Academics Writing recounts how academic writing is changing in the contemporary university, transforming what it means to be an academic and how, as a society, we produce academic knowledge. Writing ...practices are changing as the academic profession itself is reconfigured through new forms of governance and accountability, increasing use of digital resources, and the internationalisation of higher education. Through detailed studies of writing in the daily life of academics in different disciplines and in different institutions, this book explores:
the space and time of academic writing;
tensions between disciplines and institutions around genres of writing;
the diversity of stances adopted towards the tools and technologies of writing, and towards engagement with social media; and
the importance of relationships and collaboration with others, in writing and in ongoing learning in a context of constant change.
Drawing out implications of the work for academics, university management, professional training, and policy, Academics Writing: The Dynamics of Knowledge Creation is key reading for anyone studying or researching writing, academic support, and development within education and applied linguistics.
Off the page Bernardi, Daniel; Hoxter, Julian
2017., 20170912, 2017, 2017-09-12
eBook
Off the Page examines the business and craft of screenwriting in the era of media convergence. Daniel Bernardi and Julian Hoxter use the recent history of screenwriting labor coupled with close ...analysis of scripts in the context of the screenwriting paraindustry—from “how to write a winning script” books to screenwriting software—to explore the state of screenwriting today. They address the conglomerate studios making tentpole movies, expanded television, Indiewood, independent animation, microbudget scripting, the video games industry, and online content creation. Designed for students, producers, and writers who want to understand what studios want and why they want it, this book also examines how scripting is developing in the convergent media, beneath and beyond the Hollywood tentpole. By addressing specific genres across a wide range of media, this essential volume sets the standard for anyone in the expanded screenwriting industry and the scholars that study it.
Since the 1960s, a group of educators and researchers have championed the idea that learning coding and learning to read and write are, in some sense, part of the same skill set, but the grounds for ...asserting that similarity have continually shifted. Some have argued that as texts increasingly integrate digital components, expertise in coding will become a central part of reading in the 21st century. Others seem to use the word literacy simply to mean an important skill, without necessarily asserting a deeper similarity. In this study of novice writers and programmers in a second‐grade classroom, the authors explored a third hypothesis: that there is a fundamental relation between the activities involved in creating a written story and in creating a computer program. The findings of this research suggest that teachers can use a combination of coding and writing to reinforce students’ acquisition of the writing process.
In Section 1 of this article, the author discusses the succession of models of adult writing that he and his colleagues have proposed from 1980 to the present. He notes the most important changes ...that differentiate earlier and later models and discusses reasons for the changes. In Section 2, he describes his recent efforts to model young children’s expository writing. He proposes three models that constitute an elaboration of Bereiter and Scardamalia’s knowledge-telling model. In Section 3, he describes three running computer programs that simulate the action of the models described in Section 2.
Culturally relevant and sustaining pedagogy is an asset‐based approach to teaching and learning. In this way, students’ identities, languages, and cultures are centered in the learning experience, ...creating a sense of belonging. The authors observed culturally relevant and sustaining approaches to teaching and learning while visiting schools in New Zealand as part of a three‐week study abroad program. Specifically, the authors observed how teachers in New Zealand centered Maori and Pasifika cultures into daily instruction and learning. Together as teacher educators, an inservice teacher, and a preservice teacher, the authors examine the importance of culturally relevant and sustaining teaching and share their observations of how students’ cultures are honored through writing and arts integration in the classrooms visited in New Zealand. The authors describe how a fifth‐grade teacher applied lessons learned from her visit to New Zealand in her own classroom context in the United States.
A Cognitive Listening Hayden, Sarah
Angelaki : journal of theoretical humanities,
12/2023, Letnik:
28, Številka:
6
Journal Article
Recenzirano
Odprti dostop
This paper proposes a theory of text on-screen as “unvoiceover.” It addresses both the case for captioning as social good and the affordances (aesthetic, affective) of writing in or over the moving ...image. Advancing an argument informed by perspectives from d/Deaf Studies, Critical Disability Studies and Digital Interface Studies, and applying modes of analysis from literary criticism alongside those proper to the study of moving image and sound, it examines the idiosyncrasies of text-in-motion as non-sonorous, fugitive counterpart to the traditional, troublesome “voiceover.” To develop a poetics of the unsounding voice on-screen, the paper focalizes its argument through multimedia artist Liza Sylvestre’s Captioned series: a body of moving image work that is itself, paradoxically, uncaptioned. Framing Sylvestre’s lyrical “unvoiceover” as a reimagining of the lost roles of film explainers and literary intertitles, I argue that the artist’s takeover of the caption track intervenes critically in contemporary debates about the ethics of audio-visual translation, situated description and access as public ethos rather than private concern. Posing the artist’s personal-and-political writing as suggestive of a lower-case analogue to Deaf Gain, I show how Sylvestre’s “unvoiceover” educates its “receivers” in the purpose and functioning of captions. By reading Sylvestre’s writing on-screen more closely than its fugitive form seems to invite, I show how the unvoiceover encultures its own demands on its readers and elicits its own habits of reading. By scrutinizing how Sylvestre’s series makes the case for captioning, this paper makes the case for a new appraisal of the aesthetic, affective and political affordances of the unvoiceover as writing on the run.
For a significant part of the early modern period, England was the most active site of recipe publication in Europe and the only country in which recipes were explicitly addressed to ...housewives.Recipes for Thoughtanalyzes, for the first time, the full range of English manuscript and printed recipe collections produced over the course of two centuries.
Recipes reveal much more than the history of puddings and pies: they expose the unexpectedly therapeutic, literate, and experimental culture of the English kitchen. Wendy Wall explores ways that recipe writing-like poetry and artisanal culture-wrestled with the physical and metaphysical puzzles at the center of both traditional humanistic and emerging "scientific" cultures. Drawing on the works of Shakespeare, Spenser, Jonson, and others to interpret a reputedly "unlearned" form of literature, she demonstrates that people from across the social spectrum concocted poetic exercises of wit, experimented with unusual and sometimes edible forms of literacy, and tested theories of knowledge as they wrote about healing and baking. Recipe exchange, we discover, invited early modern housewives to contemplate the complex components of being a Renaissance "maker" and thus to reflect on lofty concepts such as figuration, natural philosophy, national identity, status, mortality, memory, epistemology, truth-telling, and matter itself. Kitchen work, recipes tell us, engaged vital creative and intellectual labors.
L’écriture d’A. Ernaux, dont l’œuvre de La Place est choisie comme représentative, montre une nette rémanence de « l’écrire classique ». Si le journal d’écriture de l’autrice marque une forte ...opposition à un récit qualifié de « classique », il n’y a alors pas de rapport établi avec la langue du xviie siècle, et au contraire s’observent bien des points communs avec le « bon usage » de l’époque classique. Surtout, l’écriture d’A. Ernaux présente des marques de sa recherche de lisibilité, d’accessibilité, de partage, lesquels sont à l’origine de la pensée du « bon usage ». Il s’agit dans les deux cas de s’élever contre une verticalité de la langue, mais avec des enjeux propres, car l’écriture ernausienne tend vers le commun. La persistance de « l’écrire classique » s’avère à la fois indirecte et intime.
L’œuvre de S. Amigorena conjugue deux rémanences, celle de l’écriture de la modernité et celle de l’« écrire classique » : quoique pleine de références à la modernité, elle s’inscrit en plein dans le ...régime de la représentation, du fait de la structure autobiographique du texte et du retour de plus en plus « référentiel » d’un passé traumatique dont le symptôme premier aura été le silence (lui-même distribué sur plusieurs générations et régimes esthétiques). Cette conjugaison fait réellement émerger une écriture, car elle ne traite pas le passé (celui de la langue, celui de l’histoire) de façon « rétrospective » (conservatrice), mais « prospective », comme un « devenir minoritaire ».
PDF
