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The Semiotics, Practical Application, and Assessment of the Modalities THE SEMIOTICS, PRACTICAL APPLICATION, AND ASSESSMENT OF THE MODALITIES Kent Alan Lenz A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY August 2014 Committee: Kristine Blair, Committee Chair Becca Cragin Graduate Faculty Representative Lee Nickoson Gary Heba © 2014 Kent Alan Lenz All Rights Reserved iii ABSTRACT Kristine Blair, Advisor This dissertation examines the influence digital composing spaces, e.g. networked technology, have on composition instruction, student composing practices, and assessment of student work. Recent conversations – Pamela Takayoshi and Brian Huot (2003), Cynthia Selfe (2007), Joddy Murray (2009), and The National Writing Project (2010) – recognize that the presence of technology has given rise to multimodality in composition curricula. Thus, this project first questions what can be considered multimodality by examining where print and digital composing spaces have differences and similarities. Second, whether the multimodal composition process occurs in print or digital composing spaces, the process of multimodality (either instruction or production) relies on Semiotics as a basis for visual interpretation and theory. To showcase this theory in practical application, this project analyzes advertisements for technology to map society’s history with various technological landmarks. Next, this project then considers how multimodality can be used in composition curriculum by exemplifying an Intermediate Writing. However, the presence of multimodality in the classroom raises the question of assessment. As a result, this project utilizes Semiotics in conjunction with theories of discourse as a foundation for assessing multimodal composition projects. Finally, this dissertation provides discussion that speculates on the future direction of composition. This speculation recognizes that the influence multimodality has is not just noticeable in popular composition textbooks. The influence reaches us as members of contemporary society. iv To my family: Sarah, Eric, Karen, Brian, and Julia. v ACKNOWLEDGMENTS This project could not have happened without the help and support of so many people along the way: my family from afar and my colleagues at Bowling Green State University. I am especially indebted to my committee, which I casually referred to as the Dissertation Dream Team. First, Dr. Kristine Blair’s leadership, insights, and support as chair kept this project vibrant and engaging. Many seeds of this project were planted in her Computer Mediated Writing course, and without her expertise, this project would not have come together. Next, Dr. Gary Heba also helped with the origins of this project with his Visual Rhetoric course. In this course, Dr. Heba challenged me to view rhetoric in ways I did not know were possible. This project is the result of those challenges. Finally, Dr. Lee Nickoson also helped with establishing the origins of this project with her Writing Assessment course. This course changed the way I view grading student work, but more importantly, it also provided the strong foundation for the fourth chapter. To my entire committee, I thank you all for the support, effort, and insights. Outside of the committee, I would also like to recognize Dr. Rick Gebhardt, who gave me the opportunity to teach the Intermediate Writing course that became a backbone of this project. The extension of the teaching opportunity cannot be overlooked. Also, Dr. Sue Carter Wood’s expertise in Historical Rhetoric helped me make connections in the writing that could not have been possible. In a similar vein, I would like to extend my gratitude to Dr. Lance Massey. He helped me see the theory behind practice and the theory behind writing. Finally, to my fellow graduate students, your support in class, in the hallways, in our offices, or off campus, kept me plugging away. I would like to thank vi Scott Obernesser especially. His late night availability helped me decompress after difficult writing sessions. Outside of BGSU, I have many, many people to thank for their unwavering support over the years. First and foremost, my family helped me get to where I am, and I cannot thank them enough. My brother, Eric, helped me find motivation. My parents, Brian and Karen, rooted for me every step of the way. My wife, Sarah, for the editing, the understanding, and the patience. I cannot thank you all enough for helping me along my educational journey. Along the way toward completing this project, I have had the unwavering support of many friends. DA Stutsman was the voice of reason during many phone conversations while I paced around outside East Hall. Aaron Stueve and Chris Smith were the support that helped me begin this journey. Finally, I need to give recognition Julia Isabelle Weill. This is a part of who I am. vii TABLE OF CONTENTS Page CHAPTER I: BUILDING A DEFINITION OF MULTIMODAL COMPOSITION .......... 1 Defining Multimodal Composition: Scholarly Conversations .................................. 5 Boundaries and Production ....................................................................................... 7 Boundaries: Accessibility ............................................................................. 9 Boundaries: Mobility ..................................................................................... 13 Production: Digital Distribution .................................................................... 16 Production: Print Media Distribution............................................................. 18 The Semiotics of ........................................................................................................ 20 The Practical Application of ...................................................................................... 22 The Assessment of ..................................................................................................... 25 Concluding Thoughts ................................................................................................. 29 Chapter Abstracts ....................................................................................................... 29 CHAPTER II: THE SEMIOTICS OF MULTIMODAL COMPOSITION .......................... 33 Semiotics of Culturally Based Communication ......................................................... 34 Ubiquitous Technology .............................................................................................. 41 Advertising Goes Viral .............................................................................................. 56 Concluding Thoughts ................................................................................................. 63 CHAPTER III: THE PRACTICAL APPLICATION OF THE MODALITIES ................... 67 The Modalities of First Year Composition ................................................................ 69 The Bridge of Advanced Composition ...................................................................... 75 Genre and Activity Theories: The Foundation of the Bridge .................................... 78 viii Cultural Studies .......................................................................................................... 85 Expressivist Pedagogy ............................................................................................... 87 Writing Without Chalkboards: Theories in Action .................................................... 90 Unit 1: Analyzing Various Digital Rhetorical Spaces ............................................... 92 Unit 2: Introduce Yourself ......................................................................................... 93 Unit 3: Analyze an Advertisement ............................................................................. 94 Unit 4: Multimodal Composition ............................................................................... 95 Student Examples from the Course............................................................................ 95 Excerpt #1 ...................................................................................................... 97 Excerpt #2 ...................................................................................................... 98 Excerpt #3 ...................................................................................................... 100 Excerpt #4 ...................................................................................................... 101 Excerpt #5 ...................................................................................................... 103 Excerpt #6 ...................................................................................................... 104 Concluding Thoughts ................................................................................................. 106 CHAPTER IV: THE ASSESSMENT OF THE MODALITIES .......................................... 111 The Truth Behind Grades........................................................................................... 116 Monkey Wrench: The Multimodal Influence ............................................................ 125 Student Examples: Assessment in Motion ................................................................. 132 Concluding The Assessment Process......................................................................... 150 CHAPTER V: LOOKING FORWARD ............................................................................... 153
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