Teaching Subject, A: Composition Since 1966 PDF/EPUB

Teaching Subject, A: Composition Since 1966 [Read] ➵ Teaching Subject, A: Composition Since 1966 Author Joseph Harris – Natus-physiotherapy.co.uk This book provides a practical understanding of the growth of composition studies as a field of study A Teaching Subject Composition Since 1966 provides a highly readable outline of the major trends i This book provides A: Composition Epub Ú a practical understanding of the growth of composition studies as a field of study A Teaching Subject Composition Since provides a highly readable outline of the major trends in composition theory and teaching since as a means of explaining the origins of current Teaching Subject, Epub / attitudes towards teaching college writing It also presents a direct connection between recent advances in theory and new practices in the classroom Appropriate for any reader who wishes a better understanding of the current trends in teaching English composition.


10 thoughts on “Teaching Subject, A: Composition Since 1966

  1. David Schaafsma David Schaafsma says:

    One of several histories out there to serve as a textbook for Writing Studies graduate courses which I am teaching this term A classic focused on three decades 1965 1995 and leaning heavily to college composition his area and not primarily mine which is English education and middlehigh school writing instruction one virtue of the book is that it is short concise and affordable It was originally released in 1997 and was expensive; so Harris eventually got the rights to the book back added updates and inter chapters where he focuses on his own teaching and republished it in 2012 I had read it when it came out and now read it againThe main chapters highlight five key words to follow Raymond Williams's Keywords a term a chapter that he thinks are useful for exploring K College writing instruction Growth Voice Process Error and Community and only in the end he talks of digital issues which have emerged in the last several years Each of these key terms roughly aligns with a chronological approach for changes in thinking about whyhow people have taught writing in schools Growth for instance came about as a result of an international conference on writing at Dartmouth in 1966 which produced a book sort of summarizing the talk there that would shape writing instruction for many years Growth Through English by John Dixon The sixties as you know were a volatile decade an explosion of moments in areas such as feminism environmentalism anti racism pacifism and so on Interestingly schools didn't immediately respond to integrate these societal concerns in the classroom and indeed never really fully have done so The Dartmouth conference focused on how the structures on writing in schools had emphasized rigid approaches to reuired forms and structures and had ignored issues of personal engagement creativity and relevance Personal growth became a guiding principle for teaching writing to go with the individualism of the sixties the social commitments would come later in some classrooms focused on social justice issues Personal narratives would become a centerpiece for some teachers of K 12 writingA period focusing on issues of personal voice followed this concern with growth and in the early seventies people became interested in a process approach to writing discovering various stages of writing and drafting writing with teachers instead of merely handing in products on due dates People then began to focus on some cultural issues with respect to errors in writing is it wrong to speak as you do in your community or culture? Can standard English make room for other language use in schools such as Black English Vernacular Geneva Smitherman? These issues of correctness vs freedom still drive writing instruction though correctness is largely in control now The last chapter focuses on how writing instruction changed from something you are taught from a teacher to something that is learned a bit democratically in a classroom community through the uses of exchanging drafts of writing with peers as well as the teacher Thinking of a classroom as a community is still very much in vogue today Harris seems to be in dialogue in this book with another radical historian of writing instruction Marxist scholar James Berlin who of course takes a ideological approach that I prefer Harris of a political centrist and seeing his job as a historian as descriptive than prescriptive doesn't to my mind adeuately address many of the community or sociocultural issues that came to eventually get addressed in many writing classes racism sexism and so on But in each of his chapters Harris illustrates through his key words how there has been a tension in the last few decades between what schools reuire the structures and forms schools reuire one to know what James Gee calls essay text literacy and the needs and desires of students and society a tension between freedom and structure that has now largely been lost through a testing craze in schools that shapes all the writing K college students do resulting in an emphasis on argumentative writing in prescribed forms This focus on rigid preparation for tests today is not unlike what led to the 1966 Dartmouth conference and will probably create the need for such a conference again to right the ship in the direction of freedom creativity and both individual and social needs


  2. Mary Mary says:

    I fear that Harris’ ideal of the city as the model of community with many different groups all living and working together—like the university that includes janitors and academic vice presidents students and adjuncts and archival preservationists—may be fading Cites are becoming choices Austin is a Texas choice and Hyde Park even so In the DC area there’s an almost palpable different between Maryland and Virginia residents With our computer assisted occupational mobility potential residents can scope out the yoga studios and Whole Foods offerings in a town or the gun ranges and American flags in the yards and decide whether the space is “right for them” I don’t mean to belabor the locality point but I think it’s emblematic of the way that our society specialized in and out of work We used to all watch the Big Three news channels now we watch the news that agrees with us Less and less are there community forums for students to address Instead should be teach them to capitulate with whatever status uo they adore or do we insist that they compete to win over the haters? Harris’ “specific and material” view of community “allows for consensus and conflict” 106 because “they are simply thrown together” 107 I think and people are choosing not to deal with conflict—they’d rather just pick up and move


  3. Elizabeth Elizabeth says:

    Harris is such a thoughtful and readable writer and this book does a nice job historicizing how composition has been taught since the latter half of the 20th century Harris has strong opinions about the themes he highlights but he always makes them clear and in his interchapters illustrates them nicely through using examples from student work I also appreciated how he was willing to extend his thoughts and sometimes even change his mind in his 2012 postscripts to each chapter He's the consummate example of an academic who works hard to thoughtfully teach writing and while I may not always agree with his theoretical stances the uality of his teaching shines through in both his examples and in the careful construction of his prose


  4. Angelina Angelina says:

    Joseph Harris examines 5 different conceptswords we tend to throw around in education without always agreeing on their meanings He discusses how these words are interpreted differently and what those interpretations mean in terms of how educators approach writing instruction specifically He has some really good points about how our dialogues talk past each other when we understand these key concepts differently His 5 concepts are growth voice process error and community words I took for granted that people used in the same way I used them which I wish I had not done and which I will not do in the future


  5. Michael Michael says:

    In A Teaching Subject 1997 Joseph Harris outlines a history of the field of composition studies but most importantly I believe critiues and uestions the term community Following Raymond Williams he explains that the term has no opposite and so may become an empty and sentimental word but importantly it tends to create what it supposes to describe and becomes hard to resist 99 Harris believes it is important to understand that one does not simply move from one community to another but is always caught instead in an always changing mix of dominant residual and emerging discourses 103 He views it as helpful to understand our job as not helping students move from one community to another but to constantly complicate and add on to their discourses 103 He prefers the term public to community because it refers not a group of people like community but to a kind of space and process a point of contact that needs both to be created and continuously maintained and always us to think about discourse across differences 109


  6. Jessica Gordon Jessica Gordon says:

    Overall I really enjoyed this book by Joseph Harris but I especially appreciate his tone He writes in an exceptionally clear manner and he explains complex issues in an articulate and straightforward way One person wrote in her comments that Harris is name droppy but well each chapter is a review of the literature after all this is a history of composition so Harris is bound to drop some names I just thought that was an odd remark I really enjoyed the chapter focused on errors and I would not have thought this would be my favorite section In that chapter Harris make a number of great points and shows how composition took the turn away from grammar and toward techniue and process In my experience as a composition professor teaching grammar has always been a tabooI picked up on this in graduate school but it's only been reinforced throughout my 15 years of teaching I was looking for a book that would provide a broad overview of the process movement and this book certainly serves that purpose And I would emphasize again that it is written in a very accessible way


  7. Ian Ian says:

    I can't understand some of these other reviewers claiming Harris is hard to comprehend or that his argument is unclear In address to this latter issue this strikes me as a piece of exposition rather than argument Objective exposition untinged by ideology belief and values doesn't exist though even in scientific writing and Harris seems to me to be incredibly transparent about where he as the writer of this book stands in relation to the history of the theories and methods he is attempting to trace I greatly appreciate this because as a reader I didn't feel I had to try to suss out his biases from something that tries to play itself off as objective But I wouldn't say he is trying to propose or argue anything specific at least not as his primary goalAdditionally his writing both seems to do justice in broad strokes to the theories and methods it outlines while rendering them easily processable to someone entering the field It is also tinged with lots of self consciousnessreflexiveness and humor A must read for anyone teaching composition especially new TAs


  8. Steven Steven says:

    One of the interesting things about this book was to read all the theoretical underpinnings for the composition courses I took as an undergraduate So that’s why they had us do those things Boy was I clueless I also was not aware that composition was such a hotbed of ideology Another fascinating feature of this book is the sections that Harris titles “Interchapters” In these sections he provides a teaching example using samples from student writings interwoven with the story of the teaching methods used his point being to show how the student grew in response to the teaching methods These are—for me anyway—the most engaging sections of the book and a great relief from the heavy theoretical and ideological discussions in the rest of the chapters The book did provide me with a keener sense of the problematic nature of teaching composition that composition is not simply grammar and rhetoric


  9. Lance Lance says:

    This is an interesting perspective on the history of composition with some generally valid criticisms of past theories and practices though as most theoretical critiues tend to do Harris constructs simplified taxonomies that don't necessarily hold true In the end I'm not really sure what Harris would like to propose himself other than a vague form of social writing If you need to get a better sense of the history of composition this is a great book to start with especially since it is short and easy to read


  10. Chanel Earl Chanel Earl says:

    This is a great introduction to composition theory I think it is a little overwhelming to the beginning student but I can't think of a better way to introduce so many concepts and dialogues in one book If I had been wise then I would have looked up all of the names and theories that were included in the discussion as I was reading Then I would know so much As it stands I think that just reading the book gave me a good foundation


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