College English

V i c t o r V i l l a n u e va memory. Seattle, 1979. She is a contradiction in stereotypes, not to be pegged. He likes her right off. She wants to go to Belltown, the Denny Regrade, to take photos. He wants to go along. He does, feeling insecure and full of bravado, slipping into the walk of bravado he had perfected as a child in Brooklyn. Stops into a small café at the outskirts of downtown, at the entry to the Regrade. It's a Frenchstyle café, the Boulangerie, or some such. To impress her, he speaks French. "Une tasse de café, s'il vous plaît. Et croissants pour les deux." Don't laugh. It's how he said it. He's an English major, a senior, quite proud of having gotten this far in college. But he's insecure about what this will lead to (since he had only gotten as far as deciding to stay in college till he's finally in over his head). He tells her of a novel he will write someday. His description goes something like: I've been thinking about a novel about a white Puerto Rican kid who buys into the assimilation myth, hook, line, and sinker. He does all the right things-learns the language, learns how to pronounce "r's" in words like "motherrr" and "waterrr" and how not to trill the "r" when he says "three," and he does well in school. He's even a war hero. Does it all, only to realize that assimilation just can't happen. Yet he can't really be Puerto Rican. So maybe he goes to Puerto Rico to find out who he might have been and what he is tied to. I don't have it all worked out.

B ru ce H o r ner is Endowed Chair in Rhetoric and Composition at the University of Louisville in Kentucky. His writings include "English Only and U.S. College Composition," an essay he coauthored with John Trimbur that received the 2002 Richard Braddock Award, and Terms of Work for Composition: A Materialist Critique (2000), recipient of the W. Ross Winterowd Award. He is co-editor, along with Min-Zhan Lu and Paul Kei Matsuda, of Cross-language Relations in Composition, forthcoming from Southern Illinois University Press.

In a century of literary production in which "nothing is sacred, nothing forbidden," the vast array of poetic structures resulting from this apparent license has rendered genre analysis forbidding. Yet despite this variety and the decay of prescriptive norms for poetic production, critics rely too frequently on analyzing modern poems by means of historical genre definitions that define poems written in previous centuries but bear little resemblance to currently produced poems. These outmoded generic distinctions not only fail to provide adequate discriminations for generically defining modern poems but also hamper the very process of interpreting poems that they are meant to enhance. While the problem of genre analysis applies to all areas of modern poetry, I will limit myself here to an analysis of the problem only as it pertains to modern American long poems, and in particular what I perceive as a new type of American long poem, the verse novel, a genre that cannot be described by means of previous historical genre definitions, such as romance, epic, or chronicle. Edward Stankiewicz returns to Aristotle's conception of three literary genres, epic, drama, and lyric, in his efforts to analyze modern poetry generically. He claims that the dividing feature of these genres is their differing narrative orientations: Each of the three literary genres assigns a different role to the narrated event and to the speech event. The drama and the epic (including its modern variant the novel) can be characterized by the presence of two obligatory features: a narrated event (i.e., a story or a plot that evolves in time and moves ineluctably towards a resolution) and a narrator or speech event that advances and comments on the narrative and its protagonists. The difference between the two narrative genres lies in the presentation of the speech event. In the drama it is implemented through the speech and performance of the actors. ... In the epic. .. the narrator and narrative form separate though tightly interlocking realms. .... [T]he lyric does away with the use of a narrative and consequently with the role of a distinctive narrator. ("Linguistics" 171) But we need to look closely at these points in order to understand their potential applicability to modern long poems. In placing drama and epic on one side of the

... to challenge them, students persist in looking at the sit-uation in either-or terms: who is right-the parents or Fatiha and Hocine? ... Despite his objections, therefore, the villagers force Hosna Bint Mahmoud to marry Wad Rayyes; however, she has her revenge: two weeks after her ...

Der alte Mann und das Meer 5 E s war ein alter Mann, der allein in einem kleinen Boot im Golfstrom fischte, und er war jetzt vierundachtzig Tage hintereinander hinausgefahren, ohne einen Fisch zu fangen. In den ersten vierzig Tagen hatte er einen Jungen bei sich gehabt. Aber nach vierzig fischlosen Tagen hatten die Eltern des Jungen ihm gesagt, daß der alte Mann jetzt bestimmt für immer salao sei, was die schlimmste Form von Pechhaben ist, und der Junge war auf ihr Geheiß in einem andern Boot mitgefahren, das in der ersten Woche drei gute Fische gefangen hatte. Es machte den Jungen traurig, wenn er den alten Mann jeden Tag mit seinem leeren Boot zurückkommen sah, und er ging immer hinunter, um ihm entweder die aufgeschossenen Leinen oder den Fischhaken und die Harpune oder das Segel, das um den Mast geschlagen war, hinauftragen zu helfen. Das Segel war mit Mehlsäcken geflickt, und zusammengerollt sah es wie die Fahne der endgültigen Niederlage aus.

The role of teaching materials is crucial to English learning in foreign language settings such as Mainland China. Since the number of textbooks published on the market is huge and the qualities are heterogeneous, it is necessary to know how to select a textbook suitable for students to meet the pedagogical requirements. Motivated by McDonough & Shaw's (2003) twoprocedure evaluation model, this study aims to conduct a retrospective evaluation of two English textbooks that have been widely used among the universities in China-Contemporary College English and A New English Course. The evaluation seeks to measure the actual effects of these textbooks on users through questionnaires and interviews. The results reveal that these textbooks remain problems such as the length of passages and the number of translation exercises.

Bruce Horner is Endowed Chair in Rhetoric and Composition at the University of Louisville. Min-Zhan Lu is professor of English and University Scholar at the same institution. Jacqueline Jones Royster is Ivan Allen Chair and Dean of the Ivan Allen College of Liberal Arts at Georgia Institute of Technology in Atlanta. John Trimbur is professor of writing, literature, and publishing at Emerson College in Boston. rowing numbers of U.S. teachers and scholars of writing recognize that traditional ways of understanding and responding to language differences are inadequate to the facts on the ground. Language use in our classrooms, our communities, the nation, and the world has always been multilingual rather than monolingual. Around the globe, most people speak more than one language. Indeed, they speak more than one variation of these languages. In addition, these languages and variations are constantly changing as they intermingle. The growing majority of English speakers worldwide—inclu...

II here's something about the act of claiming working-class experience that pisses people off. It seems especially to bother other people who wish to claim work-ing-class experience. For the last three years, each time I've attended confer-ence presentations about class ...

... For example, Norman Holland de-scribed George as mirroring experiences in such a way as to place himself between two poles-merger and abstraction. Merg-er has its temptations for George, but also its dangers, and he seeks abstraction as a defense against it. ...

... elements of the sensation novel from the physically foreign locales of the gothic novel and ... Sometimes a paroxysm seizes them, and in an evil hour they betray themselves. ... like Corelli's, illustrates the failure of theoretically driven fem-inisms to recover Victorian women's novels. ...

I he hardest questions can be the simplest ones. For example, what was "theory"? In its heyday-the decade after 1968-theory could mean almost anything, from Deleuze and Guattari's "schizoanalysis" to Habermas's seemingly endless defense of "communicative rationality." No matter what the word might have meant at the time, however, people somehow sensed its importance, and they knew, if they knew absolutely nothing else, that theory had to do with "the text." But now, almost thirty years afterward, people somehow sense that theory is passe, and they know, if they still pay attention at all, that it has been displaced by any number of successors: by New Historicism, for instance, and by cultural studies, and by the eclectic mix referred to as "post-theory." While terms like "cultural studies" and "post-theory" circulate as loosely as "theory" did in its brief golden age, theory's successors all share among themselves at least one identifying feature-a commitment to descending from textuality into the particulars of everyday life. Yet theory today is anything but dead, and it survives through the movements that claim to have left it behind. When Judith Butler in Gender Trouble sets out to rethink the logic of heterosexuality, she calls on Derrida. When Homi Bhabha, in Redrawing the Boundaries, starts to map the new terrain of postcolonial studies, he goes back to Barthes and Bakhtin. Although we tend to see ourselves as working in the era after theory, the truth may be far more complicated-and also far more troubling. We are, perhaps, trapped in theory, and trapped so inextricably that even our most careful efforts to escape keep returning us to the isolation that drove us from theory in the first place. And now, when the future of our profession has begun to look uncomfortably like a rerun of our past, the moment may have come for us to admit that theory itself brought us here. If the world is not a text, then

One's first reaction to this book is to wonder why it was needed. Surely we have enough books now on rhetorical backgrounds, especially in regard to the English Renaissance, which, despite its title, is where almost all of this book's emphasis lies. But one's first reaction is not infrequently wrong, and this turns out to be a pleasing case in point. Brian Vickers has provided what has been missing all along, a just, evenhanded, and comprehensive treatment of this subject. One reason such a book has been so long lacking is that until comparatively recently most criticism has hesitated to acknowledge the importance of rhetoric for the Renaissance, fearful (sometimes justifiably so) of a simplistic application of rhetorical concepts that would reduce Renaissance poetry to a dry-as-dust subject for pedantry from which critics who could not tell antimetabole from epizeuxis would be barred. The most significant treatments of rhetoric have until now lain chiefly either in those writers who discuss the topic while on their way to other pursuitsas does Madeleine Doran in her admirable Endeavors of Artor in tendentious treatments such as that which characterizes Rosemond Tuve's Elizabethan and Metaphysical Imagery. Vickers manages neither to despise rhetoric nor to claim too much for it as an aid to our understanding. He is admirably aware of the twofold dangers in a mechanistic, too-technical approach to the interrelationship of rhetoric and poetry: that of losing sight of the poem and that of losing the interest of a large proportion of his readers. When he does bring his book to its natural climax in the final chapter, with rhetorical analyses of poetry by Sidney, Spenser, Shakespeare, and Herbert, he is gentle to both poem and reader, even to the point of warning us that these "are samples and demonstrations, and suffer from the usual fault of demonstration pieces, that the points have probably been too myopically and laboriously

... Each issue of JOT focuses on a different neighborhood writing group. For example, in one issue, "Mixed Feeling" (No. 3, Oct. ... We also admired the activist publishing done at the Community Literacy Center in Pittsburgh (Peck, Flower, and Higgins). ...

Wherever one goes on those rivers one hears about a French scientist who had made marvelous discoveries among the Indians.... He was probably mythical. But when I heard about him I was told that two "rescue-expeditions" had reached him, had tried to bring him out, and had met with ... obstinate refusal. Earl Parker Hanson, Journey to Manaos (224-25) * hese words might have been taken from an ethnographic classic like The Sexual Life of Savages or Coming of Age in Samoa; the man who wrote them, Earl Parker Hanson, might have passed for an associate of Malinowski or Mead. In the early 1930s, Hanson left the U.S. to live among the "natives" of northwestern Brazil, where he observed, recorded faithfully, and struggled to explain strange events and even stranger customs. But Hanson was not an ethnographer, and his book Journey to Manaos belongs to the genre most ethnographers contemplate with a pronounced uneasiness: the genre of travel writing, which resembles ethnographies closely enough to raise doubts about the differences between fieldwork and passing impressions. And the doubts raised by books like the one that Hanson wrote go a long way toward explaining why one celebrated social scientist, Claude Levi-Strauss, should begin his own travelogue Tristes Tropiques by announcing right up front, "I hate travelling and explorers." "Adventure," Levi-Strauss continues, has no proper role to play "in the anthropologist's profession" (3). Yet his distaste for adventure and adventurers has sources deeper than simple snobbery-sources that will be the subject of this essay. To someone Kurt Spellmeyer is the director of the Faculty of Arts and Sciences Writing Program at Rutgers University-New Brunswick and the author of Common Ground: Dialogue, Understanding, and the Teaching of Composition (Prentice-Hall, 1993). He presented a briefer version of this essay at the 1992 MLA session entitled "Professional Relations: Anthropology and Literary Study."

The role of teaching materials is crucial to English learning in foreign language settings such as Mainland China. Since the number of textbooks published on the market is huge and the qualities are heterogeneous, it is necessary to know how to select a textbook suitable for students to meet the pedagogical requirements. Motivated by McDonough & Shaw's (2003) two-procedure evaluation model, this study aims to conduct a retrospective evaluation of two English textbooks that have been widely used among the universities in China—Contemporary College English and A New English Course. The evaluation seeks to measure the actual effects of these textbooks on users through questionnaires and interviews. The results reveal that these textbooks remain problems such as the length of passages and the number of translation exercises.

Araştırmanın amacı, ortaöğretim öğretmenlerinin duygusal zeka ve örgütsel destek algılarının, girişimcilik davranışlarına etkisini saptamaktır. Araştırma tarama modelinde betimsel bir araştırmadır. Araştırmanın verileri, Kocaeli İli Kartepe ve Başiskele İlçelerindeki ortaöğretim okullarında çalışan öğretmenlerden toplanmıştır. Bu iki ilçede toplam 388 öğretmen görev yapmaktadır. Veriler, "Örgütsel Destek Algısı", "Duygusal Zekâ" ve "Girişimcilik" ölçekleri ile toplanmıştır. Araştırma sonucunda öğretmenlerin duygusal zekâ ve örgütsel destek algısının, girişimcilik davranışlarını olumlu yönde etkilediği bulunmuştur. Ayrıca duygusal zekanın alt boyutlarından sadece başkalarının duygularını tanıma ve duyguları kullanma alt boyutlarının öğretmenlerin girişimcilik davranışını anlamlı bir şekilde açıkladığı bulunmuştur.

Page 1. 48 Limping or Flying? Psychoanalysis, Afrocentrism, and Song of Solomon Ashley Tidey "What we cannot reach flying, we must reach limping .... The Book tells us it is no sin to limp." -from "Die beiden Gulden," in Sigmund Freud, Beyond the Pleasure Principle 78 "... ...

The special issue on "Reimagining the Social Turn" (July 2014) undertakes a welcome survey of history and present trends in the study of social, political, and economic issues in our field. Tony Scott and Nancy Welch's "One Train Can Hide Another" is Marxist ideological critique at its most brilliant, intricately written but nowhere incomprehensible or pretentious. Steve Parks's "Sinners Welcome," like everything he writes, is incisive and inspiring. Jonathan Alexander and Susan Jarratt's "Rhetorical Education and Student Activism" describes an exemplary application of its title in a timely account of Muslim student activism at the University of California-Irvine.With all there is to admire in the issue, I hate to nitpick, but . . . First, in their editors' introduction, Jacqueline Rhodes and Jonathan Alexander bravely proclaim, "The social turn serves as a powerful lens through which to see composition's ongoing grapp...

The impetus for this special issue of College English stems from our sense that the initial assumptions and theoretical bases upon which the "social turn" in composition studies emerged have shifted-again. An influx of new scholars and teachers, new theoretical models, and new reflections on practice has worked steadily to interrogate notions of identity-based politics and ask instead how writing might move beyond the articulation of difference to address questions of social inequity and social justice from more systemic and intersectional standpoints. Informed by work from feminist compositionists (Micciche; Rhodes), an increased critical reflection on service learning (Goldblatt; Parks), and a desire to think more intersectionally about identity (Middleton; Pough; Wallace), we "turn" again to reimagine how writing-and how our understanding of what writing is and does- can intervene in critical conversations about cultural, political, and socioeconomic condition...

She teaches undergraduate courses for preservice teachers, as well as graduate courses in composition theory, memoir, and multigenre writing. In conjunction with local PBS stations, she developed the Write Site and the Ohio Reading Road Trip multimedia programs. Her publications include two Scholastic books about teaching grammar with poetry, chapters in books, and articles in JAC,

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College English learning is undergoing the reform of phase III in China focusing on the transformation of curriculum substantiality from English for General Purpose (EGP) to English for Specific Purpose (ESP) and the application of computer network technology. In view of this mega trend, the Multidimensional and Hybrid English Training (MHET) is accordingly conceived and applied, which integrates policing English into college English learning in three training programs: Multidimensional integration of policing English training into College English class; students' self-learning and tridimensional interaction on VPIE platform and Growing-up English QQ group; and multicultural activities on the campus. This hybrid English training model not only consolidates the students' previous English competence in different aspects, but also enhances their policing English literacy and professional skills. Most important of all, MHET pioneers the promising way for the reinforcement of college English and the extension of professional English by means of positive integration and effective interaction. MHET embodies the concept that EGP is the solid foundation of ESP, and ESP is the elementary requirement of the profession, so both of them have to be valued equally and promoted together so as to realize the ultimate goal of EFL education. Police Officer: Can I see your driver's license, please? Foreigner: Ah, yeah. I think it's in my pocket. No. Maybe my wallet. Uh. Yeah here. Police Officer: Do you know how fast you were driving? Foreigner: No, sorry. It's a rental car. I'm not used to it. Police Officer: Have you been drinking tonight, Mr. Davidson? Foreigner: I had one or two drinks. I'm okay to drive, though. I know my limit. Police Officer: How long have you been in China? Foreigner: A few weeks, why? Police Officer: It seems you are unaware of our zero tolerance for drinking and driving. Foreigner: I'm not drunk. I'll blow into a breath-tester. Police Officer: In China you cannot operate a vehicle after consuming any alcohol. Foreigner: Oh, I didn't know that. Police Officer: You were also going over the speed limit, and get into my car. Mr. Davidson. I'm going to have to ask you to step out of your vehicle and get into my car. Foreigner: This is crazy. But what about my car? Police Officer: We'll have the rental car towed to the agency. When you're in our country you have to respect our rules.

A Relationship between Reading and Writing: The Conversational Model THE CONNECTION BETWEEN WHAT A PERSON READS and what that person then writes seems so obvious as to be truistic. And current research and theory about writing have been content to leave the relationship as a truism, making no serious attempt to define either mechanisms or consequences of the interplay between reading and writing. The lack of attention to this essential bond of literacy results in part from the many disciplinary divorces in language studies over the last half century: Speech has moved out taking Rhetoric with it; Linguistics has staked a claim to all skilled language behavior, but has attended mostly to spoken language; Sociology and Anthropology have offered more satisfactory lodgings for the study of the social context and meaning of literacy; and English has gladly rid itself of basic Reading to concern itself purely with the higher reading of Literary Criticism. Writing in its three incarnations as basic composition, creative writing, and the vestigial advanced exposition, remains an unappreciated houseguest of Literature. All these splits have made it difficult for those of us interested in writing to conceive of writing in terms broad enough to make essential connections: our accommodation has been to focus on the individual writer alone with the blank piece of paper and to ignore the many contexts in which the writing takes place. This essay will review developments in composition in light of this difficulty, propose a remedy in the form of a conversational model for the interplay of reading and writing, and then explore the implications of the model for teaching. One of the older views, with ancient antecedents, held that a neophyte writer was an apprentice to a tradition, a tradition the writer became acquainted with through reading. The beginning student studied rules and practiced set forms derived from the best of previous writing; analysis and imitation of revered texts was the core of more advanced study of writing. The way to good writing was to mold oneself into the contours of prior greatness. Although current composition theory largely rejects this tradition/apprentice model as stultifying, teachers of other academic disciplines Charles Bazerman is an associate professor of English at Baruch College of the City University of New York and serves as co-chair of the CUNY Association of Writing Supervisors. He has published on a number of literary topics as well as composition, and he is currently investigating the character of writing in academic disciplines.