Tuesday, February 23, 2010

Methods of Tutoring Assessment

Methods of Tutoring Assessment

Surveys= Teachers, Students, Tutors -Forming good questions is difficult -Students are unmotivated to give good detail Paired tutoring -The presence of a third person changes the dynamic -the paired tutor can easily observe most things, but it is hard for three people to look at one paper -the student is liable to be intimidated Tutor report forms -check boxes -narratives -overly positive -time pressures -little motivation to give detail Video records -recording affects the dynamic -captures verbal and nonverbal behavior -difficult to see the paper/text on the tape. Audiotape records -misses body language -equipment is inexpensive Self-Evaluations -overly positive -free

Monday, February 22, 2010

Basic Writing Programs- The Formats and the UC version

Prerequisite Model
- no credit toward graduation
-minimum passing grade
-placement scores, writing sample
-eng 097 at UC's CAT is/was similar to this.

Stretch Model
-English 101 in double the time
-Graduation credit (but 2 times as much)
-no stigma

Studio Model
-Eng 101 with required small group sessions
-small groups are workshops n discussion groups
-placement by recommendation in week 2
-studio sessions might be less cost effective for the university

Directed Self Placement
-Voluntary Eng 097
-credit toward graduation
-mandatory literacy survey. Results and recommendations are given.

Intensive
-Eng 101b
-5 credits instead of 3
-placement time and cost is an issue
-maybe this format makes it easier to collaborate
-the expense of the class is also an issue

Mainstreaming
-No developmental classes
-students address problems in the writing center
-championed for social reasons

The UC Center For Access and Transition method
-Intensive plus classroom tutoring -ENG101B
-Prerequisite Model -ENG 097, 095
-Placement testing Expensive
-drop out/drop off rate is high
-term adjunct professors
-part time tutors

Saturday, February 20, 2010

The Sage Handbook of NVC- weak

The Sage Handbook of NVC- weak

McCroskey, James C., Virginia P. Richmond, and Linda P. McCroskey. "Nonverbal Communication in Instructional Contexts." SAGE handbook of nonverbal communication. Ed. Valarie Manusov and Miles L. Patterson. Thousand Oaks, Calif: Sage Publications, 2006. Print. More specifically, researchers assert that the verbal messages stimulate primarily cognitive meanings in receivers (i.e., the feelings and attitudes toward the teacher) (McCroskey, Richmond & McCroskey, 2000b). From this perspective, subject competence of the instructor is said to be the critical element in cognitive learning, whereas behavior, particularly nonverbal communication, produces a relational impact on the student attitudes and feelings. -424 Whereas more research is needed before a firm conclusion can be drawn, the instructional research to date suggests that nonverbal factors may have a much stronger impact on learning in the classroom than do verbal factors. This is particularly true for affective learning. -425 Effective teaching is dependent upon "appropriate" nonverbal communication of teachers. In our opinion, certification of teachers without substantial instruction in nonverbal communication concepts and skills would be pure folly. The success of teachers at all levels depends on how they communicate nonverbally. It may be that some teachers are genertically programmed to be more effective, whereas others are equally programmed to fail. -434 Similarly, administrators of teacher education and teacher/trainer selection should consider these communication abilities (or lack of) in their decisions to admit or hire people for their programs. -434 --------------------------------------------------------------------------------------- Nonverbal Skills and Abilities by Ronald Riggio, pp 79-95 For example, correlations between self-report measures of decoding skill and performance measure have been positive but low (typically below .20). -84 [This piece suggests that PONS is one of the few, well-tested methods of nonverbal assessment.]

Thursday, February 18, 2010

Short Survey for Writing Center Administrators

Short Survey for Writing Center Administrators

Hello. My name is Jeff Cook, and I am employed as a writing center consultant at the University of Cincinnati's Center for Access and Transition. I am working on a project about nonverbal communication, and I would like some information about how it is used at your writing center. 1. Are you familiar with any research about nonverbal communication? 2. Are you familiar with any research about nonverbal communication in an educational setting? 3. How important, on a scale from 1 to 10, would you say nonverbal communication for writing center consultants? 4. Would you be interested in receiving some informative materials about nonverbal communication in education? (As a thank you for your participation, I would be happy to provide you with some links or a copy of my work.) 5. Do you provide any information about nonverbal communication to new writing center consultants? 6. Are nonverbal communication skills any part of the tutor training process? [Demographic questions]

Wednesday, February 17, 2010

maxims and metaphors megalist

"We learn nothing from diversity, not even the simple fact that we are all the same."

"I am the king of invisible things, but don't ask me for help moving, unless you are Aaron Kerley."

"A sentence has to say something in order to be complete. You do not have to understand each word." -Example "I did it"

"Do you want to understand ethos? Have a beautiful woman tell a joke to a group of single men. Then have a balding forty year old guy tell the same joke."

"Ask, don't tell."

"One session, one skill. Any more is overkill."- heard at a writing conference ECWCCA in Purdue

"We are here to help students become better writers, not to help them produce better writing." - Stephen North
(BULLSHIT! We are here to give students what they need, the skills that will help them succeed, not what they want, not what we want.)


"If language had existed for only 24 hours, writing would have been invented at 11:08 pm."- John McWhorter, From Our Magnificent Bastard Tongue."

According to our best estimates, spoken language started 100-200 thousand years ago.   The best current evidence places writing at around 6000 years ago.   That means speech existed for at least 94000 years and we accomplished almost nothing.   In 6000 years of writing we went from spear fights to space flight."

"I can tell you what you need to do, but if I do, I cannot tell you how to do it. If you tell me what you want to do, I can tell you how others have done that."

"Linguistic diversity is as natural as biological and cultural diversity."

"Writing has always been the primary means of righting wrongs."

"You don't need me to teach you how to read. You need my help to teach you how to read between the lines."

Our job is to teach students the intelligence in their mistakes, and the shortcomings of their successes. The beginning of this is accepting the students current level of ability without judgment.

Postmodernism is to classroom teaching what quantum physics is to Newtonian physics.
(Classroom study of texts and their "meanings" are all that most people ever need. But, if you want to know the REAL deal, it is much much weirder than all of that. The copenhagen interpretation)

Heisenbergs Uncertainty principle of meaning.- You can never know the meaning of a text. The more you care about finding the MEANING. The more effort you put into finding the MEANING, the less trustworthy your interpretations become.

Vision- When we read, we are like horses with blinders on. Working with texts in dialogue with others is what takes the blinders off.

When we read, we are like a man with rose colored glasses on, who doesn't realize what color his glasses are. (since there is no gap in his rosy vision)

We don't learn much from diversity, not even the fact that we are all the same.

Think of professional baseball that has been around for a hundred years. Every year, the teams know that there will be only one winner of the world series. The game is fair. Everyone knows it. It has always been that way. But imagine instead that not everyone knew it. Imagine that almost every team thought that four separate teams could win the world series, and no one told them otherwise. Imagine instead that the idea of "four winners" was talked about in political speeches, that it was a common topic on news broadcasts. Would that be fair?
And what if there once was a competition where more than one person could succeed? Would it be fair to change that competition to a winner take all without some kind of announcement? How long would it take before we figured it out? Would it be right to keep claiming we could all be winners? Would it be right to keep on rose colored glasses in a gray world?

It takes a truly special person to realize that he/she is average.

The world is too strange to judge by experience. Noone has met an average man. Noone has had an average day. Nothing that happens to us is typical. It is specific and there is a serious difference.

Value equals price plus utility. However, the human mind can't measure utility worth a damn. On some days I feel bad about that.

A person can explain everything and understand nothing.

To a fool, a wise man doesn't make any sense. If someone doesn't make any sense, CONSIDER THAT POSSIBILITY.

I think it is a safe assumption that many of us became good with words because we are bad with people. Writing well humbles our pen and teaches us manners. What humbles us in conversation? Who among us seeks to learn from those who struggle at what we love best?
If you can find those learners, you have found your teachers.

Innocence isn't the absence of experience. Innocence is the absence of second thought.

This world is a kindness contest, and we all are in third place.

The only time we immediately like something new is when it is not new. (We can't tell the difference between "bad" and "not at all what we expect.")

Real answers not easy Answers

"Subjects are understood; objects are manipulated." - (I think it is a K Wilber quote).

Every new development is good news, bad news.

If you try very hard, you can understand. No matter what you do, you can't control whether you are understood.

The only time I can be myself is when I'm by myself.   I suspect that is true for you too.

A Facebook update can be an inspiration, not a citation.   (There are simple reasons for this...)

Worry and Alarm Clocks
 Worry is meant to wake you up, and a nice metaphor for worry is an alarm clock.    It is unpleasant but helpful.   It is wise to choose when it goes off but it should probably go off at least a few times every week.

Abstract and Concrete language-    A variety is important.   It is like a roller coaster.   You have to have the hills for it to be a thrill.   (Sometimes fast changes are a powerful tool.   Slow climbs are nice, but not riveting)

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Don't use your judgment, use your brain.   Your instincts, your judgment, are inherited and local.   Your brain is earned.  Enough said.


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Every rule created to solve an injustice, also creates one.   (However, not all rules are created to solve an injustice, and not all injustices are of the same size, the same duration, and the same intensity.)

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Any good class needs to have deleted scenes and a directors commentary.

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(Hunter Motts)  Stupid is a feeling, a feeling of shame that causes people to avoid their mistakes.   Stupid is not a fact.  Stupid is a feeling.

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Uncertainty is to smart thinking what sore arms are to huge biceps.
Confusion and frustration are to thinking what muscle fatigue is to bodybuilding.

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An argument is like a boxing match decided by points.   No one feels like he/she lost.
Consider the presidential debates.

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If you cannot standardize the students or standardize the teachers, why can you/could you.should you standardize the curriculum?

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What does the word "bizarre" mean?  What does "expensive" mean?  What does tasty mean?
One answer might be to say "look in the dictionary."
A better answer might be to say "look at who used the word and ask that person about their life."
The best answer is long and boring, so I won't print it here.

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Easy to read is easy to believe.   Easy to read might be easy to remember, but easy to read might be easy to forget.   (Are you telling the reader what he/she already knows?  Then it will be easy to forget.)

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Attention is a flashlight. You can move it fast, but it can never point too places at once.   If you wish to push me, I'll admit that different people have flashlights with different power bulbs.

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A book is a mirror.   When a monkey looks in, a philosopher never looks back.  - a paraphrase of something I saw in Robert Anton Wilson

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A good piece of writing is something clear, true, and new.

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The best way to teach is in a simple set of three:  demonstration, explanation, application

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The most difficult reading task of all is reading directions.

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Talent is practice in disguise

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Reading without a purpose is like driving without a destination

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 I think, I feel, I believe, I no longer take what you have to say seriously.

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Ideas are like children.   Almost everyone loves their own, whether they deserve it or not.

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Sometimes being nice is being mean.  Sometimes the most helpful thing is not to help.

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The only thing that immediately tastes great to everyone is junk food.   Tastes have to develop.

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We can see our work or ourselves clearly with our own eyes.    To check out my bald spot, I need a mirror.   To check out the quality of my writing, I need an audience.

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About plagiarism
No idea is an orphan, but none of them can produce a birth certificate

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It is harder to believe in probability than it is to believe in a political party
-----------------------------------
.

In a world of 6 billion people, 6000 people have an a million to one coincidence happen every single day.

That makes it hard to believe in randomness.

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I've got a bag full of surprises that would make Santa jealous.
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I'm an English teacher and an American person.    I have a leather belt that I made with a Leatherman.   The first time I talked to a therapist, he said "this is going to be fun."

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a typical human is not average
not in height
not in weight
not in hair
not in charm
not in anything

average is not typical
average is a black swan
average is a unicorn
average is a hooker with a heart of gold
average is an imaginary friend.

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You can either choose to find the beauty in life
or you can expect life
to convince you that it is beautiful

(And before I say what's next,
I need to admit something.
I am dumb.
I am gold medal dumb.
I am Guinness Book of World Records Dumb)


However...

Noone is dumb enough
to argue
that one of those choices
isn't a whole hell of a lot
better than the other.

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Mankind isn't created
and mankind isn't designed
and mankind hasn't randomly lucked into an evolutionary world
to have things that work forever

Mankind is not made up of those who have never suffered a disaster
or those who gave up
Mankind is made up of survivors.
Mankind is made up of rebuilders

But
Mankind would never have survived without the experimenters.
the kind of men who create disasters,
the lovable fuckups
who aren't afraid of anything
except giving up on their own ideas
even
if those ideas kill them

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There is no such thing as a reliable narrator.    [This is the reason I like to title things, the sales pitch.  It is good to remind students of this.]

The best argument is a good story.

Critical Reading, Careful Reading, Casual Reading-  3 types that we all should master
Critical and Casual Reading-- It's like decaf or regular.

TMI is a phrase that normally means "details about a gross topic."   It should also mean "less details please."


Subjective Maps vs Objective Maps
Arthurs--  My best friend John Weiman's first manager job
Cock N Bull-- Where My Double Works

Most people don't know how to persuade with words, so they persuade with a fist (either shaking it or using it).

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The sad news is that it is smart to edit and proofread everything, but it is no way to live.

 There is nothing morally wrong with roulette and something aesthetically beautiful about it.   The problem is that it ain't smart.   Everyone can tell that you will lose more often than you win if you live your life like a roulette game, throwing rough drafts out into the atmosphere, thinking not a thing for the audience.

in the typing... the word "lose" was replaced by "love".  Is it a freudian slip?



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To fight temptation, control the situation.

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What we measure is what gets better.

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Conversation is like ping pong.  Unless you are Tom Hanks, a second person should be participating.

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Tuesday, February 16, 2010

Lie to Me and Writing Tutoring

LIE TO ME AND WRITING TUTORING

"You can observe a lot just by watching." -Yogi Berra In the opening scenes of Lie to Me, a fox television series, Dr Cal Lightman sits in an interrogation room in front of a muscular prisoner in an orange jumpsuit. The prisoner is a white supremacist who has placed a bomb in an African-American church, yet the prisoner isn't talking. Lightman begins thinking aloud, throwing out guesses about locations while a room full of law enforcement personnel watch through the glass . After the prisoner hears the name of one location, the corners of his lips twitch toward a smile for a fraction of a second, and Lightman dismisses that possibility, but the name of the next location makes the prisoner react differently. At the second name, the prisoner confidently states that going there would be a waste of time, slightly shrugging one shoulder while speaking. "That's the one," Lightman says, turning his head toward the FBI agents behind the one way glass. "That's where he hid the bomb." In this scene, Lightman (who is loosely based on Paul Ekman, a researcher in the field) asks a series of questions, using nonverbal communication to guide him. Much like a tutor, he sits down before a stranger and lets the stranger guide the interaction. He makes educated guesses based on his instincts, but he adjusts his instincts in light of what he sees in front of him. Watching a show like this one raises some real questions about tutoring. Are there universal nonverbal signals? Can tutors learn to read those signals? How much information should they have about nonverbal communication? In a field that celebrates diversity, it is One of the causes is the increasing consensus in nonverbal communication research, which has produced several significant findings. It found evidence supporting the universality of certain expressions (called emotion cues or affect displays). It has found a reliable way to determine a felt smile from a false one that holds true across cultures (wrinkling around the eyes). In education, nonverbal communication has been shown to have a significant impact on affective learning, student evaluations, and student motivation. This research has focused on immediacy, how educators can send effective nonverbal communication messages (Riggio citation). These findings are hopefully well known, but they raise a crucial question, "what messages are consultants receiving from students?" If there are universal nonverbal signals, what do consultants need to know about them? If there were a real life Dr. Lightman, what would he see on the faces of students? No matter the context, it is clear that writing center consultants cannot do their jobs without some degree of skill at nonverbal communication, but it might not be clear how reading the nonverbal signals of students can help consultants . According to the Bedford Guide, tutors switch between multiple roles during conferences, such as "the ally," "the coach," "the commentator," and "the counselor" (Ryan, 28-30). Given this goal, facial expressions, gestures, and tones of voice can provide some information about when to switch between them, particularly with the role of "the counselor." Cristina Murphy argues that helping students become better writers requires building relationships much like those between therapists and clients ("Freud in the Writing Center: The Psychodynamics of Tutoring Well"). Learning to read students' nonverbal communication offers the possibility of helping consultants build just such a relationship. This idea of reading students signals in the Writing Center has been raised before. In the Bedford Guide for Writing Tutors, Leah Ryan suggests watching videos of tutoring sessions or sitcoms with the sound off (Ryan 31). In an article titled "Using Videotape to Train Tutors," XXXXXX advocates using videotapes to assess, among other things, nonverbal communication in the tutoring session (citation needed). However, neither of these pieces advocates formal training in nonverbal signals. Instead they suggest that intuition and tutoring experience should be enough background to profit from some informal reflection. In a "contact zone," where students of diverse ability levels and backgrounds meet to learn collaboratively, I believe that this is probably not enough. Informal reflection and personal experience should be coupled with the findings of communication research in order to help tutors understand the signals that students are sending. Although providing consultants with a large list of student behaviors would be too much, it seems wise to touch on a few types of signals that are particularly relevant. One type of message that consultants should watch for is initial signs of emotion. In NVC research, these are called affect displays or emotion cues (Givens). These universal signs of emotion include signs of happiness, sadness, disgust, surprise, fear, and contempt and surprise. They are detailed by Paul Ekman in his work Emotions Revealed, and in David Givens' spectacular Nonverbal Dictionary. Since these displays of affect are rarely masked, they are relatively easy for a consultant to spot. If a student looks emotional, acknowledging that fact can open the door to greater rapport and a more productive session. The initial check of a student's nonverbal signals also serves a second function. It gives a student-centered baseline for interpreting later signals. Since everyone has a communication style, it is no surprise to say that each person also has a nonverbal communication style. Observing the student's nonverbal communication before the session begins provides an opportunity for alert tutors to spot the next important type of signal. After an initial check of the student's nonverbal signals, the next task for the consultant is to watch for affect displays that suddenly appear during a session. Frustration and anxiety are two signals that a particularly important. Since consultants do not know the ability level of students, we need to be sure to ask questions of an appropriate difficulty level, questions that challenge students without frustrating and demotivating them. This idea is based on Vygotsky's Zone of Proximal development. However, tutors sometimes ask questions that are beyond a student's ability to answer. A tutor might accidentally interrupt a student during a session or paraphrase a portion of text in a way the student finds objectionable. Since most students will not announce that they are getting frustrated, nonverbal signals are a crucial source of information. Two common facial signals of frustration are a sudden tensing of the lips or a sudden knitting together of the brow. Another one is a momentary increase in the intensity of eye contact, a quick glare. In addition to those facial signals, gestures that suddenly appear during a session are a third source of information for consultants. If a relatively stationary student suddenly begins finger tapping, head-scratching, nail biting or fidgiting with clothes at some point within a session, these actions, called adaptors, are signs of stress (Textbook, p247). Animals, as well as humans, display an increasing number of these movements in the presence of stressors. However, these gestures are less significant than the facial ones since they are indicators of stress, not a particular emotion. To some of you, these types of signals may have seemed obvious. The few examples I have given may seem to be common knowledge. One might object that consultant training should concern themselves with knowledge of the writing process and proper questioning techniques rather than blink rates and eyebrow movements. Indeed, they might also point out that the diversity in student populations makes applying universal interpretations an ethically hazardous goal, and they would be right to be concerned. However, if consultants already base decisions within tutoring sessions on nonverbal cues, how can we justify leaving them uninformed about the scientific consensus? A small section in a tutoring manual and a short discussion during tutor training could provide consultants with the opportunity to decide for themselves, as a part of reflective practice, how much they need to and ought to know about this issue. After all, it is probably true that many writing consultants (such as myself) applied for the position because they are good with writing, not because they are good with people. For those that object, on the other hand, that Cal Lightman is an unrealistic example to provide consultants, that it makes reading body language seem too effective, I offer them a story about a horse. In 1904, William Von Osten revealed to the world that he had spent the past two years teaching his horse to communicate. By tapping its hoof a correct number of times, the horse appeared to have mastered the rules of arithmatic, converting fractions to decimals, and how to read the time of day off of a standard clock face. The horse was even able to perform these feats when Mr Von Osten was not present. It took Oskar Pfungst, a Berlin psychologist, to realize the secret. The horse could only answer the questions when someone in the room knew the answer. Pfungst realized that "In the course of the long series of lessons in arithmetic, the horse must have learned to spot more and more accurately the tiny body movements with which the teacher unconsciously accompanied his own thinking. These movements the horse learned to utilize as cues....The horse's performance and the great accuracy it achieved in perceiving these tiniest of movements remain amazing." (In Katz, 1953, p.15) So, even though consultants will never become Dr. Lightman, with some background information and frequent practice, we might be able to be as clever as that horse. -------------------------------------- What to read facial expressions sudden increases or decreases in gestures tone of voice when reading from the text tone of voice when asking questions tone of voice when answering questions ------------------------------------------------------------------------------- --------------------------------------------------------------------------- (Our goal as writing tutors): to make the people we work with better writers by facilitating changes in teh way in which they view and produce writing.

Friday, February 12, 2010

What Professors Want from A Paper- Podcast

What Professors Want from a Paper

First, I'll start with a word of warning. This podcast, like many of the others, is a generalization. That means it does not apply to every teacher. It does not apply to every discipline. The best place to learn what a professor wants is from that professor, either through an assignment sheet, through class discussions, or through meeting with that professor during his or her office hours. However, these options aren't always available. Some professors are more clear than others. Sometimes late at night it isn't possible to contact the professor. This podcast will contain some general pieces of advice about what a good paper is and what a good paper is not. You can find similar pieces of advice online from the Purdue writing lab, in handbooks like Diana Hacker, and in textbooks like And I'll provide you with a second word of warning. If you listen to this podcast, you will learn a little and forget it immediately. If you listen and take notes on this podcast, you will learn a little and remember it longer. If you listen, take notes, and review those notes during your next writing task, you will learn from this podcast. Did you understand those two warnings? Good. Now let's get down to business. Get out a piece of paper and a writing instrument. Now take two minutes to write down some of the things you think professors want from a paper. Pause this podcast and do that now. ..................................................................... Are you finished? Now the chances are that many of you have written down things like "good grammar," "proper spelling", and "the right number of pages." What I'm asking you to do is to listen to a few basic principles about good papers, and write whatever you couldn't think of the first time. These principles are things that can help you avoid making disasterous paper mistakes. The first thing to remember is PROFESSORS WANT YOU TO DO WHAT THEY ASKED YOU TO DO. Imagine that you have just come home one evening from a hard day at work. People complained to you about one thing or another all day, and as you walk up to your front door, as you reach into your pocket to grab your keys, all you can think about is having a good meal. You sit down in your favorite spot in front of the tv and relax. You order a large pizza from your favorite place, and before the next program begins on television, you hear the doorbell. You walk over to the door and open it. The pizza man stands there smiling and he hands you a plate of blueberry pancakes. Even if you like blueberry pancakes, even if they are particularly delicious, how do you think that will make you feel? After calling the pizza man, placing an order, and waiting 30 minutes in anticipation, you are going to be pretty ticked off. The pizza man will not get paid. Do you understand the point of that story? Your professors want students to follow directions. So do it. The assignment sheet is your best friend as a student. Reread the assignment sheet frequently, while you plan a paper, while you type the paper, and while you revise it. If there is no sheet, take extremely detailed notes on the professors instructions. As a basic principle, get it in writing and refer to that writing. Write that down. Get your instructions in writing and look at that writing. That's what you need to remember about this part. Get your instructions in writing and look at that writing. Write that down. The second thing to remember is PROFESSORS WANT TO BE CONVINCED BY WHAT YOU ARE SAYING. It is easy to tell me something. A student tells me that his dog ate his homework. The waitress tells me that Applebees has the best onion rings in the city. My Cincinnati Bell employee assures me that they have great coverage and rarely drop calls. But it is a much more difficult thing to convince me of something. In order to do that a student needs to do a few things. A student needs to have relevant evidence. A student needs to have credible evidence. A student needs to have enough evidence. What counts as relevant depends on the assignment, your thesis, and the subject. What counts as credible is standard. Expert opinion, statistics, and the results of experiments are almost always credible evidence. Quotations are credible, depending on the source of the quotation and the way it is used. What counts as enough evidence depends on the thesis. If someone argues that all men are crazy, it requires many pieces of evidence for support. If someone argues that all men are not crazy, it requires only one example of a sane man to prove that thesis. The third thing to remember is PROFESSORS WANT TO KNOW THAT YOU ARE DOING MORE THAN JUST REPEATING WHAT SOMEONE ELSE HAS ALREADY THOUGHT OR SAID Have you ever wondered why some professors give assignments that are.... well... unique? This principle explains it. Being able to look at a number of facts and put them together in a new way is one of the best signs a person has "mastered" a subject. It is also a very valuable and marketable skill to have. There is no shortcut method for generating good ideas, so I can't tell you a trick for that. What I can tell you is how to avoid one common mistake. Don't pick a very obvious or very common paper topic. Many students pick the first topic that comes to mind and they pick the same topics. Consider the audience. If a professor has read 30 papers about the same topic, only one paper will seem excellent. The rest will be compared to the best one. If you pick an unusual or unique topic, it is much more likely you will have something unique to say. Another common mistake is a balance issue. Some students believe that the best way to fill space in a paper is to put in more and more evidence. As a rule of thumb, I tell students to strive to keep a balance between showing us the dots and connecting them. Every piece of evidence requires some explanation, and important evidence requires much more than that. That is what to remember about the third section. Don't pick an obvious topic. And don't include too much evidence. Failing to remember these warnings sometimes leads to a paper full of words that seems empty of thought. That's it. There is no magic potion for writing a good paper, but there are some pieces of advice that can save you from writing a bad paper. Professors want a paper that does what they asked for. Professors want a paper that is believable. And Professors want a paper that is unique. To put in simply, "after reading your paper, a professor wants the main idea of the paper to seem both true and new." So read, reread, and re-reread the assignment sheet while you work. Make sure you have evidence that relates to your topic and is believable. Make sure you explain your evidence in enough detail. And try to pick a topic that is not a cliche, a topic that not many others are picking.

Wednesday, February 10, 2010

Why Key Words Will Open Doors for You-Podcast


Why Key Words Will Open Doors for You-Podcast

Ok. Imagine your favorite song. If that's tough for you, imagine a song that has recently been stuck in your head. Now ask yourself, what's the first thing you think of? If you're like me... If you're like most people, you thought of the part that they repeat, whether you focused on the beat, the riff, or the lyrics. In the music business, they call that part of the song the chorus. In this podcast, I am going to take a lesson from the music business. I'm going to explain how to use key words in order to keep your audience focused on your message and to keep yourself focused on that message. First, however, I need to provide you with some warning. This podcast is based on my experience as a student, a writer, a reader, and a teacher. I am going to offer you some advice, much like Tiger Woods might offer advice about hitting a golf ball. However, like hitting a golf ball, advice isn't much good without practice. Learning to apply my advice to specific writing situations will take work, just like learning from this podcast will. I can tell you what to do and why to do it, but learning how to do it means considering how to apply this advice to your situation. You are a specific student with a unique language background, writing for a specific professor in a specific discipline on a specific topic. Listening to this is an investment. Learning from this requires a larger investment. When you apply it, you will need to think about all the specifics of your own writing situation. For the next few minutes while listening, you will need a pen, some paper, and a place where you can be distraction free. [Pause] Writing has its origins in speech making. To understand this, lets imagine what it was like in the past. In 500bc, in order to make a complicated point, it was impossible to write it down and publish it in the newspaper. All writing was done by hand, on fragile paper, and trying to write a hundred identical letters to pass around would have been dreadful. So the intelligent guys in 500bc decided they needed to gather a large group of people together and speak to them all at once about the topic. It would save time, money, and a whole lot of ink stains on togas. But speaking presented a second problem. People tend to jump around to different topics while they talk without noticing. A conversation about Michael Jordan quickly changes into a comparison between Kobe Bryant and Michael Jordan. Or how about this example. When a couple has a fight, sometimes a fight over dirty dishes turns into a fight about sleeping too late, obnoxious friends, and watching too much sports. (I confess. I'm talking about myself here). When the couple fights, the phrase "dirty dishes" will stop appearing in the conversation rather quickly. When my girlfriend and I fight, after about the first minute, she will never bring up what started it again. She starts bringing up other things that the first thing reminds her of. I believe that my experience is typical. Topic jumping is common in conversation, but it makes it impossible to make any complicated point. This was a problem for our friends in togas, so they made an informal rule which is still followed. A speech should be about one thing. It can be a big, complicated thing, but it should be about one thing. So they invented a trick to keep themselves on topic. In English class, we call it a thesis, and they insisted that it be referred to at the beginning and the end of the speech. But that wasn't good enough. They found out that it was very hard to stay on topic for ten minutes if they only stated the topic in the first and last minute. So they came up with something called topic sentences. They insisted that every new point, every new section, begin with a statement of how that section relates to the main idea. And one crucial part of topic sentences is key words. (The other parts of topic sentences will be covered in later podcast.) Here is the part where you will want to get out the pen and write this down. Take, for example, the thesis that says, "Michael Jordan is the greatest basketball player of all time." The key word for that thesis is greatness. A paper with that thesis should never stray from the topic of greatness for for long, and an easy way to make sure of that is to make sure the word greatness comes up in many of the topic sentences. Notice. I didn't say every single topic sentence. It is perfectly appropriate to have parts of your paper provide background information, but most of it should stay focused around a few key words. If your thesis doesn't seem to have key words, search the instructor's assignment sheet. Instructors try to let you know what they want as clearly as they can. They choose their words carefully, so using those key words are a great idea. So let's imagine that you have picked a key word from your thesis or the assignment sheet. You work hard for a couple of hours, and you write a paper about Frankenstein, but it is very late. You aren't sure if you stayed on topic. In 30 seconds, you can use the find function on microsoft word for the exact words of your thesis. An on topic paper will find the key words throughout the paper and in several topic sentences. To summarize my first point. You have only two things to remember. Use the key words from your thesis in most of your paragraphs. Particularly be sure to use them in topic sentences. This small effort is a way to be certain you don't drift off-topic. Going off topic means failing an assignment. That, by itself, should be motivation enough to think about key words while writing. But there is another advantage. Key words will keep your audience from forgetting your topic. Speakers aren't the only people that have trouble staying on a topic. Your audience will also have trouble staying on topic. Many of them will internally react to what you say. They may be confused, agree, disagree, or simply be reminded of something else. They may think of other people who have written on this topic, or they might start to wonder what they are going to have for dinner that night. This drifting is as natural and switching topics is, and when they bring their attention back to your paper, the key word acts like a memory aid. Seeing the word "greatness," brings the attention of the audience back to your thesis, and helps them easily recall what you have already said about greatness. Seeing the word "excellence" does not have the same effect on the audience. When the reader can recall your main idea consistently throughout a paper, it creates the impression that the writing was well planned, and that the writer carefully thought out what was being said. Have you got that? Using a single, simple trick while writing will keep your paper from going off topic and give the impression that you have carefully planned your paper in advance. The first benefit is that you wont go off topic and fail your paper. The second benefit is that is makes your audience more likely to trust what you have to say. So take out a paper you are writing. Look at the thesis statement. Underline what the key concepts are. Then make sure you use those keys. Those keys will open the door to your readers trust, and they will keep you from getting locked into a terrible predicament. Basics: Use key words from your thesis or the assignment sheet to stay on topic and to keep your audience focused.

The Elements of Teaching Writing

The Elements of Teaching Writing Quotes

Gottschalk, Katherine, and Keith Hjortshoj. The Elements of Teaching Writing A Resource for Instructors in All Disciplines (Bedford/St. Martin's Professional Resources). Boston: Bedford/St. Martin's, 2003. Print. Educational research indicates that many factors, all related to language use, limit amounts and types of learning: =Even if they are alert, students are not able to sustain attention to continuous lectures beyond ten or fifteen minutes at a time. They are most attentive at the beginning and end of alecture period and most likely to miss information in the middle. =Partly because they have to write and listen at once, attentive students typically record less than half of the most important information and ideas in a lecture. =If they have not recorded this material in a form that will restore understanding, students will quickly forget most of what they learned in class. =This weakness of short term memory applies also to reading. UNless students write notes or papers about reading assignments or talk about them in discussions, they will quickly forget most of what they read. =If they are trying to record and recall large amounts of material, students are most likely to miss the connections among facts, concepts, and viewpoints. Analysis, synthesis, critical thinking, the application of concepts to new cases, and other complex forms of learning all conflict to some extent with the goals of extensive coverage. -18-19 

 Asking a student who has read only one text in a field to critique its strengths and weaknesses may be asking for the impossible. -41 

 According to the study [A Harvard University one on student writers], some of the most useful types of [teacher] comments were =Questions that stimulated further thought. =Brief summaries of what the reader got out of the paper =Descriptions of difficulties the reader encountered. -Even highly critical feedback that was constructive and respectful. -53 

 Give reading essays priority over grading them. -58 

 According to Connors and Lunsford's extensive 1988 study, the twenty errors occurring most commonly in student essays are as follows, in descending order of frequency. 
     We have supplied short examples for some errors and discuss others in the paragraphs that follow. 1. No comma after introductory element. [Well it wasn't really true.] 2. Vague pronoun reference [See discussion below.] 3. No comma in compound sentence [I like to eat but I hate to gain weight.] 4. Wrong word [His F in math enhanced his alarm about his D in chem.] 5. No comma with nonrestrictive element. [See discussion below.] 6. Wrong or missing inflected verb endings [I use to go often to town.] 7. Wrong or missing preposition (Moosewood Restaurant is located at Ithaca.] 8. Comma splice [See discussion below.] 9. Possessive apostrophe [Student's backpacks weigh far too much.] 10. Tense shift [I was happily watching TV when suddenly my sister attacks me.] 11. Unnecessary shift in person (pronoun) [When one is tired, you should sleep.] 12. Sentence fragment [See discussion below.] 13. Wrong tense or verb form [I would not have said that if I thought it would shocked her.] 14. Subject-verb agreement [Having many close friends, especially if you've known them for a long time, are a great help in times of trouble.] 15. Lack of a comma in a series [Students eat, sleep, and do homework.] 16. Pronoun agreement [See discussion below.] 17. Unnecessary comma(s) with restrictive element [The novel, that my teacher assigned, was very boring.] 18. Run-on or fused sentence [He loved the seminar he even loved the readings.] 19. Dangling or misplaced modifier [After being put to sleep, a small incision is made below the navel.] 20. Its/it's error [Its a splendid day for everyone.] -98

Monday, February 8, 2010

Why is MLA format the way it is?-Podcast

WHY IS MLA FORMAT THE WAY IT IS?

"Everyone is entitled to his/her own opinion, but everyone is not entitled to his own facts." -Daniel Webster (i think) Hook Draft When I think of the MLA, I think a little bit of the CIA, a faceless organization with great power and a desire for world domination. Except, for us, our waterboards are works cited pages and coordinating conjunctions. Seriously, since so many of you hear your professors talk about the MLA and about why it is so important to follow the format, I thought I'd explain the way a tutor sees the Modern Language Association. I'm not telling you the official story. You can get that from their website. I'm telling you a tutor's perspective on the situation. 

 The MLA is the way it is because we wanted a system that would be credible to a wide audience, that would treat other people's work with respect, and that would make the job of professors a little bit easier. I. Audience related issues- Because we wanted to insure maximum readability. a. English professors and scholars in similar fields. b. From multiple cultures. c. Perhaps far in the future. d. who are busy, skeptical people The Modern Language Association format came about for a number of different reasons. The first reason relates to issues about audience. We wanted a system that would help us to be credible with large audience. The first reason also relates to jealousy. Scholars in my field are a little bit jealous of science. One reason that science is so successful is that it is cumulative. Scientists build on the work of other scientists in order to make discoveries, and the reason they can do this is the scientific method. There is a standard for running experiments and reporting information which allows other scientists to build on earlier work. Everyone trusts the credibility of the science of the past. No matter who you are, you get in a car and expect that it will work. Even the critics of science get in an airplane that is designed according to very strict scientific laws. But what about new science? When a new scientific study comes out, why do most people believe it? The answer to that is simple. Scientific writing has a standard format. Scientists describe what they did in great detail before they tell you what the results were. They have a standard format which makes it possible for absolutely anyone to check the results. If you don't believe them, run a copy of that experiment. If you don't believe them, scientists make it easy for a person to see the truth for himself (or herself). The MLA format is our attempt to create a similar standard. Academics in the MLA wanted to create a standard, so that scholars and thinkers from multiple cultures could read each other's work and build on the ideas of the past, so we created a format that makes it easy for anyone who doesn't believe us to go and check our conclusions. So the first reason MLA is the way it is, is because we wanted to make it easy to check on our ideas. The second reason involves the song Happy Birthday. I hope you all know the song. I've been singing it at parties for years. However, I bet you didn't know this. If I sang "Happy Birthday" in front of my class as a teaching demonstration, I could be sued. Happy Birthday is a piece on property. A company owns it, and they will only let it be used under certain circumstances. You can sing it for free all day if you follow those rules. If you break those rules, you are stealing and they can sue. Their rule is that you can't sing the song in an environment where money is being made. If money is being made and "Happy Birthday" is involved, the company that owns it wants to get paid. The second reason MLA format is the way it is, is about property rights. Some people make cabinets and some make ideas. Professional writers make ideas, but here's the trick, ideas are always built on the back of previous ideas. With the exception of creative writing, all writing requires sources. The MLA is a system for making sure those sources get recognized and, sometimes, paid. So we made the rule that anytime a writer uses the words, the ideas, or the information of another, that use must be acknowledged. If the use is exact, we quote the words and cite the source. If the use is inexact, we still cite the source. If a student doesn't do that, he or she is stealing ideas. Changing the words doesn't change where the source came from. Teachers get paid to help us learn and sources get cited for helping us learn. As my friend Aaron Kerley once put it, "if I steal a car and then put another coat of paint on it, it doesn't magically become my car. It is a stolen car." So the first reason MLA is the way it is, is in order to be credible to a wide audience. The second reason why the MLA is the way it is, is to protect the property of thinkers. III. Convenience Issues -To save time and avoid confusion a. Headers were developed to help professors deal with large stacks of papers. b. Works Cited pages are arranged so a reader can quickly scan a large list in order to find a desired entry. The final reason that the MLA is the way it is, deals with the job of being a professor. Profesors deal with large stacks of papers all the time. Sometimes professors are well organized and sometimes they are not. The header information that is required in MLA format is to help professors keep papers organized. If a paper is placed in the wrong filing cabinet or the wrong mailbox, including the name, date, teacher, and class on the top left side of the first page means that anyone who finds it can quickly place it where it is needed. The name and page number that goes on the top right of the other pages has a simple one, staples. Over time or because of a bad stapling job. Papers sometimes come loose. The name and page number make it easy to get every page into the right order. Many of the other peculiarities of MLA style have this explanation. We use hanging indents on the works cited page so that it is easy to search through a long list to find exactly what you want. We don't include the year in with our in text citations because the humanities, unlike science, doesn't change much over time. Hamlet today, contains the same exact words that it did 50 years ago. So there you have it. We didn't create this system to torture you. We created it to gain credibility with a wide audience, to handle other people's ideas with respect, and to make it easy for professors to handle large numbers of papers. Now you know why the MLA format is the way it is. The hard part is what comes next, using MLA format to create a works cited page.

Teacher-Student Nonverbal Relationships

Teacher-Student Nonverbal Relationships Richmond, Virginia Peck, James C. McCroskey, and Mark L. Hickson. "Teacher-Student Nonverbal Relationships." Nonverbal Behavior in Interpersonal Relations (6th Edition). Boston: Allyn & Bacon, 2007. 251-77. Print. 

 Research has indicated that students taught by lecture do as well as or better on tests of factual recall than those taught by discussion methods. -252 

On the downside, lectures are not as effective as other methods in fostering higher levels of learning (application, analysis, synthesis, and evaluation) or in developing psychomotor skills. Students tend to be passive; according to various studies, their attention frequently wanes in fifteen to twenty-five minutes and their retention decreases by as much as 80 percent within about eight weeks. -252 

Using student names, incorporating personal anecdotes and other means of self-disclosure, asking questions and encouraging students to talk, referring to the class as "our" class and to what "we" are doing, and using humor all contribute to immediacy, as do maintaining eye contact with the students, smiling, having a relaxed body position and using animated gestures, moving about the classroom during the lecture, and this point is very important to remember using a dynamic, vocally expressive style of delivery. These strategies have been shown to have both cognitive and affective learning payoffs. -253 

For teachers to effectively coach students until they master a skill, it is essential that they be able to break the performance of the skill into separate components so that they can offer corrective instruction. -256 

Some students got better and better at baseball just by getting more playing experience, but others simply repeated ineffective moves until they were pulled out of the game and allowed to concentrate only on one aspect of play until they got the hang of it. -256
 
Research provides evidence that students retain information longer when they have an opportunity to verbalize it, especially to their peers. -257 

 If students are given all the resources needed at the outset and a very specific model of what they are to come up with, much of the incidental learning from the group's process will be lost. The groups are then the educator's staff, working on the teacher's project rather than on their own. -258

 In this section, we have suggested that a teacher might wear many hats: speaker, moderator, trainer, manager, and coordinator. Most teacher look good in all of them, and most students get tired of looking at the same hat every day. The hat most students prefer on their teacher, whether the teacher is in speaker, moderator, trainer, manager, or coordinator mode is the nonverbally receptive, expressive, supportive teacher. -258 

 We have stated for years that the primary function of teachers' verbal behavior in the classroom is to give content to improve students' cognitive learning. The primary function of teachers' nonverbal behavior in the classroom is to improve students' affect or liking for the subject matter, teacher, or class, and to instill in them the desire to learn more about the subject matter. -260 

 Therefore our advice is to dress formally for a week or two or until credibility is established. Then dress more casually to project the image that one is open to student interaction. -261 

Unattractive children are commonly ignored by teachers, given less time to answer questions than their attractive counterparts, encouraged less to talk, given less eye contact, given more distance, and touched less by their teacher. This type of nonverbal behavior communicates to the unattractive child that he or she is not as good as the other students. -263 

 In the classroom, adaptors are probably the most common gestures used by students. The classroom is an anxiety-producing situation for many children. Observe a typical classroom and you will find students chewing pencils, biting their nails, picking at their desks or notebooks, pulling at their hair, smoothing their clothing, and clicking their pens. -264 

 Students use more adaptors in classes where they feel anxious or bored. -264 

 Increased teacher immediacy results in Increased liking, affiliation, and positive affect on the part of the student. Immediate teachers are liked far more than nonimmediate teachers. Increased student affect for the subject matter. Students who become motivated to learn the subject matter because of the teacher's immediate behaviors will do well in the content and continue to learn long after the teacher who motivated them is out of the picture. Increased student cognitive learning. Students with immediate teahcers attend more to the subject matter, concentrate more on the subject, retain more of the content, and when challenged can correctly recall more of the subject matter than students with nonimmediate teachers. Increased student motivation. It seems that the primary way that immediacy produces learning effects may be by increasing student motivation. Reduced student resisitance to instructors' attempts to influence or modify behavior. Immediate teachers seem to have more referent, respect, or liking power; hence students tend to comply with or conform to the wishes of the more immediate teachers. Nonimmediate teachers have more difficulty getting students to comply with or conform to their wishes. The teacher being perceived as a more competant communicator, one who listens and cares. Increased student-teacher communication and interaction. A reduced status differential between student and teacher. Higher evaluations from one's immediate supervisor. -276 [Starting with "The teacher being" I've only included the topic sentences for each of immediacy's effects.]

Friday, February 5, 2010

Reassessing The "Proofreading Trap": ESL Tutoring and Writing Instruction

Reassessing The "Proofreading Trap": ESL Tutoring and Writing Instruction

Sharon A. Myers, Texas Tech University Myers takes particular issue with writing center scholars and others who view sentence-level revision for ESL students as unethical. -from the abstract, 219 

 This article, which first appeared in The Writing Center Journal in 2003, serves as a thought-provoking challenge to tutors who attempt to apply nondirective approaches to ESL students. It may also provide theoretical support for tutor who tend to take a more directive approach in working with second-language writers. -from the abstract, 219 

 The Foreign Service Institute has estimated that a minimum level of professional speaking proficiency (entailing the ability to fluently support opinions, hypothesize, and explain complex phenomena) in a foreign language relatively remote from English may require a native English speaker 2,400 hours of intensive training under the ideal conditions provided by the Foreign Service. A superior level may entail hundreds of hours more. According to Liskin-Gasparro, attaining a superior level in a more closely related langauge, such as Spanish or French, is four semesters of foreign langauge classes in a U.S. university provide 200-300 hours of instruction. Assuming that these estimations of the tiem it takes English learners to learn to speak foreign langauges at professional levels would at least approximate the tiem it takes for speakers of otehr langauges to speak with the same proficiency in English, it is not realistic to expect that many ESL students will speak fluently at advanced levels. -221 

 Writing is denser than speech and in academic settings requires very high levels of reading comprehension, a formal register, sophisticated paraphrasing ability and a specialized vocabulary. Very few ESL students who walk into a writing center are likely to have such high levels of proficiency. -221 

 [She discusses Jane Cogie's idea of the "cultural informant," an idea that gives the tutor more licence to be directive than the traditional nondirective one. However, this conception still does not permit sentence-level action.] [Cogie suggests 4 strategies for tutors: Learner's dictionaries, minimal marking, error logs, and self-editing checklists. These are mechanical ways for the student to self-correct and reduce errors. In contrast to this, Myers advocates the help of a native-speaker-reader, working as a tutor. She would approve of "They Say/ I Say".]

Wednesday, February 3, 2010

Pedagogy of the Oppressed

Pedagogy of the Oppressed

Freire, Paulo. Pedagogy of the oppressed. New York: Continuum, 2000. Print. ... the very term "pedagogy," as my good friend and colleague Panagiota Gounari explains it, has Greek roots, meaning "to lead a child" from pais: child and ago: to lead). Thus, as the therm "pedagogy" illustrates, education is inherently directive and must always be transformative. -25 

 In order to have the continued opportunity to express their "generosity," the oppressors must perpetuate injustice as well. An unjust social order is the permanent fount of this "generosity," which is nourished by death, despair, and poverty. -45 

 True generosity consists precisely in fighting to destroy the causes which nourish false charity. -45 

 Conditioned by the experience of oppressing others, any situation other than their former seems to them like oppression. Formerly, they could eat dress, wear shoes, be educated, travel, and hear Beethoven: while millions did not eat, had no clothes or shoes, neither studied nor traveled, much less listened to Beethoven. Any restriction on this way of life, in the name of the rights of the community, appears to the former oppressors as a profound violation of their individual rights--although they had no respect for the millions who suffered and died of hunger, pain, sorrow, and despair. -57 

 [attitudes of the banking concept of education] (a) the teacher techers and the students are taught; (b) the teacher knows everything and the students know nothing; (c) the teacher thinks and the students are thought about; (d) the teacher talks and the students listen--meekly; (e) the disciplines and the students are disciplined; (f) the teacher chooses and enforces his choice, and the students comply; (g) the teacher acts and the students have the illusion of acting through the action of the teacher; (h) the teacher chooses the program content, and the students (who were not consulted) adapt to it; (i) the teacher confuses the authority of knowledge with his or her own professional authority, which she and he sets in opposition to the freedom of the students; (j) the teacher is the Subject of the learning process, while the pupils are mere objects. -73 

 Animals are not challenged by the configuration which confronts them; they are merely stimulated. Their life is not one of risk-taking, for they are not aware of taking risks. Risks are not challenges perceived upon reflection, but merely "noted" by the signs which indicate them; they accordingly do not require decision-making responses. -98 

As each person, in his decoding essay, relates how he perceived or felt a certain occurrence or situation, his exposition challenges all the other decoders by re-presenting to them the same reality upon which they have themselves been intent. -112 The first requirement is that these codifications must necessarily represent situations familiar to the individuals whose thematics are being examined, so that they can easily recognize the situations (and this their own relation to them). -114 The theme of development, for example, is especially appropriate to the field of economics, but not exclusively so. This theme would also be focalized by sociology, anthropology, and social psychology (fields concerned with cultural change and with the modification of attitudes and values--questions which are equally relevant to a philosophy of development). It would be focalized by political science (a field concerned with the decisions which involve development), by education, and so forth. In this way, the themes which characterize a totality will never be approached rigidly. -120 

 It is accomplished by the oppressors' depositing myths indispensible to the preservation of the status quo: for example, the myth that the oppressive order is a "free society": the myth that all persons are free to work where they wish, that if they don't like their boss they can leave him and look for another job; the myth that this order respects human rights and is therefore worthy of esteem; the myth that anyone who is industrious can become an entrepreneur--worse yet, the myth that the street vendor is as much an entrepreneur as the owner of a large factory; the myth of the universal right of education, when of all the Brazilian children who enter primary schools only a tiny fraction ever reach the university; the myth of the equality of all individuals, when the question: "Do you know who you're talking to?" is still current among us; the myth of the heroism of the oppressor classes as defenders of "Western Christian civilization" against "materialist barbarism"; the myth of the charity and generosity of the elites, when what they really do as a class is to foster selective "good deeds" (subsequently elaborated into the myth of "disinterested aid," which on the international level was severely criticized by Pope John XXII); -140 In the theory of antidialogical action, conquest (as its primary characteristic) invovles a Subject who conquers another person and transforms her or him into a "thing." In the dialogical theory of action. Subjects meet in cooperation in order to transform the world. -167 In cultural invasion, the actors draw the thematic content of their action from their own values and ideology: their starting point is their own world, from which they enter the world of those they invade. In cultural synthesis, the actors who come from "another world" to the world of the people do so not as invaders. They do not come to teach or to transmit or to give anythign, but rather to learn with the people, about the people's world. -180

Monday, February 1, 2010

A Critique of Pure Tutoring

A Critique of Pure Tutoring

Linda K. Shamoon and Deborah H. Burns p173-188 in the St Martin Sourcebook This article, which originally appeared in The Writing Center Journal in 1995, is important in unambiguously stating that directive tutoring, particularly when it involves discipline specific pieces of writing, is often an effective teaching strategy. -from the abstract, 173 [He responds at length to Irene Clark's Writing in the Center: Teaching in a Writing Center Setting and The Practical Tutor] Illegitimate collaboration, says Clark, creates dependency: "[T]utor dominated conferences instead of producing autonomous student writers, usually produce students who remain totally dependent upon the teacher or tutor, unlikely ever to assume responsibility for their own writing." -174 The idea that one cannot be extremely appreciative of expertise and also learn actively from an expert is an ideological formation rather than a product of research. -175 [He identifies 4 parts of the traditional tutoring view: 1. writing is a recursive process 2. process strategies are global and transferrable to any domain 3. students possess sole ownership of the text 4. 1 on 1 tutoring sessions are the best place for students to clarify their writing to themselves.] Kenneth Bruffee calls writing displaced conversation, implying that writing occurs not in isolation but in response to ideas found in other texts and other forms of communal conversation (Short Course 3). -176 [They point to student's self-reports as evidence of the value of directive tutoring. They also point to music master classes.] In fact, in "The Idea of Expertise: An Exploration of Cognitive and Social Dimensions in Writing," Michael Carter sets forth a five-stage continuum of cognitive learning that characterizes the progess from novice to expert. Carter explains that novices and advanced beginners utilize global, process-based learning and problem-solving strategies; that intermediate and advanced students shift to hierarchical and case-dependent strategies.; and that experts draw intuitively upon extensive knowledge, pattern recognition, and "holistic similarity recognition" (271-272). -178 [. . . ] during tutoring the expert provides the student with communally and historically tested options for performance and technical improvement. Also, a good deal of effort during tutoring is spent on imitation or, at its best, upon emulation. -p. 180 Three strands of research are important: research on the development of expertise (including connections to imitation and modeling) helps explain the links between directive tutoring and cognitive development; theoretical explanations of subjectivities help us understand directive tutoring and social development; theoretical explanations of subjectivities help us understand directive tutoring and social development; research on academic literacy helps us understand directive tutoring and disciplinary development. -181 The social nature of directive and emulative tutoring serves to endorse the student's worth as an emerging professional. Similarly, directive tutoring of writing presents more than a demonstration of steps in the writing process. It models a writer's attitudes, stances, and values. -184 Finally, in light of research on academic literacy, we speculate that directive tutoring lays bare crucial rhetorical processes that otherwise remain hidden or are delivered as tacit knowledge thoughtout the academy. According to Geisler, academic literacy and achievement of professionalism are tied not only to domain content and personal identity but also to mastery of rhetorical processes (88-92). These processes of reasoning, argumentation, and interpretation support a discipline's socially-constructed knowledge base. -184