Dissertations / Theses: 'Teaching composition'

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Henney, Pamela Ann. "Acting the Author: Using Acting Techniques in Teaching Academic Writing." University of Akron / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=akron1342799222.

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Hinojosa, Manuel Matthew. "Teaching Outre Literature Rhetorically in First-Year Composition." Diss., Tucson, Arizona : University of Arizona, 2005. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1189%5F1%5Fm.pdf&type=application/pdf.

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Thomas, Brennan M. "Composition Studies and Teaching Anxiety: A Pilot Study of Teaching Groups and Discipline- and Program-Specific Triggers." Bowling Green State University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1151207488.

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Sarr, Carla. "Rhetorical Gardening: Greening Composition." University of Cincinnati / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1504795919562701.

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Mouzahem, Mayssoun. "Theory and practice of teaching composition in Syrian universities." Thesis, University of Strathclyde, 1991. http://oleg.lib.strath.ac.uk:80/R/?func=dbin-jump-full&object_id=21934.

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This thesis argues that there is an urgent need to reform current methods of teaching English composition to Syrian university students. It shows how current teaching methods relating to writing skills in English, especially methods seeking to develop strategies for organising information beyond the sentence level, are ineffective. Having identified shortcomings in current approaches to writing skills - and since composition is almost a neglected area in English classes in Syrian universities - this study proposes a set of detailed practical proposals for teaching English composition to Syrian university students. In doing so, it takes its directions from analysis, within the thesis, of writing problems faced by Syrian students of English. Generally, the principle underlying current methods of teaching English as a foreign language in Syria is that of a focus on providing students with knowledge of English grammar. Syrian educationalists believe this by itself is enough to produce students who are competent in writing. To find out how efficient such methods actually are, or whether they produce the results aspired to, an examination of grammatical errors in the performance of a group of Syrian students is carried out. Besides the question of the effectiveness of current methods of grammar teaching, however, this research also explores other issues, especially issues concerning strategies used for organising information at both the sentence and paragraph level. The second objective of the study, then, is to assess whether current teaching methods are successful in producing generally competent writers in English. To meet this second aim, a corpus of data is collected and analysed on the 'basis' of arguments put forward by Kintsch (1974) and Sanford and Garrod (1981). As well as investigating issues of information structure in students' writing, this analysis makes it possible to confirm or disconfirm Kaplan's Contrastive Rhetorical Hypothesis (1966), and so reflects on the broad question of crosscultural difficulties in composition that EFL students routinely face. In the light of the above findings, two types of proposal are made: recommendations regarding directions for future studies in contrastive rhetoric and error analysis, and for the teaching of writing in Syria in particular. It is suggested at the beginning of the thesis that there is an urgent need for a change in emphasis in the writing practices carried out in Syrian university classes. The thesis concludes that, instead of concentrating primarily on the teaching of grammatical rules, the communicative functions of writing need to be given more attention. Since ways of teaching writing depend on appropriate modes of assessing writing, the thesis ends with a proposed new schedule of assessment to suit the change in teaching focus outlined in the thesis. Presentation of this new model of assessment is linked to critical description of the ways in which writing is currently assessed in Syrian university classes; and suggestions for future research in assessment are offered.

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Rice, Richard Aaron. "Teaching and learning first-year composition with digital portfolios." Virtual Press, 2002. http://liblink.bsu.edu/uhtbin/catkey/1239209.

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The purpose of this study was to begin to define and describe some of the complex intersections between teaching and learning first-year composition with digital portfolios, focusing on the construction, presentation, and assessment processes in one first-year composition course at Ball State University. The study employed a qualitative ethnographic methodology with case study, and used grounded theory to develop a resultant guide to code the data collected through several methods: observation, interview, survey, and artifact assessment.The resultant coding guide included the core categories "reflective immediacy," "reflexive hypermediacy," and "active remediation." With the guide findings indicate several effective "common tool" digital portfolio strategies for both teachers and learners. For teachers: introduce the digital portfolio as early in the course as possible; make connections between digital portfolios and personal pedagogical strategies; highlight rhetorical hyperlinking and constructing navigational schemes; emphasize scalability; create a sustainable support system. For learners: consider the instructor's objectives within the framework of the portfolio; synthesize writing process with course content and portfolio construction; include each component of the writing process in the portfolio.
Department of English

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Larsen, Satyapan Adrienne M. "Teaching Music Composition| Perspective from a Third-Grade Teacher." Thesis, California State University, Long Beach, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=10978011.

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The purpose of this study is to chronicle the experiences of an elementary music educator incorporating composition and improvisation activities into her elementary general music curriculum. I interviewed a primary music specialist with the purpose of discovering her background in teaching music. The questions focused on the teacher’s experience with music composition. After this interview, I observed the teacher in a third-grade general music composition lesson. I documented how the teacher approached the lesson and any steps she took to adapt the lesson to the needs of their students and her teaching style.

After the observation, I interviewed the teacher again to record her reactions to teaching the lesson. After coding the transcripts of the interviews and observation, four themes developed from the data: Personal Initiative, Teacher Reassurance, Student Engagement, and Teacher Improvement. The participant involved in this study received training in improvisation and reported that it had a positive effect on not only how she taught composition and improvisation, but also how comfortable she felt while teaching. As the training this teacher received was not through her teacher training program, her case may be unusual among experienced music teachers. Although this teacher was successful in teaching composition, her positive reactions to professional development indicate a desire for more training among in-service music education specialists. This study supports the idea that there is a need for more pre-service and in-service teacher training in how to teach younger students to compose.

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Prasad`, Pritha. "Teaching Within and Against: Rhetoric and Composition After Ferguson." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1560030915886502.

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Levitz, Tamara. "Teaching new classicality : Feruccio Busoni's master class in composition /." Frankfurt am Main ; Bern ; Paris : P. Lang, 1996. http://catalogue.bnf.fr/ark:/12148/cb358044115.

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Weiny, Lori Arlene. "An approach to teaching English composition in Micronesian cultures." CSUSB ScholarWorks, 1990. https://scholarworks.lib.csusb.edu/etd-project/510.

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Burgess, Linda Kathryn. "The Sufi teaching story and contemporary approaches to composition." CSUSB ScholarWorks, 1999. https://scholarworks.lib.csusb.edu/etd-project/1533.

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Thomas, Brennan. "Composition studies and teaching anxiety a pilot study of teaching groups and discipline- and program-specific triggers /." Connect to this title online, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1151207488.

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Almy, John William. "English composition and the dyslexic/learning disabled student." CSUSB ScholarWorks, 1994. https://scholarworks.lib.csusb.edu/etd-project/949.

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Shannon, Maureen Graves Heather Brodie. "Senior learners motivations and composition strategies for teaching students 55+ /." Normal, Ill. Illinois State University, 1997. http://wwwlib.umi.com/cr/ilstu/fullcit?p9804936.

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Thesis (Ph. D.)--Illinois State University, 1997.
Title from title page screen, viewed June 13, 2006. Dissertation Committee: Heather Graves (chair), Janice Neuleib, Ronald Strickland. Includes bibliographical references (leaves 129-136) and abstract. Also available in print.

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Kelton, Alan J. "Formation and Composition of Students Groups as a Teaching Methodology." Thesis, New York University, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=13426072.

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Research on the "why" of collaborative learning is fairly extensive for a disciplinary focus that is comparatively young. Research on one critical aspect of collaborative learning, group work, has focused more on group functionality once they are together, as opposed to determining the most pedagogically sound method for forming the groups and determining their composition. The formation and composition of groups in a learning environment presents unique challenges. Structured as a phenomenological study, this study was not designed or intended to produce generalized solutions, it was designed to see what could be learned from the lived experience of seven full-time, tenured or tenure-track faculty teaching an undergraduate class and utilizing group work.

Group work is an established part of the educational experience and considered a critical component of a collaborative learning model (Hoadley, 2010; Slavin & Cooper, 1999; Strijbos & Weinberger, 2010; Webb, 1982; Webb, Troper, & Fall, 1995; Yeh, 2010). Although learning collaboratively promotes "higher achievement than competitive and individualistic learning situations" (Johnson, Johnson, & Stanne, 1986, p. 383), it can also create more problems than its use might solve (Johnson & Johnson, 1999; Linn & Burbules, 1993).

Even though some of the benefits of effective and functional group work have been documented, the formation and composition, and support of student groups, is often wrought with complicated and time-consuming problems. Problems will always vary, but some of the more common examples include: the group member who does not do his/her share (or any) of the work; general resistance by students to working in groups; or pairing group members who do not have appropriate skills or work styles to complete the learning objective.

There are many things to consider when determining if group work is the appropriate pedagogical approach. This research is predicated on the understanding that the instructor has already determined that group work is the best pedagogical approach for the assignment, project, or class in question.

Although there are some fundamental differences between working in groups or teams in-person versus online, the location of the group work was treated as another variable in the decision-making process of the instruction leader. Technology used by the instructor for the group formation and composition process is discussed briefly here, but the focus of this study was not about how instructors implemented their decisions, but why they made those decisions in the first place.

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Brizee, Allen. "Teaching Visual Literacy and Document Design in First-Year Composition." Thesis, Virginia Tech, 2003. http://hdl.handle.net/10919/32978.

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Given our ability to communicate quickly and effectively through visuals such as signs and pictures, it is not surprising that graphical messages now permeate our technology-oriented culture. Magazines, television, and computers integrate text and graphics to convey information. As teachers of writing, we need to study and understand these visually enhanced texts, because they have become the standard for communication in our society. Beyond this, we should learn how to teach students about visual literacy and document design so that they can effectively interpret these visually enhanced texts and create documents that use visuals and words together; this will also prepare students for college writing and workplace writing. Naturally, there exists some uncertainty surrounding the inclusion of these ideas in first-year composition. First-year writing is already difficult to teach because colleges expect us to foster critical reading, critical thinking, and critical writing skills in students from a wide variety of disciplines. Compounding these challenges are large class sizes and shrinking budgets. However, many scholars assert that visual thinking is an essential part of the learning process and must be included in writing courses. Specifically, some scholars suggest that we should integrate visual literacy and document design into first-year composition courses to help students create effective documents for college and the workplace. This thesis explores the scholarship surrounding visual literacy, document design, and professional writing in first-year composition. The project underscores the importance of using students' visual thinking processes to help them organize and present information in college writing and beyond.
Master of Arts

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Brewer, Meaghan. "The Conceptions of Literacy of New Graduate Instructors Teaching Composition." Diss., Temple University Libraries, 2013. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/229406.

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English
Ph.D.
This study explores the variety of understandings of literacy, or conceptions of literacy, that exist among graduate instructors in the fields of English literature, rhetoric and composition, and creative writing in their first semester of teaching and what the implications are for having these conceptions, particularly with regard to their teaching. I collected two kinds of data from seven participants who were enrolled in a fall 2010 composition practicum at a large, public university in the Northeast. The data I elicited included interviews of participants in which they examine their own writing, an assignment ranking activity, observations of participants as they teach composition, and field notes I collected from the Practicum course meetings. I also collected artifacts from their work in the Practicum course and their teaching, including two drafts of a literacy autobiography that they wrote for the practicum and marked-up student paper drafts from the composition course they were teaching. Following the work of Michael W. Smith and Dorothy Strickland, I parsed the data by content units. Using Peter Goggin's categories for defining literacy from Professing Literacy in Composition Studies, I coded data using the qualitative data management system Atlas.ti according to seven conceptions: literacy for personal growth, literacy for personal growth, social/critical literacy, critical activist literacy, cultural literacy, functionalist literacy, and instrumental literacy. My analysis of the data reveals that graduate instructors came to their first semester of teaching with powerful preconceptions about why people read, write, and engage in other literacy activities and that these positions deeply affected their teaching. I also contend that although all of the graduate instructors had complex, multifaceted conceptions of literacy, each graduate instructor had one primary conception, which acted as a kind of lens through which every other conception was viewed and filtered. This primary conception functioned as the graduate instructors' terministic screen for viewing literacy, even when other conceptions were at play. Finally, given the fact that all of the graduate instructors received the same syllabus for the composition course they were teaching, the extent to which each one of them was able to inscribe their own ideas about teaching and literacy onto the course was surprising and points to the power of these literacy orientations, even in the face of competing conceptions communicated to them in their practicum.
Temple University--Theses

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Schott, Alex Hoobie. "Teaching and learning in technical theater: activity, composition and embodiment." Diss., University of Iowa, 2013. https://ir.uiowa.edu/etd/2627.

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If not ignored completely, the body has been under theorized in literacy research. However, recent research in cultural studies, linguistics, philosophy, psychology, neuroscience, education, and the arts suggests that the body is implicated in thinking and knowing as well as doing. In this dissertation I examine high school technical theater. In this robustly embodied activity students build sets, rig lights, and paint backdrops in preparation for a theatrical production, as well as run sound and lighting and perform scene changes during the production. I use data from high school technical theater to explore the body in literacy, embodied learning, collaboration, composition processes, and experiential learning. I gathered data primarily during out of school work sessions over the multi-week production cycles of six plays produced at one high school over two school years. As an experienced theater technician, I used participant observation as the primary method of data collection, supplemented with semi-structured interviews with the technical director, artistic director, and four students. I collected data and analyzed data through iterative processes in which analysis began during data collection, emerging analyses influenced data collection, and constant comparisons to new data influenced emerging analyses. Observations of student work revealed that student theater technicians employed literacy skills including speaking, reading, writing, drawing, calculating, and interpreting the written text of plays as necessary elements of the normal course of technical theater work. Observations of teaching and learning showed that little explicit instruction was used but that mini-lessons, individual and collective problem solving, and multiple configurations of collaboration among more and less experienced technicians led to the development of critical thinking and physical skills, as well as proficiency in the creation of props through the evaluation and application of building techniques and materials. I used theories from art making and multimodal literacy to examine technical theater building projects as examples of composition. My findings show that the design of technical theater texts - e.g. props, scenery, lighting - emerges through a recursive process of creation and interpretation and is mediated by the technicians' knowledge of building techniques and materials. Situated learning and activity theory were used to analyze learning in the technical theater community. Results demonstrate that the structure of the community allows for learning through experience, apprenticeship, and collaboration as well as through the creation of texts that balance personal expression with collaborative enterprise.

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Berg, Danita. "Re-Composition: Considering the Intersections of Composition and Creative Writing Theories and Pedagogies." Scholar Commons, 2010. https://scholarcommons.usf.edu/etd/1573.

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Maintaining composition studies and creative writing as discrete disciplines may not be in the best interests of either field. But so long as the majority of scholars and practitioners of either field remain largely uninformed about one another, it is unlikely that any progress toward conjoining the two fields will occur. Various important and constructive efforts have been made for more than thirty years to establish a scholarly, interdisciplinary community that dedicates itself to examining points of intersection between composition and creative writing. Initially, such efforts appear to attract the attention from the broader communities of each discipline. Before long, however, participation in such scholarly discussions diminishes, as do most prospects for integrating changes inspired by the collaborative exchange-let alone any prospects for merging composition studies and creative writing into a single discipline. Critical examinations of commonalities between composition studies and creative writing, while crucially important, cannot lead to a greater alliance between the two fields unless each field incorporates aspects of one another's disciplinary identity into its own. Chapter One introduces my study and considers the disciplinary histories of composition and creative writing, histories that reveal when and how they came to be separated even as they consistently were (and are) situated in the same department, the department of English. Chapter Two investigates how inventional techniques that have been conceptualized primarily in the field of composition studies can assist creative writing students in developing insights about their writing. Chapter Three extends this conversation by considering the social and collaborative techniques that can benefit the creative writing workshop. Chapter Four considers how a writing classroom can integrate genres traditionally associated with either composition or creative writing to allow students to develop a broader writing repertoire and, perhaps, an enhanced commitment to its continued development.

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Tabor, Laura. "Teaching for Rhetorical and Civic Transfer: Iterative Definition Building to Promote Reflection on Key Terms." Miami University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=miami1435841796.

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Jung, Julie Marie. "Revisionary rhetoric and the teaching of writing." Diss., The University of Arizona, 1999. http://hdl.handle.net/10150/288988.

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This dissertation theorizes and applies what I term revisionary rhetoric, a rhetoric that emerges at the intersection of feminism and revision. I define revisionary rhetoric as a rhetoric of relationship, thereby drawing attention to the fact that all human relationships, including those that exist between readers and writers, enjoy moments of intimacy, closeness, and connection, but they also involve inevitable separation, loss, disappointment, and pain. However, theories and practices of revision within the discipline have focused on a writer's attempts to revise in order to connect with her audience through achieved consensus. The assumption is that to be persuasive writers should revise in order to remove those textual moments that might offend or confuse potential readers. In privileging clarity and connection in our work on revision, I believe we've failed to theorize how readers/writers contend with the inevitable disconnections that permeate their experiences with texts. We can, of course, simply ignore that these moments exist; we can teach our students to delete them from their drafts all in the name of "effective" revision. But to do so sends a troubling message to our students: that when they can't relate to or connect with something they read, they can simply skip it, ignore it, forget about it, and move on. Revisionary rhetoric responds to the reality of disconnection by describing strategies writers can use to make themselves heard as they demonstrate their commitment to listening to others. Such a paradox demands a revisioning of silence as it deconstructs a voice/silence binary, for listening demands participatory silence. After revising silence through three disciplinary contexts, I identify key textual features of revisionary rhetoric--metadiscursivity and intertextuality--and, through an examination of sample texts, I describe how these features reveal the constructed nature of all texts and thereby create gaps, or silences, out of which readers can respond. I specifically analyze the ways in which multigenre texts enact revisionary rhetoric, and I argue for more of them, both in the field and in the classroom, for they demand the kind of rereading that is necessary to practice a relational rhetoric.

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Wolcott, Bruce Stephen. "Constructing critical readers and writers through the teaching of irony in the composition classroom." CSUSB ScholarWorks, 2001. https://scholarworks.lib.csusb.edu/etd-project/1983.

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The construction of critically literate students must be paramount among goals in the freshman composition classroom. The approach for constructing critical readers positioned in this thesis employs conceptualizing both the complexity of a text and the importance of comprehending the context within which a text is both read and written. It utilizes the rhetorical feature of irony.

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Dogani, Konstantina. "Teaching composing in the primary classroom : understanding teachers' framing of their practice." Thesis, University of Exeter, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.272973.

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Burke, Zoe Litton. "Project-Based Learning in the College Composition Classroom: A Case Study." University of Dayton / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1589879523305486.

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Lam, Lit Ming Charles. "Process approach to teaching writing : a case study." HKBU Institutional Repository, 2000. http://repository.hkbu.edu.hk/etd_ra/358.

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Carmichael, Misty Dawn. "Teaching Media Literacy in the Composition Classroom: Are We There Yet?" Digital Archive @ GSU, 2007. http://digitalarchive.gsu.edu/english_theses/21.

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Despite the prevalence and ubiquity of media in North American culture, educators still show reluctance to embrace media literacy as a necessary literacy. This study examines two media literacy activities using descriptive teacher research, and defining usefulness based on student response and applicability to composition objectives in the English 1101 classroom. Both lessons produce useful findings, with students rating the second activity as more useful than the first activity. This research lends sample assignments and confidence to instructors seeking to employ simple media literacy tactics in the introductory composition classroom.

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Cover, Jennifer. "Disciplinary Participation and Genre Acquisition of Graduate Teaching Assistants in Composition." Diss., Virginia Tech, 2011. http://hdl.handle.net/10919/77374.

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This project focuses on the way that new graduate teaching assistants (GTAs) in English develop both their professional identity as teachers and their view of Composition as a field. Drawing on social theories of disciplines (Prior, 1998; Hyland, 2004; Carter, 2007), disciplinary enculturation (Hasrati, 2005; Bazerman and Prior, 2005; Thaiss and Zawacki, 2006), and legitimate peripheral participation (Lave and Wenger, 1991; Wenger 1998), this dissertation examines the transition that composition GTAs undergo during their first year of graduate school. Many of these GTAs move from little or no knowledge of Composition as a discipline to teaching their own writing courses. I focus on GTAs from MA and MFA programs at a large research university in their first year of teaching composition. Using multiple types of data, including in-depth interviews, observations of practicum and mentoring sessions, and teaching genres written by the GTAs, I construct a narrative that shows the role that teaching composition plays in the overall identity construction of graduate students as professionals. This wide data set has allowed me to see the various ways (and various genres) in which Composition is constructed in the lives of new GTAs. Teacher preparation programs offer a variety of assistance, including experience shadowing current teachers, practicum courses and individual or group mentoring. I study the ways these activities help GTAs in one first-year writing program move toward a fuller understanding of and participation in Composition, and how these experiences relate to the overall graduate student experience. Each of these experiences helps move GTAs toward participation as composition teachers. However, the degree to which these GTAs participate in Composition as a discipline has to do with their relationships with mentors and the connections they make between the multiple communities of practice that they must continually navigate.
Ph. D.

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Murray, Sean. "Composition incorporated turbo capitalism, higher education, and the teaching of writing /." Diss., Online access via UMI:, 2007.

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Titus, Megan L. "Surfacing Teacher and Student Voices: The Implications of Teaching Practices for Student Attitudes Toward Revision." Ohio University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1273596481.

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Garrett, Raina Brella. "Corporeal Rhetorics: Embodied Composing and the Teaching of Writing." Miami University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=miami1335727105.

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Thacker, Kylee Mae. "Encourage, Engage, and Educate: A Thesis Portfolio on Teaching First-Year Composition." OpenSIUC, 2015. https://opensiuc.lib.siu.edu/theses/1726.

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This thesis portfolio discusses my journey as a Master of English graduate student at Southern Illinois University, Carbondale. I began as a graduate student in nineteenth-century American literature and switched concentrations halfway through my degree to Rhetoric and Composition. The decision to change programs was the result of my love for teaching beginning composition courses at SIUC. My passion for teaching drives each installment of this portfolio, focusing on my journey as a Graduate Teaching Assistant, my examination with a prominent theorist in the discipline of Rhetoric and Composition, and my interest in student engagement in the First-Year Composition classroom. My goal for this thesis portfolio is to offer a fresh perspective on Rhetoric and Composition, which allows me to explore my voice within the field.

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Fodrey, Crystal N. "Teaching Undergraduate Creative Nonfiction Writing: A Rhetorical Enterprise." Diss., The University of Arizona, 2014. http://hdl.handle.net/10150/319904.

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This project presents the results of a case study of creative nonfiction (CNF) pedagogical practices in undergraduate composition studies and creative writing courses at The University of Arizona, exploring how those who teach CNF at this top-ranked school for the study of the genre are shaping knowledge about it. This project analyzes within a rhetorical framework the various subject positions CNF teachers assume in relation to their writing and teaching as well as the teaching methodologies they utilize. I do this to articulate a theory of CNF pedagogy for the twenty-first century, one that represents the merging of individualist and public intellectual ideologies that I have observed in teacher interviews, course documents, and pedagogical publications about the genre. For students new to the genre, so much depends on how CNF is first introduced through class discussion, representative assigned prose models, and invention activities when it comes to creating knowledge about exactly what contemporary CNF is/can be and how writers might best generate prose that fits the genre's wide-ranging conventions in form, content, and rhetorical situation. Understanding how and why instructors promote certain ideologies in relation to CNF becomes increasingly important as this mode of personally situated, fact-based, narrative-privileging, literarily stylized discourse continues to gain popularity within and beyond the academy.

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Cofer, Matt Cliff. "Revising muses: Irrationality, creativity, and composition." CSUSB ScholarWorks, 1992. https://scholarworks.lib.csusb.edu/etd-project/789.

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Stanojevic, Vera D. "An approach to the pedagogy of beginning music composition teaching understanding and realization of the first steps in composing music /." Connect to resource, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1095793114.

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Thesis (Ph. D.)--Ohio State University, 2004.
Title from first page of PDF file. Document formatted into pages; contains xi, 56 p.; also includes illustrations. Includes bibliographical references (p. 56). Available online via OhioLINK's ETD Center

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Tackitt, Alaina. "(Age)ncy in Composition Studies." Scholar Commons, 2017. http://scholarcommons.usf.edu/etd/6765.

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The number of adult learners entering or returning to institutions of higher education is increasing in general and in relation to the traditional student population, and projections suggest that the trend will continue. As automation and technology impact the labor force, educational access is becoming a national concern and a necessity for more adult learners. Access to higher education impacts minority and economically depressed populations disproportionally and increases the personal and professional success of adult students and the long-term prosperity of their families. Although Composition Studies has a history of recognizing and facilitating student populations as they enter the Academy, adult learners have been overlooked and marginalized within Composition Studies. Through analysis of the foundational disciplinary literature, my research establishes that adult learners played a pivotal role in the development of Composition Studies and argues that Composition Studies can and should play a pivotal role in the success of adult learners in higher education. Locating adult learners in the disciplinary literature and demonstrating their impact on the theories and practices of Composition Studies creates a collective resource of research on which to ground current approaches and from which to launch future research; connecting this literature to the larger literature on adult learners allows Composition to contribute to and benefit from Academy-wide efforts. Stated simply, the goal of this dissertation is to recognize and support adult learners in Composition Studies. Such work is imperative because Composition Studies is continuing to construct adult learners through deficiency narratives and overlook adult learners in the current literature and classroom practices, as evidenced by the research on student-veterans. As a result, I suggest addressing the disciplinary responsibility to adult learners immediately through programmatic responses to the needs of adults in Composition Studies and by using the acknowledgment of their presence to call for institutional resources in support of all adult learners.

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Wolf, Amie Caroline. "Preparation of Graduate Assistants Teaching First-Year Writing at Ohio Universities." Bowling Green State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1229701908.

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Martin, Caitlin A. "Teaching for Transfer: Reflective Self-Assessment Strategies in the First-Year Composition Classroom." Miami University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=miami1375294535.

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Coulibaly, Youssoupha. "A descriptive study of errors in Senegalese students' composition writing." Virtual Press, 1991. http://liblink.bsu.edu/uhtbin/catkey/776725.

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This exploratory study describes microlinguistic errors in composition written by a population of forty adult students enrolled in advanced English classes in three English language teaching institutions in Dakar, Senegal. The subjects had Wolof as their L1, French as their L2 and English as their L3.The study indicates that EFL learners in this context made intralingual and transfer errors; however the latter type was predominant. Most of the borrowing was from French, very little from Wolof. Researchers have suggested as the reason for extensive negative transfer the similarity of the L2 and L3 and the necessity to get one's meaning across. This study concludes that there may be other causes of borrowing: prestige associated with tolerance of breaches and societal predilections for borrowing. Arguments for this claim are found in the native language and the culture of the population involved; it is argued that in the Senegalese situation one needs cultural, sociological and historical information to account for transfer from French as a linguistic behavior.Pedagogical implications are drawn from the findings of the study, suggestions concerning the teaching of English in contexts similar to that of Senegal are made, and avenues are suggested for future research in the area.
Department of English

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Iddings, Joshua Glenn. "A functional analysis of english humanities and biochemistry writing with respect to teaching university composition." Huntington, WV : [Marshall University Libraries], 2007. http://www.marshall.edu/etd/descript.asp?ref=805.

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Swanson, Susan. "Foibles, Follies and Fantastic Occurrences: First-Time Teaching and the Composition Classroom." TopSCHOLAR®, 2007. http://digitalcommons.wku.edu/theses/381.

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Foibles, Follies and Fantastic Occurrences: First-time Teaching and the Composition Classroom explores incidents that expectedly—and often, unexpectedly—occur in any instructor's classroom, but especially focuses on the first-time instructor. Following the author's journey from graduate student to graduate assistant to teaching assistant, the thesis describes the steps along the way to teaching that many who have written about the subject leave out—how to negotiate the days before classes begin, what to do to appear older than the students themselves, how to create an interesting and creative syllabus. Once classes begin, instances involving student competition, peer review, responding to student essays and handling student excuses arise and are confronted and reflected upon by the author. In order to negotiate these instances, specific events that occurred in the author's classroom are used as examples. Added to these examples are insights from other instructors, pedagogical practices, scholarship from wise and experienced writers and teachers and suggestions on ways to handle such occurrences in the future. The author calls specifically for more conversation on the subjects that bear little scrutiny in the academic world—those events that embarrass, fail, intimidate and confuse. With more conversation on classroom problems of any kind, teachers might learn from one another's experiences and find new solutions. Moreover, new instructors will feel more comfortable with expressing concerns and realize that they are not alone in their fears about teaching. While each classroom is different and has its own set of circumstances, the insights offered by the author draw on myriad other teachers' experiences and proposals and are adaptable to many types of classrooms.

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Davis, Lynn A. "Teaching grade one story composition, a comparison of developmental and process approaches." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ34665.pdf.

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Greenwald, Allison Rose. "Learning how to argue experiences teaching the Toulmin model to composition students /." [Ames, Iowa : Iowa State University], 2007.

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Kime, Harold A. "The Effects of Computerized Tools In Teaching English Composition For Basic Writers." NSUWorks, 1992. http://nsuworks.nova.edu/gscis_etd/633.

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This experimental project studied the effects of computerized revision tools--word processing, grammar checkers, and spell checkers--on the writing of 32 college freshmen in remedial English composition. The students were divided into two groups. Each group received 13 weeks of instruction, meeting five days per week. On Mondays, Wednesdays, and Fridays, they met as a group to receive traditional composition and grammar instruction. On Tuesdays and Thursdays, they met for in-class revision and writing practice. The experimental group used computers to perform all revisions while the control group revised using paper and pen. Analysis of the scores from two final compositions graded holistically determined that the experimental group performed significantly better in surface aspects of writing and revising, including style and appropriateness, and grammar and punctuation. However, in subsurface areas of writing and revising, including organization and presentation, audience awareness, and style and appropriateness, the experimental group did not perform significantly better than the control group. Analysis of the data from pre- and posttest scores on the written English Expression Placement Test revealed that the experimental group made no greater gains in formal rule acquisition. The use of computers during the revising process did not prove beneficial to rule acquisition; and therefore, some doubt exists as to whether the new revising processes could be transferable to revising when computers are not available.

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Acevedo, Diana Elva. "The importance of the affective dimension in composition." CSUSB ScholarWorks, 1988. https://scholarworks.lib.csusb.edu/etd-project/365.

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Ballenger, Eric E. "Composition and the comics solution." Virtual Press, 2006. http://liblink.bsu.edu/uhtbin/catkey/1337187.

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In this creative project, I propose that comics can be used fruitfully to introduce undergraduates to the image-word dynamic, helping them become betters critics, more thoughtful consumers, and more effective creators of images. In addition, I argue that such a course of study be housed in an undergraduate rhetoric and composition major. Therefore, this project accomplishes three goals: it explores the rhetorical function of comics; second, it justifies the inclusion of comics in an undergraduate rhetoric-composition program; and, third, it provides a master syllabus for four classes that would provide the experience necessary to students wishing to study visual, verbal, and visual-verbal rhetorics.
Department of English

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46

Gordon, Jessica B. "MULTIMODAL PEDAGOGIES, PROCESSES AND PROJECTS: WRITING TEACHERS KNOW MORE THAN WE MAY THINK ABOUT TEACHING MULTIMODAL COMPOSITION." VCU Scholars Compass, 2017. https://scholarscompass.vcu.edu/etd/5165.

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Multimodal writing refers to texts that use more than one communicative mode to convey information. While there is much scholarship that examines the history of alphabetic writing instruction and the alphabetic composing processes of students, little research explores the historical origins of multimodal composition and the processes in which students engage as they compose multimodal texts. This two-part project takes a fresh approach to studying multimodal writing by exploring the multimodal pedagogies of ancient Greek and Roman rhetoric and writing teachers, analyzing the role of mental and physical images in modern writers’ composing practices, and investigating contemporary students’ processes for composing multimodal texts. In Part I, I re-imagine the history of multimodal writing by exploring the multimodal pedagogies that instructors of rhetoric and writing developed during Greek and Roman Antiquity, and I show how contemporary students use an array of multimodal composing processes that rely on both mental and physical images to write alphabetic text. In Part II, I share the results of a case study in which I investigate the processes students use to compose audio- and video-essays while enrolled in a multimodal writing course. This study explores what students know about multimodal writing before beginning the course, how they learn the software needed to compose these projects, the challenges students experience as they compose, and the similarities and differences students perceive between their own processes for composing alphabetic and multimodal texts. Ultimately, I argue that composition teachers must acknowledge our long history of teaching with multimodal pedagogies and our experience composing alphabetic text through multimodal processes. Recognizing this lengthy history will decrease the anxiety that many composition teachers experience when tasked with teaching multimodal writing because, while typically only time and experience can grow confidence, in this case, a recognition of how much we already know will allow us to teach with the self-assurance we have earned.

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Blom, Diana Mary. "Minimal music: roles and approaches of teachers engaging students with a contemporary art music through composing activities." Thesis, The University of Sydney, 2001. http://hdl.handle.net/2123/802.

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Since it arose in the 1960s, the minimalist aesthetic has increasingly influenced composers of art and popular music around the world and, in turn, minimalist composers have drawn on the compositional ideas of Western popular music and several non-Western musics. Educationally, minimal music offers much potential for music in the classroom as it embodies a number of musical characteristics known to, and preferred by, students aged 9-18 years at primary, secondary and first year tertiary level. Socially, it offers teachers an opportunity to engage students, through composing activities, with contemporary society. The study aims, firstly, to analyse compositions by students aged 9, 12, 15 and 18 years and their teachers, seeking pastiche development of, and compositional expansion beyond, the musical concepts presented in a resource booklet of projects, The Pulse Music Album. Secondly, this study aims to investigate how nineteen participating teachers in three countries engage their students with minimalist composing activities stimulated through the resource booklet. The study attempts to determine why teachers adopt their particular roles and strategies by examining music qualifications, preferences and experience, teaching perspectives and teaching environments. It also seeks to identify reasons why one group of teachers submitted pieces which were pastiches of those presented in the projects and another group submitted compositions which moved well beyond pastiche into an expansion of these same musical concepts and argues for this as evidence of dialogue with contemporary society. Conclusions drawn from the findings note that while there are many commonalities between the backgrounds and approaches of both groups of teachers, there are clearly observed differences. These differences suggest approaches to classroom composition for consideration by practising classroom teachers, in-service instructors and teacher training institutions.

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Blom, Diana Mary. "Minimal music: roles and approaches of teachers engaging students with a contemporary art music through composing activities." University of Sydney. Music, 2001. http://hdl.handle.net/2123/802.

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Since it arose in the 1960s, the minimalist aesthetic has increasingly influenced composers of art and popular music around the world and, in turn, minimalist composers have drawn on the compositional ideas of Western popular music and several non-Western musics. Educationally, minimal music offers much potential for music in the classroom as it embodies a number of musical characteristics known to, and preferred by, students aged 9-18 years at primary, secondary and first year tertiary level. Socially, it offers teachers an opportunity to engage students, through composing activities, with contemporary society. The study aims, firstly, to analyse compositions by students aged 9, 12, 15 and 18 years and their teachers, seeking pastiche development of, and compositional expansion beyond, the musical concepts presented in a resource booklet of projects, The Pulse Music Album. Secondly, this study aims to investigate how nineteen participating teachers in three countries engage their students with minimalist composing activities stimulated through the resource booklet. The study attempts to determine why teachers adopt their particular roles and strategies by examining music qualifications, preferences and experience, teaching perspectives and teaching environments. It also seeks to identify reasons why one group of teachers submitted pieces which were pastiches of those presented in the projects and another group submitted compositions which moved well beyond pastiche into an expansion of these same musical concepts and argues for this as evidence of dialogue with contemporary society. Conclusions drawn from the findings note that while there are many commonalities between the backgrounds and approaches of both groups of teachers, there are clearly observed differences. These differences suggest approaches to classroom composition for consideration by practising classroom teachers, in-service instructors and teacher training institutions.

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Alqurashi, Fahad. "Computer supported collaborative learning in composition classrooms in Saudi Arabia." Virtual Press, 2005. http://liblink.bsu.edu/uhtbin/catkey/1317739.

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This study investigated the reactions of Saudi college students to collaborative learning techniques introduced in two modalities: face-to-face and web-based. Quantitative data were collected with a questionnaire that examined the changes of three constructs: attitudes toward collaboration, social self-efficacy, and perceived peer academic support of composition students at Umm Alqura University, Saudi Arabia. Students in the experimental group collaborated electronically using Blackboard, a web-based environment while students in the control group collaborated face-to-face. Students' responses to the questionnaire did not show any significant differences between the experimental group and control group with respect to the three variables.Three factors might have led to such results. First, one of the scales used in the questionnaire had low reliability that could have affected its procedure implementation. Second, collaborative learning is a new technique to Saudi students that could have contradicted the learning styles they studied according to since elementary school. Third, there were technical obstacles experienced during the experiment (i.e. no enough computer labs and no full access to the Internet) that could have been a discouraging factor for the subjects.Qualitative data collected through a post-study survey reflected the participants' positive attitudes towards peer response techniques applied throughout the experiment, giving and receiving comments, and working with computers. Such positive attitudes reflect the need to update composition teaching methods, introduce process-oriented pedagogies, foster group work strategies, and develop more computer resources and networking facilities.
Department of English

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Atkins, Anthony T. "Digital deficit : literacy, technology, and teacher training in rhetoric and composition programs." Virtual Press, 2004. http://liblink.bsu.edu/uhtbin/catkey/1301627.

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This dissertation addresses three distinct areas of composition: literacy,technology, and teacher training. The research questions I investigate are as follows:Are graduate programs in rhetoric and composition offering preparation for teaching new literacies, especially with digital technology? If so, what is the nature of that training?Does the faculty within a program perceive that training to be effective? Is thattraining perceived to be effective by graduate students?How do individual programs shape their graduate technology training to reflectand manifest specific programmatic agendas and goals?The first two sets of research questions are investigated using survey research methods. The last research question is addressed via case study methods.Using a multi-methodological research design that includes a national survey and two institutional case studies allows me to combine methodologies to draw meaningful conclusions from the data. For example, the survey helps to provide a brief sketch of the state of technology training in rhetoric and composition programs as well as universities, while detailed case studies provide a context that illustrates how the integration of technology into both the university and rhetoric and composition program affects teacher training. The survey demonstrates that many programs do not require courses or workshops that extend special help to those teaching in computer classrooms especially as technology relates to new literacies. Information from the survey also indicates that rhetoric and composition programs have no procedures in place to assess the state of technology training for new teachers and TAs. This dissertation offers one way of assessing technology training.The case studies reveal that the two universities have grand visions and broad technology initiatives. However, a closer look at university mission statements and specific rhetoric and composition programs reveals that the integration of technology is sometimes a less than smooth one. In one case, the department struggles to implement technology at the grass roots level, while another department, despite the inconsistencies apparent at the university level, seems to succeed at both integrating technology and training new teachers to address the new literacies produced by those digital technologies.
Department of English

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Dissertations / Theses on the topic 'Teaching composition'

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