Making Administrative Work Visible brings together voices from graduate students, associated faculty, administrative staff, and tenured and tenure-track faculty at community colleges, regional state universities, liberal arts colleges, private colleges, and research-intensive institutions across the country to speak to the challenges, both named and unnamed, faced by those who do writing program administration work. These authors call explicit attention to this work and examine WPAs’ lived labor experiences and research methodologies to truly understand the scope of lived WPA labor.
 
The collection has three parts, each of which focuses on the most confounding challenges facing WPAs as well as the most compelling sites of their contributions to administration, labor in higher education, and the discipline’s collective obligation to forwarding the goals of social justice and advocacy: Advocating through Representations of WPA Labor, Advocating by Accounting for Time and Labor, and Advocating in and through Complex Institutional Contexts. The chapters use data to share and track the work functions, job titles, grand narratives, program assessments, tenure and promotion, email practices, and more undertaken by WPAs in their administrative capacities. Chapters also surface narratives for future data and studies to be done by other scholars.
 
By taking up and answering questions about the range of WPA work—and the invisibility of much of that work—Making Administrative Work Visible creates avenues toward accounting for and acknowledging the complex activity systems in which WPAs lead the work of the university and advocate for data-driven strategies needed to sustain this foundational area of higher education.
 
Contributors: Kamila Albert, Brooke Anderson, Sheila Carter-Tod, Amy Cicchino, Ana Cortés Lagos, Kristi Murray Costello, Jennifer Cunningham, Ryan Dippre, Kimberly Emmons, Genevieve García de Müeller, Jill Gladstein, Caleb González, Michael Healy, Lyra Hilliard, Kristine Johnson, Seth Kahn, Rita Malenczyk, Troy Mikanovich, Lilian Mina, Angela Mitchell, Greer Murphy, Kate Navickas, Michael Neal, Patti Poblete, Jan Rieman, Heather Robinson, Katelyn Stark, Mary Stewart, Natalie Stillman-Webb, Lizbett Tinoco, Lisa Tremain, Martha Wilson Schaffer
 

Making Progress is an empirical investigation into the strategies and processes first-year composition programs can use to center multimodal work in their curricula. Logan Bearden makes a unique contribution to the field, presenting a series of flexible strategies, evolving considerations, and best practices that can be taken up, adapted, and implemented by programs and directors that want to achieve what Bearden brands “multimodal curricular transformation,” or MCT, at their own institutions.
 
MCT can be achieved at the intersection of program documents and practices. Bearden details ten composition programs that have undergone MCT, offering interview data from the directors who oversaw and/or participated within the processes. He analyzes a corpus of outcomes statements to discover ways we can “make space” for multimodality and gives instructors and programs a broader understanding of the programmatic values for which they should strive if they wish to make space for multimodal composition in curricula. Making Progress also presents how other program documents like syllabi and program websites can bring those outcomes to life and make multimodal composing a meaningful part of first-year composition curricula.
 
First-year composition programs that do not help their students learn to compose multimodal texts are limiting their rhetorical possibilities. The strategies in Making Progress will assist writing program directors and faculty who are interested in using multimodality to align programs with current trends in disciplinary scholarship and deal with resistance to curricular revision to ultimately help students become more effective communicators in a digital-global age.

Early college classrooms provide essential opportunities for students to grapple and contend with the racial geographies that shape their lives. Based on a mixed methods study of students’ writing in a first-year-writing course themed around racial identities and language varieties at St. John’s University, Mapping Racial Literacies shows college student writing that directly confronts lived experiences of segregation—and, overwhelmingly, of resegregation.
 
This textual ethnography embeds early college students’ writing in deep historical and theoretical contexts and looks for new ways that their writing contributes to and reshapes contemporary understandings of how US and global citizens are thinking about race. The book is a teaching narrative, tracing a teaching journey that considers student writing not only in the moments it is assigned but also in continual revisions of the course, making it a useful tool in helping college-age students see, explore, and articulate the role of race in determining their life experiences and opportunities.
 
Sophie Bell’s work narrates the experiences of a white teacher making mistakes in teaching about race and moving forward through those mistakes, considering that process valuable and, in fact, necessary. Providing a model for future scholars on how to carve out a pedagogically responsive identity as a teacher, Mapping Racial Literacies contributes to the scholarship on race and writing pedagogy and encourages teachers of early college classes to bring these issues front and center on the page, in the classroom, and on campus.
 

In Masking Inequality with Good Intentions, Heather M. Falconer examines the impact of systemic bias on disciplinary discourse acquisition and identity development by asking “How do the norms and expectations of higher education and STEM, specifically, impact the development of scientific identity and discursive skill?” and “What role do societal markers like race and gender play in the negotiation of identity in STEM learning environments?”

Drawing on the experiences and writings of six students from historically underrepresented backgrounds in STEM, each participating in an undergraduate research program, Falconer discusses how programmatic and pedagogical choices can work to either further marginalize students and disrupt their writing and identity development as scientists or create counterspaces—spaces where students can thrive and push back against dominant, oppressive forces. Practical applications for pedagogy, curriculum, and program design are included.

The Material Culture of Writing opens up avenues for understanding writing through scholarship in material culture studies. Contributors to this volume each interrogate an object, set of objects, or writing environment to reveal the sociomaterial contexts from which writing emerges. The artifacts studied are both contemporary and historical, including ink, a Victorian hotel visitors’ book, Moleskine notebooks, museum conservators’ files, an early twentieth-century baby book, and a college campus makerspace. Close study of such artifacts not only enriches understanding of what counts as writing but also offers up the potential for rich current and historical inquiry into writing artifacts and environments.
 
The collection features scholars across the disciplines—such as art, art history, English, museum studies, and writing studies—who work as teachers, historians, museum curators/conservators, and faculty. Each chapter features methods and questions from contributors’ own disciplines while at the same time speaking to writing studies’ interest in writers, writing identity, and writing practice. The authors in this volume also work with a variety of methodologies, including literary analysis, archival research, and qualitative research, providing models for the types of research possible using a material culture studies framework. The collection is organized into three sections—Writing Identity, Writing Work, Writing Genre—each with a contextualizing introduction from the editors that introduces the chapters themselves and imagines possible directions for writing studies research facilitated by material culture studies.
 
The Material Culture of Writing serves as an accessible introduction to work in material culture studies for writing studies scholars, graduate students, and undergraduates, especially as it makes a distinctive contribution to writing studies in its material culture studies approach. Because of the interdisciplinarity of material culture studies and this volume’s contributors, this collection will appeal to a wide range of scholars and readers, including those interested in writing studies, the history of the book, print culture, genre studies, archival methods, and authorship studies.
 
Contributors: Cydney Alexis, Debby Andrews, Diane Ehrenpreis, Keri Epps, Desirée Henderson, Kevin James, Jenny Krichevsky, Anne Mackay, Emilie Merrigan, Laura R. Micciche, Hannah J. Rule, Kate Smith
 
 

How to write a speech in ancient Greek.

This volume contains three rhetorical treatises dating probably from the reign of Diocletian (AD 285–312) that provide instruction on how to compose epideictic (display) speeches for a wide variety of occasions both public and private. Two are attributed to one Menander Rhetor of Laodicea (in southwestern Turkey); the third, known as the Ars Rhetorica, incorrectly to the earlier historian and literary critic Dionysius of Halicarnassus. These treatises derive from the schools of rhetoric that flourished in the Roman Empire from the second through fourth centuries AD in the Greek East. Although important examples of some genres of occasional prose were composed in the fifth and fourth centuries BC by Thucydides, Xenophon, Plato, and especially Isocrates, it was with the flowering of rhetorical prose during the so-called Second Sophistic in the second half of the second century AD that more forms were developed as standard repertoire and became exemplary.

Distinctly Hellenic and richly informed by the prose and poetry of a venerable past, these treatises are addressed to the budding orator contemplating a civic career, one who would speak for his city’s interests to the Roman authorities and be an eloquent defender of its Greek culture and heritage. They provide a window into the literary culture, educational values and practices, and social concerns of these Greeks under Roman rule, in both public and private life, and considerably influenced later literature both pagan and Christian.

This edition offers a fresh translation, ample annotation, and texts based on the best critical editions.

Mentorship/Methodology brings together emerging and established scholars to consider the relationship between mentoring practices and research methodologies in writing studies and related fields. Each essay in this edited collection produces a new intellectual space from which to theorize the dynamics of combining mentoring and research in institutions and communities of higher education.
 
The contributors consider how methodology informs mentorship, how mentorship activates methodology, and how to locate the future of the field in these moments of intersection. Mentorship, through the research and relationships it nourishes, creates the future of writing studies—or, conversely, reproduces the past. At the juncture where this happens, the contributors inquire, Where have current arrangements of mentorship/methodology taken writing studies? Where do these points of intersection exist in performance and practice, in theory, in research? What images of the field do they produce? How can scholars better articulate and write about these moments or spaces in which mentorship and methodology collide in productive disciplinary work?
 
By making the “slash” more visible, Mentorship/Methodology provides significant opportunities to support and cultivate diverse ways of knowing and being in rhetoric and composition, both locally and globally. The volume will appeal to students and scholars of rhetoric, composition, and technical and professional communication, as well as readers interested in conversations about mentorship and methodology.
 

Metabolizing Capital outlines a critical ecological framework to guide the theorization of writing and rhetoric in the dynamic contexts of Web 3.0 and environmental crisis.
 
The rise of the global cloud and the internet-of-things have ushered in a new stage of the internet that marks a transition from the celebrated user-generated content of Web 2.0 to the data-driven networks of Web 3.0. As social media networks have expanded, so has the amount of writing and communication we do online. This has created several valuable sub-layers of data and metadata about consumer-citizens that corporations and governments now routinely collect, store, and monetize. This frenzy to collect more data is contributing to several problematic social and environmental concerns as flows of information and capital dangerously accelerate how energy and matter move through ecosystems at every scale.

This book explores the planetary consequences of Web 3.0 and the vital role that writing and data production play in accelerating capital circulation, from concerns raised by the growing energy demands of the information industries, to growing streams of electronic waste, to the growing socioeconomic tensions arising as a result of information monopolies.

A posthuman, Marxist analysis of digital culture and writing, Metabolizing Capital contributes to and challenges current understandings of rhetorical agency and actor networks. Combining scholarship from writing studies, rhetoric, and composition with research in metabolic ecology, information theory, media studies, cognitive psychology, history, and new materialism, this book should be of interest to scholars in writing studies as well as others who study digital culture, ecological literacies, the history of writing and information, big data, and environmental concerns related to electronics and the information industries.
 

Methods and Methodologies explores how researchers theorize, design, enact, reflect on, and revise digital writing research. The contributors to the two volumes of this edited collection explore how digital technologies can be used to solve problems, challenge the status quo, and address inequities. In some cases, they do so by using familiar digital technologies in novel ways. In other cases, they explain the use of relatively new or less familiar technologies such as digital mapping apps, Twitter bots, audio-visual captions, and computer programming code. By reflecting on the lessons that emerged from their work—and in particular on their own positionality—the authors provide methodological narratives that are personal, professional, and individual yet foundational. By combining attention to human positionality and digital technology, Methods and Methodologies addresses important social issues and questions related to writing and rhetoric.

Methods and Methodologies explores how researchers theorize, design, enact, reflect on, and revise digital writing research. The contributors to the two volumes of this edited collection explore how digital technologies can be used to solve problems, challenge the status quo, and address inequities. In some cases, they do so by using familiar digital technologies in novel ways. In other cases, they explain the use of relatively new or less familiar technologies such as digital mapping apps, Twitter bots, audio-visual captions, and computer programming code. By reflecting on the lessons that emerged from their work—and in particular on their own positionality—the authors provide methodological narratives that are personal, professional, and individual yet foundational. By combining attention to human positionality and digital technology, Methods and Methodologies addresses important social issues and questions related to writing and rhetoric.

Mobility Work in Composition explores work in composition from the framework of a mobilities paradigm that takes mobility to be the norm rather than the exception to a norm of stasis and stability.
                  
Both established and up-and-coming scholars bring a diversity of geographic, institutional, and research-based perspectives to the volume, which includes in-depth investigations of specific forms of mobility work in composition, as well as responses to and reflections on those explorations. Eight chapters present specific cases or issues of this work and twelve shorter response chapters follow, identifying key points of intersection and conflict in the arguments and posing new questions and directions to pursue.
 
Addressing matters of knowledge transfer and meaning translation, immigrant literacy practices, design pedagogy, academic career changes, student websites, research methodologies, school literacy programs, and archives, Mobility Work in Composition asks what mobility in composition means and how, why, and for whom it might work. It will be of broad interest to students and scholars in rhetoric and composition.
 
Contributors: Anis Bawarshi, Elizabeth Chamberlain, Patrick Danner, Christiane Donahue, Keri Epps, Eli Goldblatt, Rachel Gramer, Timothy Johnson, Jamila Kareem, Carmen Kynard, Rebecca Lorimer Leonard, Andrea Olinger, John Scenters-Zapico, Khirsten L. Scott, Mary P. Sheridan, Jody Shipka, Ann Shivers-McNair, Scott Wible, Rick Wysocki
 

As recently as 2012, massive open online courses (MOOCs) looked poised to revolutionize higher education, but in just a few years their flaws and problems have made them into a less relevant model. In More than a Moment, Steven D. Krause explores MOOCs and their continuing impact on distance learning in higher education, putting them in the context of technical innovations that have come before and those that will be part of the educational future.
 
Krause writes about his own experiences as a participant in several MOOCs and the experiences of faculty who developed and taught MOOCs. Contrary to many early claims from educational entrepreneurs, they were never entirely “new,” and MOOCs and their aftermath are still at the heart of the tensions between nonprofit universities and for-profit entities, particularly online program management firms, in delivering distance education.
 
While MOOCs are no longer a threat to education in the United States, they are part of the ongoing corporatization of education and remain part of conversations about experienced-based credit, corporate training, and open education. Presenting historical, student, teacher, and administrative perspectives, More than a Moment is a well-rounded treatment that will be of interest to academics and entrepreneurs interested in distance education, online pedagogy, online program management, and public-private partnerships in higher education.

When a critic pointed out to Brahms that the finale theme in his First Symphony was remarkably similar to the Ode to Joy theme in Beethoven's Ninth, he is said to have replied: "Yes indeed, and what's really remarkable is that every jackass notices this at once." Not every musical borrowing is quite so obvious; but the listener who does perceive one is always left wondering: what does the similarity mean? In this illuminating book Christopher Reynolds gives us answers to that complex question.

Reynolds identifies specific borrowings or allusions in a wide range of nineteenth-century music. He shows the kinds of things composers do with borrowed musical ideas, and discusses why a composer would choose to deploy such allusions. A rich historical background for the practice emerges from his analysis. Musical borrowing touches directly on issues of central importance for nineteenth- and twentieth-century composition: notions of creativity and originality, the constraints of tradition and innovation, musical symbolism and the listener's ear. In clarifying what it can mean when one piece of music invokes or refers to another, Reynolds expands our understanding of what we hear.

Multimodal Composing and Writing Transfer explores transfer across various contexts of multimodal composing, extending the early conversations connecting multimodality to writing. Contributors address how writing transfer theories intersect with multimodal composing and present methods for facilitating transfer across modes and media, offering insight into how writers can learn to compose when they encounter familiar modes in new contexts.
 
Over the past two decades the concepts of multimodal composing and writing transfer have grown and reshaped the nature of writing studies, but rarely have the ways in which these areas overlap been studied. This collection shows how this shift in writing studies has been mutually informative, covering a wider range of contexts for multimodality and writing transfer than just in first-year composition courses. It places composition teaching practices and multimodal research in conversation with learning transfer theory to provide an in-depth examination of how they influence one another.
 
Multimodal Composing and Writing Transfer develops these intersections to connect multimodal composition and writing practices across a wide array of fields and contexts. Scholars across disciplines, postsecondary writing teachers, writing program administrators, writing center directors, and graduate students will find this collection indispensable.