Revolution Lullabye

June 6, 2009

Yancey, Made Not Only in Words

Yancey, Kathleen. “Made Not Only in Words: Composition in a New Key.” CCC 56.2 (Dec 2004) 297-328.

This is Yancey’s 2004 CCCC Chair’s address, which was billed more as a multimedia, multivocal “performance” because, in conjunction with her speech, she had a slideshow that displayed images and quotes that did not directly illustrate her speech but rather interpreted her thoughts in a new way.

Her address asks compositionists to reimagine the content, structure, and location of the field of rhetoric and composition. Pointing out that digital technology has created a writing public in the same way a reading public was created in the late 19th century, she argues for changing composition curriculum that more accurately reflects the kinds of writing students are already doing on their own, the kinds of writing that are requried for 21st century lives. In order to teach students how to write and develop multimedia, multigenre literacies, a vertical undergraduate major must be developed, one in which courses focus on the intertextual, dialogic circulation of composition, the interrelatedness of the canons of rhetoric, and the effect and the deicity of technology on literacy. Finially, this “new key” of composition requires faculty to be willing to change their¬†curriculum structure and embrace this new literacy space to live and work in.

Quotable Qutotes

“Composition in this school context, and in direct contrast to the world context, remains chiefly¬†focused on the writer qua writer, sequestered from the means of production” (309) – solitary, tutorial model vs. social, productive model.

“Never before has the proliferation of writings outside the academy so counterpointed the compositions inside. Never before have the technologies of writing contributed so quickly to the creation of new genres” (298)

“Literacy today is in the midst of a tectonic change” (298)

Notable Notes

problem….training teachers

June 3, 2009

Barrios, Grading the Writing Program Web Site

Barrios, Barclay. “Grading the Writing Program Web Site: Assessing Some Assessments.” Computers and Composition (Spring 2004).

A writing program web site, since it serves numerous audiences (administration, funding sources, teachers, students, prospective students), must have multiple assessment measures because each assessment has advantages and disadvantages that serve each audience in a particular way. Barrios reviews the many kinds of assessment the Rutgers Writing Program used to evaluate its web site, including corporate tracking services, server logs, anecdotal evidence, online surveys, and print surveys. He draws on Yancey’s assessment heuristic as a possible alternative assessment.

Notable Notes

Yancey’s heuristic: 1. What arrangements are possible? 2. Who arranges? 3. What is the intent? 4. What is the fit between the intent and the effect? Yancey, Kathleen Blake. (2004). Looking for sources of coherence in a fragmented world: Notes toward a new assessment design. Computers and composition, 21, 89-102.

assessment depends on the audience – need to use lots

April 28, 2009

Yancey, Looking Back as We Look Forward

Yancey, Kathleen Blake. “Looking Back as We Look Forward: Historicizing Writing Assessment.” CCC 50 (1999): 483-503. Reprinted in Assessing Writing: A Critical Sourcebook. Eds. Huot and O’Neill. Boston: Bedford/St. Martin’s, 2009. 131-149.

Yancey divides the history of writing assessment into three “waves.” The first wave (1950-1970) focused on objective, non-essay testing that prioritized efficiency and reliability. The second wave (1970-1986) moved towards holistic scoring of essays, based on rubrics and scoring guides first developed through ETS and AP. The third wave (1986-present) expanded assessment to include portfolios (consisting of multiple examples of student writing) and larger, programmatic assessments. She looks at these waves from several perspectives: at how the concepts of reliability and validity are negotiated and valued; at the struggle between the knowledge of the assessment expert (and psychometrics) and the contextual, local knowledge of the non-expert teacher (and hermeneutics); and the move of assessment from outside and before the classroom to within and after the class. She voices concerns and directions for further scholarship and practice in writing assessment, challenging the field to look for ways to use assessment rhetorically and ethically to help students and programs develop and to produce scholarly knowledge.

Quotable Quotes

“It is the self we want to teach, that we hope will learn, but that we are often loathe to evaluate. What is the role of the person/al in any writing assessment?” (132).

Notable Notes

The role of the classroom teacher moving into writing assessment: in the 1st wave, testing specialists evaluated, but through the 2nd and 3rd waves, the roles of teacher and evaluator overlapped into the new discipline of writing assessment.

Questions: Who is authorized to speak about assessment? What is the purpose of writing assessment in education? Who shuold hold hte power?

the use of portfolios shifts the purpose and goals of the assessment: using pass/fail instead of scoring and communal grading moves more towards assessing a program and establishing community values than individual student assessment. Use different stakeholders to read?

waves fall into each other, aren’t strict lines that categorize what’s happening.

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