The writing major is among the most exciting scenes in the evolving American university. Writing Majors is a collection of firsthand descriptions of the origins, growth, and transformations of eighteen different programs. The chapters provide useful administrative insight, benchmark information, and even inspiration for new curricular configurations from a range of institutions.
A practical sourcebook for those who are building, revising, or administering their own writing majors, this volume also serves as a historical archive of a particular instance of growth and transformation in American higher education. Revealing bureaucratic, practical, and institutional matters as well as academic ideals and ideologies, each profile includes sections providing a detailed program review and rationale, an implementation narrative, and reflection and prospection about the program. Documenting eighteen stories of writing major programs in various stages of formation, preservation, and reform and exposing the contingencies of their local and material constitution, Writing Majors speaks as much to the "how to" of building writing major programs as to the larger "what," "why," and "how" of institutional growth and change.Die Inhaltsangabe kann sich auf eine andere Ausgabe dieses Titels beziehen.
Greg Giberson is associate professor in the Department of Writing and Rhetoric at Oakland University. Jim Nugent is associate professor in the Department of Writing and Rhetoric at Oakland University. Lori Ostergaard is associate professor and director of first-year writing in the Department of Writing and Rhetoric at Oakland University.
Foreword SANDRA JAMIESON,
Introduction JIM NUGENT,
Part I: Writing Departments,
1 DePaul University's Major in Writing, Rhetoric, and Discourse DARSIE BOWDEN,
2 Reshaping the BA in Professional and Technical Writing at the University of Arkansas at Little Rock BARBARA L'EPLATTENIER AND GEORGE H. JENSEN,
3 The University of Rhode Island's Major in Writing and Rhetoric LIBBY MILES, KIM HENSLEY OWENS, AND MICHAEL PENNELL,
4 Reforming and Transforming Writing in the Liberal Arts Context: The Writing Department at Loyola University Maryland PEGGY O'NEILL AND BARBARA MALLONEE,
5 Fifteen Years Strong: The Department of Writing at the University of Central Arkansas CAREY E. SMITHERMAN, LISA MONGNO, AND SCOTT PAYNE,
6 Oakland University's Major in Writing and Rhetoric LORI OSTERGAARD, GREG GIBERSON, AND JIM NUGENT,
7 Embracing the Humanities: Expanding a Technical Communication Program at the University of Wisconsin–Stout MATTHEW LIVESEY AND JULIE WATTS,
8 Building a Writing Major at Metropolitan State University: Shaping a Program to Meet Students Where They Are LAURA MCCARTAN AND VICTORIA SADLER,
9 Writers among Engineers and Scientists: New Mexico Tech's Bachelor of Science in Technical Communication JULIE DYKE FORD, JULIANNE NEWMARK, AND ROSÁRIO DURÃO,
10 Writing as an Art and Profession at York College MICHAEL J. ZERBE AND DOMINIC F. DELLICARPINI,
Part II: English Departments,
11 They Could Be Our Students: The Writing Major at Texas Christian University CARRIE LEVERENZ, BRAD LUCAS, ANN GEORGE, CHARLOTTE HOGG, AND JODDY MURRAY,
12 Two Strikes Against: The Development of a Writing Major at West Virginia State University, an Appalachian, Historically Black College JESSICA BARNES-PIETRUSZYNSKI AND JEFFREY PIETRUSZYNSKI,
13 "What? We're a Writing Major?": The Rhetoric and Writing Emphasis at the University of Wisconsin–La Crosse MARIE MOELLER, DARCI THOUNE, AND BRYAN KOPP,
14 A Matter of Design: Context and Available Resources in the Development of a New English Major at Florida State University MATT DAVIS, KRISTIE S. FLECKENSTEIN, AND KATHLEEN BLAKE YANCEY,
15 Renegotiating the Tensions between the Theoretical and the Practical: The BA in Professional Writing at Penn State Berks LAURIE GROBMAN AND CHRISTIAN WEISSER,
16 From "Emphasis" to Fourth-Largest Major: Learning from the Past, Present, and Future of the Writing Major at St. Edward's University JOHN PERRON, MARY RIST, AND DREW M. LOEWE,
17 Columbia College's English Major: Writing for Print and Digital Media CLAUDIA SMITH BRINSON AND NANCY LEWIS TUTEN,
18 Seeking Growth through Independence: A Professional Writing and Rhetoric Program in Transition at Elon University JESSIE L. MOORE, TIM PEEPLES, REBECCA POPE-RUARK, AND PAULA ROSINSKI,
Afterword GREG GIBERSON,
Appendix: Table of Institutional Data,
Contributors,
Index,
DePaul University's Major in Writing, Rhetoric, and Discourse
DARSIE BOWDEN
Introduction
The Department of Writing, Rhetoric, and Discourse (WRD) separated from DePaul's English department on July 1, 2007. WRD assumed immediate oversight of the first-year writing program and the minor in professional writing, which, at the time, had twenty-six declared students. In the course of the next year, we established a master's in WRD, annexed an existing master's in new media studies (an interdisciplinary degree already directed by a WRD faculty member and staffed primarily by WRD faculty), and created a TESOL (Teachers of English to Speakers of Other Languages) certificate program. Finally, in March of 2010, we submitted a proposal for a BA in WRD, which was approved in the summer of 2010.
Department Name: Writing, Rhetoric, and Discourse
Institution Type: Private, Catholic, Doctoral/Research University (DRU)
Institution Size: 25,000 students
Residential or 87% commuter
Commuter:
Student Body Diverse student body; high percentage
Description: first in their family to go to college;
high school GPA average 3.55; 33%
come from out of state
Year Major Began: 2010
Official Name of Bachelor of Arts in Writing, Rhetoric,
Degree: and Discourse
Number of Majors: In year one: 8 In In year three: 40
year five: N/A Current: 40
Number of Full-Time 13
R/C Faculty:
The journey to a free-standing department with its own major was predictably tumultuous. Change is difficult in the conservative culture of education, and DePaul — the largest Catholic university in the US, with an enrollment of 25,398, including 7,983 graduate students (mostly master's students) — is not immune to the power of the status quo. The scarcity of resources due to the economic downturn of the past three years has served to exacerbate tensions and competitiveness between departments and programs. In addition to struggles for resources, some of the drama in our separation stemmed from local conditions, including existing institutional structures, areas of expertise, alliances, and personalities. The split also put into stark relief assumptions about writing — how it is defined, how it is perceived, and who owns it in terms of disciplinary jurisdiction.
Overview and Program Rationale
In the negotiations surrounding the physical and curricular separation from English, one of the most heated conversations concerned the naming of the new department. English department representatives, a majority of whom were creative writing faculty (poetry, fiction, and "creative nonfiction"), were insistent that the new unit NOT include writing in its name, unless it was "writing studies." While at first only a problem as we worked to divvy up the courses from an existing (and successful) master's degree in writing (both units wanted to retain "writing"), the naming issue would later fuel debates about the undergraduate major as well. The creative writers who identified strongly with literature — both professionally and personally — not only wanted to remain with English, but also wanted to retain primary status as the "writers" of the DePaul community. As such, they also felt they should be entitled to keep first-year writing in the English department. Thus, the question of who could control writing became both disciplinary and symbolic — should it be English with its long, illustrious history and investment in literature and "creative" writing or the new department, nested in the field of composition and rhetoric, with its even longer history and intellectual and practical investments in language and rhetoric? There is no convenient (or perfect) answer.
To add to the jurisdictional confusion, the university writing center, which had been supervised and managed by English department faculty since the mid 1970s, had become a unit of Academic Affairs in the previous year. Shortly afterward, Academic Affairs hired a staff director rather a faculty director, who, as it happened, had a graduate degree in literature, exacerbating jurisdictional issues and distancing writing even further...
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