awaywithwords: On the possibilities in unavailable designs

Wysocki, Anne Frances

doi:10.1016/j.compcom.2004.12.011

Cited by 37 publications

(8 citation statements)

References 2 publications

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“…Many years later, as I entered into a new community of practice, I discovered that of the concomitant realms of image and text within the disciplinary discourse of writing studies, much has been said. Examples include our investigations of the materiality of text, language as complement to artistic practices, multimodal composing, and expansion of notions of "textuality" itself (Childers, Hobson & Mullin, 1998;Fleckenstein, 2004;George, 2002;Wysocki, 2001Wysocki, , 2005Yancey, , 2014. How these considerations of language/meaning relationships are shaped and articulated by the practices and values of each of these disciplines, or "discourse communities," is salient to our understanding of how writing appears, and gets used for process and production (Gee, 1989;Johns, 1997;Harris, 1989;Hyland, 2004;Porter, 1986;Swales, 1990;Wardle, 2010).…”

Section: Discourse Communities Visual Rhetoric Visual Analysismentioning

confidence: 99%

Insights from Art and Design Writing Workshops

Diederichs¹,

Leung

2019

Writing in and About the Performing and Visual Arts: Creating, Performing, and Teaching

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This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. connections to creating, performing, and teaching in high school settings. In their article for the (2012) Special Issue of ATD "Writing Across the Secondary School Curriculum," Kelly Hrenko and Andrea Stairs demonstrate how integrating art, culture, and writing is by no means the sole province of post-secondary settings. So many of the same visual, auditory, oral, and written theories, practices, and performance-attitudes saturate the creative experiences of students and teachers (and students-as-teachers) at all levels. Our Intentions for this CollectionThis collection is intended for teachers and researchers of writing in and across the disciplines, in both secondary and post-secondary settings, and for those outside of writing studies who wish to infuse more writing into their performing and visual arts curriculums and courses. It complements ways of knowing and doing, performed in the Special Issue, for writing studies professionals. It also offers teachers in the performing and visual arts go-to practical designs and strategies for teaching writing in their fields.Composition and Rhetoric scholars are increasingly doing their part to study and report on connections between creativity, performance, writing, the visual, and teaching (e.g.

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Section: Discourse Communities Visual Rhetoric Visual Analysismentioning

confidence: 99%

Insights from Art and Design Writing Workshops

Diederichs¹,

Leung

2019

Writing in and About the Performing and Visual Arts: Creating, Performing, and Teaching

View full text Add to dashboard Cite

show abstract

“…Many years later, as I entered into a new community of practice, I discovered that of the concomitant realms of image and text within the disciplinary discourse of writing studies, much has been said. Examples include our investigations of the materiality of text, language as complement to artistic practices, multimodal composing, and expansion of notions of "textuality" itself Fleckenstein, 2004;George, 2002;Wysocki, 2001Wysocki, , 2005Yancey, , 2014. How these considerations of language/meaning relationships are shaped and articulated by the practices and values of each of these disciplines, or "discourse communities," is salient to our understanding of how writing appears, and gets used for process and production (Gee, 1989;Johns, 1997;Harris, 1989;Hyland, 2004;Porter, 1986;Swales, 1990;Wardle, 2010).…”

Section: Discourse Communities Visual Rhetoric Visual Analysismentioning

confidence: 99%

A Different Art: An Interdisciplinary Conversion between Lindsay Illich and Iris Kumar

Illich

Kumar

2019

Writing in and About the Performing and Visual Arts: Creating, Performing, and Teaching

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Collectively we'd like to thank ATD Book Series editor Michael Pemberton for seeing the potential of our collection, facilitating our reviews, and managing this whole affair with his usual patience and thoughtfulness. Much appreciation to Christopher Basgier and Mike Palmquist for all of their invaluable editorial help seeing this project through to final publication. We'd like to thank our reviewers for all of their detailed and helpful feedback: Will Hochman, Pamela Childers, Jonathan Alexander, and Melissa Laird. We'd also like to make a few individual acknowledgments:Steven: I would like to thank family members Mom and John, Victoria and Stephen, and Edy for all their love, humor, and caring. I'd like to thank co-editors Jennifer, Teagan, and Betsy for all their smart and timely work on this project, a collaboration that represents years of friendship and admiration. And a special word of thanks and appreciation to the late, great Will Hochman-to whom this collection is dedicated. Will was a friend who went out of his way to offer me support and guidance again and again, asking for nothing in return. I would not be enjoying the fulfilling life and career I do today without him. Love you and miss you, always, brother . . . Jennifer: I would like to thank my co-editors for an intellectually rich and creative process, and would especially like to thank Steven for his role in pushing me toward writing and rhetoric, all those years ago in the basement of Meany Hall.Teagan: I thank Steven Corbett for his vision and perseverance. This project is a culmination of decades of thought, collaboration, and initiative on his part, and I am grateful to be a part of this publication. I also am grateful for my daughters Emma and Jordan, who support and inspire me every day.Betsy: My gratitude to my University of Washington Department of English colleagues-Joan Graham, John Webster, Juan Guerra, and Steven Corbett-for partnering with a dancer and welcoming me into the world of writing center theory and practice.

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“…A large body of scholarship seeking balance between language and image modalities has emerged in recent decades. Wysocki (2005) critiques the oft-assumed dichotomy between word and image. Fleckenstein, Calendrillo, & Worley (2002) encourage us to see that language and image exist in a reciprocal relationship.…”

Section: All Composition Is Multimodalmentioning

confidence: 99%

The ground beneath our feet

Gilchrist¹

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awaywithwords: On the possibilities in unavailable designs

Cited by 37 publications

References 2 publications

Insights from Art and Design Writing Workshops

Insights from Art and Design Writing Workshops

A Different Art: An Interdisciplinary Conversion between Lindsay Illich and Iris Kumar

The ground beneath our feet

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