Resources
For many years now, specialists in learning have remarked that a specific method of writing is used for the elaboration of interactive multimedia systems. This method of writing, which I qualify as interactive, has a primary objective: facilitating information access for the user. In this paper I propose an analysis of the different elements that characterize this method of writing and, more specifically, the different ways in which this new method can be integrated into the elaboration of magistral university courses without using any added computer technology. The professor would then resemble a multimedia system while the students would be the users of this system. This new method of writing and pedagogical structure would be highly propitious for the stimulation of exchange and interactivity, while leaving students the possibility to choose a structure of the presentation that best fits the group. However, for this to happen we must first envisage the possibility of adapting certain multimedia learning methods, recognized as functional, to the more conventional learning methods that the classroom represents.
How can we best address writing improvement for seminary students? This article describes the implementation of a Writing Assistance Program that teaches remedial skills in grammar structure and paper organization as well as mentors all students to develop their fullest writing potential. Four models of writing instruction are discussed and examples are given of the best use of each. The article concludes with lessons learned from the experience and tips for other seminaries.
Taking the theory and practice of contrastive rhetoric as a point of departure, this article identifies two rhetorical models that inform the teaching and writing of theology at two theological schools where the author directs a joint writing program. The models of correlation and liberation are drawn from the official documents and typical theological/rhetorical practices of each school, exemplified by representative student and faculty writing. In conclusion, the common ground encouraging comparative and cooperative models of writing theological culture(s) is intimated by four concluding motives that warrant wider disciplinary discussion of the rhetorics we have and those we need as religious scholars and theological educators at the beginning of the third millennium.
One might think that primary research in library and church archives would be a dry, lifeless endeavor, far removed from the present–day spiritual urgency that quickens the religious studies classroom. After all, archives raise the specter of musty tomes housed in dark, dank, and isolated basements. To the contrary, based on interviews with several students and teachers doing such research, this article maintains that primary archival research in religious and theological studies is often experienced as empowering, connecting researchers to their subjects with an immediacy that secondary sources simply cannot provide. Diaries, letters, hymns, administrative reports, and church–school teaching notes are the sorts of documentary evidence and personal effects at issue, and these offer unexpected insights to researchers who brave the archives.
In order to teach theological reflection well, it is necessary to teach students how to write it well. This paper probes the writing of theological reflection as a rhetorical process and a theological practice by (1) situating theological reflection broadly within a "correlation" model, adapted for theological writers; (2) identifying two "generic" styles of theological reflection papers, the pastoral reflection paper and the systematic reflection paper; (3) following a writer's progress as she writes a one-page pastoral reflection paper and constructs a working theology in the process of writing it. In conclusion, the correlation-based "Reflecting on Paper" process provides a pedagogical bridge between the writing and teaching of "pastoral" and "systematic" theological reflection, and exemplifies the dynamic interplay between teaching theological reflection and reflecting on writing as a theological practice.
For more than a quarter of a century, Pat Schneider has helped writers find and liberate their true voices. She has taught all kinds -- the award winning, the struggling, and those who have been silenced by poverty and hardship. Her innovative methods have worked in classrooms from elementary to graduate level, in jail cells and public housing projects, in convents and seminaries, in youth at-risk programs, and with groups of the terminally ill. Now, in Writing Alone and with Others, Schneider's acclaimed methods are available in a single, well-organized, and highly readable volume. The first part of the book guides the reader through the perils of the solitary writing life: fear, writer's block, and the bad habits of the internal critic. In the second section, Schneider describes the Amherst Writers and Artists workshop method, widely used across the U.S. and abroad. Chapters on fiction and poetry address matters of technique and point to further resources, while more than a hundred writing exercises offer specific ways to jumpstart the blocked and stretch the rut-stuck. Schneider's innovative teaching method will refresh the experienced writer and encourage the beginner. Her book is the essential owner's manual for the writer's voice. (From the Publisher)
As poor, non-white communities on "the other side" of the digital divide become immersed in electronic media, how can we evaluate their experiences to transform the teaching of writing and literature and improve student learning? This important book offers a balanced view of instructional technology and critical multiculturalism as experienced in today’s public schools. With valuable insights to help English educators at all levels working in all types of schools, this accessible volume features: * Case studies of high-poverty secondary schools as they come online, offering an examination of the literacy practices of some of the country’s most underserved students on Indian reservations and in central cities. * A unique approach to teaching writing and literature at both high school and middle school levels, including practical suggestions for classroom practice. * A compelling analysis and critique of the contrasting rhetoric of American adolescent minority groups, differences in their early language socialization, and the impact of those differences on academic performance. * A fresh angle on the public policy debate on access to technology, arguing that high-poverty schools do not have student access and, when they do, computers are used to "reform," rather than "transform" schooling. (From the Publisher)
The twenty essays and four responses ("cross-talks") in this volume, the fifth in the Research and Scholarship in Composition series, confront the challenges presented by the racial, ethnic, class, gender, religious, age, and physical-ability differences among today's writing students. The contributors, who teach in classrooms and writing centers at a variety of private and public institutions, discuss their immersion in students' discourses and cultures and balance descriptions of their teaching experiences with careful and critical reflection. The volume begins and ends with sections examining the tensions and conflicts in the classroom; the two sections in between focus more specifically on texts and curricula and on teaching English as a second language. The cross-talks that conclude each section synthesize and critique the essays. Writing in Multicultural Settings is essential, thought-provoking reading for college administrators, writing teachers, and scholars and students in composition studies. (From the Publisher)
This is the final volume in a trilogy of works that examine the impact of writing and reading about traumatic subjects. "Diaries to an English Professor" (1994) explores the ways in which undergraduate students use psychoanalytic diaries to probe conflicted issues in their lives. "Surviving Literary Suicide" (1999) investigates how graduate students respond to suicidal literature-novels and poems that portray and sometimes glorify self-inflicted death. In Risky Writing, Jeffrey Berman builds on those earlier studies, describing ways teachers can encourage college students to write safely on a wide range of subjects often deemed too personal or too dangerous for the classroom: grieving the loss of a beloved relative or friend, falling into depression, coping with the breakup of one's family, confronting sexual abuse, depicting a drug or alcohol problem, encountering racial prejudice. Berman points out that nearly everyone has difficulty talking or writing about such issues because they arouse shame and tend to be enshrouded in secrecy and silence. This is especially true for college students, who are just emerging from adolescence and find themselves at institutions that rarely promote self-disclosure. Recognizing the controversial nature of his subject, Berman confronts academic opposition to personal writing head on. He also discusses the similarities between the "writing cure" and the "talking cure," the role of the teacher and audience in the self-disclosing classroom, and the pedagogical strategies necessary to minimize risk, including the importance of empathy and other befriending skills. (From the Publisher)