I echo some of the thoughts on the previous post on Shipka. I think it deserves further discussion.
I appreciated today’s discussion on Shipka because I had mixed feelings about her argument, although I still have some concerns: exactly what kind of “changes” is she proposing be made to the composition curriculum? I understand that she urges us to think about assigning multimodal assignments instead of more traditional essay tasks. She claims that the same SLOs can still be met by assigning multimodal assignments. It sounds great to me, and I liked some of her own examples of such exercises, but why must the field of composition become obsessed with multimodality? What is wrong with a healthy, diverse curriculum that may include some multimodal and some traditional assignments, depending on who is teaching it? While Shipka is definitely an accomplished writer, and she expertly positions her part of the conversation among so many other voices, I’m not sure I get the urgency of her argument. I think what she has to say has considerable value; I just don’t see if the “reform” or “revolution” she’s calling for be beneficial, if even possible. I mean this earnestly, please, somebody tell me what it is that I’m missing. Maybe I don’t get it because I only read one chapter (plus the intro and the conclusion).
Here’s an example of what I mean from Chapter Five. These are the SOGC Questions she proposes:
- What, specifically, is this piece trying to accomplish— above and beyond satisfying the basic requirements outlined in the task description? In other words, what work does, or might, this piece do? For whom? In what contexts?
- What specific rhetorical, material, methodological, and technological choices did you make in service of accomplishing the goal( s) articulated above? Catalog, as well, choices that you might not have consciously made, those that were made for you when you opted to work with certain genres, materials, and technologies.
- Why did you end up pursuing this plan as opposed to the others you came up with? How did the various choices listed above allow you to accomplish things that other sets or combinations of choices would not have?
Shipka, Jody (2011-04-30). Toward a Composition Made Whole (Pitt Comp Literacy Culture) (Kindle Locations 2059-2066). University of Pittsburgh Press.
These sound really good to me.
Now, these are the questions that she’s compiled from more “expressivist” scholars about self-reflection:
- What did you try to improve, or experiment with, on this paper? How successful were you? What are the strengths of your paper? Place a squiggly line beside those passages you feel are very good. What are the weaknesses, if any, of your paper? Place an X beside passages you would like your teacher to correct or revise. What one thing will you do to improve your next piece of writing? What grade would you give yourself on this composition? Justify it (Beaven 1977).
- Have you written a paper like this one before? Have your ideas about the topic changed since you started writing the paper? How? Have you made changes in your paper during or after writing a draft of it? What are the three most important changes you have made? In the process of writing this paper, did you do anything that was different from what you have done when writing papers in the past? What was it? (Faigley et al. 1985).
- What do you see as your main point( s)? How did this process differ from your usual writing? Did you write things that surprised you, things that you did not know you were thinking and feeling? Which parts went well or badly for you? (Elbow 1999).
- • Where were you challenged? What did you risk in writing the text in this way? What did you learn about yourself as a writer and/ or writing in general while drafting this piece? If you had three more weeks, what would you work on? Estimate your success with this text (Bishop 1997).
- You’ve given this text to a friend and he or she gives you four ideas for making it stronger and/ or more accessible to a general audience. What would those four things be, and how would you feel about doing them? How would each change improve your paper or ruin what you have been attempting? (Bishop 1997).
Shipka, Jody (2011-04-30). Toward a Composition Made Whole (Pitt Comp Literacy Culture) (Kindle Locations 2118-2133). University of Pittsburgh Press.
These sound really good to me too!
I do understand that her SOGCs are more analytical in nature and the other ones are more process oriented. But I don’t see why we can’t just use them all, depending on the needs of the assignment, the philosophy and personality of the teacher and the relationship that teacher has with her students?
I do appreciate all the care she takes in explaining the importance of multimodality, new media, etc. Yes, this is something that the field of Composition must include in its curriculum. But why is it important that we only teach toward multimodality? Why can’t some of us sometimes still teach using some “more traditional” kinds of assignments? As far as I am concerned, we should teach it all, but not all the time. The personality and individuality of a teacher are key qualities that students latch onto – this is how students connect with their favorite teachers. Maybe I am ignorant, but it seems that teaching a multimodal-only class would be a forced and foreign proposition for me, and I fear that my personality and individuality would be sacrificed in service of a compulsory multimodal composition world. I like to use a little bit of this and a little bit of that. I like a little Elbow to balance out my Bartholomae. I feel the need to rein in my Donald Murray with a loose lasso of Stanley Fish. And, certainly, Shipka is invited too.