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The Politics of Second Language Writing: In Search of the Promised Land
The POLITICS OF SECOND LANGUAGE WRITING: IN SEARCH OF THE PROMISED LAND is the first edited collection to present a sustained discussion of classroom practices in larger contexts of institutional politics and policies. Contributors focus on the policies on assessment, placement, credit, class size, course content, instructional practices, teacher preparation, and teacher support. They examine politics in terms of the relationships and interaction between second language writing professionals and colleagues at the program, department, school, college, and university levels and beyond. Contributors also explore-through critical reflections and situated descriptions of their teaching practices in larger institutional contexts-how these policies and politics affect pedagogical practices. Readers will learn why classroom practices are not neutral, pragmatic space but ideologically saturated sites of negotiation. Contributors include Danling Fu, Marylou Matoush, Kerry Enright Villalva, Ilona Leki, Ryuko Kubota, Kimberly Abels, Angela M. Dadak, Jessica Williams, Wei Zhu, Guillaume Gentil, Kevin Eric DePew, Xiaoye You, Deborah Crusan, Sara Cushing Weigle, Jessie Moore Kapper, Christine Norris, Christine Tardy, Stephanie Vandrick, and Barbara Kroll. Paul Kei Matsuda is associate professor of English and Director of Composition at the University of New Hampshire. Christina Ortmeier-Hooper is a Ph.D. candidate in Composition Studies at the University of New Hampshire, where she teaches first-year composition, ESL, advanced composition, and teacher education courses. Xiaoye You is assistant professor of English at The Pennsylvania State University, where he teaches courses in rhetoric, writing, and the teaching of writing.
336 pages, Paperback
First published July 27, 2006
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About the author
Matteo Maria Boiardo
203 books12 followersMatteo Maria Boiardo (1434-41 – 19/20 December 1494) was an Italian Renaissance poet.
Boiardo was born at, or near, Scandiano (today's province of Reggio Emilia); the son of Giovanni di Feltrino and Lucia Strozzi, he was of noble lineage, ranking as Count of Scandiano, with seignorial power over Arceto, Casalgrande, Gesso, and Torricella. Boiardo was an ideal example of a gifted and accomplished courtier, possessing at the same time a manly heart and deep humanistic learning.
At an early age he entered the University of Ferrara, where he acquired a good knowledge of Greek and Latin, and even of the Oriental languages. He was in due time admitted doctor in philosophy and in law.
Italian translation of Herodotus' Histories by Count Matteo Maria Boiardo, published in Venice in 1533.
Up to the year of his marriage to Taddea Gonzaga, the daughter of the Count of Novellara (1472), he had received many marks of favour from Borso d'Este, duke of Ferrara, having been sent to meet Frederick III (1469), and afterwards visiting Pope Paul II (1471) in the train of Borso. In 1473 he joined the retinue which escorted Eleonora of Aragon, the daughter of Ferdinand I, to meet her spouse, Ercole, at Ferrara. Five years later Boiardo was invested with the governorship of Reggio, an office which he filled with noted success till his death, except for a brief interval (1481–86) when he was governor of Modena.
In his youth Boiardo had been a successful imitator of Petrarca's love poems. More serious attempts followed with the Istoria Imperiale, some adaptations of Nepos, Apuleius, Herodotus, Xenophon, etc., and his Eclogues. These were followed by a comedy, Il Timone (1487?). He is best remembered, however, for his grandiose poem of chivalry and romance Orlando Innamorato (the Encyclopaedia Britannica Eleventh Edition provides a detailed discussion of Orlando in its several editions). Rime, another work from 1499, was largely forgotten until the English-Italian librarian Antonio Panizzi published it in 1835.
Almost all Boiardo's works, and especially the Orlando Innamorato, were composed for the amusement of Duke Ercole and his court, though not written within its precincts. His practice, it is said, was to retire to Scandiano or some other of his estates, and there to devote himself to composition, and historians state that he took care to insert in the descriptions of his poem those of the agreeable environs of his chateau, and that the greater part of the names of his heroes, as Mandricardo, Gradasse, Sacripant, Agramant and others, were merely the names of some of his peasants, which, from their uncouthness, appeared to him proper to be given to Saracen warriors.
It is uncertain when Boiardo wrote a poem about a self-composed, unusual Tarot game, which is of relevance to Tarot research of the 15th century and the question of when Tarot developed. A deck, which was produced according to the poem (probably shortly after Boiardo's death) has partially survived.
Boiardo was born at, or near, Scandiano (today's province of Reggio Emilia); the son of Giovanni di Feltrino and Lucia Strozzi, he was of noble lineage, ranking as Count of Scandiano, with seignorial power over Arceto, Casalgrande, Gesso, and Torricella. Boiardo was an ideal example of a gifted and accomplished courtier, possessing at the same time a manly heart and deep humanistic learning.
At an early age he entered the University of Ferrara, where he acquired a good knowledge of Greek and Latin, and even of the Oriental languages. He was in due time admitted doctor in philosophy and in law.
Italian translation of Herodotus' Histories by Count Matteo Maria Boiardo, published in Venice in 1533.
Up to the year of his marriage to Taddea Gonzaga, the daughter of the Count of Novellara (1472), he had received many marks of favour from Borso d'Este, duke of Ferrara, having been sent to meet Frederick III (1469), and afterwards visiting Pope Paul II (1471) in the train of Borso. In 1473 he joined the retinue which escorted Eleonora of Aragon, the daughter of Ferdinand I, to meet her spouse, Ercole, at Ferrara. Five years later Boiardo was invested with the governorship of Reggio, an office which he filled with noted success till his death, except for a brief interval (1481–86) when he was governor of Modena.
In his youth Boiardo had been a successful imitator of Petrarca's love poems. More serious attempts followed with the Istoria Imperiale, some adaptations of Nepos, Apuleius, Herodotus, Xenophon, etc., and his Eclogues. These were followed by a comedy, Il Timone (1487?). He is best remembered, however, for his grandiose poem of chivalry and romance Orlando Innamorato (the Encyclopaedia Britannica Eleventh Edition provides a detailed discussion of Orlando in its several editions). Rime, another work from 1499, was largely forgotten until the English-Italian librarian Antonio Panizzi published it in 1835.
Almost all Boiardo's works, and especially the Orlando Innamorato, were composed for the amusement of Duke Ercole and his court, though not written within its precincts. His practice, it is said, was to retire to Scandiano or some other of his estates, and there to devote himself to composition, and historians state that he took care to insert in the descriptions of his poem those of the agreeable environs of his chateau, and that the greater part of the names of his heroes, as Mandricardo, Gradasse, Sacripant, Agramant and others, were merely the names of some of his peasants, which, from their uncouthness, appeared to him proper to be given to Saracen warriors.
It is uncertain when Boiardo wrote a poem about a self-composed, unusual Tarot game, which is of relevance to Tarot research of the 15th century and the question of when Tarot developed. A deck, which was produced according to the poem (probably shortly after Boiardo's death) has partially survived.
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December 1, 2013After reading all the articles contained in this anthology, I only ended up using the one from Leki for my paper this semester.
Leki, I. (2006). The legacy of first-year composition. In P. K. Matsuda, C. Ortmeier-Hooper, & X. You (Eds.), The politics of second language writing (pp. 59-74). West Lafayette, IN: Parlor Press.
The FYC course continues to be required for most students at universities and colleges today, and it continues to be used as a gateway course (Leki, 2006, p. 66).
Leki (2006) further problematizes FYC by questioning why it is considered to be such an important class and why it is taught during the first year of college. She asks the question, "Why is writing so privileged?” (p. 66) and privileged to the point of forcing everyone to conform to a certain way of writing. She feels that FYC should not be the gatekeeper class that it currently is and asks, "Why should the university studies or the degree of an L2 learner be held ransom because the student's writing is considered not up to some standard?" (p. 66). She also argues that if the university truly values writing, then it makes no sense to have FYC courses taught in the first year when "most of the other courses students take simultaneously do not require writing" (p. 66) when a composition class should be taught at the same time the students’ major classes are requiring them to write. She admits that all her points have been "battled over for more than a hundred years" and through it all "first-year writing requirement remains essentially the same" (p. 67). The battle over FYC continues...
Leki, I. (2006). The legacy of first-year composition. In P. K. Matsuda, C. Ortmeier-Hooper, & X. You (Eds.), The politics of second language writing (pp. 59-74). West Lafayette, IN: Parlor Press.
The FYC course continues to be required for most students at universities and colleges today, and it continues to be used as a gateway course (Leki, 2006, p. 66).
Leki (2006) further problematizes FYC by questioning why it is considered to be such an important class and why it is taught during the first year of college. She asks the question, "Why is writing so privileged?” (p. 66) and privileged to the point of forcing everyone to conform to a certain way of writing. She feels that FYC should not be the gatekeeper class that it currently is and asks, "Why should the university studies or the degree of an L2 learner be held ransom because the student's writing is considered not up to some standard?" (p. 66). She also argues that if the university truly values writing, then it makes no sense to have FYC courses taught in the first year when "most of the other courses students take simultaneously do not require writing" (p. 66) when a composition class should be taught at the same time the students’ major classes are requiring them to write. She admits that all her points have been "battled over for more than a hundred years" and through it all "first-year writing requirement remains essentially the same" (p. 67). The battle over FYC continues...
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