Impossibly distinct: On form/content and word/image in two pieces of computer-based interactive multimedia

Wysocki, Anne Frances

doi:10.1016/s8755-4615(01)00053-6

Cited by 35 publications

(8 citation statements)

References 6 publications

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“…Understandings of writing and effective writing instruction have undergone a paradigm shift in the last 25 years. This shift continues—with changes wrought by writing in digital environments (Wysocki, 2001). Preservice teacher education programs and professional developers, however, have not kept up.…”

Section: Discussionmentioning

confidence: 99%

Investigating Differences in Teacher Practices Through a Complexity Theory Lens: The Influence of Teacher Education

Martin

Dismuke

2017

Journal of Teacher Education

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How to prepare teachers to be effective in our nations’ classrooms seems to get increasingly complex, yet the links between teacher education and teachers’ eventual practices are little understood. Using complexity theory as a theoretical framework, this mixed-methods study investigated writing teacher practices of 23 elementary teachers. Twelve teachers had participated in a comprehensive course focused on writing, either at inservice or preservice levels. The other teachers had not taken any course focused on writing and had little to no writing professional development. Despite the small number of participants in our study, quantitative analysis demonstrated significant differences on multiple, effective practice indicators. These findings were borne out in qualitative analyses as well. Clear connections of teachers’ practices and understandings and the course were noted. These findings contribute to understandings of the ways in which teacher education coursework makes a difference in optimizing candidate learning and reducing the variability across teacher practices and subsequent student learning opportunities. Findings suggest implications for policy makers, teacher education programs, as well as for teacher educators and researchers.

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Section: Discussionmentioning

confidence: 99%

Investigating Differences in Teacher Practices Through a Complexity Theory Lens: The Influence of Teacher Education

Martin

Dismuke

2017

Journal of Teacher Education

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“…This knowledge and sensitivity can be the driving force behind the transfer from successfully analyzing to successfully writing genres, a process whereby students come to read as writers and to write as readers. Wysocki, 2001;Yancey), understanding the connection of multimodal style to production and analysis is paramount. Digital composition, in calling forth the use of multiple meaning-making modes, places stress on the existing logocentric composition framework, thereby placing stress on logocentric conceptions of style.…”

Section: Discussionmentioning

confidence: 99%

The Research Paper As Stylistic Exercise

Duncan

2013

The Centrality of Style

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The Centrality of Style presents readers with a paradox. The editors begin with the convincing argument that style must be regarded as central to the discipline of composition studies. Indeed, the collection's rich diversity of chapters reasserts the prominent place of style in the field from different perspectives, historical moments, and theoretical and pedagogical approaches.Yet despite the book's claim of style's centrality, it makes an equally forceful case-which may appear contradictory at first-that some of the most exciting new ideas in stylistic study have emerged not from the center but the margins of the field-and the margins' intersections with other disciplines, ideas, cultures, and sites of inquiry.The paradox inherent in the tension of seeing style as both central and marginal is not new to those in rhetoric and composition. Mikhail Bakhtin (1981) has described a similar phenomenon in discussing the clash of language's unifying, or centripetal forces, and their counterpart-the dispersing, or centrifugal forces that often disrupt prevailing norms. In public sphere theory, critical theorist Michael Warner (2005), borrowing from Jurgen Habermas (1989) and others, depicts an identical discordance in the tension between publics that dominate social discourse and their counterpart, a culturally less powerful, oppositional group, called a counterpublic, which constantly works against that dominance even as it maintains, says Warner, "at some level, conscious or not, an awareness of its subordinate status" (p. 119). With respect to counterpublics, Warner says it is the oppositional aspect of their style that "performs membership" (p. 142).There is no question that The Centrality of Style navigates the push and pull of these kinds of oppositions in compelling new ways. The real question is, How does the volume manage to position style in the field as what Frank Farmer (2008), borrowing from anthropologist Victor Turner, calls a liminal counterpublic, emanating from the break or rupture of the public-counterpublic relationship that somehow exists "betwixt and between" the two? How, in other words, does style's very centrality depend on its marginalization, lack of power, and sometimes "renegade" status (Johnson, 2003) both inside, and outside, the field? Some answers to that question, and paradox, can be found in this volume. While there are many examples throughout the collection, here are some of the representative concepts that suggest even larger ideas in The Centrality of Style and show the current push and pull of style's liminal status in the field. Butler x STYLE AS ASSESSMENTStar Medzerian Vanguri exemplifies the paradox of style in her chapter on scoring rubrics in composition classrooms. Vanguri's study reflects the way style remains at the margins, sometimes undergoing a reversal of sorts: "We are more specific about those aspects we value least … while we are less specific about the qualities we value most." Vanguri goes on to explain the paradox she outlines: "Qualities like eloquence, rhetoric...

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“…4 The majority of the poetic feet (9 in total) in these lines can be scanned as iambs and headless iambs, although there are anapestic variations (5 total) as is typical in contemporary lyrics that use iambic pentameter, such as sonnets. 5 Wysocki (2001), writing one of the first scholarly texts relating to new media in composition studies, showed how rhetorical analysis can be used in interactive, digital, multimodal texts. Later, used literary tropes of metaphor and metonymy to assess multimodal meaning-making in professional and student-produced new media texts.…”

Section: Readerly + Designerly = a Writing Studies Approachmentioning

confidence: 99%

Designerly ≠ Readerly

Ball

2006

Convergence

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In this article, I draw on Gunther Kress and Theo van Leeuwen's (2001) Multimodal Discourse: The Modes and Media of Contemporary Communication and Lev Manovich's (2001) TheLanguage of New Media, which have become prevalent texts in US writing studies fields, to describe the rubrics they use and show how they help readers determine the materialities of multimodal or new media texts. I also argue, however, that writing studies scholars should not rely solely on these rubrics because they function in designerly, not readerly, ways that would help readers understand a text's rhetorical situation. I apply the rubrics to a new media text, 'While Chopping Red Peppers' (Ankerson and Sapnar, 2000), to show their limited use and to suggest that while these multimodal and new media theories have a place in writing studies, we need better methods and/or reading heuristics in order to interpret (and teach) such works.

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Impossibly distinct: On form/content and word/image in two pieces of computer-based interactive multimedia

Cited by 35 publications

References 6 publications

Investigating Differences in Teacher Practices Through a Complexity Theory Lens: The Influence of Teacher Education

Investigating Differences in Teacher Practices Through a Complexity Theory Lens: The Influence of Teacher Education

The Research Paper As Stylistic Exercise

Designerly ≠ Readerly

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