Pub Date : 1900-01-01DOI: 10.37514/dbh-j.2021.9.1.04
G. B. Strauch
Introduction One obstacle to building a classroom community is media content that has become extremely fragmented. There is so much new and niche content produced daily that there are fewer shared cultural texts, but it is through these shared texts (and experiences) that both students and instructors can find common topics of interest. Speaking in terms of emerging digital economies, Anderson (2004) noted that there has been a shift in media from the massmarket, hit-driven culture to one of niche entertainment. Or as he described it: the long tail. At the wider end of the tail are the mass-market hits—Friends, Grey’s Anatomy, Game of Thrones—and at the narrower end are indie content and content directed toward smaller, niche communities of consumers. In addition to television and movies, other media, such as podcasts, video games (whose narratives have become increasingly complex), YouTube, Vlogs, blogs, etc., have resulted in students having richer and more diverse and nuanced media and textual consumption than those of previous generations, but this fragmentation of content has also made it more difficult to build affinity spaces for engaged learning. Although media fragmentation has made it more difficult to find shared cultural texts, new media has fostered deeper engagement with texts, allowing students to interact with them beyond simply watching or listening at a prescribed time or place. By interacting with texts through multimodal genres and assignments, students begin to build toward an interdisciplinary understanding of—or ability to transfer—writing (or text production) and thinking skills. Identifying critical thinking as interdisciplinary understanding values a student’s
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Pub Date : 1900-01-01DOI: 10.37514/dbh-j.2021.9.1.09
Jay Arns
Efforts at targeted resistance to disinformation have been underway at the elementary and high school levels for years, but recently there has been an increase in those efforts. Generally working under the framework of “information literacy,” school districts have been updating their curricula to meet current challenges. In Colorado, for example, State Reps. Barbara McLachlan and Lisa Cutter have cosponsored a bill that promotes media literacy in the state’s curricula. The goal, of course, is to teach students not what to think but how to assess the credibility of a source. The resulting curricula would not address strategies of discerning real from fake news in a special, standalone unit or lesson but instead weave critical thinking into courses to make it a more fundamental aspect of education from the very beginning. Likewise, at Normal High School in Normal, IL, history and government teacher Tracy Freeman has made “standards of proof” a central feature of all her classes. Reporter Sarah Schwartz (2020), who interviewed Freeman for Education Week, wrote:
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Pub Date : 1900-01-01DOI: 10.37514/dbh-j.2022.10.1.07
Adam Katz
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Pub Date : 1900-01-01DOI: 10.37514/dbh-j.2021.9.1.01
J. Hayes, Paul Pasquaretta, G. Pritchett
This next year is the seventieth anniversary of the publication of Ralph Ellison’s Invisible Man, an occasion that has prompted us, as editors, to reread the novel as a text very much about writing pedagogy and history. Editing is, of course, a pedagogical process in guiding a manuscript through revisions to the endpoint of publication, which inscribes the text in history while conferring upon its author the cultural capital that facilitates future publications. Because history in this way shapes and is shaped by textual production, we take this moment to commemorate the publication of Ellison’s novel by reflecting on the power we hold as editors and considering what we might learn from Invisible Man about our own editorial praxis. The novel depicts a power structure that has created a master narrative through what Slevin (2001) would call a “teleology of improvement,” in which students are defined as lacking the discourse that will award them the cultural capital necessary for upward mobility in “the spiral of history” (Ellison, 1972, p. 6). Students “improve” by suppressing their home discourses as they learn how to reproduce a dominant one. The result is a symbolic violence, which the novel’s unnamed narrator eventually discovers. Having excelled as a writer and speaker by repeating the dominant discourse learned in school and college and through social activism, he finds that his efforts have only perpetuated a power structure that denies him racial equality and that his upward mobility has really been an endless cycle of manipulation: “Beware of those who speak of the spiral of history; they are preparing a boomerang. Keep a steel helmet handy” (p. 6). This symbolic violence renders the narrator invisible. Repeatedly knocked downward and backward in the spiral, he comes to identify with the “I” of the song “What Did I Do to Be so Black and Blue?” In the title’s reference to bruising as the effect of physical punishment, the colors black and blue mark the skin as universal, as a synecdoche for humankind. But when the “I” is embodied by Louis Armstrong through his performance of the song, “black” is reassigned to the color of skin itself, as a synecdoche for a particular race, and the physical effect of punishment becomes symbolic: being black and downcast is punishment the narrator will inevitably suffer, regardless of what he does or does not do. However, the “I” also exists, therefore, prior to race, which is a “construction of their inner eyes” (p. 3), making him invisible to the power structure. Living apart from the spiral of history, he steals electricity from Monopolated Light & Power to play on a phonograph “What Did I Do to Be so Black and Blue?” Between the song’s notations, its inscription in history, he explores space and time:
{"title":"Toward Counternarratives of Critical Thinking and Writing","authors":"J. Hayes, Paul Pasquaretta, G. Pritchett","doi":"10.37514/dbh-j.2021.9.1.01","DOIUrl":"https://doi.org/10.37514/dbh-j.2021.9.1.01","url":null,"abstract":"This next year is the seventieth anniversary of the publication of Ralph Ellison’s Invisible Man, an occasion that has prompted us, as editors, to reread the novel as a text very much about writing pedagogy and history. Editing is, of course, a pedagogical process in guiding a manuscript through revisions to the endpoint of publication, which inscribes the text in history while conferring upon its author the cultural capital that facilitates future publications. Because history in this way shapes and is shaped by textual production, we take this moment to commemorate the publication of Ellison’s novel by reflecting on the power we hold as editors and considering what we might learn from Invisible Man about our own editorial praxis. The novel depicts a power structure that has created a master narrative through what Slevin (2001) would call a “teleology of improvement,” in which students are defined as lacking the discourse that will award them the cultural capital necessary for upward mobility in “the spiral of history” (Ellison, 1972, p. 6). Students “improve” by suppressing their home discourses as they learn how to reproduce a dominant one. The result is a symbolic violence, which the novel’s unnamed narrator eventually discovers. Having excelled as a writer and speaker by repeating the dominant discourse learned in school and college and through social activism, he finds that his efforts have only perpetuated a power structure that denies him racial equality and that his upward mobility has really been an endless cycle of manipulation: “Beware of those who speak of the spiral of history; they are preparing a boomerang. Keep a steel helmet handy” (p. 6). This symbolic violence renders the narrator invisible. Repeatedly knocked downward and backward in the spiral, he comes to identify with the “I” of the song “What Did I Do to Be so Black and Blue?” In the title’s reference to bruising as the effect of physical punishment, the colors black and blue mark the skin as universal, as a synecdoche for humankind. But when the “I” is embodied by Louis Armstrong through his performance of the song, “black” is reassigned to the color of skin itself, as a synecdoche for a particular race, and the physical effect of punishment becomes symbolic: being black and downcast is punishment the narrator will inevitably suffer, regardless of what he does or does not do. However, the “I” also exists, therefore, prior to race, which is a “construction of their inner eyes” (p. 3), making him invisible to the power structure. Living apart from the spiral of history, he steals electricity from Monopolated Light & Power to play on a phonograph “What Did I Do to Be so Black and Blue?” Between the song’s notations, its inscription in history, he explores space and time:","PeriodicalId":404723,"journal":{"name":"Double Helix: A Journal of Critical Thinking and Writing","volume":"51 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122875054","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.37514/dbh-j.2019.7.1.03
M. Overstreet
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Pub Date : 1900-01-01DOI: 10.37514/DBH-J.2020.8.1.04
Adam Katz
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Pub Date : 1900-01-01DOI: 10.37514/dbh-j.2019.7.1.05
Kate Hanzalik
Key Questions in the Art-Based Writing Movement Is there a place for artistic creation in a required writing course that emphasizes critical thinking and research? A necessary starting point to answer that question for the purpose of this report is another question: What is the nature of critical thinking? Three perspectives inform the response: the Framework for Success in Postsecondary Writing (Framework; Council of Writing Program Administrators [CWPA], National Council of Teachers of English, & National Writing Project, 2011); the WPA Outcomes Statement for First-Year Composition 3.0 (Statement; CWPA, 2014), which is applicable to required general education writing courses; and that of those beyond writing studies: educators and practitioners in the fields of art and design. According to the Framework, critical thinking is “the ability to analyze a situation or text and make thoughtful decisions based on that.” By “writ[ing] about familiar or unfamiliar texts [and] examining assumptions about the text held by different audiences,” students can “think through ideas, problems, and issues; identify and challenge assumptions; and explore multiple ways of understanding” (CWPA et al., 2011, p. 7). The Framework offers a comprehensive list of indicators of, and strategies for, critical thinking:
在强调批判性思维和研究的必修写作课程中，艺术创作是否有一席之地?为了本报告的目的，回答这个问题的一个必要的起点是另一个问题:批判性思维的本质是什么?三个视角为回应提供了依据:中学后写作成功的框架(框架;全国英语教师委员会，全国写作项目委员会，2011年);WPA第一年作文3.0成果声明(声明;CWPA, 2014)，适用于通识教育写作必修课程;以及那些超越写作研究的人:艺术和设计领域的教育者和实践者。根据该框架，批判性思维是“分析情况或文本并在此基础上做出深思熟虑决定的能力”。通过“写熟悉或不熟悉的文本，并检查不同读者对文本的假设”，学生可以“思考思想、问题和议题;识别和挑战假设;并探索多种理解方式”(CWPA et al.， 2011, p. 7)。该框架提供了批判性思维指标和策略的综合列表:
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Pub Date : 1900-01-01DOI: 10.37514/dbh-j.2019.7.1.06
Brian J. Fitzpatrick, J. McCaughey
2013 – Present Director of Workplace Writing Program Designed and developed GW’s Workplace Writing Program, which includes workshops, assessment, and additional consulting in business, professional, and technical writing. A sampling of past clients includes the U.S. Department of Labor, Pearson Publishing, The Danaher Corporation, the FDA, and Amnesty International. _______________________________________________________________________________ EDUCATION
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Pub Date : 1900-01-01DOI: 10.37514/dbh-j.2021.9.1.06
Katherine K. Frankel
Introduction Leander et al. (2010) problematized the “classroom-as-container” immobilization of learning. In the classroom-as-container model, actants from outside the classroom— materials, diversity, flows of information, narratives—are unable to permeate the walls of the building wherein the classroom is situated. Leander et al. (2010) called upon educators to unsettle the classroom-as-container, to consider the classroom not just as an immobilized place but “as a dynamic place-in-the-making,” “a point along a complex learning trajectory” (p. 381). Education is transitional, and I extend this mobility of the classroom to that of writing, in that the composing process extends far beyond the act of keying words onto a screen inside of the classroom, or library or home or dorm room. Just as energies, materials, and personal experiences flow into and within the classroom, affecting students’ learning experiences, so do they flow into and within students’ composing processes. Because of this flow, writing is not just a physically mobile activity that can be completed on a computer or in a notebook in different locations but is a mentally mobile activity as well, occurring beyond the keyboard. Brice Nordquist (2017) discussed the mobilities of literacy, explaining that “overlaps always exist among multiple material scenes of literacy and historical, imaginary, communicative, and virtual environments, and embodied experiences of these” (p. 94). Composing is not at all classroom-bound or even keyboard-bound but occurs in various environments. Personally, I have done some of my very best writing while driving. Something about the almost catatonic action of gripping the wheel while staring at the road for long stretches of time allows me a different space to create new ideas, make connections, and draw conclusions. Composing, for many writers, may also include hikes or walks, showers, lying down, or even activities that are purposefully hands-on, as Paul Prior and Jody Shipka (2003) described:
Leander et al.(2010)对“课堂即容器”的学习固定化提出了质疑。在“教室就是容器”的模式中，来自教室外部的因素——材料、多样性、信息流、叙述——无法渗透到教室所在建筑的墙壁中。Leander等人(2010)呼吁教育工作者打破课堂作为容器的观念，将课堂不仅仅视为一个固定的场所，而是“一个动态的正在形成的场所”，“复杂学习轨迹上的一个点”(第381页)。教育是过渡的，我把课堂的这种移动性延伸到写作上，因为写作的过程远远超出了在教室、图书馆、家里或宿舍的屏幕上输入关键词的行为。就像能量、材料和个人经历流入课堂并在课堂内影响学生的学习体验一样，它们也流入学生的写作过程并在其内部影响学生的学习体验。由于这种流动，写作不仅是一种身体上的移动活动，可以在不同的地方在电脑或笔记本上完成，而且也是一种精神上的移动活动，发生在键盘之外。Brice Nordquist(2017)讨论了读写能力的移动性，并解释说“读写能力的多种物质场景与历史、想象、交流和虚拟环境以及这些环境的具体体验之间总是存在重叠”(第94页)。写作完全不局限于教室，甚至不局限于键盘，而是发生在各种环境中。就我个人而言，我最好的一些作品都是在开车时完成的。当我长时间盯着路看的时候，紧抓着方向盘，这种近乎紧张的动作让我有了一个不同的空间来创造新的想法，建立联系，并得出结论。对于许多作家来说，作曲可能还包括远足、散步、淋浴、躺下，甚至是有目的地亲自动手的活动，正如保罗·普赖尔和乔迪·希普卡(2003)所描述的那样:
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Pub Date : 1900-01-01DOI: 10.37514/dbh-j.2019.7.1.04
Kevin King
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