a great topic and I have told her she can change it if she wants, but she really doesn't need to. She found good sources for her annotated bibliography and she has a personal interest--she wants a monkey for a pet, like Ross had on Friends.
This student is embarrassed of her desire itself, and more embarrassed to be writing a paper about it. The other students are tackling such topics as AIDS in Africa and alternative fuel sources. She wrote me an email an hour ago because she has writer's block and the first draft of the paper is due Friday. I'm thinking, Err...it's just a draft, and it's not due till Friday. But here's what get's me: "Its really hard to make my reasoning as to why I'm interested in monkeys sound professional."
My advice? Don't. She's working with this assumption that her paper should sound "professional," and as such, she realizes she has nothing to say. She has defeated the I-search, which is supposed to validate her experience, by turning it into an exercise in academic discourse.
See, Bartholomae? I want my students to know that they have something to contribute. I think the best way to acclimate them to the academic discourse community is by validating their style as much as possible. There is a sense in which they remain outsiders if they don't talk the talk, but only if we teach them to value "the talk" more than the ideas behind it. If we encourage them to be comfortable (within the bounds of articulate), then they don't have to feel like their failing simply because they can't make it sound "professional."
Friday, October 13, 2006
Screwing up a single draft
In “Composing Behaviors of One- and Multi-Draft Writers” Muriel Harris talks about multi- and one-draft writers. I've had a lot of thoughts about the implications of this piece. I'm trying to be more open-minded about the idea of starting with clear ideas in mind. I've tended to see these as bad. It's limiting and boring...the writing process is just like filling out a form. But I'm trying to understand that it works for some people. But certainly not everyone.
Failed writing can come from bad single drafting or bad multi-drafting. There's the kind that start with a thesis and don't get anywhere, and the kind that just start off writing and don't get anywhere.
Maybe it's just because I don't understand them, but I find it much harder to fix an essay that was constructed purely with the five-paragraph model in mind than one that starts out just writing. Starting with the thesis, for inexperienced writers, can get you off track fast. They frequently choose entirely too broad a topic, then divide it into three unmanageable subpoints which they treat very generally. These writers need to do more "invention" to fix their papers--something they don't want to do after they've finished the draft. They have to come up with more to say about a narrower topic. Revision means starting over, in a sense.
I see a lot of papers in the writing center that have the opposite problem. They start writing without a thesis and don't quite find one. This is usually easy to fix. Figure out your thesis--every paper has a point, even if you didn't explicitly state it at the end of your introduction. What are you trying to get across to your readers? Read each paragraph and figure out how it relates to your thesis. Why did you include this paragraph? Add a topic sentence to tie the paragraph explicitly to the thesis, or cut the paragraph altogether.
Now maybe this is just me. Maybe I find it easier to help students do what I already do myself. But it's not like I never start with a thesis and subpoints. Frequently I do, I'm just not tied to them. And I usually get there after a little preliminary freewriting. It just seems like it's a lot farther from done when you screw it up that way.
Failed writing can come from bad single drafting or bad multi-drafting. There's the kind that start with a thesis and don't get anywhere, and the kind that just start off writing and don't get anywhere.
Maybe it's just because I don't understand them, but I find it much harder to fix an essay that was constructed purely with the five-paragraph model in mind than one that starts out just writing. Starting with the thesis, for inexperienced writers, can get you off track fast. They frequently choose entirely too broad a topic, then divide it into three unmanageable subpoints which they treat very generally. These writers need to do more "invention" to fix their papers--something they don't want to do after they've finished the draft. They have to come up with more to say about a narrower topic. Revision means starting over, in a sense.
I see a lot of papers in the writing center that have the opposite problem. They start writing without a thesis and don't quite find one. This is usually easy to fix. Figure out your thesis--every paper has a point, even if you didn't explicitly state it at the end of your introduction. What are you trying to get across to your readers? Read each paragraph and figure out how it relates to your thesis. Why did you include this paragraph? Add a topic sentence to tie the paragraph explicitly to the thesis, or cut the paragraph altogether.
Now maybe this is just me. Maybe I find it easier to help students do what I already do myself. But it's not like I never start with a thesis and subpoints. Frequently I do, I'm just not tied to them. And I usually get there after a little preliminary freewriting. It just seems like it's a lot farther from done when you screw it up that way.
Saturday, October 07, 2006
Textual Analysis
I graded my students' critical analysis papers this week. On the whole, they weren't as good as their memoir papers. Most of them had a good handle on the concept of "analysis." But it was the style that was really lacking.
On their memoir papers, most of my students got A's or C's. I thought the lack of B's was weird, but I understand now why. A lot of the difference between an A paper and a B paper is style. It's the way the student makes the paper compelling.
The memoir paper was an opportunity for the students to share an important experience from their own lives. They wanted to tell these stories, and they did what they could to tell them well. But they were clearly less comfortable writing a textual analysis. A couple of them were really impressive. But a significant chunk of them understood the assignment, but didn't like it. They were wordy. They would say things like, "All things considered, in my opinion Carter appears to be using his past as a former president to kind of boost his other arguments," hiding behind their words.
I am looking forward to the rest of the semester, now. I was concerned before, about all the research and stuff, but I'm not anymore. My students submitted topic proposals to me yesterday, and I read through them. Some of the topics would be hard to write a good position paper on. A couple of students wanted to talk about legalizing marijuana, another wanted to talk about video game violence, another wanted to talk about gun control. But I'm less concerned than I might otherwise be.
These are topics they want to learn about. One student said in his proposal that his "topic" was more of a question. I said, That's great. Having a question to research is a lot better than a topic. Then you're actually looking for something. But even my students who gave me "topics" probably really do have a question in mind, even if they didn't articulate it. So they might need guidance, but they're not starting their papers yet. I told a lot of them that they should just start their research with the broad topic in mind, and see if something comes up that they would want to focus on in their I-search papers.
I didn't think I was going to like the idea of an I-search paper followed by a source-supported position paper. But I do. I felt a lot more okay with my students taking on topics that have been overdone, because it forces them to take the informative approach first--to learn about the topic first. Then hopefully they'll have the background necessary to write well on a position (especially if I help them narrow it down to something manageable).
On their memoir papers, most of my students got A's or C's. I thought the lack of B's was weird, but I understand now why. A lot of the difference between an A paper and a B paper is style. It's the way the student makes the paper compelling.
The memoir paper was an opportunity for the students to share an important experience from their own lives. They wanted to tell these stories, and they did what they could to tell them well. But they were clearly less comfortable writing a textual analysis. A couple of them were really impressive. But a significant chunk of them understood the assignment, but didn't like it. They were wordy. They would say things like, "All things considered, in my opinion Carter appears to be using his past as a former president to kind of boost his other arguments," hiding behind their words.
I am looking forward to the rest of the semester, now. I was concerned before, about all the research and stuff, but I'm not anymore. My students submitted topic proposals to me yesterday, and I read through them. Some of the topics would be hard to write a good position paper on. A couple of students wanted to talk about legalizing marijuana, another wanted to talk about video game violence, another wanted to talk about gun control. But I'm less concerned than I might otherwise be.
These are topics they want to learn about. One student said in his proposal that his "topic" was more of a question. I said, That's great. Having a question to research is a lot better than a topic. Then you're actually looking for something. But even my students who gave me "topics" probably really do have a question in mind, even if they didn't articulate it. So they might need guidance, but they're not starting their papers yet. I told a lot of them that they should just start their research with the broad topic in mind, and see if something comes up that they would want to focus on in their I-search papers.
I didn't think I was going to like the idea of an I-search paper followed by a source-supported position paper. But I do. I felt a lot more okay with my students taking on topics that have been overdone, because it forces them to take the informative approach first--to learn about the topic first. Then hopefully they'll have the background necessary to write well on a position (especially if I help them narrow it down to something manageable).
Friday, September 29, 2006
Textual Ownership
What I really wanted to talk about concerning Andrea Abernethy Lunsford's “Feminism, Rhetoric, and the Politics of Textual Ownership” was Wikipedia. I spent my free time this summer editing Wikipedia. Obviously I no longer have such time, so that’s firmly in the past. Of course, the word “editor” sounds authoritative to some people, but Wikipedia is, after all, “the free encyclopedia that anyone can edit.”
My contributions to Wikipedia put me in a position to actually think about copyright, fair use, and ownership of my words and ideas.
On Wikipedia, by editing, you license your contributions to be used in any way that falls under the GNU Free Documentation License. Whoever uses the content is required to give credit to the contributors, but the contributors don’t have a say in how the content is used, except that it has to stay under the same license.
I like this arrangement. The information is free, but attributed.
I contributed substantially to the article on Christina Hoff Sommers and was involved in working out some issues regarding certain classifications of her stance. We worked out a way to express the fact that CHS is not usually considered a mainstream feminist, but reappropriates the term for herself.
Then I visited the German Wikipedia. Quotations that I had supplied and sentences I had constructed had been carried over and translated. That’s great, that’s what Wikipedia is about, sharing information. But the person who did this gave no attribution to those of us who had worked on it at the English Wikipedia. Conventionally, this is covered by a simple edit summary that says information is being merged from another article, so a person can go back and look at the attribution page for the other article. But no such edit summary was given. As such, it appeared as if this person had written the paragraphs without help.
That’s what I care about. I want information to be free. I want fair use to be simple. But I want attribution to be maintained. If it’s not your words, not your ideas, I want to know whose they are. I don’t think Lunsford is as strict on this as I am. She views every work as collaborative, every idea as a reflection of culture as much as individual. But as an individualist, I’m taking my stand.
My contributions to Wikipedia put me in a position to actually think about copyright, fair use, and ownership of my words and ideas.
On Wikipedia, by editing, you license your contributions to be used in any way that falls under the GNU Free Documentation License. Whoever uses the content is required to give credit to the contributors, but the contributors don’t have a say in how the content is used, except that it has to stay under the same license.
I like this arrangement. The information is free, but attributed.
I contributed substantially to the article on Christina Hoff Sommers and was involved in working out some issues regarding certain classifications of her stance. We worked out a way to express the fact that CHS is not usually considered a mainstream feminist, but reappropriates the term for herself.
Then I visited the German Wikipedia. Quotations that I had supplied and sentences I had constructed had been carried over and translated. That’s great, that’s what Wikipedia is about, sharing information. But the person who did this gave no attribution to those of us who had worked on it at the English Wikipedia. Conventionally, this is covered by a simple edit summary that says information is being merged from another article, so a person can go back and look at the attribution page for the other article. But no such edit summary was given. As such, it appeared as if this person had written the paragraphs without help.
That’s what I care about. I want information to be free. I want fair use to be simple. But I want attribution to be maintained. If it’s not your words, not your ideas, I want to know whose they are. I don’t think Lunsford is as strict on this as I am. She views every work as collaborative, every idea as a reflection of culture as much as individual. But as an individualist, I’m taking my stand.
Saturday, September 23, 2006
Teacher as Audience
After reading Dr. Cadle's blog entry, I started to think about the role my students may have cast me in as a reader of their papers. I've tried to give them a lot of cues. I explicitly downplay technical concerns. It's true that they are going to need to pay attention to formatting and grammar issues to do well in other classes. But those aren't really too hard to master. They really don't need too much of my help with that.
I tell them I want them to make a point, to tell me something in their papers, no matter what kind of paper it is. Any piece of writing has to have a point (whether or not it has a thesis statement at the end of the first paragraph), or else the reader will simply say, "So what?" Everything else is simply a matter of how well they make their point. Does the paper lack focus? Then it can't make its point. Is the language too general or loaded with private meanings? Then the reader can't figure out where the paper is trying to take them.
I don't worry about plagiarism. I just don't. I'm not the kind of person who burdens myself with other people's ethical choices. When a student emails me to let me know they have a migraine and won't be coming to class, my skeptical side realizes that "migraine" could be code for "hangover". When they have to miss for a "family emergency", I know that it could be totally made up. But so what? They're only hurting themselves if they're lying. I'm not qualified to judge anything but the effectiveness of my students' writing. As far as I'm concerned, anyone who gives me advance notice about missing class has the opportunity to do make-up work. It's not like many people actually ask about make-up work, and it's usually easier just to come to class anyway.
When it comes to plagiarism, yeah, it has to be addressed. We worked on quotation integration Wednesday, and several worksheets they turned in had "paraphrases" which used the original authors actual words, just in a slightly different order. So we talked about what it means to use your own words. But I'm of the opinion that labelling every form of academic dishonesty as "plagiarism" is counter-productive. Hiding differences where they exist isn't a great idea. There's a difference between having trouble putting something in your own words and ripping off paragraphs out of laziness or desparation.
I simply want to make sure they're not desparate. I want them to feel like I want to hear what they have to say. There's got to be a benefit to having a discussion-oriented class, where the instructor shows interest in each student's opinion. There's got to be a benefit to working with students, not trying to scare them into writing good papers. I know some of my fellow TA's take that strategy. We want to make the students know they can't pull one over on us. Sure, I remind them that I can plainly see what font they're using, and biggerizing it won't magically develop their argument more fully. But I don't try to give them the impression that college writing is going to be a painful transition--they have a whole semester to learn. I don't try to make them feel like they have to pull off something really impressive just to get my approval. I don't want my students to feel like I think they're inadequate. I just want them to show me some good work, and we'll work a little harder when they aren't succeeding.
I tell them I want them to make a point, to tell me something in their papers, no matter what kind of paper it is. Any piece of writing has to have a point (whether or not it has a thesis statement at the end of the first paragraph), or else the reader will simply say, "So what?" Everything else is simply a matter of how well they make their point. Does the paper lack focus? Then it can't make its point. Is the language too general or loaded with private meanings? Then the reader can't figure out where the paper is trying to take them.
I don't worry about plagiarism. I just don't. I'm not the kind of person who burdens myself with other people's ethical choices. When a student emails me to let me know they have a migraine and won't be coming to class, my skeptical side realizes that "migraine" could be code for "hangover". When they have to miss for a "family emergency", I know that it could be totally made up. But so what? They're only hurting themselves if they're lying. I'm not qualified to judge anything but the effectiveness of my students' writing. As far as I'm concerned, anyone who gives me advance notice about missing class has the opportunity to do make-up work. It's not like many people actually ask about make-up work, and it's usually easier just to come to class anyway.
When it comes to plagiarism, yeah, it has to be addressed. We worked on quotation integration Wednesday, and several worksheets they turned in had "paraphrases" which used the original authors actual words, just in a slightly different order. So we talked about what it means to use your own words. But I'm of the opinion that labelling every form of academic dishonesty as "plagiarism" is counter-productive. Hiding differences where they exist isn't a great idea. There's a difference between having trouble putting something in your own words and ripping off paragraphs out of laziness or desparation.
I simply want to make sure they're not desparate. I want them to feel like I want to hear what they have to say. There's got to be a benefit to having a discussion-oriented class, where the instructor shows interest in each student's opinion. There's got to be a benefit to working with students, not trying to scare them into writing good papers. I know some of my fellow TA's take that strategy. We want to make the students know they can't pull one over on us. Sure, I remind them that I can plainly see what font they're using, and biggerizing it won't magically develop their argument more fully. But I don't try to give them the impression that college writing is going to be a painful transition--they have a whole semester to learn. I don't try to make them feel like they have to pull off something really impressive just to get my approval. I don't want my students to feel like I think they're inadequate. I just want them to show me some good work, and we'll work a little harder when they aren't succeeding.
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