Archive for the 'CUNY' Category

The Baruch College Teaching Blog

I’d like to call your attention to a new blog we’re supporting here at Baruch College: The Baruch College Teaching Blog.

Several faculty have agreed to post to the blog regularly, and to lead an ongoing conversation about teaching at Baruch College.  Surprisingly, there are very few blogs like this, which provide the opportunity for members of a college community to discuss pedagogy outside of their disciplines.  This is a unique and exciting development for the college and for CUNY, and I look forward to much interchange between the folks who post to and follow that blog and Cacophonites.

Billy Collins’ Animated Poetry

Via Open Culture, a YouTube channel showcasing short animated films of US Poet Laureate and CUNY Faculty Member Billy Collins‘ poems. Gotta love YouTube. Here’s a taste:

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CLASP Colloquium

The CUNY League of Active Speech Professors (CLASP) is an association of the speech professors at CUNY. Every year CLASP organizes a colloquium to discuss and investigate all levels of teaching and initiating speech and oral communication across the curriculum at CUNY. This year’s theme was Teaching and Learning, and Community.

A tradition at the CLASP gatherings is intensive discussion on the most innovative and creative ways to teach and influence different disciplines with Speech theory and practice. There were two panels that dealt with the creative use of technology in the classroom where faculty from Communication Studies, History, Theater and English presented their different ways of using technologies in the classroom.

Professor Thomas Regan took a camera on class field trips for his intercultural communication course. He had the students take pictures or film themselves, the theaters and neighborhoods they were visiting and whatever else interested them. He then put the pictures or films on blackboard and the students would then use that visual input and memory as a starting point for their research papers on New York experimental theater and intercultural theory.

field trip

Urban Studies professor Hugo Fernandez and English professor Ellen Quish demonstrated how they had the students make urban folktales using all kinds of free software such as Audacity, and I-movie or Moviemaker, both embedded in any PC or Mac computer. Many of the LAGCC faculty is working with digital story telling and experimenting with final projects being team written, edited and fully produced digital stories.

Digital Storytelling

Or, once again, the projects were used as a process to get the students to do more advanced research and writing and were not counted as the final project but a step on the way to a term paper. The work and the projects were all very creative and done with extremely low-tech materials and seemingly very easy to use technology, almost everything the faculty used was free or very low budget. The highest cost cited was $25 for a web cam. There was a constant free exchange of websites where free software, free images, music and even short films are available. And for the technologically challenged a professor presented G-cast, a free service, where you call into a toll free number which records your speech and then emails it to you as an MP3 file! Apparently you can even sign up your class to this free service.

Story Resources

What struck me the most was the use of this technology as a process to get the students into deeper work and research. And how at the end of a semester there is visual knowledge as well as written knowledge from each student. How many members of the faculty just jumped into this technology also impressed me and though they all said they were not tech-savvy they all produced relatively sophisticated and interesting student work. The pedagogy and the outcomes were clear and well substantiated from each panel member but I really walked away with a sense of how much fun they were all having.

Charles Simic at Baruch

When people ask me what I do, I often tell them that I work at a business school. Some of the more literary inclined people aren’t interested in my going into further detail, at least not until I tell them at every student at this business school is required to take a Great Works of Literature course. Baruch’s mission to instill ideas and culture and values into their students through literature is what, I think, makes Baruch unique among business schools. What is even more amazing is that this semester, Charles Simic is Baruch’s Harman Writer-in-Residence. I first read Simic’s poems when I was a junior in college. I loved his poems, his essays, his interviews. Later, when I went on to teach writing, I taught Simic. I still do. I am always in utter awe of him and his thinking about language, how it takes on another life that has something to do with this one. Writers-in-residence are usually found in MFA Creative Writing Programs or liberal arts undergraduate institutions. To have a Pulitzer prize winning poet who is also the Poet Laureate of the United States in residence at a CUNY business school is sure to baffle and confound. I can only think that such an occurrence must mean the planets and the stars and their positions right now are responsible, but I’m sure it must have something to do with someone at Baruch who believes that literature is what can change or shape the world and our ideas about our place in it.

The Schwartz Institute wins the 2008 TIAA-CREF Hesburgh Award

Boy, are we proud around Baruch these days. The Bernard L. Schwartz Communication Institute has been awarded TIAA-CREF Institute’s prestigious Theodore M. Hesburgh Award which recognizes outstanding faculty development programs focussed on improving undergraduate teaching and learning. Here’s TIAA-CREF’s boilerplate on the award, which comes with $20,000 for Baruch College:

The annual TIAA-CREF Hesburgh Award recognizes exceptional faculty development programs designed to enhance undergraduate teaching and learning. Named in honor of Theodore M. Hesburgh, C.S.C., president emeritus of the University of Notre Dame and former member of the TIAA and CREF Boards of Overseers, this award seeks to strengthen the teaching tradition at America’s undergraduate colleges and universities by acknowledging that an energized faculty is key to educational excellence.

What a great honor for all of us here at the Institute! Take a look at Baruch’s press release on the award. And here is a post by David on some of the supporting material we submitted as part of our application. Great work, Fellows. Next stop: the Nobel.

WAC/WID Terminology, Parts II & III

As promised, here’s the rest of that useful WAC/WID glossary from the CUNY WAC/WID Handbook. Again, please feel free to comment on any of these definitions.

High-Stakes Writing
High-stakes writing assignments are expected to be completed according to formal academic and disciplinary conventions and usually count for a significant part of a student’s grade; examples include essay exams, research papers, lab reports, and critical response papers. This term is generally paired with the term “low-stakes writing” (see below), and distinguished from informal writing that is often exploratory and non-graded. In Britton’s framework, the function of high-stakes writing would be “transactional,” that is, to get the business of college done.

Journal
Generally informal, journals can be a productive place for students to record their thoughts, experiences, questions, and informal writings throughout college, in all disciplines, as well as in their daily lives. A variation on the journal is a “double-entry journal.” Students write in two columns: the first column contains quotations from a reading; the second column contains their reactions or responses to those quotations. Many variations are possible. Students might be asked, for example, to use paraphrases or summaries in the first column instead of quotations. Triple-entry journals, in which the third column might be used for peer responses, research questions, etc., are also commonly used.

Language
To talk about writing is to talk about the uses and functions of language, as well as to talk about politics, history, and culture. All converge at CUNY, which is an extraordinary crossroads of languages: our students speak (and may write in) 131 first languages other than English.

Literacy

The term literacy refers to the ability to use language—to read, write, listen and speak. In recent years, educators and administrators have added “numeracy,” “multimedia literacy,” “information literacy,” and “quantitative literacy” to the literacies expected of college students. Of course, what it means to “use language” successfully is a cultural and political question.

Low-Stakes Writing
Low-stakes writing activities provide students with an opportunity to experiment with ideas, form, and style without the pressure associated with correctness. The term “low-stakes” represents the level of expectation that a student and instructor bring to a particular assignment, meaning that low-stakes writing should count very little (if at all) toward the student’s final grade, while high-stakes writing is presumably graded. Examples of low-stakes writing include: journals, reflective responses, and freewriting. Some argue that the more frequently students engage in low-stakes writing, the more confidence and expertise they will apply to formal, high-stakes assignments. In Britton’s framework, low-stakes writing would be “expressive.”

Minimal Marking
The principle behind minimal marking is that correcting each technical mistake is not the most useful way to respond to students’ work; minimal marking encourages a focus on the larger ideas the student is trying to communicate, and emphasizes responding to those. Faculty may choose to point out one or two recurring technical errors, but should focus their responses on the work as a whole. Many faculty are concerned that they spend a great deal of time marking and correcting grammatical and other technical errors, and proponents of minimal marking argue that this practice reduces the amount of time spent correcting, and therefore allows for a greater number of writing assignments. Moreover, some research has shown that students can be overwhelmed by too many comments, and have difficulty prioritizing and addressing them in effective ways.

Paper
Common college short-hand for a formal, graded assignment of a specific length. “Paper” covers a lot of ground, from “essay” to “report,” and is also often modified by adjectives like “research,” or “compare/contrast.” Some argue that WAC/WID provides a space for educators to reflect on the many assumptions that cohere around vague terms such as “paper” or “write” or “composition.”

Peer Review
Practice of having students read and provide comments and suggestions for each other’s writing. This is generally done in class in pairs or small groups. Also referred to as peer editing, peer review is often guided through the use of handouts or worksheets that assist students in reading others’ writing through various critical lenses.

Rhetoric
Rhetoric is the art of speaking or writing effectively, using the principles and rules of composition drawn from classical traditions, typically tied to the art of persuasion. Classical rhetoricians were interested in dividing rhetoric into its component parts. For example, Roman rhetorician Cicero identified five rhetorical components: inventio, dispositio, elocutio, memoria, and pronunciato. Early scholars and teachers of composition tended to discuss and teach rhetorical modes: persuasion, description, argument, compare-contrast, etc. More recently, WAC practitioners have focused on the rhetorical nature of all language, emphasizing the rhetorical dimensions and methods of the various disciplines. (For a set of definitions of rhetoric offered by rhetoricians both ancient and contemporary, visit this site.) All these approaches share the fundamental belief that a speaker or writer will use any given language more effectively if s/he is consciously aware of its rhetorical dimensions.

Scaffolding
Scaffolding is a term drawn, primarily, from the work of Russian cognitive psychologist Lev Vygotsky, to represent the centrality of social interaction in the development of cognition. The term has come to be used within education to refer to the ways in which complex projects can be broken down into manageable pieces, with the instructor/expert guiding the students/novices through the entire process, and encouraging students to move to higher levels of expertise. Faculty can monitor how students are developing their ideas throughout, and provide assistance if students encounter obstacles.

SWE (Standard Written English)

There exist many language communities within the larger rubric of the English language. SWE refers to that form of written English that is agreed upon by most publishers, colleges, and standardized tests to be the most “correct” and thus most understandable by all speakers and users of English regardless of differences in dialect or usage. This variant is sometimes called “Standard American English” (SAE), as well. The debate about how to teach what students need to know to gain fluency in Standard Written English (see below) is an important, current cultural, political, and historical debate throughout the English-speaking world.

WAC/WID Terminology (Part I)

Here’s more from the CUNY WAC/WID handbook. Useful stuff I hope. Please feel free to comment on any of these definitions. Parts II and III are forthcoming.

Common WAC/WID Terminology (Part I)

Audience
This term is used to define those for whom a piece of writing is intended. The identity of the audience shapes the writing, as writers adapt their tone and content to the situation. It is especially important to keep in mind the difference in audiences implied by discipline (the audience for a lab report, for example, is different than that for a performance review).

Essay
In the classical sense, an essay is a text in which the first-person singular comments upon—questioning, debating, arguing about—a subject. Although “essay” is often used interchangeably with “paper,” the term properly refers to a type of writing that blended the personal with the academic. As a verb, “essay” means an initial, and sometimes tentative, attempt—a “try.”

Expressive, Transactional, Poetic Uses of Language
Britton and his team developed a framework for classifying school writing, based on sociolinguistic theories of the functions of language (drawn primarily from the work of linguist Roman Jacobson). They were concerned that most school writing was written to the “teacher-as-examiner” and that students were not encouraged to try out the whole linguistic keyboard. The three categories of language function, according to Britton in Development of Writing Abilities, are:

    1) expressive—writing that is “close to the self,” representing the “ebb and flow” of a writer’s thoughts and feelings.
    2) transactional—“language to ‘get things done’ or participate in the world’s affairs . . . to inform, persuade, or instruct.”
    3) poetic—“writing as a verbal construct, a patterned verbalization [poem, story, song, etc.] of the writer’s feelings and ideas.”

Error
Error is closely connected to the study of grammar, basic writing, and ESL. Error analysis is a technique for identifying possible underlying causes of mistakes in sentence structure, verb form, etc. The identification of recurring “patterns of error” in a writer’s text is a widely used pedagogical tool to reduce a seemingly large number of errors to a handful of teachable categories of error (subject-verb agreement, possessives, etc.).

Freewriting

Freewriting is an informal writing activity in which students write “freely” without concern for grammar, punctuation, and other constraints. Freewriting is often considered a staple in composition pedagogy: typically, students are directed to write in class without stopping for a set period of time (usually just a few minutes). An instructor may specify a topic or leave it entirely up to the students. What is done with the writing varies widely: the texts may be read out in class to prompt discussion, or used as a source of ideas for another writing assignment, or not used directly by the instructor at all.

Grammar, Usage, and Mechanics
Grammar is the study of how words and their component parts combine to form sentences; the system of rules inherent in any language (from the American Heritage Dictionary, 3rd Ed). Grammar is structure, form, syntax; by the time children are four or five, they’ve “got” the structure of the language they hear all around them. Grammar needs to be distinguished from usage and mechanics. Usage refers to the way in which language is conventionally applied within the culture and reflects an awareness of one’s audience. Voice and word choice, for instance, will depend upon the formality/ informality of the writing situation and may derive from disciplinary standards as prescribed by particular style guides as MLA, APA, or the Chicago Manual of Style. Mechanics include the technical aspects of writing, such as spelling, capitalization, and punctuation.

From the CUNY WAC/WID Handbook

Here’s something useful and informative from the brand new CUNY Writing Across the Curriculum/Writing in the Disciplines Handbook:

Summary of Key WAC/WID Concepts

The original groundbreaking idea for writing across the curriculum came out of England in the late 1960s, and was focused on the relationships between writing and learning in the schools. In 1975 James Britton and his colleagues published a report of their foundational research in The Development of Writing Abilities (11-18). In the United States a number of composition scholars, building in part on their British predecessors, provided an institutional shape to writing across the curriculum initiatives.

What follows is a quick overview of issues and debates that mark the development of this movement.

WAC, WID, WIP:

Some academics and administrators use the following terms and acronyms interchangeably: Writing Across the Curriculum (WAC), Writing in the Disciplines (WID), and Writing in the Professions (WIP). For others, the terms are pedagogically, historically, and politically loaded.

Broadly speaking, the central premise behind WAC is that students need to write, informally and formally, in all of their courses (not just in English and composition classes), in order to develop expertise as academic writers. WAC is often considered a pedagogical movement, working to change modes of learning and teaching, particularly the reliance on multiple choice and short answer modes of assessment. Participants argue that WAC not only makes students stronger writers, but also provides more opportunities for students to integrate their learning across the disciplines. They also claim that there are writing experiences and exercises that cut across the disciplines.

Proponents of WID, on the other hand, have argued that the WAC programs that developed in the United States should be more focused on writing within disciplinary frameworks rather than writing as a “process” that is often decontextualized, too focused on expressive writing, and overly personal. WID, therefore, privileges disciplinary contexts and representational forms and styles, recognizing the particular modes and conventions within specific academic discourses. As an extension of WID, Writing in the Professions (WIP) focuses on writing within specific professions, rather than disciplinary bodies of knowledge.

WAC/WID at CUNY encourages the colleges to develop programs that situate writing across and within all academic departments and programs, spanning the disciplines and professions.

I’ll be posting a few choice items from the handbook in the next few days. Next up: Part 1 of the WAC/WID Glossary. Many thanks to CUNY’s 2007-2008 WAC/WID Planning Committee for putting the handbook together. Very useful stuff for us WAC/WID types.