Truth and method

The Ethics of Rhetoric

From answering the question "Why teach writing?" to offering guidance in managing group work and responding to assignments, this remarkably successful text provides a comprehensive introduction to the teaching of writing. Now updated to incorporate the latest developments in the field, ARhetoric for Writing Teachers describes in straightforward terms the cross-disciplinary scholarship that has reinvigorated composition teaching. Reflecting current views of writing as social interaction, this edition emphasizes workshops, collaborative learning, and holistic evaluation. Chapters on prewriting techniques, organizing material, paragraphing, sentence structure, words, and revising describe how the teacher can guide students through composing, while sections on rhetoric, cognition, and linguistics discuss theoretical principles that support classroom practices and make the teacher's performance effective. Treating both the theory and practice of writing, the author encourages teachers to adopt the methods that best meet their students' needs and to develop a style of teaching informed by knowledgeable decisions. Over forty percent of the text's material is new to this edition, offering composition scholars a broad range of techniques to encourage and motivate their students. Complete with an updated bibliography and a table of important dates in the history of composition, this classic work offers both prospective and seasoned writing teachers convenient access to recent scholarship in the field and inspires them to examine what it means to teach well.

A Rhetoric for Writing Teachers

Toward a Speech Act Theory of Literary Discourse

Rereading the Sophists: Classical Rhetoric Refigured by Susan C. Jarratt. Southern Illinois University Press, 1991; pp. xxvi + 154.

Rereading the Sophists: Classical Rhetoric Refigured

examples from the essay. Her style is vibrant; her tone is ironic and direct. Another student identified one major theme in the essay and listed examples to substantiate his point: “Themes of consumerism ran rampant throughout the essay, including the Cadillac SUV’s and the gigantic yacht owned by Paul Allen.” A third student poignantly observes an almost existential stance of the essay: “Frank learns that nothing has changed about our society after September 11th despite the newfound unity in Americans; everything will always be centered on money.” The original framers of the content strands meant for them to be “circular,” not “linear.” The strands, when implemented together, should overlap and supplement each other. I have been conscientious about this while adapting them to my classes. Again, the purpose of these exercises is not to train aspiring artists. The purpose of these lessons is to teach students how to write more effectively and clearly through an arts-centric rubric. These strands have helped me to guide students through the writing process in an open yet structured context. As a result, their formal argumentative and persuasive papers have assumed a richer texture of language and purposeful development of ideas.

/pdf/refiguring-prose-style-possibilities-for-writing-pedagogy-515wddu3vp.pdf

Refiguring Prose Style: Possibilities For Writing Pedagogy

Refiguring Prose Style

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Refiguring Prose Style: Possibilities For Writing Pedagogy

Refiguring Prose Style