Podcasts about College English

Keywords: Composition Studies, Community Writing, Student Activism, Leadership, Pedagogy. Charles McMartin is an Assistant Professor of English specializing in Composition at Utah State University Tooele (pronounced Too-will-ah). He earned his PhD in Rhetoric, Composition, and the Teaching of English from the University of Arizona. His research focuses on culturally sustaining pedagogies, community writing, student activism, and NextGen faculty leadership. His work has been published in College English, Rhetoric Review, Composition Studies, Reflections, and Peitho. His forthcoming coedited collection is titled Next-Gen Perspectives on Leadership: Coalitional Strategies for Launching Careers, Building Networks, and Engaging with Systemic Inequities (USU Press). Visit thebigrhetoricalpodcast.weebly.com and follow @thebigrhet.

This new episode of The BETWEEN Podcast features a sacred conversation between host Matt Mattson and author Gregory Coles, Ph.D. about his book No Longer Strangers. Gregory Coles is a tangle of identities: born in upstate New York, raised on the Indonesian island of Java, and now working as a freelance author and scholar in Idaho's Treasure Valley. He holds a PhD in English from Penn State and has been in love with language since age 8, when he started learning his older brother's SAT vocabulary words and reading Shakespeare's Hamlet. Greg's fiction and expository writing have been published by Penguin Random House and Houghton Mifflin Harcourt. His academic research on rhetorics of marginality (how language works in society for disadvantaged groups) has appeared in College English and Rhetorica and in an edited collection from Cambridge University Press. His two memoirs, Single, Gay, Christian and No Longer Strangers, have earned awards that include a Foreword INDIES Award Finalist and an InterVarsity Press Readers' Choice Award. His newest book, a novel exploring the power of language to shape human thought, is The Limits of My World. Facebook Instagram Twitter Website

Keywords: writing, first-year writing, artificial intelligence, teacher training, Jeopardy. Holly Hassel is director of composition at Michigan Technological University. Her research interests focus on the teaching of college writing, writing assessment, writing program administration, two-year college writing studies, and feminist pedagogy. Her research and scholarship have appeared in many edited colections and peer-reviewed journals including College English, College Composition and Communication, Teaching English in the Two-Year College, the Journal of Writing Assessment, Pedagogy, and others. Her recent book publication is the coauthored A Faculty Guidebook to Effective Shared Governance and Service in Higher Education (Routledge, 2023); and the forthcoming coauthored Reaching All Writers: A Pedagogical Guide to the Evolving Writing Classroom  (Utah State UP, 2023). Follow @thebigrhet and visit www.thebigrhetoricalpodcast.weebly.com for more information on TBR Podcast. 

In which we turn to a cornerstone of Quebec literature and talk about the pastoral! Written during the 1st World War, Maria Chapdelaine has become a must-read for Quebec literature students... but perhaps for the wrong reasons... --- Support: Patreon (https://www.patreon.com/historiacanadiana); Paypal (https://www.paypal.com/paypalme/historiacanadiana); recommended reading (https://historiacanadiana.wordpress.com/books/) ---Contact: historiacanadiana@gmail.com; Facebook (https://www.facebook.com/CanLitHistory). ---Sources/Further Reading Deschamps, Nicole. Le mythe de Maria Chapdelaine, Montréal: Presses de l'Université de Montréal, 1980. [English] Hémon, Louis. Maria Chapdelaine, trans. by Thoreau MacDonald, Toronto: Macmillian, 1916 [1986]. Mezei, Kathy. “Quebec Fiction: In the Shadow of Maria Chapdelaine.” College English, vol. 50, no. 8, 1988, pp. 896–903.

From Angelica Mallak: In my podcast “Lets Dive Right In” I will discuss the importance of American Literature in todays educational system. I invite my listeners to ask themselves: Do you guys think that American Literature is important in our educational system? Should the American school system focus more on the reading abilities of students?. Then I will begin to elaborate on why American Literature is important for students in todays world and back up my statements with research. In this podcast I encourage my listeners to read books and explain to them some of the benefits they may receive from this accomplishment. Bibliography1. Shockley, Martin Staples. “American Literature in American Education.” College English, vol. 8, no. 1, 1946, pp. 23–30.2. Clark, Beverly Lyon. “Little Women Acted: Responding to H.t.p.'s Response.” The Lion and the Unicorn, vol. 36, no. 2, 2012, pp. 174–192.3.“Libguides: American Literature & Culture: American Literature.” American Literature - American Literature & Culture - LibGuides at Miami Dade College Learning Resources, https://libraryguides.mdc.edu/Americanlit.4. Ludden, Jennifer. “Why Aren't Teens Reading like They Used to?” NPR, NPR, 12 May 2014, https://www.npr.org/2014/05/12/311111701/why-arent-teens-reading-like-they-used-to.5. American Literature – Department of English. https://english.ufl.edu/programs/undergraduate-programs/american-literature/.

Containing Matters in which the Past reaches the Present. Timestamps: introductions, Butler biography, non-spoiler discussion (0:00) spoiler plot summary (48:17) spoiler general discussion, tv show discussion (1:57:58) Bibliography: Behrent, Megan -"The Personal is Historical: Slavery, Black Power, and Resistance in Octavia Butler's Kindred", College Literature, volume 46, issue 4 (2019) Butler, Octavia E. - "Positive Obsession" in "Bloodchild and Other Stories" (1995) Donaldson, Eileen - "A contested freedom: The fragile future of Octavia Butler's Kindred" English Academy Review, volume 31, issue 2 (2014) Flagel, Nadine, “It's Almost Like Being There”: Speculative Fiction, Slave Narrative, and the Crisis of Representation in Octavia Butler's Kindred, Canadian Review of American Studies, volume 42, issue 2 (2012) Francis, Conseula (ed.) - "Conversations with Octavia Butler" (2010) Guha-Majumdar, Jishnu - "The Dilemmas of Hope and History: Concrete Utopianism in Octavia E. Butler's Kindred" Palimpsest: A Journal on Women, Gender, and the Black International, volume 6, issue 1 (2017) Hua, Linh U. - "Reproducing Time, Reproducing History: Love and Black Feminist Sentimentality in Octavia Butler's Kindred", African American Review, volume 44, issue 3 (2011) LaCroix, David - "To Touch Solid Evidence: The Implicity of Past and Present in Octavia E. Butler's Kindred", The Journal of the Midwest Modern Language Association, volume 40, issue 1 (2007) Levecq, Christine - "Power and Repetition: Philosophies of (Literary) History in Octavia E. Butler's Kindred", Contemporary Literature, volume 41, issue 3 (2000) Long, Lisa A. - "A Relative Pain: The Rape of History in Octavia Butler's Kindred and Phyllis Alesia Perry's Stigmata", College English, volume 64, issue 4 (2002) Miletic, Philip - "Octavia E. Butler's Response to Black Arts/Black Power Literature and Rhetoric in Kindred" African American Review, volume 49, issue 3 (2016) Mitchell, A. - "Not Enough of the Past Feminist Revisions of Slavery in Octavia E. Butler's Kindred", MELUS, volume 26, issue 3 (2001) Octavia E. Butler official website https://www.octaviabutler.com/ Parham, Marisa - "Saying “Yes”: Textual Traumas in Octavia Butler's Kindred", Callaloo, volume 32, issue 4 (2009) Popescu, Irina - "Empathetic Trappings: Revisiting the Nineteenth Century in Octavia Butler's Kindred", Journal of Human Rights (2017) Robertson, Benjamin - "Some Matching Strangeness: Biology, Politics, and the Embrace of History in Octavia Butler's Kindred", Science Fiction Studies, volume 37, issue 3 (2010) Rowell, Charles H. and Butler, Octavia E. - "An Interview with Octavia E. Butler", Callaloo (1997) Rushdy, Ashraf H. A. - "Families of Orphans: Relation and Disrelation in Octavia Butler's Kindred", College English, volume 55, issue 2 (1993) West, C. S. Thembile - "The Competing Demands of Community Survival and Self-Preservation in Octavia Butler's Kindred", Femspec, volume 7, issue 2 (2006)

I'm Back! Hi guys, Ricky Pope here. I am back with new content, this week on the Christian Nerds Unite Podcast. Recently, I interviewed Danny Anderson. College English professor, Podcast Host and Author. He and I discuss the ideas of Christianity in Horror films. Plus scripture and nerdy news as always. We talked so long I decided to split the interview into two episodes. Check back next week for part two.Want to keep up with what Danny Anderson is doing?https://authory.com/DannyAndersonhttps://twitter.com/DannyPAndersonThe video version is here: https://www.youtube.com/christiannerdsunite?sub_confirmation=1I host my podcast with Captivate, the world's only growth-oriented podcast host™ - you can too, and get your first 7-days totally free! Clicking: https://www.captivate.fm/signup?ref=rickypopeMy Microphone - Electro-Voice RE20: https://amzn.to/2VVg1yaJoin our Parteon: https://www.patreon.com/christiannerdsuniteSome of the links are affiliate links meaning at no additional cost to you I may earn a commission if you click through and make a purchase.

Episode 114 of TBR Podcast features an interview with Dr. Crystal VanKooten. Dr. Crystal VanKooten is an Associate Professor of Writing and Rhetoric at Oakland University where she teaches courses in the Professional and Digital Writing major and in first-year writing and serves as co-managing editor of The Journal for Undergraduate Multimedia Projects (JUMP+). Dr. VanKooten's work focuses on digital media composition through an engagement with how technologies shape composition practices, pedagogy, and research. Her publications appear in journals that include College English, Computers and Composition, Enculturation, and Kairos. VanKooten's digital book, Transfer across Media: Using Digital Video in the Teaching of Writing, was funded by a CCCC Emergent Research/er Award and is available online from Computers and Composition Digital Press.For more information about TBR Podcast visit our website www.thebigrhetoricalpodcast.weebly.com and follow us on Twitter @thbigrhet.

Episode 113 of TBR Podcast features an interview with Dr. Rich Shivener. Dr. Rich Shivener is an assistant professor in the Writing Department at York University. His latest research investigates digital media writing practices and emotions, and he teaches courses in the department's digital cultures stream. Rich is also a section editor for Kairos: A Journal of Rhetoric, Technology, and Pedagogy. His work has appeared or is forthcoming in journals such as enculturation, Computers and Composition, and College English. He takes pride in collaborating with colleagues and teaching a range of rhetoric and writing inquiries. For more information on TBR Podcast visit www.thebigrhetoricalpodcast.weebly.com and follow us on Twitter @thebigrhet.

Episode 112 of TBR Podcast features an interview with Dr. James Rushing Daniel. Dr. James Rushing Daniel is an assistant professor of English and director of basic writing and assessment at Seton Hall University. He is the author of Toward an Anti-Capitalist Composition and the co-editor of Writing Across Difference: Theory and Intervention (both from Utah State University Press, 2022). His research has been published in Philosophy & Rhetoric, College English, College Composition and Communication, and his public writing has appeared in Jacobin and the Chronicle of Higher Education. His research investigates the complex challenges presented by the new economy and the 21st century workplace and theorizes how writing instructors can more effectively prepare students to parse and navigate contemporary economic discourses and professional scenes. For more information on TBR Podcast visit thebigrhetorical.weebly.com and follow us on Twitter @thebigrhet.

Greg is the author of Single, Gay, Christian: A Personal Journey of Faith and Sexual Identity (IVP, 2017) and No Longer Strangers: Finding Belonging in a World of Alienation (IVP, 2021). He holds a PhD in English from Penn State and works as a writer, speaker, and worship leader. His fiction and expository writing have been published by Penguin Random House and Houghton Mifflin Harcourt; his academic research on rhetorical theory (how language works in society) has appeared in College English and Rhetorica and in an edited collection from Cambridge University Press. You can find most of his creative activities curated at gregorycoles.com. Episode Talking Points: What does "gay" mean? Does gay and same-sex attraction mean the same thing? How do you find a Christian community when you feel like you don't fit? What does it mean to no longer be a stranger? Why are words so important? Resources: Single, Gay, Christian No Longer Strangers --- Support this podcast: https://anchor.fm/the-monday-christian/support

Dr. Gregory Coles is senior research fellow at The Center for Faith, Sexuality & Gender, and is the author of Single, Gay, Christian: A Personal Journey of Faith and Sexual Identity (IVP, 2017) and No Longer Strangers: Finding Belonging in a World of Alienation (IVP, 2021). He holds a PhD in English from Penn State and works as a writer, speaker, and worship leader. His fiction and expository writing have been published by Penguin Random House and Houghton Mifflin Harcourt; his academic research on rhetorical theory (how language works in society) has appeared in College English and Rhetorica and in an edited collection from Cambridge University Press. You can find most of his creative activities curated at gregorycoles.com. Theology in the Raw Conference - Exiles in Babylon At the Theology in the Raw conference, we will be challenged to think like exiles about race, sexuality, gender, critical race theory, hell, transgender identities, climate change, creation care, American politics, and what it means to love your democratic or republican neighbor as yourself. Different views will be presented. No question is off limits. No political party will be praised. Everyone will be challenged to think. And Jesus will be upheld as supreme. Support Preston Support Preston by going to patreon.com Venmo: @Preston-Sprinkle-1 Connect with Preston Twitter | @PrestonSprinkle Instagram | @preston.sprinkle Youtube | Preston Sprinkle Check out Dr. Sprinkle's website prestonsprinkle.com Stay Up to Date with the Podcast Twitter | @RawTheology Instagram | @TheologyintheRaw If you enjoy the podcast, be sure to leave a review.

"People aren't just the victims in their stories; they're the heroes of their stories." – Joyce Hayden Even if you haven't been hurt by domestic violence, someone you know has and wishes they could tell you about it. Perhaps you are a therapist, teacher, academic, or social worker who wants to help those who are suffering. Or maybe you are in an abusive relationship and need to know that you are not alone. The poems, memoirs, and creative nonfiction pieces collected here tell of real incidents of abuse, as well as of those who left destructive and unsalvageable relationships. The beauty and truth of the language, as well as the honesty and courage, set this anthology apart from self-help manuals and academic treatises on domestic violence. This book offers a path forward to healing, health and fulfillment, using the power of art to give voice where voice has been stifled, forgotten, overlooked or denied. Robert Kingett, Joyce Hayden, RK Taylor, Lynn Magill, Christina Hoag, and Heidi Seaborn are survivors of domestic abuse and are here to talk about the book they are all part of, When Home Is Not Safe: Writings on Domestic Verbal, Emotional, and Physical Abuse. You can order the book here: https://amzn.to/34SH95b Robert Kingett is an award-winning Blind author and essayist. He has appeared in publications such as USA Today, Chicken Soup for the Soul, and the Chicago Tribune. He is an advocate for Disabled authors. RK Taylor is a writer and social worker based in Pittsburgh, PA. He earned his MFA from Chatham University, and his work has appeared in Scribble, Flash Fiction Online, Origami Poems Project, among others. He co-edited an anthology entitled Recasting Masculinity (2020) and he co-hosts Deep in the D-Pad, a podcast exploring videogames through an intellectual lens. Joyce Hayden is a former College English professor. She left her teaching position to pursue art and writing. She completed a memoir titled The Out of Body Girl, which chronicles her years with Dissociation and domestic violence. Heidi Seaborn is Executive Editor of The Adroit Journal and author of PANK Poetry Prize winner An Insomniac's Slumber Party with Marilyn Monroe, the acclaimed debut Give a Girl Chaos and Comstock Chapbook Award-winning Bite Marks. Recent work in Beloit Poetry Journal, Copper Nickel, Cortland Review, Diode, Financial Times of London, The Missouri Review, The Offing, The Slowdown and the Washington Post. Heidi holds an MFA from NYU. Lynn Magill lives in Western Washington with deep Iowa roots that influence many aspects of her writing and visual art. She holds a master's degree in Professional and Creative Writing from Central Washington University has been published by McFarland and Sons, Thin Air Review, and Meat for Tea, among others. You can usually find her anywhere there are animals (especially dogs) or a lack of cell phone service - and ideally both. Christina Hoag, a former journalist and foreign correspondent, has written for Time, Business Week, New York Times, Financial Times, among other media. She is the author of YA novel Girl on the Brink, which was inspired by her own experience in an abusive relationship. She is a volunteer facilitator at a domestic violence support group and speaks about abusive relationships. --- Support this podcast: https://podcasters.spotify.com/pod/show/artsforthehealthofit/support

Are you looking for direction in this madcap world? Are you trying to figure out “Who are you?” To search for answers to some of these questions, we are joined by Derrick Fernando, a High School and College English teacher and the host of the American L_it! Podcast. For Episode 10 of the Lit Matters Podcast, we dive headfirst, whole-heartedly—into the rabbit-hole that is Lewis Carroll's Alice's Adventures in Wonderland. I'm mad. Derrick is mad. We are all a little mad…or we wouldn't be listening to this podcast. So, join us in Wonderland. Derrick's show, American L_it! can be found at:  https://www.podbean.com/podcast-detail/zhywa-14040b/American-L_it%21-Podcast   Additionally, The British Library has a wonderful retrospective of Alice, the influences that helped shape the text, and the impact Carroll's masterpiece has on our world. Visit the collection online: https://www.bl.uk/alice-in-wonderland#

Dr. Maureen Gallagher talks about her experiences teaching English at Slippery Rock University. She also reflects on the ups and downs of teaching during the pandemic.

Dr. William Duffy joins The Big Rhetorical Podcast to discuss his new book, "Beyond Conversation: Collaboration and the Production of Writing." Dr. William Duffy is Associate Professor of English and Coordinator of the Writing, Rhetoric, and Technical Communication Program at the University of Memphis. His scholarship has been published in Rhetoric Review, Composition Studies, College English, and Present Tense, as well as in various edited collections. His new book Beyond Conversation: Collaboration and the Production of Writing is available now from Utah State University Press.

It's the time of year again: the course evaluation period. It doesn't matter if we receive 99 glowing course evaluations from our students--the 1 negative evaluation will haunt our dreams! How can we learn to not take course evaluations so personally? To dive into this tricky subject, Paige and Margaret invite on three College English instructors to share their tips and experiences. This round table discussion is the first half of Literaturely's two-part season finale. Do you have any experiences with course evaluations that you'd like to share? Send us an email at literaturelypodcast@gmail.com or tweet us @Literaturely101.

A man with a passion for the dangerous, subversive, and avant garde; who eschewed the middle brow and loved the urbane and modern. Known in his life not just as a man of taste, but a tastemaker, someone who set the tone for elite cultural society in his lifetime; the white author, critic and photographer Carl Van Vechten became enchanted with the Harlem Renaissance, approached Black cultures as a source of ideas that he could take and exploit, and perpetuated racist stereotypes in his work. Visit our website at badgayspod.com for an episode archive, T-shirts, and a link to our Patreon. ----more---- SOURCES: Bernard, Emily. Carl Van Vechten and the Harlem Renaissance: A Portrait in Black and White. 0 edition. Yale University Press, 2013. Holmes, David G. “Cross-Racial Voicing: Carl Van Vechten’s Imagination and the Search for an African American Ethos.” College English 68, no. 3 (2006): 291–307. https://doi.org/10.2307/25472153. Sanneh, Kelefa. “White Mischief.” The New Yorker, February 17, 2014. https://www.newyorker.com/magazine/2014/02/17/white-mischief-2. White, Edward. “The Making of an American.” The Paris Review (blog), May 14, 2014. https://www.theparisreview.org/blog/2014/05/14/the-making-of-an-american/. ———. The Tastemaker: Carl Van Vechten and the Birth of Modern America. 1st edition. New York: Farrar, Straus and Giroux, 2014. Woolner, Cookie. “‘Have We a New Sex Problem Here?’ Black Queer Women in the Early Great Migration.” Process: A Blog for American History (blog), October 24, 2017. http://www.processhistory.org/woolner-black-queer-women/.   Our intro music is Arpeggia Colorix by Yann Terrien, downloaded from WFMU's Free Music Archive and distributed under a Creative Commons Attribution-ShareAlike License. Our outro music is by DJ Michaeloswell Graphicsdesigner.  

In the 50th episode of The Big Rhetorical Podcast Charles talks with Dr. Bonnie Kyburz. dr. bonnie lenore kyburz teaches writing, rhetoric and digital media. She supports creative vision and composes reflective, rhetorically timely texts via digital filmmaking, installations, multimodal composing, and print. She makes short digital films, documentaries and experimental pieces that hope to resonate as entertaining, provocative arguments for evolving scholarly scenes. Her current book is Cruel Auteurism: Affective Digital Mediations Toward Film-Composition, in the #writing series at The WAC Clearinghouse and University of Colorado Press. kyburz' work appears in Kairos: A Journal of Rhetoric, Technology, and Pedagogy, Enculturation: A Journal of Writing, Rhetoric, and Culture, Composition Studies, College English, and other NCTE publications.

On this episode, Katie is joined by Asao B. Inoue, Professor of Interdisciplinary Arts and Sciences, Director of University Writing and the Writing Center at the University of Washington Tacoma, a member of the Executive Board of Council of Writing Program Administrators, and the Program Chair of the 2018 Conference on College Composition and Communication. Among his many articles and chapters on writing assessment and race and racism, his article, “Theorizing Failure in U.S. Writing Assessments” in RTE, won the 2014 CWPA Outstanding Scholarship Award. His co-edited collection, Race and Writing Assessment (2012), won the 2014 NCTE/CCCC Outstanding Book Award for an edited collection. His book, Antiracist Writing Assessment Ecologies: Teaching and Assessing for a Socially Just Future (2015) won the 2017 NCTE/CCCC Outstanding Book Award for a monograph and the 2015 CWPA Outstanding Book Award. In November of 2016, he guested co-edited a special issue of College English on writing assessment as social justice, and is currently finishing a co-edited collection on the same topic, as well as a book on labor-based grading contracts as socially just writing assessment. Segment 1: Alternative Modes of Writing Assessment [00:00-14:17] In this first segment, Asao shares about his research and experience with grade-less writing and grading contracts. In this segment, the following resources are mentioned: Inoue, A. B. (2014). Theorizing failure in U.S. writing assessments. Research in the Teaching of English, 48(3), 330-352. Inoue, A. B., & Poe, M. (Eds.). (2012). Race and writing assessment. New York: Peter Lang Publishing, Inc. Inoue, A. B. (2015). Antiracist writing assessment ecologies: Teaching and assessing for a socially just future. Anderson, SC: Parlor Press. College English Kohn, A. (1993). Punished by rewards: The trouble with gold stars, incentive plans, A’s, praise, and other bribes. New York: Houghton Mifflin Harcourt Publishing Company. Selected works of Peter Elbow Segment 2: Writing Assessment as Anti-racist Practice [14:18-32:31] In segment two, Asao discusses his research on writing assessment as anti-racist practice. To share feedback about this podcast episode, ask questions that could be featured in a future episode, or to share research-related resources, post a comment below or contact the “Research in Action” podcast: Twitter: @RIA_podcast or #RIA_podcast Email: riapodcast@oregonstate.edu Voicemail: 541-737-1111 If you listen to the podcast via iTunes, please consider leaving us a review. The views expressed by guests on the Research in Action podcast do not necessarily represent the views of Ecampus or Oregon State University.

2.“What if they won’t believe me or listen to me? What if they say, ‘The Lord never appeared to you’? I remember when I was a teenager I went up for prayer and there was a guest speaker she prophesied over me that I would be like a talk show and help people. She described my nature and all of that. I have to be honest with you, I honestly thought: Nope, lady you missed it! There’s no way I could have a talk show!. I was what you called a covert stutterer so many people I encountered daily had no idea I had trouble communicating. Furthermore, who would believe that I was called to speak and how could I encourage them, when I felt so embarrassed about the way I spoke? Come to find out though, in College English and public speaking was one of my favorite classes and subjects. It wasn’t until recently God brought that memory back to me. These are some of the same thoughts Moses had about being a messenger of God but one thing he did was trust God and surely enough God made a way for him to deliver and entire nation of people. Friend i want you to know God is not a liar what he said about you will come to pass. Walk in confidence that you are all He desires you to be. Proverbs 3:5-6 Trust in the Lord with all your heart and lean not on your own understanding, in all your ways acknowledge him and he will direct your path. Follow me at www.instagram.com/lashandamusic www.facebook.com/lashandalewismusic --- Support this podcast: https://anchor.fm/lashanda-lewis/support

On June 19, Rutgers University's English Department announced a slew of actions it would be taking in solidarity with the Black Lives Matter movement, including incorporating critical grammar into its pedagogy. As department chair Rebecca L. Walkowitz explained, this new approach seeks to foster "a critical awareness of the variety of choices available to [students] w/ regard to micro-level [grammatical] issues." In response, the conservative Twittersphere swiftly attempted to CANCEL Rutgers English, with everyone from Andrew Sullivan to Thomas Chatterton Williams anointing themselves writing pedagogy experts and declaring Rutgers' approach substandard. But what exactly *is* critical grammar, and why might writing teachers want to deploy it? Further, what specific aspects of these conservative arguments makes them so misinformed, out-of-touch, and morally indefensible?To help answer these questions, Alex and Calvin are honored to be joined by Asao B. Inoue, professor and associate dean for Academic Affairs, Equity, and Inclusion in the College of Integrative Sciences and Arts at Arizona State University. Drawing heavily upon Professor Inoue's knowledge of critical language instruction, we address two conservative media responses to Rutgers English's announcement. The first piece we discuss, from Jeff Jacoby at The Patriot Post (yes, this is a real website), argues that writing instruction should be less concerned with social justice and more like Winston Churchill's grade school grammar classes. The second piece, from Fox News' The Ingraham Angle, directly samples an interview with Professor Inoue from last year, both fixating on his use of the term “languaging” and missing his point entirely, which he clarifies and contextualizes for us.After closely reading these texts, we conclude by noting an irony that may be familiar to listeners of past re:joinder episodes: these arguments fail even on their own terms, lacking logical rigor, empirical evidence, and rhetorical elegance. By contrast, we attempt to back up our arguments with credible research, anti-racist principles, and lived experiences of teaching and studying writing more recently than the 1990s.Relevant works by Asao B. Inoue:Inoue, A. B., & Poe, M. (2012). Race and Writing Assessment. Studies in Composition and Rhetoric. Volume 7. Peter Lang.Inoue, A. B. (2015). Antiracist writing assessment ecologies: Teaching and assessing writing for a socially just future. WAC Clearinghouse.Inoue, A. B. (2019). Labor-based grading contracts: Building equity and inclusion in the compassionate writing classroom. WAC Clearinghouse.Inoue, A. B. (2019). How do we language so people stop killing each other, or what do we do about white language supremacy? College Composition and Communication, 71(2), 352-369.Works referenced in this episode:CCCC Demands for Black Linguistic JusticePedagogue Podcast featuring Dr. Asao B. InoueBaker-Bell, A. (2020). Linguistic Justice: Black Language, Literacy, Identity, and Pedagogy. Routledge.Bowles, S., & Gintis, H. (1976). Schooling in capitalist America: Educational reform and the contradictions of economic life. Basic Books.Faigley, L. (1979). The influence of generative rhetoric on the syntactic maturity and writing effectiveness of college freshmen. Research in the Teaching of English, 13(3), 197-206.Jencks, C., & Phillips, M. (Eds.). (1998). The Black–White test score gap. Brookings Institution Press.Smitherman, G., & Smitherman-Donaldson, G. (1986). Talkin and testifyin: The language of Black America. Wayne State University Press.Sublette, J. R. (1973). The Dartmouth conference: Its reports and results. College English, 35(3), 348-357.Zancanella, D., Franzak, J., & Sheahan, A. (2016). Dartmouth revisited: Three English educators from different generations reflect on the Dartmouth Conference. English Education, 49(1), 13-27.

What is the most common mistake college students make in writing? Which writing rules do you follow? What do you write? We share the secret to becoming a great writer. While we cannot make all things plain to a layman (credit to William Blake), we try to make as many things plain to as many laymen as possible.

Michael Zimecki is a Pittsburgh, Pennsylvania-based attorney-author.  Born in inner-city Detroit, Michael worked as a steelworker, advertising copywriter, medical editor, and college teacher before practicing law.  He is the author of a novel, Death Sentences, published by Crime Wave Press, and a novella, The History of My Final Illness, which appeared in Eclectica Magazine.  Michael’s nonfiction work has appeared in Harper’s Magazine, College English, and The National Law Journal, among other publications. He recently published a flash nonfiction piece for Cleaver Magazine on climate change called “How to Boil a Child,” and a longer essay, “Monumental Evil,” for Another Chicago Magazine.  It’s about the Confederate memorial in Chicago’s Oak Woods Cemetery, where his maternal great-great grandfather, a Confederate prisoner of war, is buried. Michael lives in Pittsburgh with his wife, Susan. To learn more about Michael Zimecki and His work, please visit crimewavepress.com/authors/michael_zimecki.php.

This episode features an interview with Laura Micciche. It was recorded during her visit to Tennessee for the 2019 Peck Research on Writing Symposium. Dr. Micciche was the keynote speaker at the symposium, an annual event hosted by the Department of English at Middle Tennessee State University. Each year, a rhetoric and writing scholar delivers a talk about their research and facilitates a workshop based on that research. This year’s symposium will take place on February 28, and will also host the annual meeting of MidSouth WPA, an affiliate of the Council of Writing Program Administrators. Laura Micciche is a professor in the English Department at the University of Cincinnati. Her research focuses on writing pedagogy, rhetorical theory, and writing program administration, and she’s the author of the books Doing Emotion: Rhetoric, Writing, Teaching and Acknowledging Writing Partners. The latter is available as an open-access book through WAC Clearinghouse. Dr. Micciche has also written copious articles, including a recent coauthored piece for College English entitled “Editing as Inclusion Activism,” a College Composition and Communication article entitled “Toward Graduate-Level Writing Instruction,” and an article in the journal WPA entitled “For Slow Agency.” She recently completed a six-year tenure as editor of the journal Composition Studies. Her current research is on the mundane aspects of academic writing, which she focused on in her presentation at MTSU. In this interview, Micciche discusses Acknowledging Writing Partners, the concept of slowness in relation to teaching and WPA work, the importance of methodological inclusiveness, and her interest in the mundane, including the nonhuman animals and objects that populate the places where academics write. This episode features a clip of the song "Special Place" by Ketsa.

Paula Sheil was the best teacher I had the grace of learning with during my community College transition in my education. A long-time writer for the Stockton Record, advocate for local media in the San Joaquin County Area, and an inspiring teacher, Paula offers tips for Journalism students and how to make an impact in media. As a features writer, Paula has conquered stories of every interest and complexity, and she joins Danny Hauger to talk about her work in teaching and writing. Visit http://tuleburgpress.com/ for more information on Paula's non-profit organization! This episode of Inspiring Teachers is brought to you by AmpedUpLearning.com - Are you looking for new and engaging ways to get your students up and moving in the classroom? Get out of the Sit and Get rut of teaching by checking out AmpedUpLearning.com, a 2 teacher owned and operated company in Texas that is looking to gamify teaching with creative new activities for the classroom.  From their FRECK! resources and Escape Rooms for Social Studies and Science to SPEED Squares and task cards for Math and English they have TONS of teacher created resources...and don't forget to check out their apparel designed specifically for teachers.  Use code HAUGERHISTORY10 to save 10% on all items and follow them on social media @AmpedUpLearning for their monthly giveaways of Amazon giftcards, lessons and apparel. Start your podcast today with a free trial here from Podbean.com and support our show!  Hauger History Store on AmpedUpLearning!

In Sean Gandert's novel AMERICAN SAINT, he spins the tale of Gabriel Romero, a charismatic, religious leader who some view as a saint, others as a charlatan. Raised in a poor neighborhood in Albuquerque, New Mexico by his mother and curandera grandmother, Gabriel is fervently religious, but finds some of his personal beliefs are in conflict with religious orthodoxy. As he grows into manhood he becomes radical activist who believes he is doing God's will, leading protests, performing miracles, and starting his own church. Gandert tells the story from the viewpoint of his supports and detractors, structuring it as interviews conducted by a church official to determine his worthiness of sainthood. Born and raised in Albuquerque, New Mexico, Seant Gandert is a freelance writer, College English instructor, and also author of the novel LOST IN ARCADIA.

Don't forget to listen to last weeks lesson  https://eattmag.com/thank-you-for-joining-us-for-thursdays-slow-speaking-english-lesson-number-43/   Hello, Cullen here, welcome back and hello to Vourchnea, Maya, Aye, Solange, and Cecilia, Just some of our students from Cambodia, Nepal, Myanmar, Rwanda, and Namibia. Who are all learning to speak English and some of whom also speak Oshindonga, Myanmar, Nepali, and Khmer. Did you know that in Cambodia, around 90% of the official language is Khmer, and It is spoken by nearly 90% of the country's population. Have you been to Cambodia? And also, the Khmer language in Cambodia is used in government administration and for imparting education at all levels and in the media. So great to have you all with us. And as you know, these are just a few of our new students like you from around the world. I have been away, traveling, and working, and so you have Harris, our intelligent machine learning friend here at EATT Magazine has been giving English lessons while I am working on new lesson plans. We also have a vast number of new students from Persia, Brazil, Mongolia, the United States, China, France, the Middle East, and Japan, to name just a few places Welcome. Great to have you with us, Do you know the meaning of the word vast? Vast could mean A great area or extent or immense as just one example and these are all great words for you to search on google. Vast, and Immense. Please also don't forget to click on the link inside this lesson and tell us where you are from Now I know some of you are already at University and some of you also plan to go to college, but some of our students are not planning more studies they are working towards creating their own business, so that is great to hear Do you have a business in mind you would like to run? Would you like to be a tour guide? Or a teacher, or are you planning to be a builder or something else? Please let us know in the comments as we can use all of your answers in our upcoming lessons And what is the kind of English you might need to learn to help you get there? So have a think about it, and from everyone here at EATT Magazine, we will catch up with you in the next lesson. And don't forget to fill in the answers and test your English in this Saturday's lesson by clicking on the link

College English classes! Dorm living! Apple picking! Interior decorating! And collectively: CupcakKe! Brief mention of drugs & abuse from 18:00 to 18:30, re: Lifetime "true crime" movies. Join our Discord! https://discord.gg/n2nacRU Julia’s Twitter: @jfordfusion Deanna’s Twitter: @knurtt and Internet Collective: knurtt.co This B*tch of an Earth on Twitter Our intro and outro are from Wireless by Lee Rosevere, used under the creative commons license. Our break music track is Skate by Komiku, used under the creative commons license. --- Send in a voice message: https://anchor.fm/tboae/message Support this podcast: https://anchor.fm/tboae/support

In this re:blurb episode, we explore the history and theory of the rhetorical concept of genre. First, we take a tour through the classical genres of forensic, deliberative, and epideictic speech, before moving on to contemporary theories about genres' profound and complex social functions. In doing so, we describe how genres mediate everyday social interactions through communicative rules and norms, as well as how political power dynamics affect gatekeepers' decisions about what kinds of practices are allowable within particular genres.Then, we're joined by Martha Sue Karnes, a PhD student in the Department of Rhetoric and Writing at The University of Texas at Austin, to discuss the genre-based controversy surrounding the hit song “Old Town Road” by Lil Nas X. OTR was notoriously removed from Billboard's Hot Country Songs chart because, according to Billboard, it did not adhere to the genre norms of country music. Through this analysis, we take a closer look at the kinds of social actions that Lil Nas X has accomplished through “Old Town Road” over the course of its viral popularity — actions which may help explain why the song has maintained its place at the top of the charts for 17 weeks running.“Old Town Road” Videos Referenced:Original versionRemix feat. Billy Ray CyrusRemix feat. Billy Ray Cyrus, Young Thug, & Mason RamseyOTR Area 51 VideoWorks and Concepts Cited in this Episode:Alvarez, S. (2017). Latinx and Latin American Community Literacy Practices en Confianza. Composition Studies, 45(2), 219-269.Bawarshi, A. (2016). Beyond the genre fixation: A translingual perspective on genre. College English, 78(3), 243-249.Berkenkotter, C., & Huckin, T. N. (1993). Rethinking genre from a sociocognitive perspective. Written communication, 10(4), 475-509.Bhatia, V. K. (1997). The power and politics of genre. World Englishes, 16(3), 359-371.Caramanica, Jon. (2019, 17 Apr.). “A History of Country-Rap in 29 Songs.” The New York Times. Retrieved from: https://www.nytimes.com/2019/04/17/arts/music/country-rap-playlist.htmlDeNatale, Dave “Dino”. (2019, 29 May.) “WATCH I Lil Nas X gives performance of 'Old Town Road' for students at Lander Elementary School in Mayfield Heights.” WKYC 3. Retrieved from: https://www.wkyc.com/article/news/watch-lil-nas-x-gives-performance-of-old-town-road-for-students-at-lander-elementary-school-in-mayfield-heights/95-c04e8cdb-41b2-48f5-bb05-b112126a9cf9Gonzales, L. (2015). Multimodality, translingualism, and rhetorical genre studies. Composition Forum, 31.Hart, R. P., & Dillard, C.L. (2001) Deliberative genre. In T. Sloane (Ed.), Encyclopedia of Rhetoric (pp. 209-217). Oxford University Press.Leight, E. (2019, 26 Mar.). How Lil Nas X's “Old Town Road” was a country hit. Then country changed its mind. Rolling Stone. Retrieved from: https://www.rollingstone.com/music/music-features/lil-nas-x-old-town-road-810844/Lihua, L. (2010). Interpersonal rhetoric in the editorials of China Daily: A generic perspective. Peter Lang.Miller, C. R. (1984). Genre as social action. Quarterly journal of speech, 70(2), 151-167.Morrow, T. S. (2001) Forensic genre. In T. Sloane (Ed.), Encyclopedia of Rhetoric (pp. 314-321). Oxford University Press.Rounsaville, A. (2017). Genre repertoires from below: How one writer built and moved a writing life across generations, borders, and communities. Research in the Teaching of English, 51(3), 317-340.Sisario, Ben. (2019, 5 Apr.). “Lil Nas X Added Billy Ray Cyrus to ‘Old Town Road.' Is It Country Enough for Billboard Now?” The New York Times. Retrieved from: https://www.nytimes.com/2019/04/05/business/media/lil-nas-x-billy-ray-cyrus-billboard.htmlToo, Y. L. (2001). Epideictic genre. In T. Sloane (Ed.), Encyclopedia of Rhetoric (pp. 251-257). Oxford University Press.

How can the dead speak when we’ve deemed them too unimportant to listen? On this episode, we’ll explore what Lena Johamesson calls the “significant insignificances” of history through the lens of two Wisconsin fires: The Great Peshtigo Fire, and the fire and murders at Frank Lloyd Wright’s Taliesin. This week’s questions are: How and why do historical events and figures become significant? Is there a way to reframe the way we think about or approach history to elevate what Johamesson calls “the significant insignificances”? What tiny but crucial details do you care about in your historical subject of interest? Please be sure to get in touch with your answers! Find me on Twitter and Instagram @ladycryptoid and by email at ladycryptoid@gmail.com. Many, many thanks this week to Matt Spireng for permission to read his poem, “The Peshtigo Fire Cemetery,” and for his time and insight. You can find his poetry all over the place, but go ahead and buy his collections What Focus Is and Out of Body. REFERENCES AND FURTHER READING Brown, H. (2004). “The Air Was Fire”: Fire Behavior at Peshtigo in 1871. Fire Management Today, 64 (4), p. 20. Friedman, A.T. (2002). Frank Lloyd Wright and Feminism: Mamah Borthwick’s Letters to Ellen Key. Journal of the Society of Architectural Historians, 61 (2), p. 140-151. Holbrook, S. (1944). The Peshtigo Fire. The American Scholar, 13 (2), p. 201-209. Lyons, C. (2011). Hell on Earth: The Peshtigo Fire. History Magazine (Februrary/March), p. 38-40. Pernin, P. (1971). The Great Peshtigo Fire: An Eyewitness Account. The Wisconsin Magazine of History, 54 (4), p. 246-272. Peters, A. (2012). The House on the Ledge. Southwest Review, 97 (1), p. 89-112. Rosenwald, M.S. (2017). “The night America burned”: The deadliest -- and most overlooked -- fire in U.S. history. The Washington Post, 6 Dec 2017. Schwarz, F. D. (1996). 1871: One hundred and twenty-five years ago -- Two fires. American Heritage, 47 (6), p. 118-120 Spireng, M. J. (1998). The Peshtigo Fire Cemetery. College English, 60 (1), p. 67. Tarshis, L. (2015). The Blood-Red Night. Storyworks, 22 (4), p. 4. MUSIC CREDITS Intro: Ferera and Paaluhi, “The Saint Louis Blues” (W.C. Handy, composer) The Sky Ablaze: Moriz Rosenthal, Etude Nouvelle in A Flat and Etude in C Major, Op. 10, No. 1 (Frederic Chopin, composer) Bellini Ensemble Unique, Piano Sonata No. 14 in C sharp minor, “Moonlight” (Ludwig van Beethoven, composer) Mamah: National Parks Service, “Dawn Soundscape from the Sun Valley Trail” Conclusion: American Quartet, “Moonlight Bay” (Percy Wenrich, composer)

In this episode, Al interviews Michael Kuhne, a community college English instructor (recorded 6-13-18). Michael describes his first suicidal thoughts that occurred at age 14, as he contemplated taking his own life while holding a loaded .22 caliber rifle. He goes on to describe two other bouts of major depression and an unhealthy coping mechanism of over-exercising. Michael describes learning later in life what it means to be an adult child of an alcoholic. Now, an instructor at a community college, Michael teaches many students who have had their own traumas and mental health challenges. Michael shares how he is able to empathetically support them. If you enjoyed this episode, please click the 'like' button. Also, please take a moment to comment and rate the show on iTunes. Finally, don't miss an episode! Click the subscribe/follow button now! In addition to The Depression Files podcast, you can find Al's blog at TheDepressionFiles.com. You can also find him on Twitter @allevin18.

This is the final episode in Rhetoricity's "Dissertation Dialogues" series, which features conversations between PhD students at Indiana University and some of their dissertation directors and committee members. This particular episode features Collin Bjork and Dr. John Schilb. Collin Bjork is a PhD candidate in Rhetoric and Composition at IU. His dissertation develops a theoretical framework for better understanding how rhetoric functions over time. His article “Integrating Usability Testing and Digital Rhetoric in Online Writing Instruction” just came out in a special issue of Computers and Composition. He has taught courses in sonic rhetoric, visual rhetoric, service-learning writing, online composition, multilingual composition, and cross-cultural composition. Collin has also worked as an online instructional designer and as a program assistant for multilingual composition. As a Fulbright English teaching assistant, he taught at the University of Montenegro in Podgorica. John Schilb is Culbertson Chair of Writing and Professor of English at IU. While at IU, has also served as editor of the journal College English, director of first-year composition, and director of writing and rhetorical studies. He teaches writing, literature, rhetoric, and film. Before coming to Indiana, he taught at Carthage College, Denison University, the University of North Carolina at Wilmington, and the University of Maryland. From 1984 to 1990, he was vice president of the Associated Colleges of the Midwest, a Chicago-based consortium of liberal arts colleges. His book Rhetorical Refusals: Defying Audiences’ Expectations won the Modern Language Association’s Mina P. Shaughnessy Prize. He is also author of Between the Lines: Relating Composition Theory and Literary Theory and coeditor of four volumes: Making Literature Matter, Arguing About Literature, Writing Theory and Critical Theory, and Contending with Words: Composition and Rhetoric in a Postmodern Age. In addition, he has published many articles and contributed chapters to several collections. His current book project is a study of nuance as rhetoric. He has a short piece on that topic that just came out in a symposium on virtue ethics in Rhetoric Review. In this episode, the pair discusses John Schilb’s past and present work between the lines of academic disciplines, his time as the editor of College English, and his current work on nuance as a rhetorical virtue. They also talk about inductive approaches to developing scholarly projects as well as Indiana University’s recently created rhetoric program. This episode features a clip from the song "Lines" by Glass Boy.

On this episode, Katie is joined by Asao B. Inoue, Professor of Interdisciplinary Arts and Sciences, Director of University Writing and the Writing Center at the University of Washington Tacoma, a member of the Executive Board of Council of Writing Program Administrators, and the Program Chair of the 2018 Conference on College Composition and Communication. Among his many articles and chapters on writing assessment and race and racism, his article, "Theorizing Failure in U.S. Writing Assessments" in RTE, won the 2014 CWPA Outstanding Scholarship Award. His co-edited collection, Race and Writing Assessment (2012), won the 2014 NCTE/CCCC Outstanding Book Award for an edited collection. His book, Antiracist Writing Assessment Ecologies: Teaching and Assessing for a Socially Just Future (2015) won the 2017 NCTE/CCCC Outstanding Book Award for a monograph and the 2015 CWPA Outstanding Book Award. In November of 2016, he guested co-edited a special issue of College English on writing assessment as social justice, and is currently finishing a co-edited collection on the same topic, as well as a book on labor-based grading contracts as socially just writing assessment. Segment 1: Alternative Modes of Writing Assessment [00:00-14:17] In this first segment, Asao shares about his research and experience with grade-less writing and grading contracts. Segment 2: Writing Assessment as Anti-racist Practice [14:18-32:31] In segment two, Asao discusses his research on writing assessment as anti-racist practice. Bonus Clip #1 [00:00-05:03]: The Relationship Between Language and Race To share feedback about this podcast episode, ask questions that could be featured in a future episode, or to share research-related resources, contact the “Research in Action” podcast: Twitter: @RIA_podcast or #RIA_podcast Email: riapodcast@oregonstate.edu Voicemail: 541-737-1111 If you listen to the podcast via iTunes, please consider leaving us a review. The views expressed by guests on the Research in Action podcast do not necessarily represent the views of Ecampus or Oregon State University.

On this episode, Katie is joined by Dr. Ehren Helmut Pflugfelder, an Assistant Professor at Oregon State University, where he teaches courses in rhetoric, new media, and technical and science writing. He has a a PhD in rhetoric and composition, with a focus in technical writing, from Purdue University, an MA from Case Western Reserve University, and a BSE from Slippery Rock University. Originally from Pittsburgh, PA, Ehren now calls Corvallis, OR home. His research has appeared in the journals Technical Communication, Journal of Technical Writing and Communication, Kairos, College English, Rhetoric Society Quarterly, and Communication Design Quarterly. His monograph, Communicating Technology and Mobility: A Material Rhetoric for Transportation has recently been published for the Routledge series Studies in Technical Communication, Rhetoric, and Culture.   Segment 1: Ehren's Research on Mobility and Technology [00:00-15:12] In this first segment, Ehren shares about some of the questions driving his research on mobility and technology. Segment 2: The Future of Mobility [15:13-26:45] In segment two, Ehren discusses self-driving vehicles and flying cars. Bonus Clip #1 [00:00-11:06]: Ehren's New Book Project on Bioengineering Bonus Clip #2 [00:00-07:02]: Ehren's Research on Reddit To share feedback about this podcast episode, ask questions that could be featured in a future episode, or to share research-related resources, contact the “Research in Action” podcast: Twitter: @RIA_podcast or #RIA_podcast Email: riapodcast@oregonstate.edu Voicemail: 541-737-1111 If you listen to the podcast via iTunes, please consider leaving us a review. The views expressed by guests on the Research in Action podcast do not necessarily represent the views of Ecampus or Oregon State University.

This episode of Rhetoricity features Steph Ceraso. Dr. Ceraso is currently an assistant professor at the University of Maryland-Baltimore County. Starting in fall 2016, she’ll be taking a position as Assistant Professor of Digital Writing and Rhetoric in the Department of English at the University of Virginia. Dr. Ceraso contributed the entry on “Sound” to the Modern Language Association’s “Keywords in Digital Pedagogy” project, and she presented as part of a panel entitled “Writing with Sound” at the 2016 MLA convention. She's written multiple posts for the blog Sounding Out!, contributed a multimodal piece entitled "A Tale of Two Soundscapes: The Story of My Listening Body" to the collection Provoke! Digital Sound Studies, and--along with Jon Stone--co-edited a special issue of the digital journal Harlot focused on sonic rhetorics. Her work has also appeared in the journals College English and Composition Studies. In this interview, we talk at length about her College English essay. It’s called “(Re)Educating the Senses: Multimodal Listening, Bodily Learning, and the Composition of Sonic Experiences,” and in 2014 it won the journal’s annual award for outstanding articles. We also discuss her current book project, which is entitled “Sounding Composition, Composing Sound: Multimodal Pedagogies for Embodied Listening.” Dr. Ceraso’s research is tied up with pedagogical questions, so we also talk at length about how she approaches and integrates sound into the courses she teaches, as well as accessibility issues she addresses in both her teaching and her scholarship. Specifically, we discuss a soundmapping project, a multisensory dining event, and one student's attempt to translate the game Marco Polo into the classroom.

Here’s how to improve your English listening skills when listening to my video: put the headphones on, playback the video and write it all down while listening to it! Video Transcript Below: Hi guys! Hello boys and girls and hello my dear fellow foreign English speakers! It’s Robby here from EnglishHarmony.com and welcome back to […] The post Back in College: English Fluency Hitting an All-Time High! appeared first on English Harmony.

James Berlin     Welcome to MR. I’m Mary Hedengren, Jacob is in the Booth and we’re supported by the Humanities Media Project and UT Austin.   Was English in an identity crisis in the 80s and 90s? Maybe. But it’s certain that it thought it was. Interdisciplinary projects such as cultural studies and the voluntary expulsion of groups like English language and composition from English departments was inspiring a lot of ink in the PMLA and other journals and conferences between such illuminaries as Gerald Graff and Stanley Fish. And when people are anxious about who they are, they often look back to how they ended up here. How did English get so weird? What is the background behind composition’s complaints against literary studies? What led to everyone in the department being in a department together?   Enter Professor James Berlin. Berlin, a compositionist who had taught at U of Cinninati and Purdue. Berlin was a disciplinary historian who wrote two important books that tried to create a historical context for the current state of composition, which we’ll talk about today. Rhetoric and Reality: Writing Instruction in American Colleges. 1900-1985. Carbondale: Southern Illinois UP, 1987. Writing Instruction in Nineteenth-Century American Colleges. The earlier book, Writing Instruction in 19th-Century American Colleges published in 1984, traces the role of writing instruction in American political psyche. “no rhetoric—not Plato’s or Aris­totle’s or Quintilian’s or Perelman’s—is permanent.”     The next major book Berlin wrote picks up where Writing Instruction in Nineteenth-Century American Colleges. Left off—at the dawn of the 20th century. Rhetoric and Reality: Writing Instruction in American Colleges. 1900-1985 traces the history of composition in the United States up to what was then the modern day. In going through this history, though, Berlin weaves three strands of compositional theory: current-traditional, expressivist and social constructionist. Berlin makes no secret about which of these strands he thinks is right. Current traditionalists are grammar-obsessed ninnies who sneer at students while pushing their glasses up their noses while expressivists are berkinstocked hippies singing kumbaya without teaching anything significant. Berlin is unapologetic about his perspective. In the introduction, he mentions the criticism the book has received as having a political project. James Berlin, much like the honey badger, don’t care. He has a strong interest in the project to "vindicate the position of writing instruction in the college curriculum" (1) and he feels social constructionism is the best way to do so. He identifies several points that lead to writing instruction’s increased disciplinarity First there was the Birth of CCCC when a 1948 paper by George S. Wykoff and ensuing conflict leads to John Gerber of U of Iowa proposing a conference to discuss composition. 500 attend April 1-2 1949 (105). "With the establishment of the CCCC and its journal [...] teachers of freshman composition took a giant step toward qualifying for full membership in the English department, with the attendant privileges" (106)   Then there is the Importance of pamphlet The Basic Issues in the Teaching of English published as a supplement to College English in 1959. Identify key questions for English, especially in pedagogy (such as should writing "be taught as expression or as communication") (Berlin 124).   Finally there was Braddock's 1961   Research in Written Communication and subsequent founding of Research in the Teaching of English (1967) is important because "Only a discipline confident of its value and its future could allow this kind of harsh scrutiny" (135). Lit studies "have appropriated as their domain all uses of langauge except the narrowly refertial and logical. What remains [...] is given to rhetoric, to the writing course" (30).   In the early 20th century, universities were becoming dominated by sciences and practical arts. Objective philosophies ruled. Current-traditional is the most vehement and widely accepted of the objective rhetorics, but behaviorist, semanticist and linguistic rhetorics are also put into this category (9). As Berlin puts it: "The new university invested its graduates with the authority of science and through this authority gave them an economically comfortable position in a new, prosperous middle-class culture" (36)   On the other extreme of things was expressionist writing "the teacher cannot even instruct the student in the principles of writing, since writing is inextricably intertwined with the discovery of truth. The student can discover truth, but truth cannot be taught; the student can learn to write, but writing cannot be taught. The only strategy left, then is to provide an environment in which the individual can learn what cannot be taught" (13).   Berlin describes that, "For the proponents of liberal culture, the purpose of the English teacher was to cultivate the exceptional students, the geniuses, and, at the most, to tolerate all others" (72). For expressionists "writing--all writing--is art. This means that writing can be learned by not taught" (74). How many times do we hear that? That you just need to ponder a little, get a little older and then you’ll pick up what you need to? This is still kind of the philosophy in many Eastern Hemisphere universities where writing instruction hasn’t taken off as much. And it exists here, too, even in our own departments.   The method of expressionist teaching will be familiar to those in creative writing :"Most important was that the students read all papers aloud to the entire class and were given immediate responses [...] the teacher did not lecture but acted instead  as an ad-[83]ditional respondant" (84). For more about expressionism and what influence it had on rhetoric and composition, check out our previous podcast on expressivism. Berlin’s last book Rhetorics, Poetics and Cultures was also a disciplinary project--reconciling composition (production) with literary studies (interpretation) by way of cultural studies--may seem a little dated to the 90s, which its heady enthrallment with cross-disciplinary cultural studies and post-modernity everywhere as specter and savior. He argues that English should reunite rhetoric and literary studies around text interpretation and production-not one or the other exclusively. He doesn’t just argue in theory but sets out his own class as an example of how to integrate textual production and analysis with general cultural studies. He emphatically defends the use of popular culture in the classroom and meeting students with the knowledge the already have. James Berlin died suddenly of a heart attack while he was still in the middle of career, but his influence is found all around the composition world. For example, the CCCC award for best dissertation is called the James Berlin award, and I think that’s fitting, considering how the establishment of a phd in composition has been such a benchmark in composition’s disciplinarity. Are we at a better place in terms of disciplinary security than we were in the 80s and 90s? I think so. I also think that part o the reason why is James Berlin’s impassioned disciplinary research and fervent argumentation. If you have impassioned discipline and fervent argumentation, feel free to email us at mererhetoricpodcast@gmail.com  

  Welcome to mere rhetoric. The podcast for beginners and insiders about the ideas, people and movements who have shaped rhetorical history. I’m Mary Hedengren   The original recording of this podcast in 2014 was especially timely because we’re going to talk about an important article that came out in College English 30 years ago this year: Stephen North’s Idea of a Writing Center   This essay has been hugely influencial in the rapidly growin and professionalizing field of writing center studies. Back in 1984, though, writing centers couldn’t get no respect. “Writing Labs” of the early 20th century were often responses to a defitioncy model of writing education—the students who were coming in were seen as remedial, and thus in need of one-on-one attention from tutors. This was a response of the same crises we talked about in the podcast on the Harvard Reports. By the 80s, writing center were becoming more abundant on campuses, but that doesn’t mean they were popular: often shunted to the literal basements of buildings, with creaky, leaky facilities and an underpaid non-tenure track director, writing centers were somehow expected to “fix” student writing. But even under such terrible circumstances, writing center theory was beging to develop, aided by such scholars as Muriel Harris and Stephen North.   Stephen North was a good candidate to have written such a manifesto as “The Idea of a Writing Center.” In the 1980s, North was a discipline-maker. His thorough taxonomy of composition research The Making of Knowledge in Composition has sometimes been tapped as the foundational manifesto for research in composition. We’ll probably talk about it later, but “The Idea of a Writing Center” was no less of a manifesto for writing center studies.   The first line of the article reads “This is an essay that began out of frustration.” The frustration is palpable as North addresses some of the complaints that writing centers have from—and he means this in a nice way—ignorant colleagues. Everyone is ignorant—everyone in the profession, even people in composition, are ignorant “They do not understand what does happen, what can happen in a writing center” (32). It’s not just that North feels misunderstood; it’s that this misunderstanding affects the students who come through his door day-by-day: “You cannot parcel out some portion of a given student for us to deal with,” he fumes against his colleagues in writing classes, “’you take care of editing, I’ll deal with invention”) Nor should you require that all of your students drop by with an early draft of a research paper to get a reading from a fresh audience. You should not scrawl, at the bottom of a failing paper ‘go to the writing center.’ Even those of you who, out of genine concenrn, bring students to a writing center, almost by the hand, to make sure they know we won’t hurt them—even you are essentially out of line.” Ow. Seems like a pretty long list of ways to misuse the writing center and even to modern audiences all of these techniques seem innocent enough. The main problem, North points out, is that “we are not here to serve, supplement, back up, complement, reinforce, or otherwise be defined by any expernal curriculm. (40). Unless you think North has it out for his colleagues, he admits that even his own writing center includes in its mission statement the description of the center as “a tutorial facility for those with special problems in composition” (34). If it’s possible to spit something out in a written article, North faily spits the words out in self-loathing. And the loathing is “the idea that a writing center can only be some sort of skills center, a fix-it shop” (35). So if writing centers AREN’T just a support for composition, what is the “idea” of te writing center anyway? “We are here to talk to writers” (40). This definition makes the writing center an independent entity with its own purpose in the university, not just an appendage or fix-it shop for the composition classes. What a writing center is can be much larger. North sets out the definition for writing center that persists to this day : at a writing center “the object to to make sure that writer, not necessarily their texts, are what get changed by instruction. In axiom form it goes like this: our job is to produce better writers, not better writing” (38). Whhhoooo, I almost get chills. It’s a phrase you’ll hear a lot in writing cneters, “better writers, not better writing.” What it often means is that writing centers aren’t editing services or a way to improve an assignment or get an A in a class, but an educational cite themselves that hope to teach writing skills and processes that students can take with them in any class and even after graduation. In this sense, the writing center, as North says, “is going to be student-centers in the strictest sense of that term” (39). It will “being from where the student is, and move where the student moves” (39).     North suggests that writing centers are uniquely qualified to do this work, since the teaching of writing can take “place as much as possible during writing, during the acticity being learned” instead of before or after the writing (39). “The fact is,” North continues “not everyon’s interest in writing, their need or desire to write or learn to write coincides with the fifteen or thirty weeks they spend in writing courses—especially when, as is currently the case at so many institutions, those weeks are required” (42). Anyone who’s taught composition can attest that students sometimes have a hard time seeing the point of skills that their teachers immediately identify as critical for future writing, but with only the imperative of finishing the class, it can be hard for students to understand. At the writing center, North suggests, this is not the case, because the motivations become real. “Any given project” is the material that brings students in “that particular text, its success or failure” (38) motivates students. Students who are motivated by applying to law school or understanding a lab report are often suddenly willing to see the importance of writing skills. These students, “are suddenly willing—sometimes overwhelming so—to concern themselves with audience, purpose and persona and to revise over and over again” because “suddenly writing is a vehicle, a means to an end” (43).   The ideas from North’s “Idea of a writing center” have become commonplaces, both because they resonated with what was already happening in the Writing Lab Newsletter and other periodicals as , in North’s words, “writing center folk general are becoming more research-oriented” (44). That tradition has expanded, as peer-reviewed articles in writing centers studies supports a half-dozen journals as well as frequent publication in College English and College composition and communication. When North saw that writing center directors were meeting “as a recognized National Assembly” at the National Council of Teachers of English, he might have foreseen that writing center studies would balloon into the International Writing Center Association, a biennial conference that draws participants in hundreds, and all of the regional conferences affiliated with the IWCA…which reminds me. One such conference is the south cettral (waazzup?) writing center association conference, which we hosted here at the Uniersity of Texas at Austin last February. I confess that my interest in this topic was partially inspired by the call for papers in this conference, which invoked the 30-yr anniversary of “the idea of a Writing Center.”   If you have a conference that you’re organizing in rhetoric and composition, send me an email over at mererhetoricpodcast@gmail.com and I’d love to give you a shout out on a future podcast.        

This episode of Rhetoricity features an interview with Casey Boyle, an assistant professor in the Department of Rhetoric and Writing at The University of Texas at Austin. Dr. Boyle’s work has appeared in such anthologies as Rhetoric and the Digital Humanities and Thinking with Bruno Latour in Rhetoric and Composition. He serves as assistant editor for Enculturation: A Journal of Writing, Rhetoric, and Culture and has forthcoming articles in both College English and Technical Communication Quarterly. At UT-Austin, Dr. Boyle teaches courses on writing with sound, digital rhetoric, and network theory. He is currently co-editing an anthology entitled Rhetoric, Through Everyday Things with Scot Barnett and working on a monograph entitled Rhetoric as a Posthuman Practice. The starting point for this episode's conversation is "The Rhetorical Question Concerning Glitch," an article of Dr. Boyle's that appeared in the March 2015 issue of Computers and Composition. We beginning be discussing points of overlap between "glitch art" and rhetoric. From there, Dr. Boyle discusses how his work with glitch troubles the boundaries between "theory" and "practice" as well as so-called "creative" and "critical" rhetorical work. We wrap up by talking about another of his current projects: a series of interviews with humanities scholars about their failed projects. This episode contains some glitched audio files, so there are a few moments of sudden volume change--not enough to damage listening ears, but enough that it seems worth a warning. Specifically, this episode includes gliched clips from the following: "The Tourist" - Radiohead "The Tourist" - Sarah Jarosz "The Tourist" - Flash Hawk Parlor Ensemble "It just works. Seamlessly." (YouTube video uploaded by all about Steve Jobs.com) "Search and Destroy" - Peaches "Search and Destroy" - Iggy and the Stooges Brazil (film) Spartacus (film) "Crystal Blue Persuasion" - Tommy James and the Shondells "The Internet" (episode of the TV series Computer Chronicle) freesound.org

Welcome to Mere rhetoric, a pocast for beginners and insiders about the ideas, people and movements who have shaped rhetorical history. I’m Mary Hedengren and I’d like to take you back, back in time…       It was 1985. As Bowling for Soup would later describe the year, “there was U2 and Blondie, and Music still on MTV” And in the pages of College English a debate was raging. Two scholars, careful and smart, battling over a question that still haunts beginning composition instructors: should we teach punctuation to first year writing students? The debate between Martha Kolln and Patrick Hartwell describes some of the difficulties in navigating the question of teaching grammar and punctuation, but it doesn’t begin with the Hartwell-Kolln debate of the 80s: it begins with the Braddock Report of 1963.                   The Braddock report, or, more properly, “Research in Written Composition" by Braddock, Lloyd-Jones, and Schoer was commissed by the National Council of Teachers of English to answer the question of whether grammar instruction had any impact on improving student writing. And what they found was that, using one- and three-year studies, instructing in grammar  was “useless if not harmful” to the teaching of writing. And for many instructors, that sealed the deal. Grammar fell deeply out of favor. But the Braddock report wasn’t carefully applied: its full argument was that: "The teaching of formal grammar has a negligible or, because it usually displaces some instruction and practice in actual composition, even a harmful effect on the improvement of writing" (Braddock, Lloyd-Jones, and Schoer, 1963). The way grammar was being taught could be faulty without the practice of teaching grammar being problematic. In other words, to cite the 1960 Encyclopedia of Education Research “Diagramming sentences …teaching nothing beyond the ability to diagram.” Still, grammar was out.                   For Patrick Hartwell, that sealed the deal. In “Grammar, Grammars and the Teaching of Grammars,” he makes some strong claims against the teaching of grammar in composition. For one thing, he says that most errors don’t matter and those errors that do matter can usually be “caught” without knowing if they’re a predicate or a verbal adverb or whatever. Some of these errors will be caught ‘naturally,” Hartwell says, without anyone teaching explicitly. As he says, “If we think seriously about error and its relationship to the worship of forma l grammar study, we need to attempt some massive dislocation of our traditional thinking ,to shuck off our hyperliterate perception of the value of formal rules, and to regain the confidence in the tacit power of unconscious knowledge that our theory of language gives us.       Most students, reading their writing aloud, will correct in essence all errors of spelling, grammar, and, by intonation, punctuation, but usually without noticing that what they read departs from what they wrote.” If you can speak it, you can get it. Hartwell does admit that people who are coming at English from another language tradition may need more explicit help, but grammar can be cut from most classes without much harm being done. Hartwell cites research that spending time on grammar is useless and claims that “It is time that we, as teachers, formulate theories of language and literacy and let those theories guide our teaching, and it is time that we, as researchers,  move on to more interesting areas of inquiry.”         Martha Kolln was not ready to move on. Kolln read Hartwell’s argument and gave it a big ol’ nu-uh. Students don’t just have an inborn sense of grammar because they don’t have an inborn sense of rhetoric.  She doesn’t think composition should be exclusively a grammar class, but she does believe in what she calls “rhetorical grammar.”       In her book of the same name, Martha Kolln tells us that punctuation is part of our voice, not just a “final, added-on step” (279). Some of these consequences are more delicate (“will that semi-colon create a more formal air than that dash?”), while others are more blunt (“if you use all caps here, your academic paper will look like an eight-grader’s text-message”). Kolln does a good job of not saying that certain things are off-limits—sentence fragments, passive voice, ellipsis.  Overall, these are choices, just like any rhetorical choice. So when Hartwell says that grammar shouldn’t be researched or taught in composition, she read his argument as saying “a subset of rhetorical choices shouldn’t be taught in composition.” And So she wrote a comment in to College English.       In this comment she agrees that composition shouldn’t be just about grammar and she agrees with the Braddock report that “formal grammar is not the best way to teach grammar” but “rhetorical grammar has a place in our composition class, because of course grammar is there” (877). And if the grammar is there, then it ought to be talked about intelligently. Kolln sees a lot of throwing the baby out with the proverbial bathwater in getting rid of all grammar instruction.       When people claim “ Our students should learn to write by writing-only by writing, by letting it all hang out. Let's not in-hibit their creativity by calling unnecessary attention to the structures they use; and we're certainly to have no "lessons" on sentence structure or parts of speech, on "formal gram-mar."           How foolish. How harmful. The result is a generation (or more) of students who have no language for discussing their language. We teach them terminology in every other field-in science and math and history and geography and computer science and physical education, in literature, and in French. But not in their own language.”       Well, Hartwell read Kolln’s argument and made the snappy reply “ther’s little to be accomplished by talking about paradigms” Zing!       I mean, is it okay if I take a sidebar and say that passions here are remarkably high? Both Kolln and Hartwell have deep-rooted passions about the teaching and study of grammar, calling each other’s perspectives “foolish”  and sniping at each other. It’s rare to find such academic vitriol, so when ever it comes up, you know there’s some intense feelings going on.       Anyway, Hartwell says that not teaching grammar doesn’t keep student from talking about grammar because, of course, they will do so naturally, because “every culure develops a remarkable rich metalinguistics vocabulary for discussion language” and current students are no exception. He also says that it’s better to err on his side of thigns because if, hypothetically, he and Kolln were to take a tour of writing instruction among practioners, “ we’d find it dripping with a kind of grammar instruction we both deplore.”           Okay, so after the furver of these grammar debates, where does that leave us? Strangely, the answer to that question depends on which generation “us” is. The Braddock reports did eventually filter down into the classrooms and for a while it looked that Hartwell won this one. During that while was when I went through high school, actually. I had a totally of 3 days of grammar instruction in high school, which came during a creative writing class, of all things. But I was never expected to know any grammar vocabulary beyond what it takes to fillout a MadLibs.       But that’s changed. Yesterday my mom—also a writing teacher—texted me to say that she had been helping her 12-year-old grandson diagram sentences. Diagram sentences! I didn’t know that had been happening since the fifties: bowling leagues, Tupperware parties and diagramming sentences and here’s my nephew, in a generally progressive school, diagramming sentences! I shouldn’t be too surprised, though—I’ve noticed that each year my freshmen student enter with more and more background in grammar. This has led to the odd situation where sometimes my students know more about formal grammar than I do.       If you have strong feelings about grammar one way or another, why not tell us all about it at mererhetoricpodcast@gmail.com? And don’t worry too much about proofreading your email—I’m not going to send it back corrected.          

    Henry Hume, Lord Kames (1696-1782)       Henry Hume, Lord Kames was a distant relative as well as friend to David Hume, although they spell their names differently.  David Hume changed the spelling so that his English readers would pronounce it properly.  Henry Hume kept the original spelling H-O-M-E.               Unlike David Hume, Lord Kames did not go to university nor even have the benefit of a sojourn to France to broaden his education. Much more like Jane Austen’s Lizzie Bennet, Kames was born the third son out of nine children to a heavily indebted but well-respected family.  He was educated at home with his siblings and was apprenticed as a solicitor.  Unlike Lizzie Bennet, who faces limitations due to her gender, Kames was able to participate in a number of philosophical societies and gentlemen’s clubs.  He further expanded his knowledge through jobs such as Curator of the Advocates’ Library in Edinburgh which gave him access to a wealth of books.        There are a number of factors contributing to Kames success.  Clearly two of these factors were his talent and his drive.  Another was the luck of a long life.  Kames was born in 1696 and lived through much of the eighteenth century to the ripe age of 86.  Contemporaries commented on his remarkable good health in old age, the longevity of his memory, and his feisty personality.  Kames is quoted as saying of old age “why should I sit with my finger in my cheek waiting for death to take me?’  He did not specify which cheek.        After his apprenticeship he worked his way up through the judicial ranks to become a highly respected judge, which is how he acquired the title Lord—it was not a hereditary title but an honor associated with his work as a judge.  Lord Kames again like Lizzie Bennett benefited from a lucky marriage.  He waited until age 47 to finally decide to marry.  His bride, Agatha Drummond, an attractive socialite eleven years his junior came from the wealthy Blair Drummond family.  James Boswell’s journals praise her for her looks, conversational skills and sense of humor—high praise from Bozzie.  Agatha’s original marriage portion was a moderate £1000 without any prospects due to an older brother with a family of his own.  However in 1766, Agatha unexpectedly became heiress to the entire Blair Drummond estate upon the unfortunate death of her brother and his son.  Thereafter, she and her children styled themselves Home-Drummond to acknowledge her family’s legacy and her husband Kames actively worked to enjoy and care for the sumptuous estate.       The inheritance impacted Kames’ work by providing a country writing retreat.  He was a prolific writer with 8 legal histories, plus books on diverse subjects like agriculture, and political science.  His book with the greatest impact on the history of rhetoric and the subject of our talk today was Elements of Criticism.  Published in 1761, Elements of Criticism brought the Enlightenment’s “scientific” view of human nature to the critical evaluation of the fine arts.  I would like to highlight how this interesting eighteenth century text connects to some very recent conversations about multimodal, visual and spatial rhetorics.                 Elements of Criticism made a splash and was a bit controversial due to its expansive inclusion of the visual arts with belle lettres.  Developing a theory of criticism for the fine artsrequired Kames to take sides in debates about human nature, beauty, and human nature.  He is participating in these with writers like Frances Hutcheson, Thomas Reid, and Edmund Burke.  At the time he was writing the orthodox and moderate factions of the Presbyterian church were vying for power in Scotland.  Based on theological ideas going back to the Reformation, both sides had mixed feelings about the impact of visual arts like paintings and sculpture on the viewer. In some areas theater was illegal.          Most of Elements of Criticism engages with literary texts for its examples and illustrations but his methods take into account the multimodality of the work.  For example, Kames takes encourages readers to take into account the musical and melodic qualities of poetry in his analysis of meter.  In spite of the disapproval of theater in Edinburgh, he works in criticism of plays and operas—not just the librettos but also of the staging and sets tacitly indicating through these inclusions his views on theater debate.       For those listeners interested in spatial theory or rhetorics of space, Kames applies the final chapter of the book the criticism of gardening and architecture.  The chapter thinks about how progression through space and the arrangement of objects in space can influence the mind and especially the emotions.  Kames emphasizes the natural style of gardening over more ornate or fantastic styles.  He presents the ornate French gardens as an example of what not to do, and praises the harmony of Chinese models.       Many of Kames’s proscriptive and prescriptive critiques participate in a larger Scottish Enlightenment conversation about taste in which moderates posed that fine arts were acceptable if morally improving to the audience or reader.  In this argument the wealthier members of society had an obligation to develop their taste as a sort of moral education.  For Kames, taste could also be developed by the lower classes through proximity to and observation of tasteful public works.  This idea represents a synthesis of ideas about the human tendency towards imitation and new concepts of the moral sense.  This chapter along with Sir John Dalrymple’s Essay on Landscape Gardening popularized the natural garden trend in mid-eighteenth century Scotland.               Elements of Criticism had a lasting impact as a textbook well into the 19th century and was by no means confined to Scotland.  The work was quickly translated into German and appeared in the library of Emmanuel Kant.  It crossed the Atlantic where it was taught in rhetoric courses at Yale side-by-side with texts by authors like Hugh Blair and George Campbell, according to the research of Gregory Clark.         To close our discussion of Elements of Criticism I would like to bring things back to the author himself.  Lord Kames, after all, did not have the benefit of a formal education, nor did he have the restrictions.  Although his writing is clear, he does not aspire to the heights of rhetorical eloquence.  In his judicial practice he was well known for using casual and even ribald language with his colleagues.  According to local legend, Kames at his retirement took leave of his colleagues with a cheery “Fare ye a’weel, ye bitches!”       Thanks for listening to our podcast today.  This is Connie Steel at the University of Texas for Mere Rhetoric.           Chambers, Robert.  Traditions of Edinburgh, Vol 2.  Edinburgh:  W. & C. Tait 1825, p 171.   Googlebooks Web.        Clark, Greg.  “Timothy Dwight's Moral Rhetoric at Yale College, 1795–1817.” Rhetorica:  A Journal of the History of Rhetoric.  Vol. 5, No. 2 (Spring 1987) pp 149-161.   Home, Henry, Lord Kames. Elements of Criticism.  Edited with an Introduction by Peter Jones (Indianapolis: Liberty Fund, 2005). 2 Vols.  www.libertyfund.org May 31, 2015. Web.       Lehmann, William C. Henry Home, Lord Kames, and the Scottish Enlightenment: A Study in National Character and in the History of Ideas.  The Hague:  Martinus Hijhoff, 1971.  (International Archives of the History of Ideas.  Info on Agatha and the family, on Agatha p 64-65.  “Bitches” 135 (from Chambers).       Miller, Thomas.  “The Formation of College English:  A Survey of the Archives of Eighteenth-Century Rhetorical Theory and Practice.”  Rhetoric Society Quarterly.  Vol. 20, No. 3 (Summer, 1990) pp 261-286.                          

In his research, Keith Miller mainly focuses on the rhetoric and songs of the civil rights movement. He is the author of Voice of Deliverance: The Language of Martin Luther King, Jr., and Its Sources, which was favorably reviewed in Washington Post and is widely cited. His essays on Martin Luther King, Jr., Malcolm X, Jackie Robinson, Frederick Douglass, C.L. Franklin, and Fannie Lou Hamer have appeared in many scholarly collections and in such leading journals as College English, College Composition and Communication, PMLA, Rhetoric Society Quarterly, andJournal of American History. His essay “Second Isaiah Lands in Washington, D.C.: Martin Luther King, Jr.’s ‘I Have a Dream’ as Biblical Narrative and Biblical Hermeneutic” was awarded Best Essay of the Year in Rhetoric Review in 2007