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34 Front Matter.Indd New in Paperback from PENGUIN GROUP USA “A contagious...witty...rib-tickling little book. Eats, Shoots & Leaves makes correct usage so cool that you have to admire Ms. Truss.” —Janet Maslin, The New York Times In Eats, Shoots & Leaves, former editor Truss dares to say, in her delightfully urbane and witty way, that it is time to look at our commas and semi- colons and see them as the wonderful and neces- sary things they are. From the invention of the question mark in the time of Charlemagne to George Orwell shunning the semicolon, this lively history makes a powerful case for the preserva- tion of a system of printing conventions that is much too subtle to be mucked about with. “Witty, smart, passionate.” —Los Angeles Times, Best Books of 2004: Nonfiction “Truss’s scholarship is impressive and never dry.” —Edmund Morris, The New York Times Book Review Gotham 240 pp. 1-592-40203-8 $11.00 Also newly available from Lynne Truss EATS, SHOOTS & LEAVES Why, Commas Really Do Make a Difference! Illustrated by Bonnie Timmons Illuminating the comical confusion the lowly comma can cause, this picture book edition of Eats, Shoots & Leaves uses lively, subversive illustrations to show how mis- placing or leaving out a comma can change the meaning of a sentence completely. Putnam 32 pp. 0-399-24491-3 $15.99 For more information about Lynne Truss go to www.eatsshootsandleaves.com GOTHAM BOOKS is a member of PENGUIN GROUP (USA) Academic Marketing Dept., 375 Hudson St., NY, NY 10014 www.penguin.com/academic compo si tion STUD IES Fall 2006 Volume 34 Number 2 Editors Carrie Leverenz Brad Lucas Book Review Editor Lynée Lewis Gaillet Managing Editor Drew M. Loewe Production Editor Jason King Intern Erica J. Bensik Texas Christian University www.compositionstudies.tcu.edu Member of the Council of Editors of Learned Journals SUBSCRIPTIONS: Composition Studies is published twice each year (May and November). Subscription rates are: Individuals $15 (Domestic) and $20 (Interna- tional); Institutions $30 (Domestic) and $30 (International); Students $12. BACK ISSUES: Some back issues from V13.1 forward are available at $8 per issue. Photocopies of earlier issues are available for $3. BOOK REVIEWS: Assignments are made from a fi le of potential book re- viewers. To have your name added to the fi le, send a current vita to the editors at [email protected]. SUBMISSIONS: All appropriate essay submissions will be blind reviewed by two external readers. Manuscripts should be no more than 3,500-7,500 words and should conform to current MLA guidelines for format and documentation; they should be free of authorʼs names and other identifying references. Three titled, letter-quality copies must be accompanied by a cover letter including the title and author contact information, loose postage suffi cient to mail manuscripts to two reviewers, and a #10 SASE for the return of reviewer comments. Composition Studies does not encourage the submission of previously published manuscripts or conference papers that have not been revised or ex- tended for a critical reading audience. Those wishing to submit Course Designs should fi rst consult our website for specifi c instructions. Letters to the editor and responses to articles are strongly encouraged. www.compositionstudies.tcu.edu Direct all correspondence to: Carrie Leverenz and Brad Lucas, Editors Department of English Texas Christian University TCU Box 297270 Fort Worth, TX 76129 Phone: 817-257-7240 Fax: 817-257-6238 E-mail: [email protected] Composition Studies is grateful for the generous support of the TCU Department of English and the AddRan College of Humanities and Social Sciences. ©Copyright 2006 by Carrie Leverenz and Brad Lucas, Editors ISSN 1534-9322 Printed in Canada compo si tion STUD IES Volume 34, Number 2 Fall 2006 MELISSA IANETTA 11 POLYLOG: ARE WRITING CENTER DIRECTORS LINDA BERGMANN WRITING PROGRAM DIRECTORS? LAUREN FITZGERALD CAROL PETERSON HAVILAND LISA LEBDUSKA MARY WISLOCKI STEPHEN CARMICHAEL 43 THE ADVANTAGES OF USING ELECTRONIC PEG ALDEN PROCESSES FOR COMMENTING ON AND EXCHANGING THE WRITTEN WORK OF STUDENTS WITH LEARNING DISABILITIES AND/OR AD/HD DANIEL ANDERSON 59 INTEGRATING MULTIMODALITY INTO COMPO- ANTHONY ATKINS SITION CURRICULA: SURVEY METHODOLOGY CHERYL BALL AND RESULTS FROM A CCCC RESEARCH KRISTA HOMICZ MILLAR GRANT CYNTHIA SELFE RICHARD SELFE COURSE DESIGNS KATHLEEN RYAN 85 ENEX 495: WOMEN, RHETORIC, AND WRITING BRIAN JACKSON 107 SHOWDOWN IN SUPERIOR! ERIK JUERGENSMEYER A THREE-CLASS COLLABORATIVE DAVID REAMER COURSE DESIGN BOOK REVIEWS BRENDA GLASSCOTT 130 TOWARD A CIVIL DISCOURSE: RHETORIC AND FUNDAMENTALISM, BY SHARON CROWLEY CHARLOTTE HOGG 133 SENTIMENTAL ATTACHMENTS: ESSAYS, CREATIVE NONFICTION, AND OTHER EXPERIMENTS IN COMPOSITION, BY JANET CAREY ELDRED HOLLY MIDDLETON 135 ON A SCALE: A SOCIAL HISTORY OF WRITING ASSESSMENT IN AMERICA, BY NORBERT ELLIOT STEPHANIE KERSHBAUM 137 SEXUALITY AND THE POLITICS OF ETHOS IN THE WRITING CLASSROOM, BY ZAN MEYER GONÇALVES ANUSHIYA SIVANARAYANAN 141 CROSSING BORDERLANDS: COMPOSITION AND POSTCOLONIAL STUDIES, EDITED BY ANDREA LUNSFORD AND LAHOUCINE OUZGANE BETH GODBEE AND KATE VIEIRA 144 WRITING ACROSS BORDERS, DIRECTED BY WAYNE ROBERTSON ELIZABETH TASKER 147 THE ELOQUENCE OF MARY ASTELL, BY CHRISTINE MASON SUTHERLAND TANYA R. COCHRAN 150 NEGOTIATING RELIGIOUS FAITH IN THE COMPOSITION CLASSROOM, BY ELIZABETH VANDER LEI AND BONNIE LENORE KYBURZ 8 Composition Studies coommppo o ssii tiionon SSTTUUDD IIESES Advisory Board Linda Adler-Kassner Paul Heilker EASTERN MICHIGAN UNIVERSITY VIRGINIA POLYTECHNIC INSTITUTE AND STATE UNIVERSITY Tom Amorose SEATTLE PACIFIC UNIVERSITY James Inman UNIVERSITY OF TENNESSEE, CHATTANOOGA Chris Anson NORTH CAROLINA STATE UNIVERSITY Laura Micciche Valerie Balester UNIVERSITY OF CINCINNATI TEXAS A&M UNIVERSITY Peggy OʼNeill Robert Brooke LOYOLA COLLEGE UNIVERSITY OF NEBRASKA, LINCOLN Peter Vandenberg Sidney Dobrin DEPAUL UNIVERSITY UNIVERSITY OF FLORIDA Victor Villanueva Ann George WASHINGTON STATE UNIVERSITY TEXAS CHRISTIAN UNIVERSITY Review Board All essay submissions are reviewed blind by two external readers; those listed below are members of the active reader pool. We thank them for their critical contributions to scholarship in the fi eld. Linda Adler-Kassner Catherine Gabor Dan Meltzer Virginia Allen Lynee Lewis Gaillet Laura Rose Micciche Tom Amorose Xin Gale Susan Miller Chris Anson Alice Gilliam Ruth Mirtz Edward Armstrong Maureen Daly Goggin Clyde Moneyhun Valerie Balester Lorie Goodman Roxanne Mountford Terry Beers Heather Brodie Graves Gerald P. Mulderig Patricia Belanoff Roger Graves Joan A. Mullin Patricia Bizzell Nancy Grimm Marshall Myers Bill Bolin Paul Hanstedt Jasper Neel Darsie Bowden Dana Harrington Gerald Nelms Collin Brooke Jeanette Harris Jon Olson Robert Brooke Carol P. Haviland Peggy OʼNeill Nancy Buffi ngton Cynthia Haynes Derek Owens Beth Burmester Paul Heilker Irvin Peckham Guanjun Cai Carl Herndl Louise Wetherbee Phelps MaryAnn Cain Anne Herrington Donna Qualley Geoffrey Chase TyAnna Herrington Ellen Quandahl Carol Clark Brooke Hessler Thomas Recchio Jennifer Clary-Lemon Charlotte Hogg Rebecca Rickly Lisa Coleman Bruce Horner Kelly Ritter James Comas Winifred Bryan Horner Katherine Ronald Juanita Rodgers Comfort Rebecca Moore Howard Randall Roorda Bill Condon Brian Huot Helen Rothschild Ewald Thomas Deans James Inman Blake Scott Ronda Leathers Dively Rebecca Jackson Ellen Schendel Sidney Dobrin T. R. Johnson Marie Secor Donna Dunbar-Odom Martha Kruse Carol Severino Lisa Ede bonnie kyburz Wendy Sharer Lynnell Edwards Mary Lamb Steve Sherwood Michele Eodice Joe Law Sarah Sloane Elizabeth Ervin Donna LeCourt Donna Strickland Heidi Estrem Neal Lerner Peter Vandenberg Christine Farris John Logie Victor Villanueva Linda Ferreira-Buckley Min-Zhan Lu Kathleen Welch Sheryl Fontaine Andrea Lunsford Nancy Welch Helen Fox Harriet Malinowitz Thomas West Tom Fox Carolyn Matalene Rosemary Winslow Rebecca Taylor Fremo Jennifer Mattix Lynn Worsham Christy Friend Tim Mayers Janet Zepernick Richard Fulkerson Lisa McClure 10 Composition Studies Melissa Ianetta, University of Delaware Linda Bergmann, Purdue University Lauren Fitzgerald, Yeshiva University Carol Peterson Haviland, California State University, San Bernardino Lisa Lebduska, Wheaton College-MA Mary Wislocki, Seton Hall University__________________________________ POLYLOG: ARE WRITING CENTER DIRECTORS WRITING PROGRAM ADMINISTRATORS? A rhetorician, I take it, is like one voice in a dialogue. Put several such voices together, with each voicing its own special assertion, let them act upon one another in co-operative competition, and you get a dialectic that, properly developed, can lead to views transcending the limitations of each. —Kenneth Burke, “Rhetoric—Old and New” INTRODUCTION: IN WHICH WE ASSUME SOME POSITIONS s Composition Studies has grown as a discipline over the last quarter century, the fi eld has wrestled with defi ning and naming disciplinary Aexpertise and professional positions. At fi rst glance, issues of naming may not appear worthy of debate, and so whether an individual writing center direc- tor identifi es as a writing program administrator may seem of little disciplinary import. Yet, as we work at the institutional level on hiring as well as on promotion and tenure committees, and engage in disciplinary debates at the national level, we also implicitly work to determine who “really is” a compositionist, a rhetori- cian, and/or or a writing program administrator. Ambiguity in these defi nitions can lead to elisions
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