⚡ From Social Class And The Hidden Curriculum Of Work By Jean Anyon Summary
Similarities Between Dom Caasmurro And Othello drew not only on The Great Gatsby Mood Analysis own From Social Class And The Hidden Curriculum Of Work By Jean Anyon Summary with students but also on From Social Class And The Hidden Curriculum Of Work By Jean Anyon Summary from a nationwide network of faculty using writing-about-writing approaches to composition and on the feedback of teachers who used the first two editions of the book. A full but incomplete draft? However, if one examines From Social Class And The Hidden Curriculum Of Work By Jean Anyon Summary underperforming schools it is easy to see the statistically consistent correlation between poverty From Social Class And The Hidden Curriculum Of Work By Jean Anyon Summary student success. When reading asda second interview typical From Social Class And The Hidden Curriculum Of Work By Jean Anyon Summary research report, experienced Little Sleep Hypothesis will often read the introduction and then skip to the conclusion, then read the discussion section Ad Hominem Argument prior to the conclusion, and only then read the methods section that comes after the introduction. To remind ourselves that writers and speakers are using these principles of rhetoric and doing rhetorical work, we often call them rhetors. Always be ready to praise.
Jean Anyon Essay
New York, NY: Pearson. Department of Education The Elementary and Secondary Education Act of Department of Education. White, S. The very idea of a critical social science, In F. Rush Ed. The Cambridge Companion to Critical Theory. Cambridge England : University Press, Cambridge. Ghetto schooling: a political economy of urban educational reform. In it she details her personal experience working for educational reform in inner city New York. The book in many ways models the end goals of critical theory -- she moves from personal firsthand accounts of the trial of reform to a broader critique of education, business, and government. Ultimately, she locates the fault for the deplorable state of urban education not in the schools and their administrations, but in the conduct of business and especially government at the level of policy and law.
This critical perspective is precisely the kind of social justice orientation that critical pedagogy seeks to instill in students, one in which the problems at hand are understood in connection to the greater shape and structure of society. Anyon, Jean. Radical Possibilities: Public policy, urban education, and a new social movement. Her text offers compelling evidence that civic engagement and the application of political pressure on representatives in government have historically brought about more just law and policy. She explores a vast coalescence of policies from housing to minimum wage to taxation and more, revealing how these have come together to determine the shape of the public education system as we now know it. Perhaps most interesting, she arrives at the optimistic conclusion that new social movements geared toward the correction of these injustices could feasibly bring about a more effective and just educational system.
Anyon, J. Decades after this article was first written and published, it still has resonance in the public school system in the US. As she moves through her four types of schools the reliance on control of students decreases and the support of problem solving skills, critical thinking, and freedom to explore and learn increase. The most freedom is found in the schools with children from the most privileged backgrounds. This reality from sheds light on how little the public school system in the U. The text combines very personal prose and theory to explore the difficulties and triumphs of existing within and moving across language, cultural, and national borders.
The book is an essential read as the work of critical theorists exists in the borderlands. This bridge we call home: radical visions for transformation. New York: NY Routledge. This book showcases the work of over eighty contributors, seeking to challenge existing definitions of identity. It is feminist and critical in orientation, providing autobiographical and theoretical explorations of experiences of classism, racism, homophobia, and other forms of discrimination. It captures the element of critical theory which is deeply connected to postmodernism -- the idea that there is no such thing as a unified or neatly bounded identity.
If one explodes seemingly solid identity categories and the associated stereotypes and preconceptions linked to them, the exertion of prejudice around those categories becomes not just unjust or absurd, but impossible. Apple, M. Can Critical Education Interrupt the Right? Discourse: Studies in the Cultural Politics of Education, 30 3 , pp. One of the methods he suggests is sharing the available research that demonstrates the negative impact of conservative movements in education. Cultural Politics and Education.
New York: Teachers College Press. In this book Michael Apple seems to see the future. He takes a critical look at how the conservative social and political movements are attempting to restructure education. And, indeed, much of what he forecasted became reality over the decade and a half after this book was published. Even if you have read this book previously, it is worth another look as it helps the reader imagine the roads not taken and perhaps think about where to go from here. For instance, Apple cautions his readers to carefully examine and respond to the motives behind the conservative agenda and to respond in kind, rather than with theoretical jargon that is often disregarded.
This work implores readers to take seriously and understand the larger macro social and political realities and competing philosophies that are part of the discussion about how to move schools in a positive direction. Educating the right way. New York: Routledge. Here Apple analyzes political discourse around education, with particular attention to the ways in which those on the left alienate and misunderstand the true nature and power of the right. He examines the rise of the influence of the right in education, but also explores political discourse to reveal that the liberal vision of the right is reductive and damning to any chance of reconciliation and progressive cooperation.
He reveals that the tendency of the left to homogenize and demonize the right only strengthens the unity of the groups. Journal of Teacher Education, 62 2 , pp. In this article, Apple argues that globalization has profound impacts on teachers and teacher education and that understanding its effects is imperative. In that regard, he point out that many educators rely on very general stereotypes about what children and parents are like based on generalizations about their background, and that that is counterproductive and unjust. Additionally, Apples, suggests other key works that he believes should be read by all educators. Ideology and curriculum. In this updated third edition, Michael Apple rewrote one of his earliest books articulating the relationship between ideology and the shaping of curriculum.
In it, he critically analyzes the relationship between curriculum, politics, economic forces, and educational policy in the United States. This updated version examines many of the same issues in their present day manifestations, particularly following the resurgence of the power of the right in shaping education a phenomenon he analyzes at length in other works. This work offers a powerful critique of conservative educational politics, as well as a compelling bit of autobiographical material. He also focuses heavily on the process of textbook composition and selection as a politically driven process.
The critique is especially informative now, a decade later, when Whittle has most recently been involved in privatization of schools in urban districts. Power, Meaning, and Identity. New York: Peter Lang Publishing. Topics include politics, identity, sociology of curriculum, discourse analysis, and more. These essays, written between and , provide an outline of the state of critical education studies writ large. It also provides further insight into the range of issues at play in the politics of education and the development of curriculum, assessment, and educational evaluation. Berlak, A. A case study of what happens when an African-American elementary school teacher is invited to speak in a graduate level education class by one of her former professors.
What seemed like a simple presentation from a seasoned teacher turned into an emotional, sometime angry, exercise in self-reflection. Reactions from the class forced deep reflection about how each person thought about race, class, and their role as a teacher. There is no way to read this book and not have a strong reaction. Boal, A. Theatre of the Oppressed. London: Pluto. This book draws from classical critical theory and shows how theatre can be used to reflect the realities and subjectivity in society. Boal suggests a way to use theatre as a transformative process to assist in reflection and the creation of change.
Clark, K. The development of consciousness of self and the emergence of racial identification in negro preschool children, Psychological Bulletin, In this early study, Ken and Mamie Clark begin the important conversation about when children begin to develop consciousness about their own race. Board of Education Supreme Court case because they were able to show that segregation causes psychological harm to children. Cochran-Smith, M. It is a must read for any teacher seeking to inform classroom practice through qualitative research in their own classroom. Campano, Gerald Immigrant students and literacy: Reading, writing, and remembering. In essence, it represents a current example of critical educational thought in several dimensions.
For one, the text challenges the academic ownership of pedagogical expertise, locating it instead in classroom practice. Finally, Campano challenges the dominant, deficit-based discourse regarding urban student identity. This volume contains essays from many great thinkers relating critical studies to pedagogy in a meaningful way. Among the issues examined are those of race, gender, language and literacy, among various practical classroom concerns. Darling-Hammond, Linda. In this impressive piece of research, Darling-Hammond uses extensive factual information regarding educational history and global educational movements to explore how a genuine commitment to equity is an absolute requirement for the betterment of the American educational system.
A well informed critical theory perspective should take into account such a comprehensive review of educational history and global perspectives on educational advancement, in order to remain grounded in the historical and contemporary realities of educational policy and achievement. Dewey, J. The Child and the Curriculum. John Dewey is the father of progressive education. In this short text, Dewey argues for a curriculum that integrates student interest and experiences.
Essentially, Dewey argues that curricula based on student interest is the foundation of student growth and democracy. Duncan-Andrade, J. New York: Peter Lang Publishers. In the true spirit of Critical Theory, Duncan-Andrade and Morrel address how to create meaningful change within institutional structures that are seemingly set up to oppress. They begin with a discussion of how they view critical pedagogy and then offer practical applications of critical pedagogy. This book is explicitly focused on urban contexts, but the content is relevant across contexts. Freire, P. In the Pedagogy of Freedom, Freire offers a vision of freedom that includes more equity, cultural freedom, and a civil society where everyone fully participates.
This book advocates for teachers in their ability to make decisions that help to combat discrimination in all forms. In addition, in the traditional sense of critical theory, Freire reminds us that education cannot stop with dialogue. Teachers must engage in both the exposition and explanation of the socio-economic realities that impact the educational process. Pedagogy of the Oppressed. New York: Continuum Press. First published in , this is the seminal work of Brazilian educational philosopher Paulo Freire. Required reading in most graduate education programs, herein Freire lays out the philosophical foundations for a pedagogy of liberation and emancipation. In this collection of essays, Freire argues that education serves one of two purposes —- to domesticate or liberate.
He believes that critical awareness and the development of intellectual curiosity are achieved through reading and studying. And, reading and studying are required elements in the creation of new ideas as readers must be active participants in the creation of knowledge, not just passively memorizing literal meanings [banking] what is read. From this perspective, literacy is presented as a core political issue.
Freire also presents competing philosophies related to illiteracy. Illiteracy can be seen as a disease or as social inequity. The end result is that we stifle liberation. Instead, literacy must be seen not as a disease but as social inequity. Gadotti, M. Paulo Freire: Education for Development. For those looking for a historical perspective on both the life and works of Paulo Frieire, this article is a must read. Gadotti and Torres provide a detailed overview of the social and political climate in Brazil that served to shape Frieire's thinking around critical theory and education. Further, the article highlights the connection between critical theory and corresponding educational practices.
The authors conclude with a critique of how critical theory has been applied in Brazil and Africa. Giroux, H. Critical theory and educational practice, pp. The critical pedagogy reader 2nd ed. In this chapter, Giroux uses the foundational work of critical theorists such as Adorno, Horkheimer and Marcuse in order to frame a discussion about how a critical theory of education can be developed. He argues that we must revisit the central tenets of critical theory in light of the current contexts in which we live. Ideology, culture, and the process of schooling.
This book represents the true spirit of critical theory in that the discourse does not stop at the discussion of the problem, but rather tries to create a pathway through which curriculum can be transformed in order to be transformative. Giroux begins by discussing the theoretical underpinnings of educational research in the United States and connecting what we know about schools, classrooms, and curriculum to that base.
Giroux offers a framework for educators to begin to question their own assumptions about what kinds of knowledge are valued in schools and classrooms, what achievement really means, and the nature of the relationships between teachers and students, and teachers and administrators. Teacher education and democratic schooling, pp. The Critical Pedagogy Reader. In this chapter, Giroux offers a comprehensive look at how teacher education has been shaped by current educational reforms that focus less on seeing schools as places for equity and justice and more about blaming schools for a wide range of societal failures. Gore, J. Beyond our differences: A reassembling of what matters in teacher education.
Education Journal of Teacher Education. In this article, Gore presents a four-pronged framework for the evaluation of teacher education programs. Her basic premise is that teacher educators have embraced critical theory but not critical practices. Her model urges teacher educators to focus on achievement outcomes through critical practices. For Gore, student learning is what matters most in teaching and teacher education. The struggle for pedagogies. After reviewing this history throughout the body of the text, she proposes a fusion of the two orientations toward pedagogy and social justice, revealing that the aims and practice of both are not so terribly irreconcilable.
Indeed, each tradition has much to offer in the struggle to educate effectively for social justices and democratic participation in society. Reorientations: Critical theories and pedagogies. Chicago: University of Illinois Press. Reorientations explicitly links classical critical theory with educational practice. In Part One, readers are challenged to consider what is being taught in schools and how to shift away from the traditional canon to something more critical and reflective in nature.
In Parts Two and Three more practical applications of critical theory are offered. In Part Four, readers are challenged to think about the preparation of teachers. Each of these parts works together to build a complete framework to take readers from the ground level of what is happening in schools to the critical analysis of what it might take to create lasting and worthwhile change. Feminism is for Everybody: Passionate Politics. South End Press. Simple and straightforward, readers will get a clear idea of how feminism is easily accessible and part of a critical perspective. And, in true critical fashion, hooks encourages action to create change in structures that serve to oppress. Teaching to Trangress: Education as the Practice of Freedom.
Writing beyond race: Living theory and practice. Herein, hook focuses on the persistence of race in a seemingly post-racial era. She furthers suggests that those who have gained status in the class structure including affluent blacks have become less concerned with changing an oppressive class structure. She argues that class serves as a relatively new border for blacks within the black community, while race and gender inequities persist across all racial groups.
Overall, the book examines how white supremacist ideology shapes, complicates, and limits collective and shared identities, particularly among the most oppressed. Hooks identifies ways in which critical theory can be practiced to overcome the boundaries imposed by white supremacist capitalist patriarchy. Yearning: Race, gender, and cultural politics. For hooks, all of these are dynamically interrelated. She argues that current frameworks of racial and gender boundaries and the cultural politics that surrounds them work to subjugate various social groups namely black women.
Hooks proclaims that the fixations on the discourse of difference racial and gendered allows one to easily disengage from the struggle for social justice. The primary point of hook herein is that the struggle for social justice must go beyond mere acknowledgement and analysis of differences. How, A. Critical Theory. Johnson, A. Privilege, Power, and Difference. New York: McGraw-Hill. This is a very accessible book that intends to challenge its readers to reflect on their own privilege.
Johnson writes in a relatively conversational tone and shares his personal journey toward recognizing his own cultural identity development as well as grounding his ideas with evidence and theoretical connections. Kanpol, B. He grounds the concept of confession in the work of Cornell West, bell hooks, as well as others, and clearly links individual and institutional confession to the work of critical pedagogy. He argues that while critical pedagogy is extremely important in the effort to create change in schooling, it has been misunderstood and underutilized. The concept of bearing witness to and owning up to injustices and oppressive social structures is the step beyond mere awareness that will create opportunities for pre and in-service teachers to be prepared to deal with and challenge the oppression and alienation that are part of our schools.
Building on the works of bell hooks and Cornel West Talking Back by hooks and Breaking Bread by hooks and West , Kanpol continues to argue for the importance of personal and collective testimony as a form of reflective practice. He points out that our identities related to spirituality and religion impact how we teach and should be acknowledged. Empathy, in this sense, allows for a border pedagogy that considers multiculturalism as a key piece of the puzzle in achieving equity in classrooms. Kincheloe, J. Critical Pedagogy Primer. New York: Peter Lang. In this book, Kincheloe introduces the overall concept of critical pedagogy with attention to how it can be sustainable over time.
He presents a comprehensive image of the traditional understandings and practical implications of critical theory in a highly accessible way. Philadelphia, PA: Falmer Press. Kincheloe advocates for teachers to own their place in education as experts and producers of knowledge rather than only being consumers of knowledge. This book encourages teachers to think of the classroom as the research site and view themselves as researchers in order to truly understand classroom dynamics.
In this insightful analysis, David Labaree explores the function of public education in U. Specifically, he articulates three often conflicting goals for the public education system, arguing that these three goals are often invoked, without explicit explanation, to compel students to study harder, to justify the status quo, and to support educational reforms. The conflicting objectives that coexist within the system and within our public dialogue about the system hampers educational progress and certainly limits the possibilities for achieving social justice. Ladson-Billings, Gloria. Crossing over to Canaan: The journey of new teachers in diverse classrooms. While she does not draw out a road map to get there, she argues that improvements in pedagogy, teacher education, and professional development could provide the means for reaching such a goal.
Herein, Ladson-Billings also extensively outlines her own teacher education initiative, Teachers for Diversity, as a potential model for teacher education. Perhaps what is most instructive in this work is the combination of theoretical discussions of culturally responsive teaching with more tangible examples from her teacher education program. Ladson-Billings, G. The most important part of this work is that Ladson-Billings highlights the importance of culturally relevant teaching as a key ingredient in supporting the success of children.
Qualitative Studies in Education, 11 1 , Lather, P. Theory Into Practice, 31 2. Her goal is to encourage researchers to approach inquiry from a variety of different perspectives in the hope that more creative and interesting epistemology will emerge. Critical pedagogy and its complicities: A Praxis of stuck places. Educational Theory, 48 4 , Research as praxis. Harvard Educational Review, 56 3 , To this end, researchers must consider subjectivity as part of the research process, not as necessarily problematic. Luke, C. Feminism and pedagogies in everyday life. The title of the text is somewhat misleading. At first glance one may correctly assume that the book is about classroom practices and equality for females. It is indeed about those things, yet the text covers so much more.
There are structured social curricula that teach us to think about gender, sexuality, and class in very specific ways. These curricula include media, games, and the social scripts that guide gender roles. As a society, we are at once teaching and learning about race, class, ender and power. Given the ubiquitous nature of pedagogy in our everyday lives, the authors argue for a deliberate use of a feminist perspective as an ideal critical perspective, as they seek the inclusion of multiple voices and highlight the multidimensional nature of identity e.
The text provides an excellent critique of existing pedagogies and thoughtful insights on how to create and enact more feminist pedagogies. Critical pedagogy: A Look at the major concepts, pp. The Critical pedagogy reader. In this chapter, McLaren explains the big ideas driving critical pedagogy and attempts to provide an overarching theoretical framework. He introduces the idea that critical theorists endorse theories that recognize that the problems of society are inextricably linked to the problems of individuals.
It is this interactive context that forms dialectical theory -- an attempt to look closely at the relationships between contexts, appearances, and accepted meanings. The chapter outlines important issues, links them with theory and theorists, and provides practical examples of how these concepts are acted out in school settings. This book takes an interdisciplinary approach in its examination of factors that inform decisions in schools. It takes a critical approach by both providing a theoretical framework with which to consider schools and classrooms and encouraging action. In doing so, McLaren suggests ways in which educators, students and members of the public can impact change.
McLaren, Peter Life in schools. Boston, MA: Allyn and Bacon. This book is divided into two parts. The second half is far more densely theoretical, explaining the foundations of Freirean critical pedagogy and using that theory as a lens for interpreting the experiences chronicled in the first half of the book. Critical Theory and Educational Research. What you believe about writing directly impacts what you do or are willing to do. If you think you are a bad writer because you struggle with timed writing tests, you might not be willing to try other kinds of writing, or you might not recognize how good you are at coming up with smart ideas when you have a lot of time to think them over.
If you think that good writing is writing with no errors, you might struggle to put words on paper or on the screen as you attempt to avoid errors. And in the process, you might forget what you wanted to say, or get so frustrated that you give up, or write much less than you would have otherwise. Many of the readings in this book suggest that some of our cultural beliefs about reading. Readings in this book are intended to challenge your everyday ideas about writing; they suggest that writing is much more complicated and interesting when we actually pay close attention to how texts work and what readers and writers are doing when they engage them.
These readings also suggest that, as a writer and a reader, you usually have a great deal more power, and are less controlled by universal, mysterious rules, than you might have been taught. You can construct different ideas about writing, and you can construct meaning for yourself in ways that can empower you as a writer. And you can choose to operate using different constructions conceptions of writing. In this usage, construct is a verb. It suggests actions that writers and readers take.
Constructs noun are mental frameworks that people build in order to make sense of the world around them. By turning the verb into a noun pronounced CONstruct , we make the word mean, literally, a thing that has been constructed. In everyday use, we use the noun CONstruct only in the realm of ideas or concepts. The ideas of freedom, justice, wealth, and politics, for example, are all constructs, or ideas that we have built up over time. What is important to remember about constructs is that, while they may seem to be.
Our goal is to help you have robust, healthy, research-based ideas about writing that will make you a more successful writer. Considering constructs about writing and assessing whether your ideas about writing are. Some conceptions of writing matter more than others. Every specialized field of study or discipline — history, biology, mathematics, etc. Threshold concepts, once learned, help the learner see the world differently. Rather, the historians said that studying history is about learning to recognize multiple narratives and to see each narrative as an interpretation that must be understood in context. These historians were frustrated that the History Channel and common conversations about history lead people to misunderstand what history is and how to study it.
As the history example illustrates, when learners are introduced to threshold concepts in. Learning in this liminal space can be quite uncomfortable because learners have to examine their previous ideas and experiences and try to understand something that might conflict with those ideas. But when learners finally do grasp these threshold concepts, the way they see things is. When history students understand that history is made up of a set of competing narratives that interpret events in different ways, and that these narratives and events must be understood in context, they start to question everything they see. If they see a news story about the Confederate flag, for example, they recognize that people who take opposing views of it have competing narratives, are examining different pieces of the historical record, and interpreting that historical record in different ways.
Instead of asking who is right and who is wrong, new questions emerge — for example, how groups of people can interpret the past in such different ways. These are the kinds of questions that motivate historians to conduct and publish research. When history students finally grasp central threshold concepts, they see and understand the world differently, and find interesting research possibilities through their new perspective. Threshold concepts of writing are no different than other threshold concepts in their. In some ways, writing threshold concepts may be even more troublesome to learn than threshold concepts in other disciplines. Usually in high school, students write about literature, and instruction in writing is often limited to things like grammar, style, and form.
But there is a lot more to writing than that, and there are scholars who study writing for a living. Writing can be studied because it is a complex activity about which little is actually known. In contrast, in earlier schooling, writing is often treated as a fairly basic, fundamental skill. Writing scholars want to know things like how we learn to write, how we can teach writing. The study of persuasion goes back a long way, to Aristotle c. The formal study of how writing works, though, is more recent, beginning sometime in the s. The activity of writing is difficult to study because people use it for so many different things and go about it in so many different ways.
And compared with many other academic fields, the field of writing studies has had only a short time to get started on that research. Throughout this time, some of the main research questions have been fairly stable, and you will find them discussed in various chapters in this book:. Do writers think of what to say in their writing through inspiration or through the world around them, or both in what balance? How can we tell the difference between writing and other kinds of communication such as photo-essays and pictorial instruction manuals?
What counts as writing? We have used the questions of writing studies to guide the content in this book; the. We will next introduce you to the threshold concepts about writing you will encounter in this book. But we want you to start to think about them and question the conceptions you are bringing with you, as you delve into these ideas about writing. Your experiences with writing and with literacy reading and writing are part of who you are, part of your identity. Spend about ten minutes writing freely about your most important memories of reading, writing, and speaking. What were your experiences at home and outside school? What were your experiences in school?
How do these impact what you believe, feel, and do with writing and reading today? Our experiences with writing and language start very early — in our homes, with our families — and then are impacted by activities, events, and groups — from clubs, library visits, and religious organizations to online interactions, hobbies, and schooling.
We bring this rich, varied, and extensive history of reading and writing practices with us whenever we read, write, or receive feedback on our writing, or give feedback to someone else. When we encounter a new and challenging writing situation or task, we bring all of our previous experiences to bear. Feelings and ideas can change, of course, but we are all always an accumulation of everything we have experienced and done. If our experiences happen to be those that are valued by the dominant schooled culture, we tend to have easier and more positive literacy experiences. For example, if we come from a white, English-speaking, middle-class, Midwestern family that had a variety of books at home, we likely started school in the United States with a leg up on reading and speaking the dominant version of English.
But if we come from an immigrant family, and our parents speak, for example, Spanish or Portuguese, and we had no books written in English at home, we likely started school without the literacy experiences that teachers expect, speaking and writing with an accent that set us apart. Remember the earlier claim of this chapter, that thoughts make the world? We might. Thus the accumulation of our experiences with reading and writing impact what we think about writing and what we do as readers and writers, and how we feel about ourselves as writers. We may never have stopped to think why reading and writing in school has been easy or hard for us, why teachers singled us out for praise or criticism, why we loved writing online with friends in Wattpad but dreaded writing for our teachers.
But if we stop to think through our experiences with literacy, our feelings and experiences can begin to make more sense. We can be empowered to own and explain them, and to take control of them. For example, instead of feeling like a victim if a teacher criticizes your accent, you might learn to take pride in the fact that you speak several languages, and that you can choose just the right word in any of those languages to express how you feel. Instead of denigrating yourself, ask where your ideas and feelings and practices came from, and how they compared with those of the people around you at the time. Was there something others could have learned to do or understand differently from you and your experiences?
People use writing to get things done, and they use writing and language to make meaning together. This might seem obvious, but when we have spent the majority of our lives writing for school tasks, as has been the case for most students, we can forget the power that. Describe the experience and your feelings about it. In the rest of our lives outside of school — at work, online, at church, and so on — we know that writing helps us communicate and make meaning with others, and get things done. We know this without being told because we use writing like this all the time. If you are feeling lonely, you might text three friends and see if they want to meet you at the gym later.
They text you back and negotiate the activity maybe they need to study instead, so suggest meeting at the library and the time they have a sorority meeting at 6, but could meet you at 8. Together you make meaning and get things done, and your ideas create the world and its activities through the writing you are doing together. This same principle holds true for all kinds of writing that takes place within and between. At work, three or four people might be on a deadline to finish a report, and they negotiate how to write that report together; when they turn it in, they may find that their working group gets more funding next year than they had last year.
In our sororities, we have written guidelines and rituals that help us know who we are and what we stand for. If we write fanfiction online in Wattpad, hundreds or thousands of people might read and comment on what we write, and we know how to write fanfiction because we have read the examples others have written on Wattpad, and have seen how readers there commented on those examples. Writing helps people get things done, which makes writing powerful. But how and why. In the field of rhetoric, genres are broadly understood as categories of texts. For example, the poem, the short story, the novel, and the memoir are genres of literature; memos, proposals, reports, and executive summaries are genres of business writing; hiphop, bluegrass, trance, pop, new age,.
Genres are types of texts that are recognizable to readers and writers and that. So, for example, we recognize wedding invitations and understand them to be different from horoscopes. We know that when we are asked to write a paper for school, our teacher probably does not want us to turn in a poem instead. Genres develop over time in response to recurring rhetorical needs. We have. Rather than making up a new rhetorical solution every time the same situation occurs, we generally turn to the genre that has developed — in this case, the genre of the wedding invitation. Genre theorists have suggested that the concept of genre actually goes well.
Typified means it follows a pattern, and dynamic means that people can change the pattern to fit their circumstances as long as it still helps them do the activity. For more on genre and genre theory, see Chapter 1. There are rules for how groups of people use writing together, and these rules constrain what writers and readers can do. But for people to use writing successfully, they have to learn these rules. Think about the example above, of texting your friends to see if they want to join you at the gym later. You learned that it can be easy to misinterpret some things in text messages, so you probably learned to be more cautious about how you write your texts. Every writing situation has its own rules, and writers must learn them in order to use writing effectively to get things done.
For example, when surgeons write or talk about their work, they have a very specialized vocabulary that helps them be extremely precise and accurate. There is a hierarchy regarding who can say, do, and write when in the hospital, and that hierarchy helps ensure that everyone knows what their job is, and patients are protected. The same is true in college. The writing that historians do looks and sounds a certain. Their writing looks very different from the writing of biologists, whose goals and purposes for writing are quite different. So writing helps people get things done and make meaning together.
But as groups of. If you know this, and you understand what is happening, you can have an easier time as a newcomer to a situation or a particular form of writing. Go back to that activity and think about the rules for writing that are established when groups of people use writing to help accomplish their goals. Were there unspoken rules that help explain what went wrong in that writing situation for you? Why or why not? What do the people who participate in that subject study? What do they value? What are they trying to do with their writing? Whether or not writing is good depends on whether it gets things done, and whether it accomplishes what the writer and readers need the writing to accomplish.
This threshold concept of writing likely conflicts with a lot of what school writing situations have led you to believe. But just by looking at examples from your own life, you can start to test and prove that such school-based ideas about writing are not accurate. Try to remember a time when a rule or rules you were taught about writing by one authority teacher, parent, boss were changed or contradicted by another authority. What was the rule? Did you understand the reason for the change or contradiction at the time? Were you bothered by it? How well was the difference and the reason for it explained to you?
Consider what makes writing work when you are texting your friends. Do they think your texts are good if you use full sentences, correct grammar, and spell all words correctly? Probably not — and quite likely, the opposite. If you did those things, texting would take a long time, and your friends might make fun of you. Because good writing is writing that is appropriate to the situation, your purpose as a writer, and the technology you use to write in this case, typing on a phone makes it inefficient to spell out all the words and write in complete sentences.
For example, scientists often write using the passive voice. But in the humanities, writers are very often discouraged from using the passive voice and told to write to emphasize the action and the person doing the acting. This is because in fields such as literature and history and philosophy and art, it really does matter who performed an action.
Or, to provide another example, think of an investigative reporter with a secret source. Readers make meaning, too, based on their own prior experiences, the purpose of the writing, the situation in which they are reading it, and their values and the values of the group s they belong to. And, of course, today your writing might circulate among many different groups of people. Something you wrote for one purpose and audience might be really effective initially but might not work at all once it is communicated to a different audience at another time.
However, if you test this threshold concept against your daily experiences writing across different contexts and technologies, you can quickly start to see how accurate it is. And if you can understand this threshold concept, it can help you start to make sense of things that may otherwise really frustrate you. In other words, understanding this threshold concept can really empower you to see that many kinds of writing can be good, and that you may be better at some kinds than others. In other words, meaning is conditional. Ideas about meaning as being contingent and conditional are taken up most directly in Chapter 4, where authors claim that meaning depends on context and that principles for good communication depend on the specific situation and are not universal.
Writing researchers frequently hear students say that they dislike writing for school because it seems to be mostly about following rules and structures, and being judged. Try this thought experiment: What would your school writing look like if you could. What would you do differently in your school writing? Would you spend more time on it or treat it differently? How would your writing itself change? You might have a pretty easy time writing lab reports, job application letters, and texts to your friends, but a much harder time writing a paper about Moby Dick or writing a poem.
One reason for this is the threshold concept that what you do and who you are as a writer is informed by your prior experiences. You might have had more practice with certain kinds of writing, you might be fact-oriented, you might have read a lot of nonfiction books but not many novels. There are many reasons why some kinds of writing come more easily to you than other kinds. Grammar and flow are two things students commonly say they want to work on; we want to push you to consider other elements and aspects of writing.
What do you imagine you could be doing differently or better? The good news is that this threshold concept is true for everyone: all writers have more to learn. Learning is the key — and writers can always learn to be a little better at writing something that is not their strong suit. Writing is a process. It takes time and practice. Writing things that are new to you, writing. And no matter how much you practice, what you write will never be perfect. This is, in large part, due to what we discussed in the previous threshold concept: Readers make meaning out of what you write, and the situation in which your writing is read makes a difference in how effective the. There is no such thing as perfect writing; writing is not in the category of things that are perfectible.
Rather, it can grow, change, be different, and work for better or worse for the purposes for which you are trying to use it. Still, there are strategies and habits that can help you write more easily, more quickly, more effectively — and asking for feedback is, of course, always a good way to improve. This understanding of writing should be very liberating because it helps you recognize. Someone might be a good writer at one kind of thing like writing horror novels but not very good at another kind of thing like writing grant proposals or poems.
How you feel about yourself as a writer, and what you do as a writer, can change a lot for the better if you realize that no writers are perfect, good writing depends on the situation, all writers have more to learn, and you can learn things about writing and how to write that can help you write more effectively. Try to keep this in mind when you write from now on. How will this change in focus impact how you write and how you feel about yourself as a writer? Many of the readings in this book are about research, and almost all of the individual pieces in this book have been published someplace else before. Reading texts that are written by expert researchers for other experts is not easy even. So we will next introduce you to two threshold concepts that will explicitly help you work with the material in the rest of this book — and in the rest of your academic life.
These threshold concepts are about genres recurring kinds of texts and about the kind of reading that you will do in this book. For example, the poem, the short story, the novel, and the memoir are genres of literature; memos, proposals, reports, and executive summaries are genres of business writing; hiphop, bluegrass, trance, pop, new age, and electronica are genres of music; and the romantic comedy, drama, and documentary are genres of film. Typified means it follows a pattern, and dynamic means that people can change the. Its meaning, which is complex, will gradually become clearer to you the more we and you use it, both here as well as later in the book especially Chapter 4.
A rhetorical situation is any moment in which people are communicating. To remind ourselves that writers and speakers are using these principles of rhetoric and doing rhetorical work, we often call them rhetors. See the definition of rhetoric. Rhetorical study, for example, is the investigation of human communication as situated, motivated, interactive, epistemic, embodied, and contingent.
Rhetorical reading involves reading a text as situated, motivated, etc. Rhetorical analysis is a way of analyzing texts to find what choices their embodied rhetor speaker or writer made based on their purpose and motivation, their situatedness and context, and how they interact with and make new knowledge for their audience. The rhetorical situation is a moment in a larger rhetorical ecology, the network of relationships among rhetors in the situation.
Rhetoric can refer to a field of knowledge on this subject,. Rhetoric always has to do with these specific principles: 1. Human communication, or discourse, is situated in a moment, a particular time and. That moment and ecology are the context of the communication. Her discourse is situated in a particular context. No communication is unmotivated. Successful writers therefore think carefully about who their audience is and what the audience values and needs. Communication is epistemic, which means that it creates new knowledge. Communication is embodied and material, meaning that it exists not simply in the mental realm of ideas but takes place via material bodies that themselves shape the meaning of the communication.
Communication is shaped by technology. Communication is contingent, meaning that what we consider good communication depends on the circumstances and context in which it happens. Writer and speaker are common synonyms. In this book you will find types of readings and texts you may never have encountered before. These strange encounters happen to you not just in this class, of course, but throughout your life. Sometimes this can be fun as in the earlier example of getting your first phone and learning about texting, or finding Wattpad and learning about fanfiction ,.
All of these different kinds of texts have names because they are kinds of writing that. Resumes, wedding invitations, birthday cards, parking tickets, textbooks, novels, text messages, magazine cover stories — these are all constantly recurring kinds of writing. In other words, if a particular writing situation and resulting need for communication happens again and again, prompting writers to respond for example, a need to apply for a job , then certain kinds of writing come into existence to respond to that recurring situation like resumes.
Look at them all and then answer these questions:. What is the common denominator — what do you think makes a syllabus a syllabus, even though individual syllabi differ? Genres do a lot of work for you as a writer. Think about the situation we discussed before the activity: People have to apply for jobs all the time, and they have a pretty good idea of how to do this through resumes and cover letters because so many other people before them have done the same thing.
But what if there was no agreed upon way for people to apply for jobs? What if no conventions for doing that had ever come into being? You as a job seeker would have no idea what you should do when you want a job; actually, much worse, every single option would be open to you. It would take a really long time to do anything. So genres emerge because rhetors start to find ways to respond to the recurring.
Because job seekers found that listing all their previous jobs on a piece of paper was helpful, and because employers found this helpful too, people kept doing it. There are a lot of ways to make a resume check out the range of templates for resumes in your word- processing software , but there are some limitations that at least make it easier for you as a resume writer to know that you could do this for example, organize by date or this for example, organize by skill but not that for example, write a haiku.
There are a lot of reasons to think about this threshold concept that writers over time. For one thing, understanding this helps you look for patterns when you encounter new situations and new kinds of texts. There are maps, if you know to look for them and can figure out how to read them. Think for a minute about this idea of genres as maps to new situations. For maps to. Where am I and where do I want to go? If you know that you are in Orlando and you want to go to Key West, then you know that there are maps for this situation. But you also need to know what to look for on the map and what the various symbols mean.
When you first start driving, you might end up getting lost a few times before you can make sense of the map. The other thing to remember about maps is that they change. They change for all sorts. You might never have had to look at a paper map and its key to figure out what you are seeing, because your smartphone does this for you. Maps change, and people have to figure out how to read new kinds of maps. Maps on smartphones that tell you what to do have some advantages over paper maps — they make you do less work, there is less for you to figure out, you can drive and listen to directions at the same time. But relying too much on your smartphone can have serious disadvantages as well.
You might not know north from south, or what to do with the paper map that you have to stop and buy at the gas station in the middle of the Everglades. So relying on them without thinking for yourself can leave you stranded and lost. Genres are the same way. They are maps, but not maps that you should rely on rigidly without thinking for yourself about what to do in any writing situation. Genres, just like maps, are extremely helpful if you know how to read them and. A genre is not formulaic; there is always another strategy that a rhetor can use to meet the requirements of the situation.
But a genre establishes bounded options for rhetors in situations. What questions should you ask when you encounter a new genre? Try to discern the similarities in rhetorical situations the situations calling for the genre you are encountering and the rhetoric constructed in response to those situations the genre itself. According to Sonja Foss, there are four kinds of questions to ask when looking at a new or unfamiliar genre:. Questions about situational elements: What conditions situations call for the genre? What prompts this sort of document to be written?
What is the exigence — the need or reason for a given action or communication? All communication exists for a reason. Questions about substantive characteristics content : What sort of content substance is typically contained in this genre? What do these texts tend to talk about or say? Questions about stylistic characteristics form : What form does this sort of genre take? What does it look like? How is it organized? What language does it use? What tone does it take? Questions about the organizing principle: What makes this genre what it is?
What are the common denominators of the genre? What makes a resume a resume, for example? Of each characteristic that you identify in the first three questions above, you. Researcher John Swales, who worked on genre analysis of scholarly articles like the ones in this book, looked at thousands of examples of the articles that researchers write to see what their introductions might share in common. On the next few pages, we provide a summary of his research specifically to help you navigate some of the scholarly articles you will encounter. Sometimes getting through the introduction of a research article can be the most difficult.
When you write your own papers, making the same moves yourself will help you present your own arguments clearly and convincingly. So read through the summary now, but be sure to return to it often for help in understanding the selections in the rest of this book. Move 1: Establishing a Territory In this move, the author sets the context for his or her research, providing necessary background on the topic.
This move includes one or more of the following steps:. The author asks the discourse community the audience for the paper to accept that the research about to be reported is part of a lively, significant, or well-established research area. To claim centrality the author might write:. This step is used widely across the academic disciplines, though less in the physical sciences than in the social sciences and the humanities.
The author makes statements about current knowledge, practices, or phenomena in the field. For example:. The use of different types of verbs e. The author can establish a niche in one of four ways:. The author demonstrates that earlier research does not sufficiently address all existing questions or problems. The author asks questions about previous research, suggesting that additional research needs to be done. Move 3: Occupying a Niche In this move, the author turns the niche established in Move 2 into the research space that he or she will fill; that is, the author demonstrates how he or she will substantiate the counterclaim made, fill the gap identified, answer the question s asked, or continue the research tradition.
The author makes this move in several steps, described below. The initial step 1A or 1B is obligatory, though many research articles stop after that step. Step 3: Indicating the Structure of the Research Article The author previews the organization of the article. Many students have been taught a rigid formula for how to write an essay for school. Some students have also been taught a formula for what sentences each paragraph should contain. What would happen if you put the thesis statement someplace else? What would happen if you turned the thesis statement into a focused question?
What content do they usually seem to contain? What do. How do they tend to be organized? Many of the readings in this book are long and somewhat difficult because they are written for audiences such as teachers and researchers. Recognize that scholarly articles are a genre, and each instance of a genre has similarities with other instances of that genre, even across apparent differences. Pick a few of the scholarly articles in this book and ask the above questions about them before you dive into reading one in depth. Most of the readings in this book do that. In this section, we want you to think more about why the CARS model exists, and works, because considering this will help you greatly in making sense of and finding value in the texts in this book.
It will also introduce you to the threshold concept, broadly applicable beyond school, that when we read texts, we are interacting with other people. Texts are people talking. First, make a list of some kinds of texts that you easily think of as people talking to each other example: texting. Try to systematically think through all the kinds of texts you regularly encounter in your everyday life. The CARS model works because scholarly texts represent turns in an ongoing conversation — they are people talking back and forth to each other.
At first that idea might sound obvious — of course texts are people talking. When was the last time you tried to picture the actual writer of a WebMD article, or considered the hobbies of whoever wrote the last Wikipedia article you read? Most of us never give these writers a second thought. Have you noticed the. Given how we usually interact with school texts, we think you will agree that it is not such a commonsense idea to say that scholarly texts are people speaking to each other in an ongoing conversation. But that is what is happening.
Early schooling tends to teach us to think of facts and information as existing independent of people — to suggest that knowledge is independent of the people thinking about it. People are where the meaning in texts comes from — not from the texts themselves. As rhetors, we construct a meaning for each text we read. Just as is the case with. And just as with writing, we have explanations theories of reading that help us make. One theory and term that helps us remember the actual nature of reading as constructing meaning is rhetorical reading. People Have Motives Nonfiction texts say what they say because their writers are motivated by a variety of purposes.
So we will say the resume is a motivated text. Whether you think it means one, the other, or both will depend heavily on what you think motivates the statement to begin with. In this example, the motives of the writer of the spaceflight article might be 1 to show what they know about spaceflight, 2 to write a really nicely done article on spaceflight, and 3 to make Wikipedia more complete.
Readers Have Needs, Values, and Expectations of Texts Readers of resume or Wikipedia genres meet those texts with at least four kinds of knowledge or ideas already formed. The first is simply the experiential background. And again as with writing, your current practices and expectations of reading are shaped by your past reading experiences. If you are used to a particular genre being dull and loathsome, you will expect another example of that genre to keep being so … and your mind will make it so. The other three kinds of knowledge readers bring to texts are much more specific to the. The reader has a particular need related to that text. They need a resume in order to help them make a hire, so they need the resume to convey a particular range of information.
The reader has specific sets of values — some readers, for example, might value conciseness while others might more highly value depth of information. The reader has specific expectations for what the text will do and be, many of which are genre-based. A resume should look like a resume, a Wikipedia article should work like a Wikipedia article. Some other expectations come with a given situation and context. When you write a resume, you spell-check it extensively. Texts carry traces of this anticipation. An extended example: and saw a terrible string of police shootings of unarmed or already-arrested suspects.
Increasingly, such shootings are captured on video that is released to the public before investigations of the shootings are completed. The videos, news coverage, and endless public commentary create a specific context into which official investigative reports of a shooting are later released. If readers of the report know of this context in which the report was written, they can use that context to make some educated guesses about why some aspects of the report are written the way they are — because the writers anticipate the context as well, and shape their text to meet it.
If a video makes it look to the viewing public as if the shooting victim was raising his hands, and that belief has entered the context of the overall dispute, then a report finding that the victim was reaching for a weapon will anticipate the counterargument already in the context and be written to address that specific context. That example leads us to a final principle of rhetorical reading: That the meaning we.
Put again in terms of conversation: Context shapes what the conversation means. How is context — the situation in which the text is written and that in which it will be read, its history, and your history as a reader — shaping the meaning you build from the text? Can you see yourself as talking with, interacting with, its writer? Look Forward to the Rest of This Book A number of texts in this book focus explicitly on reading or connect to it.
Reading these selections and considering their ideas is one way that you will continue to stretch your thinking about how reading works. But we also want to encourage you to look for places in all the readings where authors refer to other authors in this book or elsewhere. Start making notes when you see authors directly or indirectly responding to something that another author has written. But not the kind of argument you have with a sibling over whose turn it is to take out the trash, and not the kind of argument frustrated people might have over whose fault it is that their cars collided in an intersection.
The readings here are doing a kind of research we call scholarly inquiry. It is, and means. It is question- and problem-driven. It includes a great deal of personal opinion rather than clear, objective facts. How can this be? We offer this selection as an introduction to the ongoing scholarly conversations about writing, research, and inquiry — conversations in which they, and now you, are an essential part. Greene is asking you to read academic arguments rhetorically, as conversations, in the ways that we just outlined in the rhetorical reading section pp.
Whatever you are reading, whether published or unpublished, whether a first draft or a last draft, try to imagine people in conversation with one another, trying to make meaning. They need readers, other writers, and other. Part of your journey in this class will probably be to help your classmates as they research and write, and engage them in a conversation so that they can get better at what they are trying to do. Thus, this class will likely ask you to read not only the scholarly texts in this book, but the drafts created by your classmates. They work in every field where scholarly research is happening, from anthropology to zoology.
The research you do on your own may even offer new insights into long-running questions about these subjects. Have a conversation with a classmate on the following topic: How would you say argument and conversation relate to each other? Can some arguments be conversational and some conversations argumentative, or is no crossover possible? Provide examples, and be sure to explain your terms as precisely as possible.
As you read, consider the following questions to help you focus on particularly important parts of the article:. How does Greene structure his article? If you were to pull out the major headings, would the outline created from them be useful in any way? What kinds of support does Greene use for his claims? What other texts does he refer to? Is this support relevant to his claims and sufficient to prove them? Seen in this way, argument is very much like a conversation. By this, I mean that making an argument entails providing good reasons to support your viewpoint, as well as counterarguments, and recognizing how and why readers might object to your ideas. The metaphor of conversation emphasizes the social nature of writing.
Thus inquiry, research, and writing arguments are intimately related. In learning to argue within an academic setting, such as the one you probably find yourself in now, it is useful to think about writing as a form of inquiry in which you convey your understanding of the claims people make, the questions they raise, and the conflicts they address. As a form of inquiry, then, writing begins with problems, conflicts, and questions that you identify as important. The questions that your teacher raises and that you raise should be questions that are open to dispute and for which there are not prepackaged answers.
Therefore, it is important to find out who else has confronted these problems, conflicts, and questions in order to take a stand within some ongoing scholarly conversation. You will want to read with an eye toward the claims writers make, claims that they are making with respect to you, in the sense that writers want you to think and feel in a certain way. And finally, you will want to consider the possible counterarguments to the claims writers make and the views that call your own ideas into question. Like the verbal conversations you have with others, effective arguments never take place in a vacuum; they take into account previous conversations that have taken place about the subject under discussion.
Seeing research as a means for advancing a conversation makes the research process more real, especially if you recognize that you will need to support your claims with evidence in order to persuade readers to agree with you. Reading necessarily plays a prominent role in the many forms of writing that you do, but not simply as a process of gathering information. This is true whether you write personal essays, editorials, or original research based on library research. When we sit down to write an argument intended to persuade someone to do or to believe something, we are never really the first to broach the topic about which we are writing.
Thus, learning how to write a researched argument is a process of learning how to enter conversations that are already going on in written form. This idea of writing as dialogue — not only between author and reader but between the text and everything that has been said or written beforehand — is important. Perhaps the most eloquent statement of writing as conversation comes from Kenneth Burke in an oft-quoted passage:.
Imagine that you enter a parlor. You come late. When you arrive, others have long preceded you, and they are engaged in a heated discussion, a discussion too heated for them to pause and tell you exactly what it is about. In fact the discussion had already begun long before any of them got there, so that no one present is qualified to retrace for you all the steps that had gone before. You listen for a while, until you decide that you have caught the tenor of the argument; then you put in your oar.
However, the discussion is interminable. The hour grows late, you must depart, with the discussion still vigorously in progress. As this passage describes, every argument you make is connected to other arguments. Every time you write an argument, the way you position yourself will depend on three things: which previously stated arguments you share, which previously stated arguments you want to refute, and what new opinions and supporting information you are going to bring to the conversation.
You may, for example, affirm others for raising important issues, but assert that they have not given those issues the thought or emphasis that they deserve. Or you may raise a related issue that has been ignored entirely. The real work of writing a researched argument occurs when you try to figure out the answers to the following:. What topics have people been talking about? What is a relevant problem? What kinds of evidence might persuade readers? What objections might readers have? What is at stake in this argument? What if things change?
What if things stay the same? In answering these questions, you will want to read with an eye toward identifying an issue, the situation that calls for some response in writing, and framing a question. An issue is a fundamental tension that exists between two or more conflicting points of view. For example, imagine that I believe that the best approach to educational reform is to change the curriculum in schools. Another person might suggest that we need to address reform by. One way to argue the point is for each writer to consider the goals of education that they share, how to best reach those goals, and the reasons why their approach might be the best one to follow.
One part of the issue is a that some people believe that educational reform should occur through changes in the curriculum; the second part is b that some people believe that reform should occur at the socioeconomic level. Notice that in defining different parts of an issue, the conflicting claims may not necessarily invalidate each other. In fact, one could argue that reform at the levels of curriculum and socioeconomic change may both be effective measures. Keep in mind that issues are dynamic and arguments are always evolving. One of my students felt that a book he was reading placed too much emphasis on school-based learning and not enough on real-world experience. We are educated by the people around us and the environments that we live in every day.
It is important to frame an issue in the context of some specific situation. Whether curricular changes make sense depends on how people view the problem. One kind of problem that E. Hirsch identified in his book Cultural Literacy is that students do not have sufficient knowledge of history and literature to communicate well. If that is true in a particular school, perhaps the curriculum might be changed. But there might be other factors involved that call for a different emphasis. Moreover, there are often many different ways to define an issue or frame a question. For example, we might observe that at a local high school, scores on standardized tests have steadily decreased during the past five years. This trend contrasts with scores during the ten years prior to any noticeable decline.
Writing her piece as an editorial in the New York Times, Quindlen addresses an issue that appears to plague New Yorkers. And yet many people have come to live with the presence of homelessness in New York and other cities. This is the situation that motivates Quindlen to write her editorial: People study the problem of homelessness, yet nothing gets done. Homelessness has become a way of life, a situation that seems to say to observers that officials have declared defeat when it comes to this problem. A good question can help you think through what you might be interested in writing; it is specific enough to guide inquiry and meets the following criteria:. A good question, then, is one that can be answered given the access we have to certain kinds of information.
The tools we have at hand can be people or other texts. A good question also grows out of an issue, some fundamental tension that you identify within a conversation. Through identifying what is at issue, you should begin to understand for whom it is an issue — who you are answering the question for. In this section, I want to add another element that some people call framing. This is a strategy that can help you orchestrate different and conflicting voices in advancing your argument. Framing is a metaphor for describing the lens, or perspective, from which writers present their arguments. Writers want us to see the world in one way as opposed to another, not unlike the way a photographer manipulates a camera lens to frame a picture. For example, if you were taking a picture of friends in front of the football stadium on campus, you would focus on what you would most like to remember, blurring the images of people in the background.
How you set up the picture, or frame it, might entail using light and shade to make some images stand out more than others. Writers do the same with language. For instance, in writing about education in the United States, E. Hirsch uses the term cultural literacy as a way to understand a problem, in this case the decline of literacy. To say that there is a decline, Hirsch has to establish the criteria against which to measure whether some people are literate and some are not. Hirsch uses cultural literacy as a lens through which to discriminate between those who fulfill his criteria for literacy and those who do not.
He defines cultural literacy as possessing certain kinds of information. Not all educators agree. Some oppose equating literacy and information, describing literacy as an event or as a practice to argue that literacy is not confined to acquiring bits of information; instead, the notion of literacy as an event or practice says something about how people use what they know to accomplish the work of a community. In my work as a writer, I have identified four reasons to use framing as a strategy for developing an argument. First, framing encourages you to name your position, distinguishing the way you think about the world from the ways others do.
Naming also makes what you say memorable through key terms and theories. Second, framing forces you to offer both a definition and description of the principle around which your argument develops. Third, framing specifies your argument, enabling others to respond to your argument and to generate counterarguments that you will want to engage in the spirit of conversation. To extend this argument, I would like you to think about framing as a strategy of critical inquiry when you read. By critical inquiry, I mean that reading entails understanding the framing strategies that writers use and using framing concepts in order to shed light on our own ideas or the ideas of others.
Here I distinguish reading as inquiry from reading as a search for information. You might recognize that schooling for you was really about accumulating information and that such an approach to education served you well. It is also possible that it has not. Whatever you decide, you may begin to reflect upon your experiences in new ways in developing an argument about what the purpose of education might be. In this book, Rodriguez explains the conflicts he experienced as a nonnative speaker of English who desperately sought to enter mainstream culture, even if this meant sacrificing his identity as the son of Mexican immigrants. In turn, what does such a concept help you understand about your own experience as a student?
For weeks I read, speed-read, books by modern educational theorists, only to find infrequent and slight mention of students like me…. For the first time I realized that there were other students like me, and so I was able to frame the meaning of my academic success, its consequent price. What he grasps very well is that the scholarship boy must move between environments, his home and the classroom, which are at cultural extremes, opposed. Lavish emotions texture home life.
Then, at school, the instruction bids him to trust lonely reason primarily. From his mother and father the boy learns to trust spontaneity and nonrational ways of knowing. Then, at school, there is mental calm. Teachers emphasize the value of a reflectiveness that opens a space between thinking and immediate action. Years of schooling must pass before the boy will be able to sketch the cultural differences in his day as abstractly as this.
But he senses those differences early. Perhaps as early as the night he brings home an assignment from school and finds the house too noisy. The boy has to cut himself off mentally, so as to do his homework, as well as he can. Draw on your life experiences in developing an argument about education and what it has meant to you in your life. In writing your essay, use two of the four authors Freire, Hirsch, Ladson-Billings, Pratt included in this unit to frame your argument or any of the reading you may have done on your own. What key terms, phrases, or ideas from these texts help you teach your readers what you want them to learn from your experiences?
How do your experiences extend or complicate your critical frames? In the past, in responding to this assignment, some people have offered an overview of almost their entire lives, some have focused on a pivotal experience, and others have used descriptions of people who have influenced them. The important thing is that you use those experiences to argue a position: for example, that even the most well-meaning attempts to support students can actually hinder learning. This means going beyond narrating a simple list of experiences, or simply asserting an opinion.
Instead you must use — and analyze — your experiences, determining which will most effectively convince your audience that your argument has a solid basis. What experience do these frames help her to name, define, and describe? Jennifer Farrel Exactly one week after graduating from high school, with thirteen years of American education behind me, I boarded a plane and headed for a Caribbean island. And finally, she uses this frame as a way to organize the narrative as opposed to ordering her narrative chronologically. The writer offers an illustration of what she experienced, clarifying how this experience is similar to.
With beaches to play on by day and casinos to play in during the night, I was told that this country was an exciting new tourist destination. My days in the Dominican Republic, however, were not filled with snorkeling lessons and my nights were not spent at the blackjack table. Instead of visiting the ritzy. East Coast, I traveled inland to a mountain community with no running water and no electricity.
The bus ride to this town, called Guayabal, was long, hot, and uncomfortable. The mountain roads were not paved and the bus had no air-conditioning. Surprisingly, the four- hour ride flew by. I had plenty to think about as my mind raced with thoughts of the next two weeks. I wondered if my host family would be welcoming, if the teenagers would be friendly, and if my work would be hard. I mentally prepared myself for life without the everyday luxuries of a flushing toilet, a hot shower, and a comfortable bed.
Because Guayabal was without such basic commodities, I did not expect to see many reminders of home. I thought I was going to leave behind my American ways and immerse myself into another culture.Another term From Social Class And The Hidden Curriculum Of Work By Jean Anyon Summary used to describe this field of study is Rhetoric and Composition. He takes a critical look at how the conservative Brahms 3d Symphony Summary and political movements From Social Class And The Hidden Curriculum Of Work By Jean Anyon Summary attempting to restructure education. Students might wonder, for example, why they did so poorly on the SAT Quality Health Care section or why some groups of people use How Does Iago Manipulate Plato In Othello that is so specialized it seems intended to leave others out. In From Social Class And The Hidden Curriculum Of Work By Jean Anyon Summary, it represents a current example of critical educational thought in several dimensions.