first draft

Since our students get to have a writing concern, I don’t see why I should be denied the same basic right.

So I’d like to preface this draft by saying that it is not bolstered by an adequate number of sources. I am still very much in the process of research. There are several holes in the argument that have become apparent to me in the fledgling stages of revision I have attempted thus far during process of this draft’s creation. In addition, the argument of this paper should be viewed as a butterfly grub moving slowly toward its chosen location for metamorphosis. That is to say, this draft is weak, its conclusions, tentative, and its structure not adequately realized and even as a draft it should be considered as unfinished. I'm not sure how I will tie the concept of emulation presented in the introduction into the rest of the argument, I might scrap it, or rethink how it works. Actually, I think the entire first part of the introduction needs to be done away with, but I'm not going to actively revise the draft on my blog, I'm doing that already in Word. The sources I have used are listed beneath the paper, and I plan to flesh out my paragraphs and insert source material where my prose becomes stagnant. I believe I also come off a little condescending and mean (as in average and nasty). There are images and footnotes that will not transfer to the blog that are essential to understanding certain aspects of the argument. To warn you, the solution to the mathematical word problem is a series of images. Here you go:

The first character in Confucious’ Analects is Xue, “to learn.” Zhu Xi’s interpretation of the entire first analect yields the following insight: “Xue [to learn] means “to emulate” [xiao]. Students of both mathematics and English composition learn by emulation. Surrounding a particular technique or theorem within a mathematical text is almost always a series of examples and solutions. Composition textbooks, like Pearson publishing’s First-Year Writing, is no different, in that a discussion of technique, for example a set of bulleted lists outlining successful strategies for writing summaries, is closely followed with examples offered at different stages of the process. If we were to imagine the differences in the solutions of a math word problem and a rhetorical problem we might say that one is absolute and the other not. But let us first concern ourselves with the similarities, the most pronounced being that success in both situations requires practice. I believe that there is a distinct advantage to be gained from the rewording of typical FYC composition assignments, whose language we will see tends to be nebulous, from a suggestive and exploratory tone, to a more defined objective-oriented tone. By reforming the vague, subjective offerings of the FYC prompt to more closely model the constricted and absolute language (and solution) of the mathematical word problem, it might be possible to create the illusion in student’s minds that there is a definite solution, a definite way to master a particular aspect of composition, thus reshaping what tends to be a lack of confidence in ability into a more directive-driven sense of achievement and ultimately drag out from the student’s minds the idea that FYC has no point and that writing is impossible to learn.

It seems necessary to preface the following discussion with the following disclaimer: The reshaping of composition texts around the country to match the proposed change listed above is impractical (and possibly unwise) not only because of its deterministic nature and its perceived limitations on student product, but due to obvious financial and temporal constraints. However, I have a firm belief in the ability of theoretical dialog to facilitate unconscious change. My only intention is to lodge pieces of this paper into the space of our unconscious. Rethinking old and hypothesizing new ideas is absolutely necessary given the ever-evolving demands of the composition classroom.

I agree with concept of the Rhetorical Problem, as listed in Linda Flower and John R. Hayes’ article, “A Cognitive Process Theory of Writing.” The problem with the FYC prompts is in their vague treatment of rhetorical situation. I would say that the majority of students often don’t view English composition as a legitimate course; they aren’t familiar with the idea of a Rhetorical problem; and, they don’t believe their assignments are anything but exercises or practice. The rhetorical problem for Flower and Hayes includes topic, audience, and exigency (the demands) (288). Until I read this article as an English graduate student I had never once been introduced to an English assignment as a rhetorical problem. So alarmed was I at the ability of a single term to clarify for me what had seemed before to be only a hopeless situation, a situation that many students today feel frustrated by: the nebulous and vague objectives and description of the FYC assignment. As we will see, assignment write-ups from even the FYC program of which I am a part fall into the category of the imprecise, leading me to believe that students of our program suffer from what could be called a frustration with the tenuous. Changing the language of FYC assignments might not be the answer, as Flower and Hayes rightly point out that “the way in which people choose to define a rhetorical problem to themselves can vary greatly from writer to writer” (288). And one might argue that the last thing we need is a proposed solution that admits it carries subjective baggage. However, the change is not subtle; it is the difference between a loosely worded assignments’ request for a student to respond, and a precisely defined rhetorical problem’s request for a student solution. I do not agree with the implication of Hayes and Flower that the two are variants of the same thing. The two cannot be the same thing by virtue of definition, to “solve” is not the same as “to respond.”

Positioning the student within a Rhetorical problem is essential for prompting a solution to that problem. The aim of the reconfiguration of language is not to elicit a response typical of FYC assignments, but to determine a specific range of responses within a spectrum of English ‘correctness,’ and thus make the response closer to a solution. Take for example the following algebraic word problem:

A 25 foot ladder is leaned against a wall so that the ladder reaches a height of 7 feet on the wall. How far from the wall will the other end of the ladder be? (algebra.com)

Before we begin solving, we should ask a few preliminary questions: What does this problem expect from student?; does the word-problem method of delivery facilitate universally transferable learning methods?; does it make understanding the concepts of its course and field easier or not, and if so how does it achieve its desired effect? First I will outline a method for solving the problem. The process of solving the problem will reveal what it expects of its participant.

• Determine from the problem’s text what information you are given.
• Determine for what you are solving.
• Assign the unknown variable a label
• Solve for the unknown using an appropriate formula

Those are the steps. The following is a proposed walkthrough of the problem, a walk-through that roughly adheres to the bulleted list above.

The ladder against the wall makes a right triangle.
The hypotenuse, H, is the ladder length, 25 feet.
One side of the triangle is 7 feet.
What is the other length,?
From Pythagorean theorem,

The ladder will be 14 feet away from the wall. (Algebra.com)

What does this problem expect from student? It expects that the student has been given enough information to reach the solution. It expects that he/she is capable of finding the correct formula based on the given information, and thus that they are capable of solving the problem. Mathematical problems of this nature demand a single solution, and the use of the Pythagorean Theorem by the tutor shows us the most conventional method of dealing with a problem whose given information forces, almost deterministically, a specific type of interpretation.

The product of FYC assignments posed as Rhetorical problems will not be perfectly assessable. I humbly admit that even a restructuring of the language will not produce a single solution void of personality and subjective delivery. It is true that writing assignments are not simply solved by plugging information into the right formatting, though on the surface it seems that a happy medium can be achieved between the language of both, response and solution-eliciting problems. The compromise might also combat the limited view that English should be either qualitative or quantitative in its assessment of student writing. The product of a reconfiguration of FYC assignment language will ideally be a piece of clear prose, one laden with a consistent set of components within the text itself, indicative of an adherence or non-adherence to the three essential components of the rhetorical problem in question: topic, audience, and exigency. A student response is subjective and we must gauge not its correctness but its adherence to particulars that students at this point are largely left to determine themselves. The process of determining the three essential components of the Rhetorical problem is an assignment in and of itself.

If we insist on retaining the nebulous language and form of our current FYC writing prompts then we must spend class time teaching students how to extrapolate the three components of the rhetorical problem from the often ridiculously vague prompts provided in textbooks. My proposition then is to eliminate the middle-man so to speak, reword the assignments themselves in language that makes explicitly clear the rhetorical problem students should find themselves in. Current assignment language encourages practice through emulation (Remember our Confucian analect “to learn is to“emulate.”) However, if taken too far emulation attempts to undermine the idea that we are teaching students anything of tangible validity within FYC, not to mention it creates difficulties in the process of assessment. In many ways emulation is the easiest way for students to feel as though they are progressing; they see a piece of writing that is published in a textbook, they equate it with success and mould their writing style accordingly, though at sometimes dangerously high levels of similarity bordering on plagiarism. Positively, emulation facilitates directive-driven practice, forcing students to think critically about the difference between their own work and the polished subject of their emulation. Negatively, emulation gives students the illusion that there is a perfect way to compose successful writing, and if taken too far, emphasis on emulation can mislead students, pushing them toward the shores of deterministic voice, creating the bad habit of writing-to-cater, and leaving them with a feeling of their own voice’s inadequacy. At this point let us concern ourselves with the vague language used in the text of a particular FYC prompt itself.

The first assignment students submitted for a grade this semester was a summary. Without explaining the assignment as I now understand it, I will instead reproduce the assignment text in its unadulterated form, without any of the clarification the FYC team creates in subsequent conversational or experimental contexts. Let us examine this prompt and think of the ways it differs from the proposed Rhetorical problem.

Objective: To practice summarizing an article.

Description: For this assignment, you will write two summaries: one of an article and another of the data presented in a chart. Use the material on summaries in Ch. 1 to assist you in doing so. For your first summary, you will summarize one of the five articles listed below OR an article chosen by your classroom instructor. (Visual summary omitted)

That is the text. The following is an example of a student’s response (as the language of this prompt disallows even the haziest of solutions).

Hekker, Terry. "Paradise Lost" (p. 400 of your textbook)

“A Brief History of Malls,” by Kenneth T. Jackson discusses the progression of shopping centers through the centuries and through different cultures in the world. American society has become extremely dependent on expedient shopping to fit with their fast-paced way of life. Shopping centers have existed for centuries and began as gatherings where traders could exchange goods. Modern shopping malls include sophisticated amenities, multiple story building complexes, and have easily accessible parking lots. Underground shopping centers thrive in areas with severe weather conditions and often are considered their own “core city.” “Planned shopping centers,” began to gain popularity in the 1930s and were considered to be the most efficient way of selling goods. The idea was that people would buy more merchandise if they were surrounded by a variety of stores in one location. This approach progressed in the 1950s when the indoor shopping center was introduced, and anything else became “second-rate.” The typical American lifestyle is highly influenced by convenient shopping and has developed into a mega-million dollar industry.” (John/Jane Doe)

[I've yet to analyze the student response and plan to discuss evidence of its adherence or non-adherence to the BA: 1 prompt. I also plan around this part of the paper to provide an example of a new prompt for the same BA: 1 assignment; one that is structured in the language I have been championing up to this point, but have neglected to give specific examples about yet. I feel that one of my main weaknesses is an assumption that my audience is aware of the rhetorical language shift I am using, or unconvinced that the BA:1 or English prompt-creature in general is not specfic enough. I plan to devote some time to that somewhere].

Let’s talk briefly about the similarities in the language of the two problems, and then address the FYC objective/description under the same critical lens as we did the mathematical problem. What does this prompt expect from the student? The prompt demands of the student a summary, a summary to be constructed from the techniques and materials they are assumed to be familiar with given in the 25 page chapter (that the student may or may not have read, and that may or may not matter as the material contained within the chapter does not necessarily directly correlate to a student’s ability to write successful prose worthy of a passing grade). It may seem reasonable to assume that student who understands the concepts contained within chapter 1 is capable of writing a passing piece of prose. The chapter discusses the necessity for a thesis statement, and provides strategies on how to combine thesis, section summary, and detail. It should become clear that the bulk of this discussion relies on the assumption that students have either not read the chapter or not understood the chapter. The chapter contains a fractured subjective form of the essence of that which makes the mathematical problem work so well: clear instructions. However, it neglects to prescribe the three essential components of the Rhetorical problem. Grading experience with the BA: 1 assignment leads me to believe that not but a handful of students approached this assignment from the step-by-step process offered in the chapter text. In addition, the prompt itself contains no specific reiteration of successful techniques required; it merely refers the student imprecisely to a 25 page chunk of material embedded in which are the critical terms necessary for success.

To go on a brief, illustrative tangent, if we were to look at the mathematical word problem as exuding a sort of self-contained, cold and objective-hubris the BA: 1 assignment prompt radiates like a lump of room temperature polarized metal nearing the end of its magnetic life. An assignment worded like BA: 1 by its very vague-nature neglects to descend into the realm of the specific; it instead assumes prerequisite knowledge, and student familiarity with concepts such as, thesis, audience, and grammar, in a different way than what is demanded by the nature of a seemingly self-contained word problem; as the external knowledge necessary to solve the problem is not a formula, but a nebulous and limitless idea. By assuming students are familiar with thesis, audience, concepts of exigency and topic one runs the risk of falling into the same pitfalls encountered when assuming students have read the chapter. In an ideal learning environment, an instructor could feel safe in this assumption, but the world in which we teach is hardly ideal, and perhaps that is part of a larger problem to be discussed elsewhere. This particular prompt-like creature directs the student to 25 pages of material that do not indicate how one can write a successful summary (for the term successful is subject to debate, a mathematical problem of the nature we are dealing with has a definite solution) but rather suggest ways for students to become successful. In addition to its discussion of the essential components of a summary, this particular chapter devotes a lot of effort to providing contextual justification for the consumption of its techniques. It does so by embedding intimidating and traditionally abstract sets of references to the stereotypical university level offerings in such a way as to offer students a dire warning (but one of double-sided warmth and thoughtful affection), that in the future, should they fail to successfully adhere to the principles of proper summarization contained herein, in a hypothetical “psychology midterm, they may be asked to explain Carl Jung’s theory of the collective unconscious and to show how it differs from Sigmund Freud’s theory of the personal unconscious,” and find themselves at an utter loss. This first chapter of the first English book most of these students have ever seen in college cuts with its blazing sword of mighty language, (a sword nonetheless containing a core of ice), the obliterating fact that they will undoubtedly have to read Freud (7).

But more seriously, like mastering a mathematical concept, to become a proficient and successful summarizer, a student must practice. Similar to mathematics, chapters in FYC books offer examples and techniques, but do so with language that is so heavily entrenched in subjective suggestiveness as opposed to rational objectivity, such as “X does Y sufficiently, make-sure you do X, technique Z can be used to better do X, doing Y will help you more coherently achieve Z, etc.” (21-41). Within a single chapter, a student of composition reads upwards of 25 pages of example, technique, and suggestion before being prompted to practice. I assume that our own program’s BA: 1’s suggestion to “use the material on summaries in Ch. 1” becomes all but meaningless to the student, who may or may not have read the chapter entirely. How is it possible for a student to pick and choose enough of the aspects listed in the 25+ pages of Chapter 1 to create a successful summary? And after that, condense it into a single paragraph when the examples they have been given are all given in considerably polished form. It is partly the extremely nebulous nature of what is considered successful composing that leads to poor grades and student concerns, the likes of which are touched upon further in the discussion.

There are similarities between both assignments. Both the mathematical problem and the English prompt-creature contain necessary numbers for determining the unknown variable. Unlike the mathematical problem, the FYC prompt uses a chapter number, referring not to essential bits of information but leading them to intimidating bodies of text containing not correct, but probable suggestions for success. The mathematical problem gives students the precise amount of information required to arrive at the correct solution. It is up to the student then to take an appropriate approach given his/her knowledge of formulae. The problem with the English assignment does not lie in the subjectivity of its demanded response or the size of the body of knowledge necessary to be successful in the art of responding, but instead in a student’s lack of confidence surrounding successful approach. I believe that a restructuring of the prompt’s text, complete with a basic offering of the three essential components of its rhetorical problem, would alleviate to some extent the student’s lack of confidence. If the student knew s/he had the tools or even if the student was made to believe, that is, given the illusion that the prompt was not merely a prompt, but a seemingly self-contained problem, then the student could approach the assignment with the confidence that is becoming so necessary a part of writing throughout FYC.

Many of you might feel that by giving the student the essential components of the rhetorical problem that you are, in a sense, doing some of the work for that student. Ask yourselves; is the extra work it would take to clarify an assignment’s text, to supply students with a rhetorical situation clearly, and to scrap nebulous and imprecise assignment write-ups, worth its potential results? You might also question whether or not providing the three essential components of the rhetorical problem is all I’ve made it seem to be. It seems that it would be an instructor’s role to clarify assignments for students and this leads to a discussion of another troublesome aspect of a split-instruction environment such as the one at Texas Tech: the disconnect between classroom instructor clarification of textbook assignments and the sometimes overly general sometimes adequately specific ICON assignment prompts.

Practical contextualization of assignments should not be limited to the classroom setting; it should not be as subjective as to vary from classroom to classroom. Practical contextualization should be integrated into the assignment prompt along with the rhetorical situating we have been discussing. Starting a prompt in the abstract is not confusing so long as it moves to the specific eventually. However, there is no practical benefit to be had from maintaining an abstract tone throughout a FYC prompt. For example, a recent assignment that has been receiving a lot of criticism around my own campus is a critique of a critique. The prompt for assignment BA: 5 states:

“Before reading the discussion of this model critique, write your own informal response to this critique. What are its strengths and weaknesses? To what extent does the critique follow the general Guidelines for Writing Critiques that we outlined on page 67[1]? To the extent it varies from the guidelines, speculate on why. Jot down some ideas for a critique that takes a different approach to Ryan’s essay.” (79)

I can imagine a student staring at their computer screen one hour before the paper is due to be submitted, saying “so this is a critique of a critique of a critique of a critique of a critique…” Why should we not integrate a practical contextualization into the prompt itself instead of relying on the teacher who may forget or may be preaching to deaf ears? While grading this particular assignment I received several writing concerns from students indicating a complete lack of understanding regarding this assignment’s objective. After speaking with a colleague about the issue, I began to integrate into my commentary a practical contextualization of the rhetorical situation by asking them to think about their favorite movie or novel. In essence I began to supply students with a modified prompt-like creature of my own, one where I (admittedly) did not implicitly state the three essential components of the rhetorical problem, but tried at least to contextualize the assignment for the bewildered student lost in the abstract language of the academic textbook (whose ideas of contextualization range from practical (gas-prices) to examples bordering on the absurdly presumptuous for a FYC student (Marxism)):

“Think about your favorite novel. Imagine picking up the paper and reading a negative book review of this novel. While reading this review (which can be considered a critique) you notice several holes and inadequacies. You feel the urge to defend your novel and to point our some of this person’s particular mishaps that you noticed while you read. Or imagine you read a book review that leaves you feeling satisfied. What about the book review did the author do well, what tools did s/he use to analyze the novel and why did the critique leave you feeling particularly satisfied. Think of this assignment as a controlled response to the author of either of these particular book reviews. Distance yourself and do not become lost in the content of the book review without speaking to the larger critical implications of the author’s remarks. Determine whether the author of the passage beginning on page 74 agrees with the work he’s reviewing or if he disagrees with it and proceed from there. Good luck.”

Given, this particular assignment was to critique a fairly model critique that contained a minimum of errors on the subject of Dance-school admissions, (hardly a topic the students were thrilled by) but by dragging the actual exigency out of the realm of the abstract and into the practical, by offering it to the students on terms they are capable of consuming, I believe I made the prompt easier to understand.

More to come…

-----------------------------------------------------------------

Sources used so far:

Still deciphering the citation guidelines on this one:

http://www.algebra.com/algebra/homework/word/geometry/Geometry_Word_Problems.faq.question.106304.html

Pearson Custom Publishing. First-Year Writing, Writing in the Disciplines, New York: Longman Publishing, 2007.

Gardner, Daniel K. Zhu Xi’s Reading of the Analects: Canon, commentary and the classical tradition. New York: Columbia UP, 2003.

Flower, Linda, Hayes, John R. “A Cognitive Process Theory of Writing.” College Composition and Communication 32 (1981): 365-87.

---

[1] Said guidelines are actually found on page 71.

Walkway

Blog Prompt: Using the "double entry" method, observe something and describe it (NOTE: try NOT to observe an academic experience; might be too political). Then, reflect on those observations. Communicate both in your blog--and we'll talk in class about how a reflective activity like this one might/might not be a good experience for students.

What I saw:
In the 80 seconds it took for the microwave to heat a mug of water I observed a walkway full of students. One of the male students was wearing shorts and a sweatshirt, a female student had a yellow fleece on. Many of the students walked at different speeds, some sticking to the concrete path and others crossing over the grass. Others walked in harmony with the individual in front of them, always keeping a distance of at least 3 feet. Some stared at the ground, others' eyes were fixed straight in their heads.

My thoughts:
The entire time I watched I was conscious of my blinking. I remember sitting in bed the night before with my eyes closed and thinking to myself, even when my eyes are closed they are staring at the back of my eyelids. My eyes wide open staring at the back of my eyelid. My officemate Paul reminded me of the Kubrick film, Eyes Wide Shut, and I thought about that for a few moments. The students reminded me of fish in the river of the sidewalk. The boy who was wearing a suit looked particularly self conscious, I inserted myself into his mind and heard him chanting: "Shoulders back, shoulders back!" He stared at the ground for a while so I stared with him. He was undoubtedly conscious of the fact that his pants were about two inches too short and with each step they flapped in the wind, revealing a new picture of the boy's socked ankles. The girl in the canary-vest was minding her own business, she looked straight ahead, her face from what I could see through the window, was set in a peculiar abstraction. She reminded me of Ursula from Lawrence's novel Women in Love, which I fell asleep reading the night before. The entire movement of people, students and faculty alike, reminded me of just how unique each individual human is. I thought of a time when human beings were less plentiful, of a time when it was not so easy to forget the significance of each individual. The observation and reflection left me both lamenting for the past and rejoicing at the prospect that somewhere out there is a new friend. The microwave buzzed and I steeped my green tea.

Nearing the end of Oct

Blog Prompt: Does "voice" that resonates compete with or enhance "academic voice"? How can we write successfully as "academics" and still have voice? Or, you can talk about how important you think voice is in teaching/grading: how do you teach "voice"? How do you assess it?


I think resonating voice can compete or enhance "academic voice." I believe the essential thing to have is control over your voice. When you are writing a story for yourself you can let your voice take over, lead you to new ideas, speak for you entirely. However, when you have a larger audience to consider, maybe an audience dictated by the type of writing you are working on, you must regulate or control your voice. You should not squelch your voice, simply control when and in what manner it appears on your writing and to what degree.

Service Learning

How can we facilitate service learning (or SHOULD we)?

On the topic of service learning: In the high school I went to, and I assume in many across the country, the teaching of civics has been phased out. I'm unsure how students would react to that type of education as it seems a type of delicate moral instruction that many entering freshman have not been introduced to since elementary school. If students received some sort of civic responsibility course in their high school I could see them accepting it at the University, but if they are anything like the type who parties until 4 am on a Tuesday night like my neighbors, it is most likely to fall on deaf ears and become like pulling teeth.

So should we facilitate service learning in the FYC classroom? I think that we should but I don't see it working out. Encouraging students to reflect on their own extra-curricular service-based activities (if they participate any) would be a good place to start. Not only does it help them to practice the process of reflection, but it enables them to begin considering "where they stand," and to develop a unique voice amidst all their drowsy classmates. Focused free-writing exercises might help students to develop a sense of civic responsibility without forcing the uncharitable to commit heinous acts of charity.

What puzzles me?

To begin with, I have no experience in the classroom so this class is to teaching what my theory class is to writing. My teaching philosophy will be a conglomerate of different theories and practices I feel might work, and maybe some that I have a hunch will fail.

In Flower and Hayes' A Cognitive Process Theory of Writing, "Poor writers will depend on very low-level goals, such as finishing a sentence of correctly spelling a word." Why do students focus on the low-level goals? Are these writers wearing blinders, preventing them from seeing the large issues of a paper?

What sort of expectations should I have as a first-time FYC instructor next fall?