This article is a synthesis of the scholarly literature on the post-process approach to teaching second language (L2) writing, particularly college and university composition in English as an additional language. This synthesis aims to offer a definition of post-process L2 writing that can readily lend itself to practice and be more accessible to practitioners. All the publications that had either substantially or marginally discussed post-process theory since 1990 were systematically reviewed in order to answer the following question: What is a definition of post-process L2 writing theory that can readily lend itself to pedagogy and actual practice for helping college and university writers of English as an additional language?Cet article est une synthèse de la littérature savante sur la méthode post-processus de l'enseignement de la rédaction en langue seconde (L2), notamment de l'écriture dans les cours d'anglais langue additionnelle dans les collèges et les universités. L'objectif de cette synthèse est de proposer une définition de la rédaction post-processus en L2 qui puisse se prêter facilement à la pratique et être plus accessible aux praticiens. On a examiné systématiquement toutes les publications ayant porté, ou même évoqué, la théorie du post-processus depuis 1990 et ce, de sorte à répondre à la question suivante : Quelle définition de la rédaction post-processus en L2 peut facilement se prêter aux fins pédagogiques et pratiques dans les cours d'anglais langue additionnelle dans les collèges et les universités?

Purpose This paper features artwork and artists’ statements by middle school students who participated in a research collaboration that involved co-authoring critical literacy curriculum for Art Spiegelman’s graphic novel Maus: A Survivors Tale (1986) with teacher candidates from the University of Toronto. Design/methodology/approach Youth explored personal and social justice issues through writing and artwork produced in response to Maus. In the process, they navigated what historian Dominick LaCapra (1998) has referred to as the “delicate relationship between empathy and critical distance” (pp. 4-5), between closely identifying with the agonizing experiences Spiegelman documents and using their inquiries to cultivate more critical positionalities and assume activist stances on historical and contemporary social justice issues. Findings As they describe in their brief statements included alongside their artwork, creating these projects allowed youth to bear witness to a terrible moment in human history and to envision how they can make a difference in their own communities. Originality/value This work suggests how the arts can be mobilized in critical literacy as a vehicle to interrogate difficult historical moments and multifaceted identity issues.

In an attempt to widen the range of practical strategies grounded in theoretical speculations of genre theorists, this paper proposes teaching the rhetoric of Anglo-American argumentation through pre-writing listening and speaking activities in ESL academic writing classes. Research shows students' struggles with ESL academic writing include more than inadequate knowledge of vocabulary, grammar, and sentence structure. Instead, the main problem is suggested to be a problem of rhetoric. Students' attachment to their native rhetorics and their unfamiliarity with Anglo-American academic rhetoric can seriously hinder the process of learning academic writing in English. Suggestions have been made that teachers should condition students into adopting Anglo-American rhetorical patterns through drills and controlled exercises. These methods, however, have proved unsuccessful, ignoring the impact of students' native rhetorics. Thus, an emphasis on paying sufficient attention to students' cultural backgrounds has been the focus of many recent studies, particularly among multiliteracies experts and genre theorists. This paper taps into the theoretical potential of the latter in order to propose integrating speaking and listening activities into teaching Anglo-American academic writing as a new strategy.

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Drawing on findings from an ethnographic study of the writing practices of three plurilingual writers in Toronto, Canada, this article focuses on the translingual practices that these writers engaged with and discusses how these practices enriched their writing processes and products both in English and in their mother tongues. The author explains how these writers’ translanguaging was a complex process with five dimensions: (1) lexical, (2) syntactic, (3) rhetorical, (4) conceptual, and (5) presentational (how to present, share, and disseminate text). The article highlights how translanguaging contributed to the participants’ larger semiotic engagements. Moving beyond the formulations of semiotic agility as a technical skill, the author explains how translanguaging helped the writers maintain their writing identities by creating semiotic and semantic continuity in their writing trajectories. S’inspirant des résultats d’une étude ethnographique sur les pratiques de rédaction de trois écrivains plurilingues de Toronto au Canada, cet article se concentre sur les pratiques trans-langagières que ces écrivains utilisent et discute de la façon dont ces pratiques ont enrichi leur processus et leurs produits d’écriture à la fois en anglais et dans leur langue maternelle. L'auteur explique comment le translanguaging de ces écrivains était un processus complexe en cinq dimensions : (1) lexical, (2) syntaxique, (3) rhétorique, (4) conceptuel et (5) présentationnel (comment présenter, partager et disséminer le texte). L’article souligne comment le translanguaging a contribué aux engagements sémiotiques plus larges des participants. En se déplaçant au-delà des formulations d’agilité sémiotique comme compétence technique, l’auteur explique comment le translanguaging a permis aux écrivains de maintenir leur identité rédactionnelle en créant une continuité sémiotique et sémantique dans leurs trajectoires rédactionnelles.